Cult Ov 1 Fin Exam 2024

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• Please add the sources in the form "(Wang 2020, 445)" behind each paragraph and with a long entry in the References section.
• In the References section, please add at least 1-2 Western sources.
• In the English version of your References, please add the Pinyin to the Chinese names and titles. Everything needs to be readable in English characters.
• Please also add free lines at places where you want to have a line break, e.g. after a header.

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.

Li Jingyi | Traditional Cuisine：Breakfast Culture of Guangdong

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Chen Xinzhou | Telecast：Become a Farmer

Telecast: Become a Farmer

Program Introduction

iQIYI's (a film and television app)self-made reality show Become a Farmer is China's first interactive documentary reality show, featuring ten "new farmers" as the main characters, delving deep into rural areas, and documenting their farming life scenes of working from sunrise to sunset. The planning of the program for this show began after the Spring Festival in 2022, with the original intention of producing a program about farming. After investigation, the program team chose to set the filming location at No. 58 Houdoumen, Shanlian Village, Sandun Town, Hangzhou. Ten young people, Jiang Dunhao, Lu Zhuo, Li Gengyun, Li Hao, Zhao Yibo, Zhuo Yuan, Zhao Xiaotong, He Haonan, Chen Shaoxi, and Wang Yiheng, stood out in the audition and formed the" Farming Team". The program truthfully recorded their entire process of farming. (杨长岭(Yang Changling))

Reasons for the creation of the program

China has been a major agricultural country since ancient times, with a long history of agricultural development. In 2022, China's total grain production reached 687 million tons, and the Chinese people used less than 9% of the world's arable land, producing about a quarter of the world's grain. However, China is also a major consumer, with a high degree of dependence on foreign food. Moreover, global climate change has led to frequent natural disasters, threatening food production security. The attack of the COVID-19 epidemic has increased the uncertainties in the production chain of international food trade and the market supply chain. This program aims to make the audience aware of the difficulties in food production and the importance of food security through the recording of the farming process.(《种地吧》先导片 teaser)

Program contents

Ten urban youths, carrying hope and dreams, have interpreted the value of "doing every task seriously, and there will always be a harvest if you put in the effort " personally. They immersed themselves in the field for over 200 days, completing the sowing, irrigation, and fertilization of 142 acres of farmland; planting and maintaining 4000 pots of roses; moving 30 tons of fertilizer in one go; learning to use various agricultural tools and create a "Shi Ge Qin Tian" agricultural company to sell their agricultural products. In addition to working in the fields, they also have to cook for themselves and decorate their own houses. In over 200 days, they transformed from novices who knew nothing about agriculture to agricultural “experts”; they adapted to each other, transitioning from a single person's "solo work" approach to an efficient team operation mode. （黄雯,李梦洁 Huang Wen, Li Mengjie）

In the second season, they shifted from traditional manual agriculture to digital agriculture, using digitalization to empower agricultural development, improve planting efficiency, and boost crop production and sales. In addition to helping the development of their agricultural products, "Shi Ge Qin Tian" also conducts live broadcasts to assist other farmers in solving the problem of unsold agricultural products; during their leisure time, they also planted 180000 Haloxylon ammodendron trees in the Tengger Desert, Gansu, hoping to raise public awareness of sand prevention and control. They convey the spiritual power of "no effort, no gain" to the audience through practical actions.

Innovative Aspects

• Become a Farmer truly reflects rural life, avoiding labeling and idealization, and narrowing the gap between "media reality" and "real reality ". Compared to the traditional rural reality shows that focus on expressing the "interest of labor" and "results of labor," the program pays more attention to portraying the "hardship of labor" and "process of labor," conveying real land harvest, growth experience, and emotions to the audience. (董钧君Dong Junjun)

• Become a Farmer breaks through the traditional format dominated by long videos in reality shows, synchronizing a "dual-line development", and practicing a combination of "long video + short video + live broadcast", which allows viewers to have real-time communication and interaction with the farming team at different stages of the farming process. Long videos are the main episodes; short videos are behind-the-scenes footage and extended versions as well as single-line videos of ten members; live broadcasts are daily life broadcasts and farmer-assisting broadcasts, which provide viewers with a sense of immersion and companionship.(董钧君Dong Junjun)

Social Influence

• Inherit Agricultural Culture and Support Rural Revitalization

With the development of urbanization in China, the younger generation mostly moves away from rural areas and settles in fast-paced cities filled with steel and cement, with diminishing contact with land. Become a Farmer brings the members back to the countryside, to engage in agricultural activities, and rebuild the connection between the younger generation and the land. Through beautiful rural scenery and labor scenes, it conveys emotions toward rural life and responds to people's primitive emotions toward the countryside.

In the program, the audience can directly feel the application of new technologies and concepts in agricultural production. At the same time, the identity of the ten young people as "new farmers" has given the audience a new definition of what it means to be a farmer. Become a Farmer also explores new models of rural revitalization through methods such as farmer-assisting live streaming and the establishment of farmer markets. It has also invited agricultural experts and new farmers to exchange and learn with young people multiple times, hoping to call on more young people to participate in agricultural production and boost rural revitalization.

• Cultivate Spiritual Soil and Lead Emotional Resonance

The program showcases the growth process of ten young men, who went from being at a loss to being adept at handling farming, from being strangers to relying on each other, and from being unknown to becoming widely known. The transformation and growth of young people demonstrate the charm of labor to the audience, conveying the positive energy of exchanging sincerity for sincerity and giving the audience a warm sense of healing, allowing them to appreciate the wisdom of life and living.(黄雯Huang Weng,李梦洁Li Mengjie)

Terms

• Become a Farmer 《种地吧》
• extended versions 加更视频
• behind-the-scenes footage 幕后花絮
• Haloxylon ammodendron trees 梭梭树

Questions

• What is the name of the company that these ten young men established?

• What kind of broadcast format does this reality show use?

References

• 黄雯(Huang Weng),李梦洁(Li Mengjie).乡村综艺《种地吧》的节目创新与社会价值回归(Xiang Cun Zong Yi 《Zhong Di Ba》De Jie Mu Chuang Xin Yu She Hui Jia Zhi Hui Gui)(The innovation and social value's return of rural reality Show Become a Farmer)[J].当代电视(Dang Dai Dian Shi, the name of the journal),2023,(12):29-33.

https://kns.cnki.net/kcms2/article/abstract?v=a2GKbg6fW_b49RtRGsBlnzFBmFi65sTLfdZygEIGBGq8zeMa0lLnbYpjUOQUFXanTlx1t3AYGGpf6s37FmbCsLlPfhJ2knGlm2tTJeP1l_XlejUTofOuGp9eIq8r-fAif3ak___9uDM=&uniplatform=NZKPT&flag=copy

• 董钧君(Dong Junjun).乡村振兴语境下《种地吧》破圈路径探析(Xiang Cun Zhen Xin Yu Jing Xia 《Zhong Di Ba》De Chuang Xin Ce Lue Yan Jiu)(Exploring how Become a Farmer gains popularity in the context of Rural Revitalization)[J].西部广播电视(Xin Bu Guang Bo Dian Shi, the name of the journal),2023,44(21):135-138.

https://kns.cnki.net/kcms2/article/abstract?v=a2GKbg6fW_Yq1j2ZovqBrrkx9nGxPXdqJCvEIGdGjxVSV1ODSxeeeRnPwd-QBOQZrCteh2ZeWwEQ0YPJBov0WUtULDND_4gqC7L6hk0D5EVtx-JQh9KsmT17jfj2dP6Pd6kwdDqvr5k=&uniplatform=NZKPT&flag=copy

• 张靖雁(Zhang Jingyan).受众需求视角下慢综艺节目《种地吧》的创新策略研究(Shou Zhong Xu Qiu Shi Jiao Xia Man Zong Yi Jie Mu 《Zhong Di Ba》De Chuang Xin Ce Lue Yan Jiu)( Research on innovative strategies of Become a Farmer from the perspective of audience needs)[J].声屏世界(Sheng Ping Shi Jie, the name of the journal),2024,(01):63-65.

https://kns.cnki.net/kcms2/article/abstract?v=a2GKbg6fW_ZGJbUInJD5_LRFw-wP0v7UZXdE6GX-rAJtBUPG8c5nKwEmCH50jYUGLkvEjifsGMXFhmzN_4TmbSb_TEfwkaXjxEDTCJlIevFOM99uj91se5OAgrwcY73U&uniplatform=NZKPT&flag=copy

• 杨长岭(Yang Changling).《种地吧》：在农耕图景中感受泥土的气息(《Zhong Di Ba》: Zai Nong Geng Tu Jing Li Gan Shou Ni Tu De Qi Xi)(Become a Farmer : experience the petrichor in the agricultural scenery)[J].中国电视(Zhong Guo Dian Shi, the name of the journal),2023,(10):84-86.

https://kns.cnki.net/kcms2/article/abstract?v=a2GKbg6fW_ZNnHQKdfLL87O6a2rW1UCwK6-ATlc8LHbo8XqW-BixNmx3RfNxcnnRrDhVCpn-dVhAJGBQ_a7cLzhMR60U7BZ-pCqNWLb0D3kMGCE8FEN5fOylGIZCkyS03cm10b6jDqY=&uniplatform=NZKPT&flag=copy

• 《种地吧》先导片 （Teaser of Become a Farmer）

http://xhslink.com/XTJYGL

种地吧

节目简介

爱奇艺自制综艺《种地吧》是中国首档劳作互动纪实综艺，以十位“新农人”为主体展开叙事，深入到乡村内部，记录他们日出而作日落而息的农耕生活场景。《种地吧》节目的策划始于2022年春节后，初衷是制作一档关于种地的节目。经过调研，节目组选择将拍摄地点设在杭州三墩镇山联村后陡门58号，蒋敦豪、鹭卓、李耕耘、李昊、赵一博、卓沅、赵小童、何浩楠、陈少熙、王一珩这10位少年在海选中脱颖而出，组成“种地小队”。节目真实记录了他们种地的全过程。

节目创作原因

中国自古以来就是农业大国，农业发展历史悠久。2022年，中国粮食总产量达到6.87亿吨，中国人用不足全球9%的耕地，生产出约占世界四分之一的粮食。但是中国也是消费大国，粮食对外依存度高，而且全球气候变化导致自然灾害频发，威胁粮食生产安全，新冠疫情的袭击使粮食国际贸易生产链和市场供应链的不确定因素增加。这档节目希望通过对种地过程的实录，让观众知道粮食生产的不易与粮食安全的重要性。

节目内容

十个城市少年，怀揣希望与梦想，用双手诠释了“认真做好每一件事，付出就总会有收获”的价值观。他们200天沉浸式扎根于田间地头，完成142亩农田的播种、灌溉、施肥；养护和种植4000 盆玫瑰花；一鼓作气搬30吨化肥；学会使用各种农业器具，并创建“十个勤天”农业公司，将自己的农产品进行销售。除了在田间的劳动，他们还要自己做饭，装修住的房子。200多天的时间，他们从对农耕知识一窍不通的“小白”转变为农业“专家”；他们相互磨合，从一个人的“单干”向团队作业的高效模式转变。

第二季中，他们从传统的手作农业向数字化农业转变，利用数字化赋能农业发展，提高种植效率，助推农作物产销。除了帮助自己的农产品发展，“十个勤天”还进行助农直播，帮助其他农户解决农产品滞销问题；在农闲时间，他们还去甘肃沙漠种植了18万棵梭梭树，希望引起群众对防沙治沙的重视。他们用实际行动向观众传递“一分耕耘，一分收获”的精神力量。

创新

《种地吧》真实地反映了乡村生活，避免了标签化、理想化，缩小了“媒介真实”与“现实真实”之间的差距。相比以往乡村综艺侧重表现的“劳动之趣”与“劳动之成果”，节目更注重表现“劳作之苦”与“劳作过程”，将真实的土地收成、成长经历与情感传达给观众。

《种地吧》突破传统综艺以长视频为主导的制播形式，同步“双线开发”，实践出了一条“长视频+短视频+直播”的组合方式，让观众在种地进程的不同阶段都能与种地小队进行实时的交流互动。长视频是正片，短视频是加更视频和幕后花絮，以及十位成员的单线视频，直播有生活直播和助农直播，这给观众提供了一种沉浸感与陪伴感。

社会影响

1.传承农耕文化，助力乡村振兴

随着中国城市化发展，年轻一代大都远离农村，在充满钢筋水泥的快节奏的城市里定居，与土地的接触越来越少。《种地吧》让成员们回到乡村，从事农业活动，重新建立年轻一代与土地的联系，通过美丽的乡村风景和劳作场景，传递了对乡村生活的情感，回应人们对于乡村的原始情感。

在节目里，观众可以直观地感受到新科技、新理念在农业生产上的运用。同时，十位少年的“新农人”身份也让观众对农民身份有了新的定义。《种地吧》还通过助农直播、创立农夫集市等方式探索乡村振兴的新模式，也多次邀请农业专家和新农人与少年们一起交流学习，希望号召更多的年轻人参与农业生产，助推乡村振兴。

2.培育心灵土壤，引领情绪共鸣

节目展现了十位少年的成长历程，他们从手无足措到游刃有余，他们从互不相识到相互依靠，他们从籍籍无名到广为人知。少年们的蜕变与成长，向观众展示了劳动的魅力，传递了真心换真心，有付出才有收获的正能量，给了观众温暖的治愈感，让观众感悟生活和人生的智慧。

术语

• 《种地吧》
• 加更视频
• 幕后花絮
• 梭梭树

问题：

1. 这十个年轻人创建的公司叫什么名字？
2. 这档真人秀采取什么样的播放模式？

参考文献：

• 黄雯,李梦洁.乡村综艺《种地吧》的节目创新与社会价值回归[J].当代电视,2023,(12):29-33.
• 董钧君.乡村振兴语境下《种地吧》破圈路径探析[J].西部广播电视,2023,44(21):135-138.
• 张靖雁.受众需求视角下慢综艺节目《种地吧》的创新策略研究[J].声屏世界,2024,(01):63-65.
• 杨长岭.《种地吧》：在农耕图景中感受泥土的气息[J].中国电视,2023,(10):84-86.
• 《种地吧》先导片

Chen Qian | Animals：Chinese rural dog

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Liang Chengzhi | Clothing：Hanfu

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Zhao Xinyu | Music and instruments：Chime 编钟

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Liu Xiaoyu | Garden Culture：Suzhou Gardens 苏州园林

Garden Culture：Suzhou Gardens

Chinese gardens, along with their European and West Asian counterparts, form the world's three major systems of garden design. Among them, the gardens of Suzhou stand as the quintessential representatives of Chinese garden art. The artistic achievements of Suzhou gardens are inextricably linked to China's brilliant architectural aesthetics and the ecological aesthetics. Within their confined spaces, Suzhou gardens create the illusion of infinity, epitomizing the eternal pursuit of the unity in Chinese culture ,embodying the romantic longing of Chinese aspiration for mountains and waters. The inheritance and promotion of this exquisite garden art have become a contemporary endeavor. Enhancing the aesthetic literacy of the public, integrating modern technology, and cultivating architectural talent may well be the key to this endeavor.

1. The History of Suzhou Gardens

The history of Suzhou gardens dates back to the Spring and Autumn and Warring States periods when the states of Wu and Yue engaged in gardening activities. However, it was during the Tang and Song dynasties that the true essence of Suzhou gardens began to take shape. The gardens of this era were predominantly imperial, characterized by grandeur and opulence. Among the most representative were the "Shoushan Gengyu"（寿山艮岳） of the Song dynasty and the "Huaqing Palace"（华清宫） of the Tang dynasty. The Ming and Qing dynasties witnessed the peek of Suzhou garden development. This period was marked by an abundance of private gardens, each with its own unique style. The most notable examples include the "Humble Administrator's Garden" of the Ming dynasty and the "Lingering Garden" of the Qing dynasty. These gardens not only innovated in terms of gardening techniques but also elevated the cultural connotations, setting the standard for Chinese garden art.

2. The Art of Construction in Suzhou Gardens

A. The Principle of "Unity of Heaven and Man" As early as the Western Zhou period, the concept of "Unity of Heaven and Man" had already taken root. According to the "I Ching" (Book of Changes), there is a harmonious resonance between humans and the heavens, with a mutual seeking of like qi. Among the most famous expressions of this concept is found in Zhuangzi's "Qi Wu Lun" (On the Equality of Things), where it is said, "Heaven and Earth and I were born together, and all things and I are one." This idea later flourished in the field of aesthetics and became one of the guiding principles in many artistic domains. In Suzhou gardens, the concept of "Unity of Heaven and Man" is taken to its zenith by the garden creators and artisans. Suzhou gardens place great importance on integrating nature into artificially constructed landscapes, using mountains and water as the skeleton, and trees and flowers as the flesh and blood. Take the Humble Administrator's Garden as an example: its central main scenic area is built around a water pool. Pavilions, terraces, towers, and bridges are arrayed around the water, with some extending directly over it, such as the "Small Flying Rainbow" and "Small Canglang." Looking north from Small Canglang, one can see the Small Flying Rainbow reflected in the water. Moreover, the pool surface mirrors the clouds in the sky and the surrounding trees, allowing visitors to view bridges, clear water, trees, sky, and clouds from a single perspective. This small space encapsulates the beauty of the entire natural world.

Huang Wenli | Traditional crafts：moon-shaped fan/Tuanshan

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Yi Qifang | Minority cultures：The culture of Miao silver jewelry

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Zhao Mengjiao | Mysterious culture：Physiognomy

Physiognomy, is a part of ancient Chinese traditional culture and is often used to infer the fate and future of characters in ancient times. It mainly judges a person's character and health through the characteristics of the person's face or body, behavior, etc., and then speculates the fate. Physiognomy was first recorded in Li Ji in China. Physiognomy is not unique in China. In the West, the history of physiognomy can be traced back to the ancient Greek period, and it is widely popular among the folk and intellectuals.

Ding Xinyi | Music and instruments：The Spring Snow

The Spring Snow (Yangchunbaixue) is a classical piece, one of the ten most famous ancient Chinese pieces. It expresses the beauty of the early spring when winter is over and spring is coming, the earth is recovering and everything is thriving. The melody is fresh and smooth, and the rhythm is easy and bright.

According to legend, it is an ancient piece of music composed by Shikuang of Jin or Liu Juanzi of Qi during the Spring and Autumn Period. Yangchun and White Snow in existing ancient qin sheet music are two instrumental music, Magical Secret Sheet in the explanation of the title: “Yangchun to take all things to know spring, and the wind of the meaning of light swing; White Snow to take the austere and clean, the sound of the snow and bamboo Linlang.”

Introduction

The Spring Snow is a pipa suite consisting of several variants of the Chinese folk instrumental Eight Panels (or Six Panels). The cyclical reproduction of the Eight Panels variations, the combination of the individual Eight Panels variations to form a variant relationship, and the insertion of new material from the Hundred Birds Toward the Phoenix make it a variant structure with a cyclical element.

Origin

The allusion to The Spring Snow comes from the article Song Yu's Answer to the Question of the King of Chu in the Chu Rhetoric.

King Xiang of Chu asked Song Yu, “Do you have any hidden virtues? Why don't the public praise you?” Song Yu said, “There was a singer who came to Ying, Chu, and at first he sang Lower Class (Xialibaren), and there were thousands of people in the country who sang along with him. When the singer sang Yanga Allium dew(Yangaxielu), there were only a few hundred people in the country. When the singer sang The Spring Snow, there were only a few dozen people in the country. When the singer added some more difficult techniques to the song, i.e., ‘Yin Shang Ke Yu, Za Yi Liu Zheng’, there were only a few people in the country.” Song Yu concludes, “The songs are more difficult to sing, but the harmonies are fewer in number.” The more elegant and complex the songs such as The Spring Snow became, the fewer and fewer people were able to harmonize with them, i.e., songs of a highbrow type will find very few people to join in the chorus.

Composition

The Spring Snow can be divided into four parts, namely, the beginning, the beginning, the beginning, the beginning, the beginning, the beginning, and the end, and it is a variant piece with a cyclical element:

• Rising: The seventeen-beat-long “eight-panel head” variant Monopolize the Turtle Head appears at the beginning of the piece, and it is reproduced cyclically at the beginning of the next three parts. The melody of the original Eight Panels is embellished with techniques such as the “spacer” and the “added flower”, and the use of the “half-wheel”, the “pinch”, and the “push”. Using techniques such as “half-wheel”, “pinch play” and “push and pull”, the sound effect is unique and interesting, making the melody of the flower clusters full of vitality.
• Falling: Wind Swinging Lotus Flower and A Round of Bright Moon are two variations of the Eight Panels. After reproducing the Eight Panels Head in a loop on the head, the melody rises twice and moves up in the treble clef, showing a more enthusiastic mood.
• Turning: The Jade Plate Zen, the Sound of the Tieze Pan, and the Sound of the Zither in the Taoist Courtyard, several unfolding elements appear in these three passages. Firstly, the structure of the piece is divided and inverted, and new beats and strong syncopated rhythms appear. The second is the use of fingerings such as “Picking up”, “plate”, and “overtones”, which make the music light and smooth at times, and powerful at others. Especially in “The Sound of the Zither in the Taoist Courtyard”, the whole section highlights the overtones, just as “When mingling loud and soft notes were together played, You heard orioles warble in a flowery land.”, crystalline and full of vitality.
• Merging: Donggao Crane Song is a dynamic reproduction of this section, expanded at the end, taking a sudden slow and then gradually faster speed treatment, using powerful sweeping techniques, the music atmosphere is exceptionally warm.

Comments

The whole piece of The Spring Snow is based on the vitality of spring and the purity and flawlessness of winter snow and creates a vivid and poetic picture through the pipa's unique playing technique and rich and varied timbral expression. The music is well-structured and rhythmically smooth, with the warm and cheerful melody of spring and the light and melodious fragments like snowflakes, which complement each other and show a harmonious and rich musical connotation.

The artistic expression of the piece is deeply rooted in the essence of traditional Chinese aesthetic sensibilities, utilizing various techniques of the pipa, such as finger-rotation, rolling, overtones, etc., which not only reflect the delicate expression of emotions but also demonstrate superior playing skills. The Spring Snow has a high degree of abstraction and symbolism in its musical construction, which expresses feelings through the scenery and symbolizes emotions in objects, achieving a high degree of integration between man and nature, music, and emotions.

At the same time, as an important part of Chinese classical music culture, The Spring Snow has witnessed the development of pipa art from ancient times to the present day and embodies the deep cultural heritage and outstanding artistic creativity of the Chinese nation. It has not only been regarded as a classic teaching material by many pipa players but also maintains its vitality on the modern stage, constantly attracting new groups of listeners and leading them into the picturesque world of music.

With its far-reaching artistic influence and immortal musical value, The Spring Snow has played an irreplaceable role in the inheritance and development of the excellent traditional Chinese culture and is a monument in the history of Chinese pipa art and even in the history of national music as a whole.

Terms

The Spring Snow 《阳春白雪》

Magical Secret Sheet 《神奇秘谱》

Eight Panels 《八板》

Yanga Allium dew(Yangaxielu) 阳阿薤露

Highbrow 曲高和寡

Spacer 隔凡

Added flower 加花

half-wheel 半轮

pinch play 夹弹

push and pull 推拉

Picking up 摭分

Plate 板

Overtones 泛音

When mingling loud and soft notes were together played, You heard orioles warble in a flowery land. 嘈嘈切切错杂弹，大珠小珠落玉盘

Questions

1. Where does The Spring Snow originate from?
2. How many parts does The Spring Snow include?
3. What is the meaning of The Spring Snow in Chinese traditional pipa music?

References

1. https://baike.baidu.com/item/%E9%98%B3%E6%98%A5%E7%99%BD%E9%9B%AA/9881526
2. https://sou-yun.cn/QueryAllusion.aspx
3. https://www.kuwo.cn/play_detail/4272110
4. https://tv.cctv.com/2011/02/10/VIDERCjB80UYnM0O8em9G5Lk110210.shtml
5. Wang Peiguo.Appreciation of Chinese Classical Songs The Spring Snow.CNKI,2008
6. Wang Yan.Yangchunbaixue and Xialibaren.VIP,2015

音乐和乐器：《阳春白雪》

《阳春白雪》是古典名曲，为中国著名十大古曲之一。表现的是冬去春来，大地复苏，万物欣欣向荣的初春美景。旋律清新流畅，节奏轻松明快。相传这是春秋时期晋国的师旷或齐国的刘涓子所作的古曲。现存古琴谱中的《阳春》和《白雪》是两首器乐曲，《神奇秘谱》在解题中说：“《阳春》取万物知春，和风淡荡之意；《白雪》取凛然清洁，雪竹琳琅之音。”

简介

《阳春白雪》是由中国民间器乐曲牌仪《八板》（或《六板》）的多个变体组成的琵琶套曲。“八板头”变体的循环再现，各个《八板》变体组合在一起形成变奏的关系，后又插入了《百鸟朝凤》的新材料，因此它是一首具有循环因素的变奏体结构。

典故

“阳春白雪”的典故来自《楚辞》中的《宋玉答楚王问》一文。

楚襄王问宋玉，先生有什么隐藏的德行么？为何士民众庶不怎么称誉你啊？宋玉说，有歌者客于楚国郢中，起初吟唱“下里巴人”，国中和者有数千人。当歌者唱“阳阿薤露”时，国中和者只有数百人。当歌者唱“阳春白雪”时，国中和者不过数十人。当歌曲再增加一些高难度的技巧，即“引商刻羽，杂以流徵”的时候，国中和者不过三数人而已。宋玉的结论是，“是其曲弥高，其和弥寡。”、“阳春白雪”等歌曲越高雅、越复杂，能唱和的人自然越来越少，即曲高和寡。

编曲

《阳春白雪》可分成起、承、转、合四个组成部分，是一首具有循环因素的变奏体乐曲：

 起部：《独占鳌头》曲首出现长达十七拍的“八板头”变体，它在以后三个部分的部首循环再现。原《八板》的旋律以“隔凡”和“加花”等技法加以润饰，运用“半轮”、“夹弹”、“推拉”等演奏技巧，音响效果独特有趣，使花簇的旋律充满活力。
 承部：《风摆荷花》、《一轮明月》这两个《八板》变体，在头上循环再现《八板头》之后，旋律两次上扬，在高音区上活动，表现情绪较为热烈。
 转部：《玉版参禅》、《铁策板声》、《道院琴声》在这三个段落中出现了不少展开性的因素。首先是乐曲结构的分割和倒装，并出现新的节拍和强烈的切分节奏。其二是运用“摭分”、“板”和“泛音”等演奏指法，使音乐时而轻盈流畅，时而铿锵有力。特别是《道院琴声》，整段突出泛音，恰如“大珠小珠落玉盘”，晶莹四射，充满生命活力。
 合部：《东皋鹤鸣》是本部的动力性再现，在尾部作了扩大，采取突慢后渐快的速度处理，采用强劲有力的扫弦技巧，音乐气氛异常热烈。
 评价
 《阳春白雪》全曲以春天的生机盎然和冬雪的纯净无暇为基调，通过琵琶独特的演奏技法和丰富多变的音色表现，营造出一幅生动而富有诗意的画面。乐曲结构精巧，节奏流畅，既有春日温暖明媚的欢快旋律，又有如雪花般轻盈飘洒的悠扬片段，两者相辅相成，展现出和谐统一又层次丰富的音乐内涵。
 该曲在艺术表现上深得中国传统审美情趣之精髓，运用了琵琶的各种技巧如轮指、滚拂、泛音等，既体现出细腻的情感表达，也展示了高超的演奏技艺。《阳春白雪》在音乐构造上具有极高的抽象性和象征性，借景抒怀，寓情于物，达到了人与自然、音乐与情感的高度交融。
 同时，《阳春白雪》作为中国古典音乐文化的重要组成部分，见证了琵琶艺术从古至今的发展脉络，体现了中华民族深厚的文化底蕴和卓越的艺术创造力。它不仅被众多琵琶演奏家奉为必修的经典教材，而且在现代舞台上依然保持着鲜活的生命力，不断吸引着新的听众群体，引领他们步入那如诗如画的音乐世界。
 《阳春白雪》以其深远的艺术影响和不朽的音乐价值，在传承和发展中华优秀传统文化方面起到了不可替代的作用，是中国琵琶艺术乃至整个民族音乐史上的一座丰碑。

术语： The Spring Snow 《阳春白雪》 Magical Secret Sheet 《神奇秘谱》 Eight Panels 《八板》 Yanga Allium dew(Yangaxielu) 阳阿薤露 Highbrow 曲高和寡 Spacer 隔凡 Added flower 加花 half-wheel 半轮 pinch play 夹弹 push and pull 推拉 Picking up 摭分 Plate 板 Overtones 泛音 When mingling loud and soft notes were together played, You heard orioles warble in a flowery land. 嘈嘈切切错杂弹，大珠小珠落玉盘

问题： 1.《阳春白雪》源自什么？ 2.《阳春白雪》包括多少个曲段？ 3.《阳春白雪》在中国传统琵琶乐中的意义是什么？

参考： 1.https://baike.baidu.com/item/%E9%98%B3%E6%98%A5%E7%99%BD%E9%9B%AA/9881526 2.https://sou-yun.cn/QueryAllusion.aspx 3.https://www.kuwo.cn/play_detail/4272110 4.https://tv.cctv.com/2011/02/10/VIDERCjB80UYnM0O8em9G5Lk110210.shtml 5.王培国.中国古典名曲赏析《阳春白雪》篇．《CNKI》，2008 6.王燕.“阳春白雪”与“下里巴人”．《vip》，2015

Liao Qiaoran | Beverages： Sexy Tea

Introduction

Sexy Tea(茶颜悦色）, belonging to Hunan Cha Yue Culture Industry Development Group Company, was registered in March 2015. It is a creative milk tea shop mainly focusing on tea drink and desserts, which adopts the concept of “new Chinese tea”, and has been down in the segmentation of "new Chinese fresh tea". In the overall design of the brand, Sexy Tea uses lots of Chinese traditional elements. The slogan “The more Chinese, the more fashionable” is on the shop sign. And the logo of Sexy Tea is also a woman in ancient costume holding a fan, which is distinctive and memorable. In December 2013, Sexy Tea’s first shop opened in a space of less than 30 square metres in Changsha's Huang Xing Square, Hunan province, and the number of shops has increased to around 500 by October 2023, all of which are directly operated by the company. Focusing on the local market, Sexy Tea’s shops are mainly concentrated in Hunan, with about 300 shops, in addition to shops in Hubei, Chongqing and Jiangsu.

Products’ features and innovations

The brand positioning of Sexy Tea is “healthy, fresh, and delicious” . It mainly targets the younger generation of consumers, emphasizes quality and taste, insists on using fresh milk instead of creamer, and brews tea with whole tea leaves. Its products are priced roughly between 13 to 20 yuan, including five series: Creamy Series, Frothy Series, Creative Whole Leaf Series, Trickle Hill Series, and Light Milk Cap Series. Among them, the Creamy Series uses a combination of nut crumbs or other small ingredients, light cream, milk foam, pure milk and tea, with a strong milk flavor; the Frothy Series uses a combination of wheat germ or matcha powder, milk foam, pure milk and tea, with a strong tea flavor. Desserts are also available for sale. In the early stages of Sexy Tea's establishment, its founder, Lv Liang, faced tremendous cost pressure but still chose Anchor light cream as the raw material for the drinks. Using such expensive ingredients in a street tea shop can be said to be pioneering in the industry.

Distinctive Shop Types

Sub-brands

Service concept

Sexy Tea promises customers a unique service: everyone has the “permanent right to claim a cup of fresh tea”. If they don't like the taste, they can ask for a remake anytime. In addition, caring services such as a small medicine box in the store and umbrella delivery on rainy days also demonstrate the warm brand image of Sexy Tea. In order to provide customers with the most suitable drinks and experience, Sexy Tea specially has winter and summer limited drinks and corresponding tea lists depending on the tea base and temperature. On Sexy Tea's public account, there are not only monthly self-inspection reports—openly communicating with customers about issues, informing them of the results, and continuously improving—but also stories of genuine feelings and daily topics presented in comic form. By delving into the scenes where customers are located, finding common topics, and achieving empathy and interaction, Sexy Tea has successfully created a brand image with warmth and friendliness, while also enhancing user stickiness and loyalty.

Terms and Expressions

Sexy Tea 茶颜悦色

Creamy Series 忌廉篇

Frothy Series 沫泡篇

Creative Whole Leaf Series 创意原叶篇

Trickle Hill Series 涓滴山丘篇

Light Milk Cap Series 清浅奶盖篇

Questions

1. When was Sexy Tea registered?

2. Where is Sexy Tea’s first shop?

3. What’s Sexy Tea’s brand positioning?

4. Who is Sexy Tea’s founder?

5. How many shop types does Sexy Tea have? What are they?

6. Do you think Sexy Tea is delicious? If yes, what’ your favorite one?

References

Aimee，FoodTalks, What is Tea beauty? It did not go out of Hunan for 7 years and made the milk tea shop into a national art museum https://www.foodtalks.cn/news/50865

Sexy Tea's official website http://www.the-alleytea.cn/about/

Dai Zhen | Opera：Flower-drum Opera

Opera： Flower-drum Opera

Introduction

The Flower-Drum Opera, known as "花鼓戏" (Huāgǔ xì) in Chinese, is a traditional Chinese opera form that combines singing, dancing, and acting. Originating from rural areas in China, particularly in the provinces of Hunan, Jiangxi, and Anhui, it has evolved over centuries to become a significant cultural heritage. This essay delves into the origins, development, cultural significance, and modern adaptations of the Flower-Drum Opera, highlighting its role in preserving Chinese cultural traditions and its influence on contemporary performing arts.

Origins and Historical Development

1.Early Beginnings Flower-Drum Opera can trace its roots back to the Song Dynasty (960-1279 AD), but it gained significant popularity during the Ming (1368-1644) and Qing (1644-1912) Dynasties. Initially, it was a form of folk entertainment performed during festivals and agricultural celebrations. The opera's name derives from the flower-drum, a simple percussion instrument used by performers to set the rhythm and accompany their singing and dancing.

2.Evolution Through Dynasties Throughout the Ming and Qing Dynasties, Flower-Drum Opera underwent significant changes. It evolved from a purely vocal and dance performance into a more structured form of theater, incorporating elements of drama and storytelling. This period also saw the introduction of more sophisticated musical instruments and elaborate costumes, enhancing the overall performance quality.

3.Regional Variations Different regions in China developed their own unique styles of Flower-Drum Opera, reflecting local dialects, customs, and cultural influences. For instance, the Anhui Flower-Drum Opera is known for its humorous and lively performances, while the Hunan style is characterized by its emotional depth and intricate musical compositions. These regional variations enriched the art form, making it a diverse and vibrant component of Chinese cultural heritage.

Cultural Significance

1.Reflection of Rural Life Flower-Drum Opera has always been closely tied to the lives of rural communities. Its themes often revolve around agricultural activities, rural love stories, and social issues faced by villagers. Through its performances, the opera provides a glimpse into the everyday lives, struggles, and joys of rural China, preserving a valuable cultural narrative that might otherwise be lost in the rapidly modernizing society.

2.Medium of Social Commentary Beyond entertainment, Flower-Drum Opera has served as a medium for social commentary. Historically, it has been used to address social injustices, critique corrupt officials, and promote moral values. By presenting these themes in a relatable and engaging manner, the opera has played a crucial role in educating and influencing public opinion, particularly in rural areas where literacy rates were traditionally low.

3.Preservation of Language and Tradition The use of local dialects and traditional folk tunes in Flower-Drum Opera helps preserve linguistic diversity and cultural traditions. As China becomes more urbanized and standardized, these regional characteristics face the risk of fading away. Flower-Drum Opera acts as a cultural repository, keeping these elements alive for future generations.

Artistic Elements

1.Music and Instruments The musical component of Flower-Drum Opera is integral to its appeal. Traditional instruments such as the flower-drum, erhu (a two-stringed fiddle), and dizi (a bamboo flute) create a distinctive soundscape. The melodies are often simple yet evocative, designed to complement the vocal performance and convey the emotional tone of the story.

2.Dance and Movement Dance and movement are essential components of Flower-Drum Opera. The choreography is typically based on traditional folk dances, incorporating elements such as rhythmic footwork, expressive hand gestures, and coordinated group movements. These dances not only enhance the visual appeal of the performance but also help to tell the story and express the emotions of the characters.

3.Costumes and Makeup Costumes in Flower-Drum Opera are often colorful and elaborate, reflecting the characters' roles and social status. Traditional clothing styles, such as hanfu (ancient Chinese dress), are commonly used, with added embellishments to create a dramatic effect. Makeup is also an important aspect, with performers using bold colors and patterns to highlight their facial features and convey their characters' personalities.

Modern Adaptations and Influence

1.Revival Efforts In recent years, there have been concerted efforts to revive and promote Flower-Drum Opera. Cultural organizations and local governments have launched initiatives to document and preserve traditional performances, train new performers, and organize festivals and competitions. These efforts have helped to bring Flower-Drum Opera back into the public eye and ensure its continued relevance.

2.Integration with Contemporary Arts Flower-drum opera has also influenced contemporary performing arts in China. Elements of its music, dance, and storytelling techniques have been incorporated into modern theater, film, and television productions. This fusion of traditional and contemporary elements has created new artistic expressions and expanded the audience for Flower-Drum Opera.

3.Global Recognition The cultural significance of the Flower-Drum Opera has been recognized globally, with performances staged in various countries and international cultural exchanges. This global exposure has not only introduced the art form to new audiences but also fostered cross-cultural understanding and appreciation of Chinese heritage.

Challenges and Future Prospects

1.Decline in Popularity Despite the efforts to revive Flower-Drum Opera, it faces challenges in attracting younger audiences. The fast-paced, technology-driven lifestyle of modern society contrasts sharply with the slow, deliberate pace of traditional opera. As a result, younger generations may find it difficult to relate to or appreciate the art form.

2.Adaptation to Modern Tastes To remain relevant, Flower-Drum Opera must adapt to contemporary tastes while preserving its core elements. This could involve incorporating modern themes, experimenting with new musical styles, or using multimedia technology to enhance performances. Balancing tradition with innovation will be key to the future success of Flower-Drum Opera.

3.Role of Education Education plays a crucial role in preserving and promoting Flower-Drum Opera. Integrating the art form into school curriculums, offering workshops and training programs, and creating educational materials can help raise awareness and interest among young people. By fostering an appreciation for traditional arts from a young age, we can ensure that Flower-Drum Opera continues to thrive.

Conclusion

Flower-Drum Opera is a testament to the rich cultural heritage of China. Its origins in rural communities, its evolution through centuries, and its role in reflecting and shaping social values highlight its significance as both an artistic and cultural phenomenon. While it faces challenges in the modern era, efforts to preserve and adapt Flower-Drum Opera offer hope for its continued relevance. By embracing both tradition and innovation, Flower-Drum Opera can continue to enchant audiences and preserve a vital piece of Chinese cultural history for future generations.

References

·Zhang, X. (2008). Traditional Chinese Opera: History and Performance. Beijing: Foreign Language Press.

·Sun, J. (2015). The Role of Flower-Drum Opera in Rural Chinese Society. Journal of Chinese Cultural Studies, 22(3), 45-59.

·Wang, H. (2012). The Evolution of Chinese Folk Music. University of California Press.

·China Daily. (2021, May 11). Reviving Traditional Flower-Drum Opera in Modern Times. Retrieved from https://www.chinadaily.com.cn/a/202105/11/WS609aef65a31024ad0babde42.html

·Asia Society. (2020). The Significance of Flower-Drum Opera in Chinese Performing Arts. Retrieved from https://asiasociety.org/china/flower-drum-opera

·The New York Times. (2019, May 18). Keeping the Beat of Flower-Drum Opera Alive. Retrieved from https://www.nytimes.com/2019/05/18/arts/flower-drum-opera.html

Questions

1.What is the historical origin of Flower-Drum Opera? 2.How does Flower-Drum Opera reflect rural Chinese life? 3.What efforts are being made to revive Flower-Drum Opera today? 4.What are the key artistic elements of Flower-Drum Opera?

Terms and expressions

Flower-Drum Opera - 花鼓戏 Folk Entertainment - 民间娱乐 Percussion Instrument - 打击乐器 Erhu (Two-stringed fiddle) - 二胡 Dizi (Bamboo flute) - 笛子 Vocal Techniques - 声乐技巧 Revival Efforts - 复兴努力 Cultural Heritage - 文化遗产 Social Commentary - 社会评论 Rural Community - 农村社区 Traditional Folk Tunes - 传统民间曲调

花鼓戏

介绍

花鼓戏在中文中被称为“花鼓戏”，是一种结合了歌唱、舞蹈和表演的中国传统戏剧形式。起源于中国农村地区，特别是在湖南、江西和安徽等省份，它经过几个世纪的发展，成为一种重要的文化遗产。本文探讨了花鼓戏的起源、发展、文化意义和现代改编，强调了它在保护中国文化传统中的作用及其对当代表演艺术的影响。

起源与历史发展

1.早期起源 花鼓戏可以追溯到宋代（960-1279年），但在明（1368-1644年）和清（1644-1912年）朝代期间获得了显著的流行。最初，它是一种在节日和农业庆祝活动期间表演的民间娱乐形式。戏剧的名称来源于花鼓，这是一种简单的打击乐器，表演者用它来设定节奏，并伴随着他们的歌唱和舞蹈。 2.朝代演变 在明清两代期间，花鼓戏经历了显著的变化。它从一种纯粹的声乐和舞蹈表演演变为一种更有结构的戏剧形式，融入了戏剧和讲故事的元素。这一时期还引入了更复杂的乐器和精美的服装，提高了整体表演质量。 3.地区变种 中国不同地区发展出了各自独特的花鼓戏风格，反映了当地的方言、习俗和文化影响。例如，安徽花鼓戏以其幽默和生动的表演而闻名，而湖南风格则以其情感深度和复杂的音乐作曲而著称。这些地方变种丰富了艺术形式，使其成为中国文化遗产的多样化和充满活力的组成部分。

文化意义

1.反映农村生活 花鼓戏一直与农村社区的生活紧密相关。其主题通常围绕农业活动、农村爱情故事和村民面临的社会问题展开。通过其表演，戏剧展示了中国农村的日常生活、挣扎和欢乐，保存了一种在快速现代化的社会中可能丧失的宝贵文化叙事。 2.社会评论的媒介 除了娱乐之外，花鼓戏还充当了社会评论的媒介。在历史上，它被用来解决社会不公，批评腐败官员，并提倡道德价值观。通过以一种易于理解和引人入胜的方式呈现这些主题，戏剧在教育和影响公众舆论方面发挥了重要作用，特别是在识字率传统上较低的农村地区。 3.语言和传统的保护 花鼓戏中使用的地方方言和传统民间曲调有助于保护语言多样性和文化传统。随着中国变得更加城市化和标准化，这些地方特色面临着消失的风险。花鼓戏作为文化储存库，保留了这些元素，以供后代使用。

艺术元素

1.音乐和乐器 花鼓戏的音乐成分是其吸引力的重要部分。传统乐器如花鼓、二胡（一种两弦提琴）和笛子（竹笛）创造出独特的音景。旋律通常简单而富有感染力，旨在补充声乐表演并传达故事的情感基调。 2.舞蹈和动作 舞蹈和动作是花鼓戏的重要组成部分。编舞通常基于传统民间舞蹈，融合了节奏脚步、富有表现力的手势和协调的群体动作。这些舞蹈不仅增强了表演的视觉吸引力，还帮助讲述故事和表达角色的情感。 3.服装和化妆 花鼓戏的服装通常色彩鲜艳且复杂，反映了角色的身份和社会地位。常用的传统服装样式如汉服（古代中国服饰）通常会有额外的装饰，以创造戏剧效果。化妆也是一个重要方面，表演者使用大胆的颜色和图案来突出他们的面部特征并传达角色的个性。 现代改编与影响

1.复兴努力 近年来，已经进行了有组织的努力来复兴和推广花鼓戏。文化组织和地方政府已经启动了记录和保存传统表演、培训新表演者并组织节日和比赛的项目。这些努力帮助花鼓戏重新进入公众视野，确保其持续的相关性。 2.与当代艺术的融合 花鼓戏也影响了中国当代表演艺术。其音乐、舞蹈和讲故事技巧的元素已被融入现代戏剧、电影和电视制作中。这种传统与当代元素的融合创造了新的艺术表现形式，扩展了花鼓戏的观众群体。 3.全球认可 花鼓戏的文化意义在全球范围内得到了认可，各种国家都举办了演出和国际文化交流。这种全球曝光不仅将这种艺术形式介绍给了新观众，还促进了跨文化理解和对中国遗产的欣赏。

挑战与未来展望

1.人气下降 尽管有努力复兴花鼓戏，但它在吸引年轻观众方面面临挑战。现代社会的快节奏、技术驱动的生活方式与传统戏剧的缓慢、深思熟虑的节奏形成鲜明对比。因此，年轻一代可能难以理解或欣赏这种艺术形式。 2.适应现代口味 为了保持相关性，花鼓戏必须在保留其核心元素的同时适应现代口味。这可能包括融入现代主题，尝试新的音乐风格，或使用多媒体技术来增强表演。在传统与创新之间取得平衡将是花鼓戏未来成功的关键。 3.教育的角色 教育在保护和推广花鼓戏方面发挥着至关重要的作用。将这种艺术形式融入学校课程，提供工作坊和培训项目，并创建教育材料，可以帮助提高年轻人对花鼓戏的认识和兴趣。通过从小培养对传统艺术的欣赏，我们可以确保花鼓戏继续繁荣。

结论

花鼓戏是中国丰富文化遗产的见证。其在农村社区的起源，几个世纪的发展以及在反映和塑造社会价值观中的作用，突显了其作为艺术和文化现象的意义。尽管在现代社会面临挑战，但保护和改编花鼓戏的努力为其持续的相关性提供了希望。通过拥抱传统与创新，花鼓戏可以继续吸引观众，并为后代保留中国文化历史中的重要一部分。

问题

1.花鼓戏的历史渊源是什么？ 2.花鼓戏是如何反映中国农村生活的？ 3.今天花鼓戏的复兴，有哪些努力？ 4.花鼓戏的主要艺术元素是什么？

Zhou Jingyi | Ancient Chinese Women's Culture：Ji Sor (Self-combing female)

A brief introduction

As a unique custom and ancient phenomenon in the Pearl River Delta, the self-combing women have always received great attention from all walks of life. In the Pearl River Delta, an important birthplace of the self-combing women, it is not only a long-standing local folk custom, but also a special form of expression of modern Chinese women seeking physical and mental freedom and independence.

In the historical process of modern China's development, they almost exhausted their youth, wisdom, and hard work, and used their hands to support a piece of sky for their hometown and the region. Although combing up their hair is a farewell to the bondage of marriage, and using freedom to exchange for the changes of the times and the injustice of the system, they have never complained about the world. On the contrary, the self-esteem, self-respect, self-reliance, and self-reliance of the self-combing women have always influenced their descendants.

Jin Chuanyv | Ancient Chinese Women's Culture：Nvshu（The Female Script）

Nv Shu

Chen Jian | Social Phenomenon：Marriage: Girls Being Urged to Get Married

What kind of marriage are girls looking for? Jane Austen would say it should be full of love as well as calm. It is well accepted by the youth nowadays that marriage is the product of love, a crowning event of later adulthood.

Introduction: Youth Being Urged to Get Marrried

However, in China, there is a unique social phenomenon that a large number of people are being urged to get married by their parents and the whole society. When the young people are around thirty years old, most parents and even their relatives will show great concern over the issue and push them to get married harshly, taking marriage as the incomparable thing of their children’s, much more important than jobs or education or everything else. The most common method parents use is The Blind Date, where one man and one woman never met each other before will be paired by an intermediary agent called the matchmaker. The two in The Blind Date have the right to refuse the other person but without the right to stop their parents’ push until they finally get married.

At the same time, the worried parents tend to brainwash their kids of the necessity and tremendous urgency of the marriage. For sons, there are words like “ You should marry someone to take care of you and have a baby quickly”, while for girls, “You are becoming a leftover lady”, “ You will have little choice with age”, and the common words for both like, “it’s unfilial for you to not marry”.

Situation: From a Female Point of View

Worried parents and brainwash are ready for both male and female, yet female is more likely to be pushed more fiercely. From a female point of view, a girl has been taught how to take care of her husband and kids as a good wife from childhood,and at the marriageable age, she is expected to be a good wife quickly by everyone around her. If she decides to be single, then there will be guesses that she may be with the defect. Oceanic news describes single female as the gold digger or picky people while no male is blamed with such words. And if she remains unmarried she will be called as the leftover lady as if she is a terrible dish that is meaningless.

Reasons: Why girls are being urged to get married

There are a few reasons why girls are being urged to get married which can be classified as two parts, social pressure and female opposition.

Luo Bin | Chinese mythology：Chinese Dragon Culture

Chinese Mythology——Chinese Dragon Culture

1. The source of Chinese dragon culture The Chinese dragon is a mythical animal composed of the parts of nine animals: a deer's antlers, a camel's head, a rabbit's eyes, a clam's belly, fish's scales, an eagle's claws, a tiger's paws and an ox's ears. Its entire body is often depicted using winding curves and painted in golden color. Legend goes that the Chinese dragon can fly and has the magical power to control wind and rain, so can spurt water from its mouth to provide timely rainfall to ensure a good harvest. Over the 5,000 years of Chinese history, the Chinese dragon used to be a totem. Gradually, it has evolved into a Chinese icon representing the spirit of the Chinese nation.

Historically, the Chinese dragon has ancient roots dating back thousands of years. Archeological evidence and ancient scriptures reveal that dragons were central to Chinese myths and legends long before the common era. The earliest depictions can be traced back to the Neolithic period, where dragon-like motifs were discovered on pottery and jade artifacts. In Chinese mythology, dragons are often associated with water and weather phenomena. They are believed to have control over rain, rivers, lakes, and seas. This belief is vital to agrarian societies where timely rains are crucial for the prosperity of crops. Consequently, Chinese farmers would often conduct dragon dances and other rituals to invoke rain and ensure a bountiful harvest.