Difference between revisions of "Main Page"

From China Studies Wiki
Jump to navigation Jump to search
Line 1: Line 1:
−
==Final Exam Paper==
+
==Final Paper==
−
===The Three Carvings of Huizhou===
+
===Jingzhou Fish Cake===
−
 
 
 
====Introduction====
 
====Introduction====
−
The Three Carvings of Huizhou are outstanding representatives of traditional Chinese architectural carving art, mainly passed down in the ancient Huizhou region, including present-day Huangshan City, Anhui Province and Wuyuan County, Jiangxi Province, etc. It includes three forms: wood carving, stone carving and brick carving. They are not only the core decorative elements of Huizhou-style architecture, but also integrate practical functions, aesthetic values and cultural connotations, vividly demonstrating the exquisite craftsmanship, profound cultural heritage and unique aesthetic orientation of the Huizhou region during the Ming and Qing Dynasties. As the solidification and expression of Huizhou culture in the material space, the three-carving art has weathered hundreds of years of wind and rain, and still tells the world about the economic prosperity, social ethics and spiritual pursuits of that era to this day.
+
In the culinary landscape of Jingchu (the ancient name for the Hubei region), Jingzhou Fish Cake is undoubtedly a bright pearl. Fish Cake is the most distinctive way to prepare fish. It resembles a cake in shape, yet its taste is extremely different. As a National Geographical Indication Product and a provincial-level Intangible Cultural Heritage item, it has conquered the taste buds of countless diners with its exquisite texture of "enjoying fish without seeing its form". Furthermore, with its profound folk status of "no banquet is complete without the Fish Cake", it has integrated into the daily life of local people, becoming a core symbol carrying the essence of Jingchu culinary culture. This delicacy, precipitated over thousands of years, is not only a perfect integration of ingredients and craftsmanship but also a vivid carrier of regional culture and historical memories. In 2009, the production technique of Jingzhou Fish Cake was successfully included in the second batch of the Provincial Intangible Cultural Heritage Representative Projects List of Hubei Province, marking the official recognition of its intangible cultural heritage value. In 2013, it also obtained the National Geographical Indication Product Protection Certification, further establishing its unique position in the national culinary culture and allowing this Jingchu flavor to go beyond the region and be known and loved by more people.
−
 
+
====Historical Origin====
−
====Concept====
+
Jingzhou, located in the hinterland of the Jianghan Plain, where the Yangtze River and the Han River converge, is covered with dense rivers and lakes, and has long been renowned as a "land of fish and rice". The advantageous natural environment has nurtured abundant aquatic resources and developed fish-centered culinary wisdom. Here, fish is not only a common ingredient on the dining table but also integrated into the blood of regional culture. The birth and development of Jingzhou Fish Cake is the concentrated embodiment of this culinary wisdom.
−
The Three Carvings of Huizhou refer to three types of architectural and decorative carvings popular in the Huizhou region - wood carvings, stone carvings and brick carvings. Together, they constitute the artistic language of Huizhou-style architecture, which combines structure, decoration and symbolism, and is an important branch of traditional Chinese sculpture art. Wood carvings are warm and gentle inside, stone carvings are solemn on the outside, and brick carvings are delicate and transitional. The three complement each other, forming a spatial decoration sequence from indoor to outdoor, from private to public, which greatly enhances the overall artistic quality of the building.
 
−
 
 
−
====Historical Background====
 
−
The rise and prosperity of the Three Carvings of Huizhou were closely related to the economic, cultural and social development of the Huizhou region during the Ming and Qing Dynasties. After accumulating wealth, many Huizhou merchants returned to their hometowns to build mansions, ancestral halls, archways and so on. The abundant wealth of Huizhou merchants laid a solid foundation for the development of the "Three Carvings". These "merchants who love Confucianism" have devoted their huge financial resources and profound cultural literacy to the construction of their hometowns. They not only pursue the grandeur and sturdiness of the buildings but also strive to enhance their cultural taste and artistic expressiveness, thus providing an unprecedented market demand and creative stage for the art of sculpture. They emphasized the artistry and cultural expression of architecture, promoting the highly developed art of sculpture. Meanwhile, the abundant local resources of wood, bluestone and clay in Huizhou provide high-quality materials for the three carvings. Under the influence of regional cultures such as Cheng-Zhu Neo-Confucianism and Xin 'an School of Painting, the three carvings gradually formed an artistic system with complete techniques and rich connotations.
 
−
 
 
−
====Main Classifications and Artistic Features====
 
−
Although the three carvings of Huizhou form an organic whole, they each present distinct artistic features based on the differences in materials, craftsmanship and uses. The three carvings of Huizhou can be classified into three types according to their materials and craftsmanship: wood carvings, stone carvings and brick carvings.
 
−
 
 
−
（1）Woodcarving
 
−
Woodcarving is the most widely used and richly expressed art form among the three carvings of Huizhou. It is mainly found in the interior Spaces of buildings and wooden components, such as beams, brackets, partition doors, window lattices and furniture, etc. The warm texture and malleability of wood make it an ideal medium for carrying complex narratives and delicate emotions, perfectly meeting the demand of Huizhou courtyards for creating a humanistic atmosphere in the interior space. Its subjects are all-encompassing, including auspicious patterns, historical opera stories that promote loyalty, filial piety, chastity and righteousness, landscapes and pavilions with the charm of scholars, as well as vivid and simple daily life scenes. In terms of techniques, "The main characteristics of Huizhou woodcarving are four techniques: flat carving, low relief carving, deep relief carving and through carving (hollow carving)." The knife work is delicate and smooth, the composition is full and the layers are distinct, striving to create a profound three-dimensional spatial sense and a vivid narrative of the picture within the limited thickness. His representative works include the carvings on the partition doors of the "Woodcarving House" in Lucun, Yi County, and the carvings on the beams and frames of the Chengzhi. Hall in Hongcun.
 
−
 
 
−
（2）Stone carving
 
−
Stone carving is known for their hard material, simple and ancient style, and solemn meaning. They are often used for the exterior highlights and load-bearing structures of buildings. Its applications are mainly concentrated in places such as archways, door covers, drumming stones, stone lions, railings and the bases of ancestral halls. The permanence of stone makes it naturally suitable for carrying the commemorative function of setting an example for future generations and demonstrating merit. Therefore, stone carvings are often the most public and symbolic artistic expressions in Huizhou architecture. Mostly local stones such as "Yixian Qing" are used, which are solid in texture and durable and wear-resistant. It is not only conducive to fine carving but also can resist the erosion of wind and rain, which is the material basis for the charm of Huizhou stone carving art. The subject matter of Huizhou stone carvings is limited by the carving materials themselves. Youdaoplaceholder0 is less complex than that of wood carvings and brick carvings. Youdaoplaceholder1 mainly consists of images of animals and plants and ancient patterns. As for figures, stories and landscapes, they are relatively rare. Due to the limitations of material properties, its main techniques are relief carving and round carving. The lines are vigorous and concise, and the style pursues a grand and solemn atmosphere. It pays attention to the volume sense and light and shadow effect of the overall block surface, which forms a sharp contrast with the elaborate and delicate wood carvings. The Xu Guo Stone Workshop in Shexian County is its ultimate masterpiece.
 
−
 
 
−
（3）Brick Carvings
 
−
"Brick carvings, commonly known as flower bricks, make a sound when struck but have no holes when broken." It is an art form carved on specially made blue bricks, combining the delicacy of wood carvings with the durability of stone carvings, and can be regarded as the "finishing touch" of Huizhou-style architectural gate towers. Brick carvings lie between wood and stone in terms of material. They not only have certain carvings but also can withstand outdoor climates, thus becoming an ideal choice for decorating the exterior facades of buildings. It is mainly applied to the gate towers, door canopies, screen walls, window lintels, roof ridges and other parts of buildings. The production process is complex, from selecting soil and refining clay to firing bricks and then elaborately carving, with extremely high requirements. Brick carvings cover a wide range of subjects and are particularly skilled at depicting dramatic stories and folk scenes with numerous characters and grand scenes through the unique technique of "multi-layer through-carving". This technique can carve multiple layers in front and back on brick blanks with limited thickness. The scenes are interspersed in front and back, presenting a delicate and transparent appearance with a strong sense of space. The exquisite brick-carved gatehouse is an important symbol of the owner's status and taste. There are a large number of examples of exquisite craftsmanship preserved in places such as Qiankou Minzhai in Huizhou District.
 
−
 
 
−
====Cultural Significance and Contemporary Value====
 
−
"The elegance of brick carvings, the magnificence of wood carvings, and the boldness of stone carvings - it is precisely because of their distinct characteristics that they offer people different kinds of enjoyment. The three complement each other and none can be missing." The Three Carvings of Huizhou are not only a kind of craftsmanship but also an important carrier of Huizhou culture. They embody the humanistic spirit of Huizhou people who Revere Confucian ethics, pursue auspiciousness and happiness, and are close to nature. In composition, it emphasizes symmetry and rhythm, and has a high degree of artistic unity. Today, the Three Carvings of Huizhou have been included in the national intangible cultural heritage. Through protection, inheritance and innovation, their artistic value and cultural connotation have been continued, and they provide useful references for contemporary art and cultural construction.
 
−
 
 
−
====Conclusion====
 
−
As the soul of Huizhou-style architecture, the Three Carvings of Huizhou embody the wisdom and emotions of the people of Huizhou and are treasures of traditional Chinese craftsmanship and regional culture. "Regardless of the passage of time, she always exudes a captivating fragrance with regional characteristics. Every time one enters the alleys of ancient Huizhou, they carry the ancient charm witnessed by the passage of time and the profound color of folk art, providing viewers with aesthetic enlightenment and inspiration."
 
−
 
 
−
====Terms and Expressions====
 
−
 
 
−
The Three Carvings of Huizhou：徽州三雕
 
−
 
 
−
Huizhou-style architecture：徽派建筑
 
−
 
 
−
Woodcarving：木雕
 
−
 
 
−
Stone carving：石雕
 
−
 
 
−
Brick Carvings：砖雕
 
−
 
 
−
flat carving：平面雕
 
−
 
 
−
low relief carving：浅浮雕
 
−
 
 
−
deep relief carving：深浮雕
 
−
 
 
−
through carving：透雕
 
−
 
 
−
round carving：圆雕
 
−
 
 
−
multi-layer through-carving：多层透雕
 
−
 
 
−
Yixian Qing：黟县青
 
−
 
 
−
brackets：雀替
 
−
 
 
−
door covers：门罩
 
−
 
 
−
Huizhou merchants：徽商
 
−
 
 
−
merchants who love Confucianism：贾而好儒
 
−
 
 
−
Cheng-Zhu Neo-Confucianism：程朱理学
 
−
 
 
−
Xin 'an School of Painting：新安画派
 
−
 
 
−
loyalty, filial piety, chastity and righteousness：忠孝节义
 
−
 
 
−
intangible cultural heritage：非物质文化遗产
 
−
 
 
−
 
 
−
====Questions====
 
−
 
 
−
1.Which three types of carvings are specifically referred to as the "Three Carvings of Huizhou"?
 
−
 
 
−
2. In which architectural style are the Three Carvings of Huizhou mainly used?
 
−
 
 
−
3. What are the two most commonly used carving techniques in Huizhou woodcarving?
 
−
 
 
−
4. What is the most distinctive technique of Huizhou brick carving?
 
−
 
 
−
5. To which category of cultural heritage does the Three Carvings of Huizhou belong?
 
−
 
 
−
====Answers====
 
−
 
 
−
1.Wood carvings, stone carvings, brick carvings.
 
−
 
 
−
2.Huizhou-style architecture.
 
−
 
 
−
3.Through carvings and round carvings.
 
−
 
 
−
4.Multi-layer through-carving.
 
−
 
 
−
5. Intangible cultural heritage.
 
−
 
 
−
====References====
 
−
 
 
−
[1]吴玉红 Wu Yuhong.徽州“三雕”的成因及艺术特色[The causes and artistic features of the "Three Carvings" in Huizhou][J].美术 Art,2008,(10):106-109.
 
−
 
 
−
[2]程小武 Cheng Xiaowu.论徽州建筑雕作艺术[On the Art of Architectural Carving in Huizhou] [J].艺术百家 Hundred Schools in Arts,2006,(04):89-93.
 
−
 
 
−
[3]王舒 Wang Shu.徽州雕刻艺术特色浅析[A Brief Analysis of the Characteristics of Huizhou Carving Art] [J].美术大观 A Broad View of Art,2018,(09):84-85.
 
−
 
 
−
[4]杨文 Yang Wen.论徽州古建筑“三雕”之美[On the Beauty of the "Three Carvings" in Ancient Huizhou Architecture] [J].包装世界Packaging World,2010,(04):84-85.
 
−
 
 
−
[5]罗先松 Luo Xiansong.浅谈徽州古建筑中的三雕艺术[A Brief Discussion on the Three-Carving Art in Ancient Huizhou Architecture] [J].工程与建设 Engineering and Construction,2009,23(01):32-33+88.
 
−
 
 
−
[6]吴怡 Wu Yi.徽州古村落中的三雕艺术[The three-carving art in ancient villages of Huizhou] [J].扬州职业大学学报 Journal of Yangzhou Vocational University,2002,(02):18-20+36.
 
−
 
 
−
 
 
−
===徽州三雕===
 
−
 
 
−
====引言====
 
−
 
 
−
徽州三雕是中国传统建筑雕刻艺术的杰出代表，主要流传于古徽州地区，包括今安徽省黄山市及江西省婺源县等地。其包括木雕、石雕与砖雕三种形式。他们不仅是徽派建筑的核心装饰元素，更融合了实用功能、美学价值与文化内涵，集中展现了明清时期徽州地区精湛的工艺技艺、深厚的文化底蕴与独特的审美取向。作为徽州文化在物质空间上的凝固与表达，三雕艺术穿越数百年的风雨，至今仍向世人诉说着那个时代的经济繁荣、社会伦理与精神追求。
 
−
 
 
−
====概念====
 
−
 
 
−
徽州三雕指流行于徽州地区的三种建筑装饰雕刻——木雕、石雕与砖雕。它们共同构成徽派建筑的艺术语言，兼具结构性、装饰性与象征性，是中国传统雕刻艺术的重要分支。木雕温润于内，石雕庄重对外，砖雕精巧过渡，三者相辅相成，形成了从室内到室外、从私密到公共的空间装饰序列，极大地提升了建筑的整体艺术品格。
 
−
 
 
−
====历史背景====
 
−
 
 
−
徽州三雕的兴起与繁盛，与明清时期徽州地区的经济、文化与社会发展密切相关。徽商在积累财富后，多返乡兴建宅院、祠堂、牌坊等。“殷实的徽商财富奠定了‘三雕’的坚实发展基础。”这些“贾而好儒”的商贾，将巨大的财力与深厚的文化素养投入故里建设，不仅追求建筑的宏伟坚固，更极力追求其文化品位与艺术表现力，从而为雕刻艺术提供了前所未有的市场需求和创作舞台。他们注重建筑的艺术性与文化表达，推动了雕刻艺术的高度发展。同时，徽州本地丰富的木材、青石与黏土资源，为三雕提供了优质材料。在地域文化如程朱理学、新安画派等影响下，三雕逐渐形成技艺完整、内涵丰富的艺术体系。
 
−
 
 
−
====主要分类与艺术特色====
 
−
 
 
−
徽州三雕虽为一有机整体，但根据材质、工艺与用途的不同，又各自呈现出鲜明的艺术特色。徽州三雕根据材质与工艺可分为木雕、石雕与砖雕三类。
 
−
 
 
−
（一）木雕
 
−
 
 
−
木雕是徽州三雕中应用最广泛、表现最丰富的艺术形式。它主要见于建筑的内部空间和木质构件上，如梁架、雀替、隔扇门、窗棂及家具等。木材的温润质感与可塑性，使其成为承载繁复叙事和细腻情感的理想媒介，完美契合了徽州宅院对内部空间人文氛围的营造需求。它的题材包罗万象，涵盖寓意吉祥的图案、宣扬忠孝节义的历史戏曲故事、富有文人意趣的山水楼阁，以及生动朴实的日常生活场景。在技法上，“徽州木雕的工艺特点是以平面雕、浅浮雕、深浮雕和透雕（镂空雕）四种技法为主。”刀法细腻流畅，构图饱满，层次分明，力求在有限厚度中营造出深邃的立体空间感和生动的画面叙事。代表作有黟县卢村“木雕楼”的隔扇门雕和宏村承志堂的梁架雕刻。
 
−
 
 
−
（二）石雕
 
−
 
 
−
石雕则以材质坚硬、风格古朴、寓意庄重而见长，常用于建筑的外部显要和承重结构。其应用主要集中在牌坊、门罩、抱鼓石、石狮、栏杆及祠堂台基等处。石材的永恒性，使其天然适合承载需要垂范后世、昭示功德的纪念性功能。因此，石雕往往是徽州建筑中最为公共化和象征性的艺术表达。其多采用本地“黟县青”等石材，质地坚实，经久耐磨。它既利于精细雕刻，又能抵御风雨侵蚀，是成就徽州石雕艺术魅力的物质基础。“徽州石雕题材受雕刻材料本身限制不及木雕与砖雕复杂主要是动植物形象、博古纹样至于人物故事与山水则较为少见。”受材料特性限制，其技法主要为浮雕与圆雕。线条刚劲简练，风格追求大气凝重，注重整体块面的体积感和光影效果，与木雕的繁复细腻形成鲜明对比，歙县的许国石坊便是其登峰造极之作。
 
−
 
 
−
（三）砖雕
 
  
−
“砖雕,俗称花砖,敲之有声,断之无孔。”它是一种在特制青砖上雕刻的艺术，兼具木雕的细腻与石雕的耐久，堪称徽派建筑门楼的“点睛之笔”。砖雕在材质上介于木石之间，既有一定的可雕性，又能耐受户外气候，因而成为装饰建筑外立面的理想选择。其主要应用于建筑的门楼、门罩、照壁、以及窗楣、屋脊等处。制作工序复杂，从选土炼泥到烧制成砖，再到精心雕刻，要求极高。砖雕题材广泛，尤擅长以“多层透雕”的绝技表现人物众多、场面宏大的戏剧故事与民俗场景。这种技艺能在厚度有限的砖坯上雕出前后多个层次，景物前后穿插，玲珑剔透，空间感极强。精美的砖雕门楼是彰显主人身份与品味的重要标志，在徽州区潜口民宅等地留存着大量工艺精湛的实例。
+
A mythical legend has been passed down regarding the origin of Jingzhou Fish Cake. It is said that it has been created by Eying, the concubine of Emperor Shun, and widely popularized across the Jingchu region. According to verifiable historical records, it became the premier dish of the Chu royal court during the Spring and Autumn and Warring States Periods, and remained a royal delicacy even in the Qing Dynasty. It is said that after tasting Jingzhou Fish Cake, Emperor Qianlong blurted out in praise: "Tasting fish without seeing its flesh, what a delightful cake as fine as lily!" From the Chu Dynasty to the Qing Dynasty, Jingzhou Fish Cake endured through 17 dynasties in China and a history of more than 4,000 years. It has always held an important position in the realm of culinary culture, gradually evolving from an imperial delicacy into a folk food, and ranking as one of the most representative flavors of the Jingchu land.
 +
====Craftsmanship====
 +
The selection of ingredients is the foundation of making Fish Cake, and also the key factor that determines its quality. The preferred raw materials for Jingzhou Fish Cake are fresh grass carps or black carps weighing 7 to 8 jin, caught from the Yangtze River basin. These two types of fish are the top choice for their unique meat quality: large-sized grass carps and black carps have firm and plump flesh with moderate moisture content, almost no earthy taste, and are rich in collagen. After processing, their flesh can yield a delicate and springy texture.
  
−
====文化意义与当代价值====
+
Besides the main ingredient of fish meat, the selection of supplementary ingredients is equally meticulous. To render the Fish Cake’s texture more moist and mellow, and avoid a dry taste, makers add an appropriate amount of lard or diced fatty pork. The mild richness of lard blends with the fresh fragrance of fish meat, enriching the Fish Cake’s flavor and enhancing its moistness. Egg white is also an indispensable ingredient; it boasts strong water retention and adhesive properties, which firmly bind the fish paste together, making the Fish Cake compact and less likely to crumble after shaping. In addition, proper amounts of starch, ginger, scallions and salt are added as seasonings. Starch further improves the Fish Cake’s shaping effect, while ginger and scallions effectively neutralize the fishy taste and heighten the overall fresh aroma of the dish.
  
−
“砖雕的淡雅、木雕的华美、石雕的粗犷，正是由于三雕的不同特点，它们才会给人带来不同的享受，三者互相映衬，缺一不可。”徽州三雕不仅是一种工艺技艺，更是徽州文化的重要载体。它们体现了徽州人崇尚儒家伦理、追求吉祥美满、亲近自然的人文精神。在构图上讲究对称与韵律，具有高度的艺术统一性。如今，徽州三雕已被列入国家级非物质文化遗产，通过保护、传承与创新，其艺术价值与文化内涵得以延续，并为当代艺术与文化建设提供有益借鉴。
+
Once all ingredients are prepared, the most crucial step in making Fish Cake begins — beating the fish paste. All the prepared ingredients are fully mixed and beaten continuously in one single direction until the fish paste becomes thick, cohesive, fluffy and elastic. Beating by hand not only prevents the fish flesh from being damaged by the high temperature of mechanical mixers, but also allows makers to precisely gauge the perfect consistency purely by touch.
 +
After the fish paste is well beaten, it is ready for steaming. The paste is placed into a steamer and fully cooked; under the effect of high temperature, the oil melts, making the Fish Cake increasingly soft and tender. Forty minutes later, a layer of golden egg liquid is brushed over its surface, and the Fish Cake is steamed again. Through this process, the fish flesh is completely transformed, and the Fish Cake is finished. The final product is bright white in color, smooth in texture and elastic in taste, achieving the culinary wonder of "eating fish without tasting its fibrous form".
 +
====Folk Culture ====
 +
Jingzhou Fish Cake is a representative of Jingchu culinary culture. It embodies the culinary wisdom of "eating fish without seeing its flesh", integrates the ingredients and etiquette culture of the Chu region, and has become a hallmark of Jingchu delicacies. In Jingzhou, Jingzhou Fish Cake has long transcended the simple category of delicacy and integrated itself into the local folk culture, becoming an important carrier for people to express their emotions and convey blessings. With the development of the times, the craftsmanship of making Jingzhou Fish Cake has been constantly innovated, and its form has become increasingly exquisite. Nowadays, local people often match it with other ingredients when making Fish Cake to create a richer variety of dishes: Fish Cake is made from fish meat and fatty pork, and round meatballs are prepared with pork and Chinese yam. The meatballs are laid at the bottom of a bowl, the Fish Cake placed in the middle, and finally the top is covered with stir-fried pork tripe slices, kidney slices, agaric and shiitake mushrooms. This dish is a colorful and nutrient-rich "assorted meatballs", also known as Huagao by local people. This improved Fish Cake dish not only has a richer flavor, but also has become an indispensable first course at wedding feasts, funerals and all other ceremonial banquets in Jingzhou. Jingzhou Fish Cake has gone beyond a mere dietary habit and gradually accumulated into a distinctive local folk culture. Fish Cake is a homophone for Yu Gao in Chinese, implying the auspicious wish of "having surplus year after year and making steady progress step by step". For thousands of years in Jingzhou, Fish Cake has always been a must-have grand dish to entertain guests on festivals, weddings, funerals and joyous banquets, hence the local saying: "No banquet is complete without wine, and no feast is perfect without Fish Cake".
 +
===References===
 +
[1] Jingzhou Municipal Bureau of Commerce. Chuwei Jingzhou [Chu Cuisine of Jingzhou] [M]. Wuhan: Hubei Science and Technology Press, 2020.
  
−
====结语====
+
[2] Zhang, W. P. Essence of Jingchu Culinary Culture [M]. Wuhan: Hubei People's Publishing House, 2021.
  
−
徽州三雕作为徽派建筑的灵魂，凝聚着徽州人民的智慧与情感，是中国传统工艺与地域文化的瑰宝。“不论年月的沉积，她都会散发出具有地域特色的迷香，每每进入古徽州的巷子，它们带有岁月见证的古意，带着深厚的民间艺术色彩，给观者以美的熏陶和启迪。”
+
[3] Foreign Affairs Office of Hubei Provincial People's Government. Jingzhou Tourism 2018: Local Food of Jingzhou (EB/OL). (2015-07-09)[2025-12-29]. http://en.hubei.gov.cn/tourism_2018/cities_2018/jingzhou_tourism2018/food_jinghzou/201507/t20150709_1413875.shtml?show_loading=0&webview_progress_bar=1&push_animated=1&theme=light.
  
−
====术语====
+
[4] Baidu Encyclopedia. Jingzhou Fish Cake (EB/OL). (Last updated: 2025-06-11)[Accessed: 2025-12-29]. https://baike.baidu.com/item/荆州鱼糕.
  
−
徽州三雕：The Three Carvings of Huizhou
+
===Terms===
  
−
徽派建筑：Huizhou-style architecture
+
荆州鱼糕 Jingzhou Fish Cake
  
−
木雕：Woodcarving
+
省级非物质文化遗产 Provincial Intangible Cultural Heritage
  
−
石雕：Stone carving
+
国家地理标志产品 National Geographical Indication Product
  
−
砖雕：Brick Carvings
+
鱼米之乡 a land of fish and rice
  
−
平面雕：flat carving
+
宫廷名菜 royal court dish
  
−
浅浮雕：low relief carving
+
鱼糜fish paste
  
−
深浮雕：deep relief carving
+
宴席头菜signature banquet first course
  
−
透雕：through carving
+
杂烩丸子assorted meatballs
 +
===Questions===
 +
1. What is the key reason why Jingzhou Fish Cake is known as the core symbol of Jingchu food culture?
  
−
圆雕：round carving
+
2. What are the innate conditions for Jingzhou to be rich in Fish Cake?
  
−
多层透雕：multi-layer through-carving
+
3. What is the homophonic sound of Jingzhou Fish Cake, and what auspicious implication does it have?
  
−
黟县青：Yixian Qing
+
4. Who is Jingzhou Fish Cake said to be created by, and in which period was it a royal court dish in history?
  
−
雀替：brackets
+
5. What is the preferred raw material for making Jingzhou Fish Cake?
  
−
门罩：door covers
+
6. What are the key requirements for manually stirring the fish paste?
 +
===Answers===
 +
1. It is because of its exquisite taste of eating fish without seeing the fish itself and its folk status of no banquet is complete without Fish Cake.
  
−
徽商：Huizhou merchants
+
2. It is located in the Jianghan Plain with dense rivers and lakes, being a land of fish and rice, and has been abundant in fish since ancient times.
  
−
贾而好儒：merchants who love Confucianism
+
3. It is a homophone for "Yu gao", implying having surplus year after year and making steady progress step by step.
  
−
程朱理学：Cheng-Zhu Neo-Confucianism
+
4. It is said to be created by Eying, the concubine of Emperor Shun; it was a royal court dish from the Spring and Autumn and Warring States Periods to the Qing Dynasty.
  
−
新安画派：Xin 'an School of Painting
+
5. The preferred raw materials are fresh 7-8 jin grass carps and black carps from the Yangtze River Basin.
  
−
忠孝节义：loyalty, filial piety, chastity and righteousness
+
6. It is required to stir in one single direction until the fish paste becomes thick and cohesive, fluffy and elastic.
 +
==期末论文==
 +
===荆州鱼糕===
 +
====简介====
 +
在荆楚大地的美食中，荆州鱼糕无疑是一颗璀璨的明珠。鱼糕是鱼肉最特别的一种吃法，形似蛋糕，但味道却天差地别。作为国家地理标志产品与省级非物质文化遗产，它以“食鱼不见鱼”的精妙口感征服了无数食客的味蕾，更以“无糕不成席”的深厚民俗地位融入当地人的日常生活，成为承载荆楚饮食文化精髓的核心符号。这份历经千年沉淀的美味，不仅是食材与技艺的完美融合，更是地域文化与历史记忆的生动载体。2009年，荆州鱼糕制作技艺成功入选湖北省第二批省级非物质文化遗产代表性项目名录，标志着其非遗价值得到官方认可；2013年，它又获得了国家地理标志产品保护认证，进一步确立了其在全国饮食文化中的独特地位，让这份荆楚风味走出地域，被更多人熟知与喜爱。
 +
====历史溯源====
 +
荆州，地处江汉平原腹地，长江与汉江在此交汇，境内河湖密布、水网纵横，素有“鱼米之乡”的美誉。得天独厚的自然环境，孕育了丰富的水产资源，也催生了以鱼为核心的饮食智慧。在这里，鱼不仅是餐桌上的常见食材，更融入了地域文化的血脉，而荆州鱼糕的诞生与发展，正是这份饮食智慧的集中体现。
 +
关于荆州鱼糕的起源，流传着一段颇具神话色彩的传说。鱼糕相传为舜帝妃子女英所创，在荆楚一带广为流传。根据有据可考的历史显示，春秋战国时开始成为楚宫廷头道菜，直到清朝，仍是一道宫廷菜。据说乾隆尝过荆州花糕后脱口而称赞道：“食鱼不见鱼，可人百合糕”。 从楚到清，荆州鱼糕历经中国17个朝代，跨越4000多年的时光，始终在饮食文化的舞台上占据重要地位，从宫廷御膳逐渐走向民间，成为荆楚大地最具代表性的风味之一。
 +
====制作技艺====
 +
食材的选择是制作鱼糕的基础，也是决定鱼糕品质的关键。荆州鱼糕的原材料首选长江流域出产的7-8斤鲜活草鱼或青鱼。这两种鱼之所以成为首选，原因在于其独特的肉质特点：体型较大的草鱼和青鱼，肉质紧实饱满，含水量适中，且几乎没有土腥味，同时富含胶原蛋白，经过加工后能形成细腻弹牙的口感。
 +
除了主料鱼肉，配料的选择也同样讲究。为了让鱼糕的口感更加温润醇厚，避免出现干柴的情况，制作者会加入适量的猪油或肥肉丁。猪油的温润与鱼肉的鲜香相互融合，能让鱼糕的风味更加浓郁，同时增加鱼糕的滋润度。鸡蛋清也是不可或缺的配料之一，它具有极强的持水性和粘合性，能将鱼肉糜牢牢粘合在一起，让鱼糕成型后更加紧实，不易松散。此外，还需加入适量的淀粉、生姜、葱、盐等调料，淀粉能进一步提升鱼糕的成型效果，生姜和葱则能有效去除鱼肉的腥味，提升整体的鲜香度。
 +
配料准备就绪后，便进入了制作鱼糕最关键的环节——鱼糜的搅打。将所有准备就绪的材料充分混合顺着一个方向搅打，直至鱼糜粘稠上劲，蓬松有弹性为止。手工搅拌，不仅是为了避免机器高温损伤肉质，更是凭着手感，精准拿捏着那份恰到好处的粘稠度。鱼糜搅打完成后，便可以进行蒸制了。将鱼糜放入蒸锅中蒸熟，在高温的作用下，油脂溶解，鱼糕变得愈发松软。40分钟后，抹上一层金黄的蛋液，回锅复蒸后，鱼肉脱胎换骨，就做成了鱼糕。成品色泽洁白、质地柔滑、富有弹性，实现“吃鱼不见鱼”的味觉奇迹。
 +
====民俗文化====
 +
荆州鱼糕是荆楚饮食文化的代表，体现‘吃鱼不见鱼’的烹饪智慧，融合楚地食材与礼仪文化，成为荆楚美食名片。在荆州，荆州鱼糕早已超越了单纯的美食范畴，融入了当地的民俗文化之中，成为人们表达情感、传递祝福的重要载体。随着时代的发展，荆州鱼糕的制作工艺不断创新，造型也愈发精美。如今，当地百姓在制作鱼糕时，还会搭配其他食材，打造出更加丰富多样的菜品：用鱼肉和肥膘肉制成鱼糕，再用猪肉、山药等制成圆润的肉丸，将肉丸铺在碗底，鱼糕放在中间，最后用炒香的肚片、腰片、木耳、香菇等食材铺在最上层，做成一道色彩绚丽、营养丰富的“杂烩丸子”，当地人也称之为“花糕”。这道改良后的鱼糕菜品，不仅风味更加浓郁，更成为了荆州一带红白喜事宴席上不可或缺的头道菜。荆州鱼糕已经超越了单纯的饮食习惯而积淀成为一种独具特色的地方民俗文化。鱼糕谐音“余高”，寓意“年年有余，步步高升”。千百年来在荆州一带，逢年过节、婚丧嫁娶、喜庆宴会，鱼糕都是宴请宾客必须有的一道大菜，并有“无酒不成宴，无糕不成席”的说法。
 +
===参考文献===
 +
[1] 荆州市商务局。楚味荆州 [M]. 武汉：湖北科学技术出版社，2020.
  
−
非物质文化遗产：intangible cultural heritage
+
[2] 张卫平。荆楚饮食文化精粹 [M]. 武汉：湖北人民出版社，2021.
  
−
====问题====
+
[3] 湖北省人民政府外事办公室. Jingzhou Tourism 2018: Local Food of Jingzhou (EB/OL). (2015-07-09)[2025-12-29].
  
−
1、徽州三雕具体指的是哪三种雕刻？
+
[4] 百度百科。荆州鱼糕 [EB/OL]. (更新日期：2025-06-11)[引用日期：2025-12-29]. https://baike.baidu.com/item/荆州鱼糕.
 +
===术语===
 +
荆州鱼糕 Jingzhou Fish Cake
  
−
2. 徽州三雕主要用于哪种建筑风格？
+
省级非物质文化遗产 Provincial Intangible Cultural Heritage
  
−
3. 徽州木雕最常用的两种雕刻技法是什么？
+
国家地理标志产品 National Geographical Indication Product
  
−
4. 徽州砖雕最具特色的技法叫什么？
+
鱼米之乡 a land of fish and rice
  
−
5. 徽州三雕属于哪一类文化遗产？
+
鱼糜fish paste
  
−
====答案====
+
宫廷名菜 royal court dish
  
−
1.木雕、石雕、砖雕
+
宴席头菜signature banquet first course
  
−
2.徽派建筑
+
杂烩丸子assorted meatballs
 +
===问题===
 +
1. 荆州鱼糕被称为荆楚饮食文化核心符号，关键原因是什么？
  
−
3.透雕和圆雕
+
2. 荆州盛产鱼糕的先天条件是什么？
  
−
4.多层透雕
+
3. 荆州鱼糕谐音是什么，有什么吉祥寓意？
  
−
5.非物质文化遗产
+
4. 荆州鱼糕相传由谁所创，历史上曾是哪个时期的宫廷菜？
  
−
====参考文献====
+
5. 制作荆州鱼糕首选什么原材料？
  
−
【1】吴玉红.徽州“三雕”的成因及艺术特色[J].美术,2008,(10):106-109.
+
6. 手工搅打鱼糜的关键要求是什么？
 +
===答案===
 +
1. 因它“食鱼不见鱼”的精妙口感和“无糕不成席”的民俗地位。
  
−
【2】程小武.论徽州建筑雕作艺术[J].艺术百家,2006,(04):89-93.
+
2. 地处江汉平原、河湖密布，是鱼米之乡，自古盛产鱼。
  
−
【3】王舒.徽州雕刻艺术特色浅析[J].美术大观,2018,(09):84-85.
+
3. 谐音“余高”，寓意年年有余、步步高升。
  
−
【4】杨文.论徽州古建筑“三雕”之美[J].包装世界,2010,(04):84-85.
+
4. 相传为舜帝妃子女英所创；春秋战国至清朝均为宫廷菜。
  
−
【5】罗先松.浅谈徽州古建筑中的三雕艺术[J].工程与建设,2009,23(01):32-33+88.
+
5. 首选长江流域7-8斤鲜活草鱼、青鱼.
  
−
【6】吴怡.徽州古村落中的三雕艺术[J].扬州职业大学学报,2002.(02):18-20+36.
+
6. 需顺一个方向搅打至鱼糜粘稠上劲、蓬松有弹性。

Revision as of 15:14, 11 February 2026

Final Paper

Jingzhou Fish Cake

Introduction

In the culinary landscape of Jingchu (the ancient name for the Hubei region), Jingzhou Fish Cake is undoubtedly a bright pearl. Fish Cake is the most distinctive way to prepare fish. It resembles a cake in shape, yet its taste is extremely different. As a National Geographical Indication Product and a provincial-level Intangible Cultural Heritage item, it has conquered the taste buds of countless diners with its exquisite texture of "enjoying fish without seeing its form". Furthermore, with its profound folk status of "no banquet is complete without the Fish Cake", it has integrated into the daily life of local people, becoming a core symbol carrying the essence of Jingchu culinary culture. This delicacy, precipitated over thousands of years, is not only a perfect integration of ingredients and craftsmanship but also a vivid carrier of regional culture and historical memories. In 2009, the production technique of Jingzhou Fish Cake was successfully included in the second batch of the Provincial Intangible Cultural Heritage Representative Projects List of Hubei Province, marking the official recognition of its intangible cultural heritage value. In 2013, it also obtained the National Geographical Indication Product Protection Certification, further establishing its unique position in the national culinary culture and allowing this Jingchu flavor to go beyond the region and be known and loved by more people.

Historical Origin

Jingzhou, located in the hinterland of the Jianghan Plain, where the Yangtze River and the Han River converge, is covered with dense rivers and lakes, and has long been renowned as a "land of fish and rice". The advantageous natural environment has nurtured abundant aquatic resources and developed fish-centered culinary wisdom. Here, fish is not only a common ingredient on the dining table but also integrated into the blood of regional culture. The birth and development of Jingzhou Fish Cake is the concentrated embodiment of this culinary wisdom.

A mythical legend has been passed down regarding the origin of Jingzhou Fish Cake. It is said that it has been created by Eying, the concubine of Emperor Shun, and widely popularized across the Jingchu region. According to verifiable historical records, it became the premier dish of the Chu royal court during the Spring and Autumn and Warring States Periods, and remained a royal delicacy even in the Qing Dynasty. It is said that after tasting Jingzhou Fish Cake, Emperor Qianlong blurted out in praise: "Tasting fish without seeing its flesh, what a delightful cake as fine as lily!" From the Chu Dynasty to the Qing Dynasty, Jingzhou Fish Cake endured through 17 dynasties in China and a history of more than 4,000 years. It has always held an important position in the realm of culinary culture, gradually evolving from an imperial delicacy into a folk food, and ranking as one of the most representative flavors of the Jingchu land.

Craftsmanship

The selection of ingredients is the foundation of making Fish Cake, and also the key factor that determines its quality. The preferred raw materials for Jingzhou Fish Cake are fresh grass carps or black carps weighing 7 to 8 jin, caught from the Yangtze River basin. These two types of fish are the top choice for their unique meat quality: large-sized grass carps and black carps have firm and plump flesh with moderate moisture content, almost no earthy taste, and are rich in collagen. After processing, their flesh can yield a delicate and springy texture.

Besides the main ingredient of fish meat, the selection of supplementary ingredients is equally meticulous. To render the Fish Cake’s texture more moist and mellow, and avoid a dry taste, makers add an appropriate amount of lard or diced fatty pork. The mild richness of lard blends with the fresh fragrance of fish meat, enriching the Fish Cake’s flavor and enhancing its moistness. Egg white is also an indispensable ingredient; it boasts strong water retention and adhesive properties, which firmly bind the fish paste together, making the Fish Cake compact and less likely to crumble after shaping. In addition, proper amounts of starch, ginger, scallions and salt are added as seasonings. Starch further improves the Fish Cake’s shaping effect, while ginger and scallions effectively neutralize the fishy taste and heighten the overall fresh aroma of the dish.

Once all ingredients are prepared, the most crucial step in making Fish Cake begins — beating the fish paste. All the prepared ingredients are fully mixed and beaten continuously in one single direction until the fish paste becomes thick, cohesive, fluffy and elastic. Beating by hand not only prevents the fish flesh from being damaged by the high temperature of mechanical mixers, but also allows makers to precisely gauge the perfect consistency purely by touch. After the fish paste is well beaten, it is ready for steaming. The paste is placed into a steamer and fully cooked; under the effect of high temperature, the oil melts, making the Fish Cake increasingly soft and tender. Forty minutes later, a layer of golden egg liquid is brushed over its surface, and the Fish Cake is steamed again. Through this process, the fish flesh is completely transformed, and the Fish Cake is finished. The final product is bright white in color, smooth in texture and elastic in taste, achieving the culinary wonder of "eating fish without tasting its fibrous form".

Folk Culture

Jingzhou Fish Cake is a representative of Jingchu culinary culture. It embodies the culinary wisdom of "eating fish without seeing its flesh", integrates the ingredients and etiquette culture of the Chu region, and has become a hallmark of Jingchu delicacies. In Jingzhou, Jingzhou Fish Cake has long transcended the simple category of delicacy and integrated itself into the local folk culture, becoming an important carrier for people to express their emotions and convey blessings. With the development of the times, the craftsmanship of making Jingzhou Fish Cake has been constantly innovated, and its form has become increasingly exquisite. Nowadays, local people often match it with other ingredients when making Fish Cake to create a richer variety of dishes: Fish Cake is made from fish meat and fatty pork, and round meatballs are prepared with pork and Chinese yam. The meatballs are laid at the bottom of a bowl, the Fish Cake placed in the middle, and finally the top is covered with stir-fried pork tripe slices, kidney slices, agaric and shiitake mushrooms. This dish is a colorful and nutrient-rich "assorted meatballs", also known as Huagao by local people. This improved Fish Cake dish not only has a richer flavor, but also has become an indispensable first course at wedding feasts, funerals and all other ceremonial banquets in Jingzhou. Jingzhou Fish Cake has gone beyond a mere dietary habit and gradually accumulated into a distinctive local folk culture. Fish Cake is a homophone for Yu Gao in Chinese, implying the auspicious wish of "having surplus year after year and making steady progress step by step". For thousands of years in Jingzhou, Fish Cake has always been a must-have grand dish to entertain guests on festivals, weddings, funerals and joyous banquets, hence the local saying: "No banquet is complete without wine, and no feast is perfect without Fish Cake".

References

[1] Jingzhou Municipal Bureau of Commerce. Chuwei Jingzhou [Chu Cuisine of Jingzhou] [M]. Wuhan: Hubei Science and Technology Press, 2020.

[2] Zhang, W. P. Essence of Jingchu Culinary Culture [M]. Wuhan: Hubei People's Publishing House, 2021.

[3] Foreign Affairs Office of Hubei Provincial People's Government. Jingzhou Tourism 2018: Local Food of Jingzhou (EB/OL). (2015-07-09)[2025-12-29]. http://en.hubei.gov.cn/tourism_2018/cities_2018/jingzhou_tourism2018/food_jinghzou/201507/t20150709_1413875.shtml?show_loading=0&webview_progress_bar=1&push_animated=1&theme=light.

[4] Baidu Encyclopedia. Jingzhou Fish Cake (EB/OL). (Last updated: 2025-06-11)[Accessed: 2025-12-29]. https://baike.baidu.com/item/荆州鱼糕.

Terms

荆州鱼糕 Jingzhou Fish Cake

省级非物质文化遗产 Provincial Intangible Cultural Heritage

国家地理标志产品 National Geographical Indication Product

鱼米之乡 a land of fish and rice

宫廷名菜 royal court dish

鱼糜fish paste

宴席头菜signature banquet first course

杂烩丸子assorted meatballs

Questions

1. What is the key reason why Jingzhou Fish Cake is known as the core symbol of Jingchu food culture?

2. What are the innate conditions for Jingzhou to be rich in Fish Cake?

3. What is the homophonic sound of Jingzhou Fish Cake, and what auspicious implication does it have?

4. Who is Jingzhou Fish Cake said to be created by, and in which period was it a royal court dish in history?

5. What is the preferred raw material for making Jingzhou Fish Cake?

6. What are the key requirements for manually stirring the fish paste?

Answers

1. It is because of its exquisite taste of eating fish without seeing the fish itself and its folk status of no banquet is complete without Fish Cake.

2. It is located in the Jianghan Plain with dense rivers and lakes, being a land of fish and rice, and has been abundant in fish since ancient times.

3. It is a homophone for "Yu gao", implying having surplus year after year and making steady progress step by step.

4. It is said to be created by Eying, the concubine of Emperor Shun; it was a royal court dish from the Spring and Autumn and Warring States Periods to the Qing Dynasty.

5. The preferred raw materials are fresh 7-8 jin grass carps and black carps from the Yangtze River Basin.

6. It is required to stir in one single direction until the fish paste becomes thick and cohesive, fluffy and elastic.

期末论文

荆州鱼糕

简介

在荆楚大地的美食中，荆州鱼糕无疑是一颗璀璨的明珠。鱼糕是鱼肉最特别的一种吃法，形似蛋糕，但味道却天差地别。作为国家地理标志产品与省级非物质文化遗产，它以“食鱼不见鱼”的精妙口感征服了无数食客的味蕾，更以“无糕不成席”的深厚民俗地位融入当地人的日常生活，成为承载荆楚饮食文化精髓的核心符号。这份历经千年沉淀的美味，不仅是食材与技艺的完美融合，更是地域文化与历史记忆的生动载体。2009年，荆州鱼糕制作技艺成功入选湖北省第二批省级非物质文化遗产代表性项目名录，标志着其非遗价值得到官方认可；2013年，它又获得了国家地理标志产品保护认证，进一步确立了其在全国饮食文化中的独特地位，让这份荆楚风味走出地域，被更多人熟知与喜爱。

历史溯源

荆州，地处江汉平原腹地，长江与汉江在此交汇，境内河湖密布、水网纵横，素有“鱼米之乡”的美誉。得天独厚的自然环境，孕育了丰富的水产资源，也催生了以鱼为核心的饮食智慧。在这里，鱼不仅是餐桌上的常见食材，更融入了地域文化的血脉，而荆州鱼糕的诞生与发展，正是这份饮食智慧的集中体现。 关于荆州鱼糕的起源，流传着一段颇具神话色彩的传说。鱼糕相传为舜帝妃子女英所创，在荆楚一带广为流传。根据有据可考的历史显示，春秋战国时开始成为楚宫廷头道菜，直到清朝，仍是一道宫廷菜。据说乾隆尝过荆州花糕后脱口而称赞道：“食鱼不见鱼，可人百合糕”。 从楚到清，荆州鱼糕历经中国17个朝代，跨越4000多年的时光，始终在饮食文化的舞台上占据重要地位，从宫廷御膳逐渐走向民间，成为荆楚大地最具代表性的风味之一。

制作技艺

食材的选择是制作鱼糕的基础，也是决定鱼糕品质的关键。荆州鱼糕的原材料首选长江流域出产的7-8斤鲜活草鱼或青鱼。这两种鱼之所以成为首选，原因在于其独特的肉质特点：体型较大的草鱼和青鱼，肉质紧实饱满，含水量适中，且几乎没有土腥味，同时富含胶原蛋白，经过加工后能形成细腻弹牙的口感。 除了主料鱼肉，配料的选择也同样讲究。为了让鱼糕的口感更加温润醇厚，避免出现干柴的情况，制作者会加入适量的猪油或肥肉丁。猪油的温润与鱼肉的鲜香相互融合，能让鱼糕的风味更加浓郁，同时增加鱼糕的滋润度。鸡蛋清也是不可或缺的配料之一，它具有极强的持水性和粘合性，能将鱼肉糜牢牢粘合在一起，让鱼糕成型后更加紧实，不易松散。此外，还需加入适量的淀粉、生姜、葱、盐等调料，淀粉能进一步提升鱼糕的成型效果，生姜和葱则能有效去除鱼肉的腥味，提升整体的鲜香度。 配料准备就绪后，便进入了制作鱼糕最关键的环节——鱼糜的搅打。将所有准备就绪的材料充分混合顺着一个方向搅打，直至鱼糜粘稠上劲，蓬松有弹性为止。手工搅拌，不仅是为了避免机器高温损伤肉质，更是凭着手感，精准拿捏着那份恰到好处的粘稠度。鱼糜搅打完成后，便可以进行蒸制了。将鱼糜放入蒸锅中蒸熟，在高温的作用下，油脂溶解，鱼糕变得愈发松软。40分钟后，抹上一层金黄的蛋液，回锅复蒸后，鱼肉脱胎换骨，就做成了鱼糕。成品色泽洁白、质地柔滑、富有弹性，实现“吃鱼不见鱼”的味觉奇迹。

民俗文化

荆州鱼糕是荆楚饮食文化的代表，体现‘吃鱼不见鱼’的烹饪智慧，融合楚地食材与礼仪文化，成为荆楚美食名片。在荆州，荆州鱼糕早已超越了单纯的美食范畴，融入了当地的民俗文化之中，成为人们表达情感、传递祝福的重要载体。随着时代的发展，荆州鱼糕的制作工艺不断创新，造型也愈发精美。如今，当地百姓在制作鱼糕时，还会搭配其他食材，打造出更加丰富多样的菜品：用鱼肉和肥膘肉制成鱼糕，再用猪肉、山药等制成圆润的肉丸，将肉丸铺在碗底，鱼糕放在中间，最后用炒香的肚片、腰片、木耳、香菇等食材铺在最上层，做成一道色彩绚丽、营养丰富的“杂烩丸子”，当地人也称之为“花糕”。这道改良后的鱼糕菜品，不仅风味更加浓郁，更成为了荆州一带红白喜事宴席上不可或缺的头道菜。荆州鱼糕已经超越了单纯的饮食习惯而积淀成为一种独具特色的地方民俗文化。鱼糕谐音“余高”，寓意“年年有余，步步高升”。千百年来在荆州一带，逢年过节、婚丧嫁娶、喜庆宴会，鱼糕都是宴请宾客必须有的一道大菜，并有“无酒不成宴，无糕不成席”的说法。

参考文献

[1] 荆州市商务局。楚味荆州 [M]. 武汉：湖北科学技术出版社，2020.

[2] 张卫平。荆楚饮食文化精粹 [M]. 武汉：湖北人民出版社，2021.

[3] 湖北省人民政府外事办公室. Jingzhou Tourism 2018: Local Food of Jingzhou (EB/OL). (2015-07-09)[2025-12-29].

[4] 百度百科。荆州鱼糕 [EB/OL]. (更新日期：2025-06-11)[引用日期：2025-12-29]. https://baike.baidu.com/item/荆州鱼糕.

术语

荆州鱼糕 Jingzhou Fish Cake

省级非物质文化遗产 Provincial Intangible Cultural Heritage

国家地理标志产品 National Geographical Indication Product

鱼米之乡 a land of fish and rice

鱼糜fish paste

宫廷名菜 royal court dish

宴席头菜signature banquet first course

杂烩丸子assorted meatballs

问题

1. 荆州鱼糕被称为荆楚饮食文化核心符号，关键原因是什么？

2. 荆州盛产鱼糕的先天条件是什么？

3. 荆州鱼糕谐音是什么，有什么吉祥寓意？

4. 荆州鱼糕相传由谁所创，历史上曾是哪个时期的宫廷菜？

5. 制作荆州鱼糕首选什么原材料？

6. 手工搅打鱼糜的关键要求是什么？

答案

1. 因它“食鱼不见鱼”的精妙口感和“无糕不成席”的民俗地位。

2. 地处江汉平原、河湖密布，是鱼米之乡，自古盛产鱼。

3. 谐音“余高”，寓意年年有余、步步高升。

4. 相传为舜帝妃子女英所创；春秋战国至清朝均为宫廷菜。

5. 首选长江流域7-8斤鲜活草鱼、青鱼.

6. 需顺一个方向搅打至鱼糜粘稠上劲、蓬松有弹性。

Retrieved from "https://bou.de/u/index.php?title=Main_Page&oldid=171717"