Cult Ov 1 2024

Welcome to our course website Cult_Ov_1_2024!

Session 1 OD Fri Mar 1 8:00-9:40 room 603 - Organizational issues

FRI 8:00-9:40 中国文化概要 Cult Ov 1 2024 603 BA21笔译1 Huang Wenli Winnie (1-16, 外国语学院大楼603 09161319.02) (S1 OD 1.3., S2 MW 8.3., S3 MW 15.3., S4 OD 22.3., S5 MW 29.3., S6 OD 7.4. (instead of 5.4.), S7 OD 12.4., S8 OD 19.4., S9 OD 26.4., S10 OD 28.4., S11 MW 10.5., S12 MW 12.5., S13 MW 17.5., S14 MW 24.5., S15 MW 31.5., S16 MW 7.6.)

What we learn in this class

• We learn about Chinese culture from international, especially Western perspective.
• We learn about cultural phenomena, traditional Chinese culture.
• We learn English and Chinese terminology in the area of Chinese culture.
• We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.
• We learn how to determine the location and role of Chinese culture within global culture.
• We learn basics of theories and models of intercultural communication and comparison.
• We learn the appreciate and respect the diversity of multipolar cultures and of integration.
• We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).

Students' contribution

• Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class.
• Every student selects a topic, translates the textbook text into Chinese until session 2 and prepares 1 ppt presentation of 15 min. and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.
• Every student selects several topics from the textbook which are not yet translated into Chinese and translates them into Chinese, submits them to the class representative.

Textbook

These are the last 100 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. The topics set in bold will be presented in the form of a powerpoint presentation.

101 陈昕舟 Money culture: The tradition of Red Envelope and Lucky Money

102 廖巧然 Music and instruments: Guzheng

103 戴振 Music and instruments: Pipa

104 黄文莉ppt Mythology: Gods and Immortals

105 周静怡 Mythology: Huli-jing

106 梁诚知 National Symbols: National Anthem

107 赵梦娇 National Symbols: National Flag

108 陈思思 Opera: Peking Opera

109 陈思思 Opera: Peking Opera Acrobatics

110 肖娄君 Opera: Peking Opera Actor Mei Lanfang

111 陈思思ppt Opera: Tea-picking Opera

112 徐硕珮 Opera: Hunan Flower-drum Opera (Huagu Opera)

113 丁昕怡 Philosophical Schools: Four Main Philosophical Schools

114 龚星月（PPT） Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism

115 李静怡 Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching

116 黄文莉 Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng

117 石慕予 Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living

118 金川玉 Philosophical Schools (Daoism, Buddhism, Legalism): Legalism

119 易祺芳 Philosophy: Chinese Traditional Cultivation Culture

120 黄薪诺 Religion: Traditional Chinese Funeral Culture

121 徐硕珮 Religion: Buddhism

122 戴振（ppt） Religion: Daoism

123 肖娄君 Religion: Christianity

124 戴振 Religion: Islam

125 罗彬 Science and Technology: Ancient Science and Technology

126 刘春秀ppt Science and Technology: China's Four New Inventions

127 李静怡 Science and Technology: Compass

128 刘欣雨 Science and Technology: TikTok (Douyin)

129 师瑶 Science and Technology: Three Giant Home Appliance Enterprises In China

130 刘春秀 Science and Technology: Four Domestic Mobile Phone Companies

131 丁昕怡 Silk and porcelain: Silk

132 金川玉 Silk and porcelain: Porcelain

133 徐硕珮 Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词

+134 陈健PPT Silk Road - by land and by sea: Zhang Qian and the Silk Road

135 龚星月 Silk Road - by land and by sea: Zheng He and the Maritime Silk Road

+136 罗彬PPT Silk Road - by land and by sea: Zheng He's Voyages

137 陈健 Social: The Long-life Lock

138 刘晓宇ppt Social: Round Table Culture

139 陈倩ppt Stage entertainment: Crosstalk 相声

140 温一宁 Stage entertainment: Shadow Play

141 石慕予 Traditional Crafts: Carving

142 王晨 Traditional Crafts: Chinese Jade Culture

143 梁诚知 Traditional Crafts: Cloisonne

144 黄薪诺 Traditional Crafts: Embroidery

+145 石慕予p p t Traditional Crafts: Shu Embroidery (Sichuan Embroidery)

146 黄文莉 Traditional Crafts: Xiang Embroidery

147 赵欣雨ppt Traditional Crafts: Folk Art - Chinese Paper-cutting

148 陈昕舟ppt Traditional Crafts: Handcraft - Chinese Knots

149 赵欣雨 Traditional Crafts: Lacquerware

150 师瑶 Traditional Crafts: The Kingfisher Craft点翠

151 陈倩 Traditional Cuisine: Chinese Dining Etiquette

152 廖巧然 Traditional Cuisine: Chopsticks

153 丁昕怡 Traditional Cuisine: Eight Major Cuisines of China

+154 李静怡PPT Traditional Cuisine: Four Distinct Regional Cuisines

+155 廖巧然（ppt Traditional Cuisine: Breakfast Culture of Wuhan

156 黄文莉 Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick

+157 黄薪诺（ppt） Traditional Cuisine: Hotpot

158 刘晓宇 Traditional Cuisine: The Art of Chinese Cooking

159 龚星月 Traditional Cuisine: Two Famous Dishes

160 赵梦娇（PPT） Traditional Festivals

161 王晨 Traditional Festivals: Lattice on Ancient Chinese Windows

162 周莉 Traditional Festivals: Spring Festival Couplets

163 罗彬 Westernization: The Eastward Spread of Western Learning

164 周莉 Westernization: The Westernization Movement

165 金川玉 Worship: Chinese Incense Culture

166 陈健 Economy: Chinese Currency Changes

167 王晨（PPT） History: Wang Shouren

168 肖娄君（PPT） Martial Arts: Chinese Swordsman Spirit

169 温一宁ppt Cuisine: Luosifen

170 陈昕舟 Fine Arts: Chinese Paper Cutting

171 师瑶 Science and Technology: Taobao(淘宝)

172 李静怡 Traditional Craft: Bronze

173 金川玉ppt Entertainment: Deyunshe 德云社

174 赵梦娇 Traditional Cuisine: Jiaozi

175 刘晓宇 Aesthetic ideals and social customs: the Photo Retouching Culture in China

176 刘欣雨ppt Traditional Crafts: Handcraft - Oil-paper Umbrella

177 周静怡（ppt） stage entertainment:Yuan drama

178 徐硕珮（ppt） Music and instruments: Erhu

179 师瑶ppt Traditional and Modern Views on Marriage and Love

180 刘欣雨 Traditional Cuisine: Tangyuan

181 龚星月 Animals：Golden Monkey

182 易祺芳 Chinese Economy: rich businessmen

183 赵欣雨 Opera: Chinese Local Operas

184 刘春秀 The Chinese tradition of ancestor worship

185 丁昕怡ppt Opera: Huangmei opera

186 陈倩 The “reference” of Chinese Music

187 周莉ppt Chinese Folk Art:Lion Dance

188 周静怡 Science and Technology: Mobile Games（手游）

189 刘晓宇 Clothing: Vintage Clothing

190 梁诚知ppt Fine arts:Kunqu Opera

191 温一宁 Aesthetic ideals and social customs: The Culture of Flowers

192 易祺芳ppt National Belief: the Chinese Dream

193 陈倩 Science and Technology: Buytogether（PDD)

194 廖巧然 Aesthetic ideals and social customs：Marriage and Burial Customs of Tujia People

Homework until Session 2

Please make a Chinese translation of the text of the topic you selected for presentation including questions at the end of the textbook text. When you select a topic, please coordinate with your class representative that no other students selects the same topic.

Preparatory homework for every session

Please prepare the topics of the following session by reading the respective texts in the textbook and by answering the respective questions.

Homework until Session 5

Please translate another topic you are interested in into English. When you select another topic, please coordinate with your class representative that no other students selects the same topic.

Homework until Session 10

Please translate another topic you are interested in into English. When you select another topic, please coordinate with your class representative that no other students selects the same topic.

Homework until Session 15

Please translate another topic you are interested in into English. When you select another topic, please coordinate with your class representative that no other students selects the same topic.

Final paper after Session 16

Please think of a new topic of a phenomenon of traditional or modern Chinese culture. Please use the same format as the other topics in the textbook, including text, terms, references, questions. Whenever you indicate a reference, please also mention the page number. When you select another topic, please coordinate with your class representative that no other students selects the same topic and confirm with the instructor that the topic is appropriate.

Session 1: Student presentations

114 龚星月 Gōng Xīngyuè （PPT） Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism

Please upload your power point here: Media:Daoism_as_Philosophy_2024.pptx

114. Philosophical Schools: Classical Philosophy – Daoism (Taoism)

Daoism is attributed to the Chinese philosopher Lao Zi (Lao Tze) and Zhuang Zi. For its main sacred text Daoism looks back to “Daodejing” (“Tao Te Ching”）by Lao Zi. A second sacred text is the book of parables by Zhuang Zi, which expresses Daoist ideas allegorically. Daoism emphasizes strongly the union of man and nature and suggests that man control his environment not by fighting against it but by cooperating with it. Similarly, it teaches that man should control himself by trusting rather than opposing his own natural feelings and instincts, by channeling them in the directions which he wants them to go rather than resisting them. Only in this way can he gain life, either by enduring longer in the world or by attaining physical immortality.

Daoists believe in immortality. The immortals, so they say, breathe in wind, drink dew, ride the clouds and wander about. They are detached and free from all earthly worries. Men and women can expect to “achieve the Way”, longevity and even immortality if they give themselves up to unremitting cultivation. The fairy tale “The Eight Immortals Crossing the Sea, ” long popular among the people, has its origin in Taoism. Daoism was also associated with alchemy, which was at one time a practical way of seeking the elixir of life by the transmutation of base matter into gold. Gold was associated with immortality for its durability and constancy under changing conditions. The word “alchemy” derives via Arabic from the Chinese word for gold “jin”. Since the ingredients used for preparing elixirs included arsenic and mercury, they sometimes had the opposite effects to the one intended: more than one Chinese emperor died of “elixir poisoning”.

Daoism has valued freedom from time, from care and from entanglement with bureaucracies and power. Thus it has contributed to Chinese thought an anarchistic strand, which questions the established Confucian ideas that justified central power in the hands of one emperor. The idea of Wuwei, sometimes translated as “non-action”, was a central tenet of Daoism and has also been important in most Chinese books on military strategy. Wuwei means not so much inactivity as doing nothing out of harmony with the flow of things.

Daoism has a god for almost everything - the sun, the moon, stars, wind, rain, thunder, lightening, mountains and rivers. It also has gods of the Town, Land, Kitchen, Door and Wealth. At the head of these gods are the Supreme Patriarch (Lao Zi) and the Jade Emperor. These gods are enshrined in Taoist monasteries and temples. Their icons can be found in many homes, especially those in the countryside. People worshipped the God of Wealth in the hope of achieving big fortunes. The God of the Door is supposedly able to keep away demons, and the God of the Kitchen is believed to be “in charge of every household’s fortune and misfortune. ” It is said that every year he would report to the Jade Emperor on the good and evil of the household he supervised. He is worshipped on the 23rd day of the 12th month of the lunar year, the day he reportedly ascends to Heaven, and again on the Eve of the Spring Festival when he reportedly returns. Daoism has a great many classics. The Collection of Taoist Classics, prepared in the Ming Dynasty, consists of as many as 5, 485 volumes. The number in use as prayer books, however, isn’t great. They are mainly “Tao De Jing”, a philosophical poem of over 5, 000 characters in rhyme; The Canon of Quietism, which teaches people to keep clear of earthly desires so as to achieve the peace of soul and mind; Canon of the Jade Emperor, which extols the Jade Emperor and begs the immortals for happiness and blessings; and The Yellow Yard Classic, written in verse with 7 characters in a line, which teaches the ways of Taoist cultivation.

Terms and Expressions

• Cultivation n. 修身养性
• Alchemy n. 炼金术
• Elixir n. 仙丹
• Non-Action n. 无为
• God of the Town 城隍
• God of the Land 土地老儿
• God of the Kitchen 灶君
• Supreme Patriarch 太上老君
• Icon n. 偶像, 神像
• God of Fortune 财神
• The Jade Emperor 玉帝
• The Collection of Taoist Classics 《道藏》
• Canon of Quietism 《清静经》
• The Yellow Yard Classic 《黄庭经》

Questions 1. Who are the founders of philosophical Daoism? What are the sacred texts? 2. What’s the Daoist view of man and nature? 3. Is there any superstitious element in Taoism? 4. What’s the Daoist elixir of life like? 5. What’s the keynote of Daoism? What does it mean? 6. Is Daoism unitarianism? What Daoist gods do you know? 7. What do you know about Daoist classics?

Topics for Discussion 1. How did Confucianism spread to other Asian countries? 2. What do you know about any of the Confucius Institutes established abroad in recent years? 3. What stories of Confucius or Lao Zi do you know?

122 戴振 Dài Zhèn（ppt） Religion: Daoism

Please upload your power point here: Media:Daoism_as_Religion_2024.pptx

122. Religion: Daoism (Taoism) See also: Philosophical Schools – Daoism (Taoism)

Taoism is the only major religion that came exclusively from Chinese roots and grew to maturity in Chinese soil. It originated at the end of the Eastern Han Dynasty during the reign of Emperor Shundi (125-144) and is based on ancient witchcraft and formulas of immortality. Taoists, however, regards Lao Zi (Lao Tzu) as the founder and supreme god of Daoism, and Classic of the Way and its Power, a booklet of only 5, 000 Chinese characters by Lao Zi, as the believer’s canon.

In his booklet, Lao Zi says that the basic principle is: 1. be benevolent; 2. be pure; 3. do not act in advance of others. Being benevolent means assuming an amiable attitude towards everything in the universe and maintaining universal harmony. Being pure means getting rid of extravagant hopes and being plain in mind and body. Not daring to act in advance of others means being modest and holding the self in check, instead of assuming an attitude of strength and dominance.

The word “Dao” (Tao), translates as “the way”. In its broadest sense, Tao is the way the universe functions, the path taken by all natural events. Tao is nature’s way, expressed in effortless action. Taoists often uses the image of water to illustrate such effortless action. Water always settles to the lowest level and yet can wear away even the hardest of substances.

According to Taoism, the cosmos is a magnitude of harmony and order. It is active, not static. Its state is one of change and variation, perpetually becoming and fading away, and contracting and expanding. Tao guides its function as an ordering principle. Within Tao, the two elementary powers, Yin and Yang, function by reciprocal action. They are the two polar opposites into which all things can be classified. Thus dark and light, life and death, male and female, good and evil, strong and weak are all manifestations of Yin and Yang.

In China, various sects of Taoism appeared in different periods, During the reign of Emperor Shundi, Zhang Ling (34-156) established the Heavenly Teacher Sect, which is also known as the Five Picules of Rice Sect. Toward the end of the Eastern Han Dynasty, Zhang Jiao (?-184), a peasant rebel leader, set up another Taoist sect named Taiping (Pacific) Tao. By the Western and Eastern Jin dynasties, the Five Picules of Rice Sect had become a major religion. During the Southern and Northern Dynasties, the ruling class tried to reform Taoism so that it would help them control the peasants. In the north, the Northern Heavenly Teacher Sect was established and in the south, the Southern Heavenly Teacher Sect. During the Yuan Dynasty (1206-1368), the northern and southern sects merged into a new sect known as the True Unity Sect. From then on, this sect and the Complete Unity Sect, which was founded in 1167, have been the major sects of Taoism.

The True Unity Sect believed in “driving out devils by calling in the gods, and averting disasters by prayer. ” Its priests could marry and have meat and wine except during the fasting periods. The Complete Unity Sect emphasizes self-cultivation and immortality, and its priests had to renounce home life, practice vegetarianism and remain unmarried. After 1949, however, the Complete Unity Sect, the True Unity Sect and other Taoist sects gradually merged into one, especially after the Chinese Taoist Association was founded in 1956.

Terms and Expressions

• Daoism n. 道教
• Supreme God 太上老君
• Be benevolent; be pure; do not act in advance of others. 一曰慈, 二曰俭, 三曰不敢为天下先。
• Effortless action 无为而为
• Zhang Ling 张陵
• The Heavenly Teacher Sect 天师道
• The Five Picules of Rice Sect 五斗米道
• Zhang Jiao 张角
• The True Unity Sect 正一道
• The Complete Unity Sect 全真教
• Fasting 斋戒

Questions 1. Is Daoism the only native major religion in China? When did it come into being? What is it based on? 2. What do you know about Lao Zi and his Classic of the Way and its Power? 3. According to Lao Zi, what are the 3 basic principles of social behaviour? What do they mean respectively? 4. What is the Way? What does water suggest in Daoism? 5. What is the cosmos like in Daoism? How does the Way work? 6. What do you know about Daoist sects?

Session 2 MW Fri Mar 8 8:00-9:40 room 603

Session 2: Student presentations

104 黄文莉 Huáng Wénlì Mythology: Gods and Immortals

Please upload your power point here: File:Gods 2024.pdf (pptx was too large)

Text to read is in the textbook chapter 104 in English and here in Chinese:

104. Mythology: Chinese Gods and Immortals

Chinese mythology system Chinese mythology is a mythology that has been passed down in oral form or recorded in literature, including many varied myths from regional and cultural traditions. Many myths involve the creation and cosmology of the universe and its deities and inhabitants. Some mythology involves creation myths, the origin of things, people and culture. Some involve the origin of the Chinese state. Some myths present a chronology of prehistoric times, many of these involve a culture hero who taught people how to build houses, or cook, or write, or was the ancestor of an ethnic group or dynastic family. Mythology is intimately related to ritual. Many myths are oral associations with ritual acts, such as dances, ceremonies, and sacrifices. (Lü & Gong 2014, p. 71 )

Chinese mythology is far from monolithic, not being an integrated system. Along with Chinese folklore, Chinese mythology forms an important part of Chinese folk religion. There has been an extensive interaction between Chinese mythology and Confucianism, Taoism, and Buddhism. Chinese mythology is a myth in a broad sense, which combines the Ancient mythology system, the Taoist mythology system, and the Buddhist mythology system. Among them, ancient mythology is not very systematic, and most of its records are fragmented and scattered; Taoist mythology has its own system; Buddhist mythology originated from India. (Yang, An & Turner 2005, p. 4) The Ancient mythologies are myths about the origin of man or the creation myths. It begins in ancient times (pre-Xia dynasty). There is not a book specializes in recording all of those myths in history, not even being an integrated system like Western mythology. The Ancient myths are written in the Classic of Mountains and Seas, Book of Songs, the Songs of Chu, Zhuangzi, Huai Nan Zi and other books, and can be divided into four categories: the creation myths (Pangu Separating the World, Goddess Nüwa Greating Human Beings), myths of heroes (Hou Yi Shooting Down the Suns), myths about Tribal war (the Battle of Zhuolu), and myths about human and nature(Kuafu Chasing the Sun, Great Yu Who Controlled the Waters). 1987. (Bai 1987, pp. 34-40)

Taoism can be defined as pantheistic, given its philosophical emphasis on the formlessness of the Tao and the primacy of the "Way" rather than anthropomorphic concepts of God. Through time Taoist Theology created its own deities. Similar to deities of Hinduistic beliefs these deities attributed certain qualities. Deities who take part in the Dao are arranged in a hierarchy. The supreme powers are three, the Three Pure Ones, and represent the centre of the cosmos and its two modalities of manifestation (yin and yang). The main classics of Taoism include Zhuangzi and many other scriptures. It creates many gods and immortals in their texts and gives most of them official posts, showing Chinese ancestor's emphasis on practical application. For example, Tudishen（土地公）, the God of the Soil and the Ground, is a tutelary deity of a locality; Sanxing（三星）, Three Stars, is a cluster of three astral gods of well-being, including Fuxing, Prosperity Star, the god of happiness, Luxing, Firmness Star, the god of firmness and success in life and examinations, and Shòuxing, Longevity Star, who stands for a healthy and long life. (Olson & Stuart 2002, pp. 27-28) At the end of the Western Han Dynasty, Indian Buddhism was introduced into China and merged with the local culture, creating many new myths. Buddhism thinks that everything is equal, and there is no hierarchy, but in fact, there are quite differences according to the level of their Buddhist understanding and practice. The one with the highest practice is the Buddha. The founder of Buddhism, Shakyamuni, is the most familiar Buddha to Chinese people. Amitabha, also known as Amida or Amitāyus, is a celestial buddha and the principal buddha in Pure Land Buddhism. Bodhisattva has a lower level of Buddhism practice than Buddha. Guanyin is the Chinese translation of the bodhisattva Avalokiteśvara. She is often referred to as the "most widely beloved Buddhist Divinity" with miraculous powers to assist all those who pray to her. (Buddhism, p37)

神 shén, 帝 dì and 仙 xiān Chinese traditional religion is polytheistic; many deities are worshipped in a pantheistic view where divinity is inherent in the world. In Chinese language there is a terminological distinction between 神 shén, 帝 dì and 仙 xiān. Although the usage of the former two is sometimes blurred, it corresponds to the distinction in Western cultures between "god" and "deity". dì, sometimes translated as "thearch", implies a manifested or incarnate "godly" power. During the time of Zhou dynasty to the Warring States, dì is used to refer to those who have great moral cultivation and merits. And then it becomes a term of emperor since Qin dynasty. The latter term 仙 xiān refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of "hero". (Hu, 2020) There is another difference between the Chinese gods and immortals. The gods usually have their own position and take charge of different things in Daoist theology. While immortals, unlike gods, have no official positions. It is that certain humans develop the ability to live indefinitely, avoiding death, and becoming divine xiān. Such humans generally also are said to develop special powers and always live leisurely. So since ancient times, many people are longing to become an immortal and live a carefree life. (Fowler & Jeanine 2005, pp. 200-201)

Eight immortals The Eight Immortals are a group of legendary xian ("immortals") in Chinese mythology. Each immortal's power can be transferred to a vessel that can bestow life or destroy evil. Together, these eight vessels are called the "Covert Eight Immortals". Most of them are said to have been born in the Tang or Shang Dynasty. They are revered by the Taoists and are also a popular element in secular Chinese culture. They are said to live on a group of five islands in the Bohai Sea, which includes Mount Penglai. (Yang, Deng & Wang 1987, pp. 40-45) The Immortals are Lü Dongbin (呂洞賓), He Xiangu (何仙姑), Zhang Guolao (張果老), Lan Caihe (藍采和), Li Tieguai (李鐵拐), Zhongli Quan (鍾離權), Han Xiangzi (韓湘子), Cao Guojiu (曹國舅), representing man, woman, the old, the young, the poor, the humble, the rich and the noble. Among them, Lü Dongbin is considered to be their leader. Unlike many other Taoist gods and immortals, the Eight immortals all come from the human world and have colorful and varied experiences before they become immortals. Their imagines that are entirely different from the uaual scared deities make them very popular with people. They are not born as immortals. Among them have general, royal members, Taoist or even beggar, etc. All of them have certain shortcoming like Lü Dongbin is frivolous and Tieguai Li has the problem of alcoholism. (Yang, Deng & Wang 1987, pp. 45-50) The Eight Immortals are considered to be signs of prosperity and longevity, so they are popular themes in ancient and medieval art. They were frequent adornments on celadon vases and also the subject of many artistic creations, such as paintings and sculptures. There is a famous saying comes from the myth of them - "The Eight Immortals cross the sea, each reveals its divine powers" (八仙過海, 各顯神通) indicating the situation that everybody shows off their skills and expertise to achieve a common goal. (Little, Stephen 2000, pp. 313, 319–334)

Terms and Expressions

• immortals 仙
• mythology 神话, 神话学
• cosmology 宇宙论, 宇宙观
• monolithic 整体（式）的
• the Battle of Zhuolu 涿鹿之战
• pantheistic 泛神论的
• polytheistic 多神论的
• Three Pure Ones 三清
• anthropomorphic 人格化的
• tutelary 守护神
• deity 神
• Buddha 佛
• Shakyamuni 释迦牟尼
• Amitabha 阿弥陀佛
• Amitāyus 无量寿佛
• celestial 天的
• Bodhisattva 菩萨
• Pure Land 极乐世界
• vessels 法器
• Covert Eight Immortals 暗八仙
• Taoist 道家的, 道士

Questions

1. What are the topics of the Ancient mythology?

2. What are the differences among shén, dì and xiān?

3. What do the Eight immortals represent respectively?

References Lü, Daji; Gong, Xuezeng. (2014). Marxism and Religion. Religious Studies in Contemporary China. Brill. Yang, Lihui; An, Deming; Turner, Jessica Anderson (2005). Handbook of Chinese Mythology. New York, NY: Oxford University Press. Bai Yang. (1987). Chinese Huamn History. Time Literature & Art Press. Olson, Stuart Alve. (2002). Qigong Teachings of a Taoist Immortal: The Eight Essential Exercises of Master Li Ching-Yun. Bear & Company. Buddhism, the Fulfilment of Hinduism Hu Yanan. (2020). From Gods to Immortals: A Research on the forming factors of God belief during Pre-Qin Dynasty [D]. Harbin Normal University. Fowler, Jeanine D. (2005). An Introduction to the Philosophy and Religion of Taoism: Pathways to Immortality. Sussex Academic Press. Yang Erzeng, Deng Zhimo, Wang Xiangxu. (1987). A Full Story Book of Eight Immortals. Spring Breeze Literature & Are Press. Little, Stephen (2000). Taoism and the Arts of China. The Art Institute of Chicago.

160 赵梦娇 Zhào Mèngjiāo（PPT） Traditional Festivals

Please upload your power point here: File:Festivals 2024.pdf

Please learn the vocabulary.

Terms and Expressions

• slack season 农闲时节
• get-together banquet 团圆饭
• King Huai of Chu 楚怀王
• the Warring States Period 战国时期
• Zuotu 左徒
• Elegies of Chu 楚辞
• The Nine Hymns 《九章》
• The Nine Songs 《九歌》

Text to read in English:

160. Traditional Festivals

The most popular festivals among all the nationalities are the Spring Festival, the Lantern Festival, the Dragon Boat Festival and the Mid-Autumn Festival. Besides, the Tomb-Sweeping Day (around April 5), the Chinese Valentine’s Day (July 7 of the lunar calendar) and Senior Citizens’ Day (September 9 of the lunar calendar) are more and more popular.

The Spring Festival, the Lunar New Year, is the most important traditional national festival in China. It usually falls in late January or early February. There is some reason for ancient people to begin the year in cold weather. This is the time after the autumn harvest and winter storage, the time before “spring ploughing and summer weeding” - the slack season in farming, time for relaxation and celebrations after a year’s toil, time for looking back to the past and looking forward to the days to come, in short a time for a good, long rest before going to the fields to do backbreaking work again.

Legend has it that a long time ago, there was a ferocious demon called Nian. He would come to do evil things very winter after twelve months had passed. People got together and discussed how to deal with him. Some said that the demon was afraid of the red color, flames and noises. So people put up red couplets on their gates, set off firecrackers and kept on beating gongs and drums to drive Nian away. Nian was terrified and fled, and the customs of celebrating the lunar New Year were passed down. Every year now, Chinese families always clear their houses, set off firecrackers, and post Door-God pictures and couplets on their gates to observe this time-honored festival.

On the eve of the Spring Festival, it is a folk custom to stay up late or all night and pray for peace and prosperity in the coming year. New Year is ushered in at midnight, 12 sharp. A get-together banquet is usually a must for every Chinese family. The most popular food enjoyed by the rich and the poor alike is jiaozi, or dumplings, which is supposed to augur good fortune. On the first day of the new year, everybody, men and women, old and young, put on new clothes and visit relatives and friends to exchange greetings by bowing, saying nice things such as “gongxi” (congratulations) and wishing one the best of everything during the new year.

In recent years, the Spring Festival has become a public holiday. People have several days off from their work, doing whatever they like to do. Family dinners, family travels, dinner parties, going to movies and concerts are the most popular of all the festival activities.

The Dragon Boat Festival, or the Duanwu Festival, falls on the fifth day of the fifth lunar month and is an age-old festival. It is widely accepted that Duanwu is the occasion to commemorate Qu Yuan, China’s great poet of the Warring States Period. People respect Qu for his quest for a way to make his country powerful and prosperous and for his spirit of dedicating himself to his ideals. On the day of Duanwu, the legendary day of his death, people rush from all quarters, rowing dragon boats on the river in an attempt to find his remains, which are supposed to have drifted downstream and never been recovered. People throw bamboo tubes filled with rice into the river as a sacrifice offered to him. It is also the custom to eat zongzi on Duanwu Day, a special rice pudding wrapped up with reed leaves. The fact that Qu Yuan is commemorated at the Duanwu Festival signifies the popularity of a people’s poet. Qu was among the four cultural giants whom the World Peace Council in 1957 called on the whole world to commemorate.

Qu Yuan (340 BC–378 BC) was born into an aristocratic family of the Chu state. Trusted by King Huai of Chu, Qu was appointed as zuotu, an important post assisting the king in handling internal and diplomatic affairs. During his office, Qu advised the king to appoint virtuous and talented people to important positions and rule the state by law so as to revitalize Chu. He also proposed that the king form an alliance with the state of Qi against the hegemonic state of Qin. But his proposals did not garner support from the king and other aristocrats. At the same time, Qin played tricks and alienated King Huai from Qu Yuan. Slandered by treacherous court officials, he was dismissed and exiled.

Frustrated in his political career, Qu achieved brilliant accomplishments in the field of literature. He was one of the greatest poets, composing many splendid poems. Based on the folk songs of Chu and the Chu dialect, he created a new style of poetry called by later generations the “Elegies of Chu”. His most famous poem is the long lyrical work Li Sao, which amounts to more than two thousand characters. Li Sao, full of rich imaginative expressions and sincere emotions, reveals the poet’s love of his native kingdom of Chu and its people. By adopting symbols and metaphor, Qu wove the myths, legends, historical figures, mountains, rivers, the sun and moon, storms, grass, flowers and so on into lively and magnificent pictures. He also wrote Jiu Zhang (The Nine Hymns) and Jiu Ge (The Nine Songs). His poems have been translated into many foreign languages.

The Mid-Autumn Festival comes on the fifteenth day of the eighth lunar month, when the moon is supposed to be brighter and fuller than in any other month and the moonlight is the most beautiful. In China, a full moon is also symbolic of family reunion and so, that day is also known as the “day of reunion”. The moon was always looked on as the symbol of brightness, purity and goodness by men of letters in ancient times. There are many beautiful odes to the moon left to us written by poets of previous ages. Besides, many myths and legends are attached to the moon. The most popular one is about Chang E, who flies to the moon and allegedly lives in the Moon Palace. She is believed to be a female, so generally a married woman who has gone to visit her parents must come back to join her husband and the rest of his family on the Mid-Autumn day.

People eat something special on a particular traditional festival. At Mid-Autumn Festival people eat the moon cake. When night falls, with the moon shining overhead and a gentle breeze bringing people a cool air, thousands upon thousands of families sit together in a circle, having a table placed in the courtyard under the moon, on which incense is burned and fruits of all varieties in season are spread. At the center is a big moon cake cut into a number of slices equal to the number of people in the family. On this day, people can really enjoy the harmony and happiness of family life.

Questions

1. What special Chinese food do we have on traditional festivals?

2. How is the Spring Festival celebrated at home and abroad?

3. Why is the Dragon Boat Festival so named? How is it related to Qu Yuan?

3. What do you know about the legend of Chang E?

4. What in traditional Chinese culture suggests people’s longing for reunion or perfection?  

Session 3 MW Fri Mar 15 8:00-9:40 room 603

Session 3: Student presentations

169 温一宁 Wēn Yīnìng ppt Cuisine: Luosifen

Please upload your power point here: File:Luosifen 2024.pdf

Text to read is in the textbook chapter 169 in English and here in Chinese:

169. Cuisine: Luosifen

Luosifen, also called River snails rice noodle, is a Chinese noodle dish with “offensive” oder and a speciality of the city of Liuzhou, in Guang Xi, southwest China. It consists of rice noodles boiled and served in a soup which is made by stewing river snails and pork bones for several hours with black cardamom, fennel seed, dried tangerine peel, cassia bark, cloves, white pepper, bay leaf, licorice root, sand ginger, and star anise. It usually does not contain river snail meat, but it is instead served with pickled bamboo shoot, pickled green beans, shredded wood ear, fu zhu, fresh green vegetables, peanuts, and chili oil added to the soup. Diners can also add chili, green onions, white vinegar, and green peppers to suit their taste.

History of Luosifen

Origin

According to the findings of archaeologists, in the last Paleolithic age forerunners have eaten the river snails in the White Lotus Cave and Big Dragon Pool which is in the Guang Xi province. Since the Era before Qin Dynasty, rice noodle has become the staple food to people who grow up in southern China including Guang Xi Province. However, their combination, Luosifen has appeared around 1970s-1980s. There are many assumptions about its origin. The one is that in the mid-1980s, there was a grocery store on Jie Fang South Road, operating dry-cut noodles, and its clerks used to take a handful of dry-cut noodles in the morning and cook them at the granny's river snail stall next door. Wang Ji granny who sold river snails thought it tasted very good, so she sold river snail rice noodles. The other one is that in the 1970s and 1980s, the Gu Bu Street food market became the largest distribution center for wholesale raw snails in Liuzhou, and the audience of the nearby workers' cinema liked to stroll around after the show, leading to the Gu Bu Street night market. Liuzhou people have always been fond of snails and rice noodles, and some night market owners operated both boiled snails and rice noodles. Some diners liked to add snail soup with a lot of oil and water to the rice noodles, thus forming the prototype of snail noodles. Another is that late one night in the early 1980s, several foreigners came to Liuzhou and arrived at a rice noodle stall that was about to close, as the bone broth was no longer available and only a pot of snail soup left over from cooking snails was left, the stall owner put the rice noodles into the snail soup and cooked them with vegetables and peanuts and other side dishes. The stall owner later gradually improved its ingredients and production, made into snail noodles.

The most brilliant star of Liu Zhou

More than ten years ago, Luosifen was just in the night market,but now it is not only in small "hole-in-the-wall" restaurants, but also luxury hotel restaurants. When we come to terms with Liu Zhou, people come with Luosifen. Not only because itself, but also due to its popular instant version. In 2010, Liuzhou encouraged businesses opening stores in major cities such as Beijing and Guangzhou. In 2014 local authority proposed to industrialize it into bagged instant river snails noodles for large-scale production of special snacks. During the process of rapid industrial development, the government continued to regulate the development of the industry and raised the threshold of access. These gives way to promote instant river snails rice noodles.

As of the end of 2021, Liuzhou has 127 pre-packaged snail river noodles production enterprises.Liuzhou snail noodles is going into the "bagged fast food" era, on the Internet e-commerce express, the local snacks gradually go to a broader world. In 2021, Liuzhou snail rice noodles sales revenue of the whole industry chain reached 50.16 billion yuan, including 15.197 billion yuan of bagged river snail rice noodles, an increase of 38.23%, the annual delivery volume exceeded 100 million pieces, and the turnover of physical stores nationwide was 20.68 billion yuan, an increase of 75.25%. By the way, in 2018, the skill to make the rice noodle of Luosifen has been selected in the list of intangible cultural heritage of Guang Xi Zhuang Autonoumous Region. In 2021, it has selected in the list of national intangible cultural heritage.

From China to the world

In the late 2010s, many luosifen restaurants have opened in Beijing, Shanghai, and Hong Kong, as well as in other countries such as the US. According to the data, Luosifen has sold to over 20 countries, and in 2021, the exports were valued at 8.24 billion up 89.86% on the last year.

Making process

Sour, spicy,refreshing and hot sensations with tons of umami flooding in the mouth. That’s what Luosifen is all about. To achieve that, there are the steps to make a wonderful Luosifen. 1.Cut off the lean meat from the pork bones and chop the spine directly.2. Soak the snail in water for 1 hour to remove the mud and earthy taste, and wash it again.3. Cut the ingredients into shreds and dice, pour some oil into the pot and fry the sliced tofu (the oil should be hot when frying the sliced tofu, but leave it off the fire or it will scorch), and pour the leftover oil from frying the tofu into the chili powder to make chili oil (notice that the residual heat from frying the tofu is enough, no need to add fire).4. Put the pork bones into a pot of boiling soup, add a tablespoon of rice wine to the water, and put the shredded pickled vegetables and diced pickled bean curd into the pot and stir-fry with a little oil, but do not add salt.5.Add black fungus and pork (cut off lean meat) to the pot and stir-fry them together with a little salt.6. Add a tablespoon of salt and half a tablespoon of spices and stir-fry for 2 minutes, then add half a bowl of water and put it into the bone broth after it boils.7. Boil the soup with the snail meat and enough for 1 hour, then put the chili oil you made beforehand into the pot (you can leave it out if you don't like spicy food). 8.Boil half a pot of water, put salt in the water (stir well, taste salty), when the water is boiling, put the rice noodles in the water and scald them respectively, add the prepared ingredients, and finally add the snail soup snail noodles are done.

Influence

Economy

Obviously, it supplies thousands of jobs for people,promotes the economic growth of Liu Zhou and cultivates Liu Zhou’s industrialization. Therefore, Luosifen becomes a celebrity, even an heated IP which is abused by many businessmen who just want to earn money. However, its contribution to economy is important.

Culture

Nostalgia lies behind every special dish. So dose Luosifen. It is good memory to people born and growing in Liu Zhou. It is a typical example to show the profound influence of traditional medicine culture. With the Liu River flowing right through Liuzhou, Liuzhou has great water resources for high quality river snails. Also, Liuzhou sits in a basin, so it’s quite humid and hot. Traditional Chinese medicine believes that river snails can expel heat and moisture form the body. All of this makes river snails the local’s fave.

References

1. 李莉 《重口味奇迹：「柳州之光」螺蛳粉的逆袭》

2. 夏梦帆《从地方小吃到“网红”大产业》 食品地理

3. 何伟，徐海涛，农冠斌，林凡诗 《柳州螺蛳粉：从小米粉到大产业》 新华每日电讯

4. 第五批国家级非物质文化遗产代表性项目名录

Questions

1. Where dose Luosifen come from?

2. What are the ingredients of Luosifen?

3. When was Luosifen selected in the list of national intangible cultural heritage? What’s Luosifen all about?

111 陈思思 Chén Sīsī ppt Opera: Tea-picking Opera

Please upload your power point here: Media:Tea-picking_Opera_2024.pptx

Please learn the vocabulary, read the text and answer the questions:

Terms

• Tea-picking Opera 采茶戏
• Gannan Tea-picking Opera赣南采茶戏
• Fuzhou Tea-picking Opera 抚州采茶戏
• Nanchang Tea-picking Opera 南昌采茶戏
• Gao'an Tea-picking Opera 高安采茶戏
• Wuning Tea-picking Opera 武宁采茶戏
• Gandong Tea-picking Opera 赣东采茶戏
• mountain songs 山歌
• the twelve-month tea-picking songs 十二月采茶歌
• Tea-picking lantern opera 采茶灯
• Three characters’troupe 三角班
• The National Intangible Cultural Heritage Lists 国家级非物质文化遗产名录
• Qi Opera 祁剧
• Half Mix Opera 半整杂
• high-tone and disordered-tone 高腔和弹腔
• The Republic of China 民国
• half-troupe stage 半班舞台
• Legend of Luang Knife 《銮刀记》

111. Opera: Tea-picking Opera

A. Overview

Tea-picking opera is a kind of opera category popular in Jiangxi, Hubei, Anhui, Fujian, Guangdong and other provinces, and it is one of the regional cultures with strong local characteristics in China[7]. It is produced in the Ming and Qing Dynasties, and has more than 400 years of history of a wide variety of distinctive features. On May 20, 2006, tea-picking opera was approved by the State Council and included in the first batch of the National Intangible Cultural Heritage Lists. [1][2]

Tea-picking opera in the provinces take local names to distinguish according to the regions, such as Guangdong's "Guangdong North Tea-picking Drama", Hubei's "Yangxin Tea-picking Drama, " "Yellow Mei-Tea Opera, " "YuChun Tea-picking Opera" and so on. (xi-qu. com)

B. The Origin of Tea-picking Opera

The production of tea-picking opera is related to the abundance of tea. According to historical records in the Ming Dynasty, in the tea area in the South of Fujian Province, east, south and north of Jiangxi Province, working women went up the mountain, picked tea while singing mountain songs to encourage labor enthusiasm.

In special festival or time in rural areas such as at the time of widespread tea tress in March and harvesting, people sing in the tea forest with the joy of harvesting. Mountain songs and ditties sang by them are in vivid form and rich contents expressing the joy of labor and love between men and women. This kind of mountain songs circulating in the tea area are known as "tea-picking songs. " Tea-picking opera developed from the folk tea-picking songs and tea-picking lamp singing, and then become a kind of folk drama with characters and storyline. Because it is generally only two female roles and one clown, or a painted role, a female role, and a clown three persons’ performance, it is also known as “Three characters’ troupe. ”[3] The drama has many sorts, such as Jiangxi tea-picking opera, that is, Gannan Tea-picking Opera, Fuzhou tea-picking opera, Nanchang tea-picking opera, Gaoan tea-picking opera, Wuning tea-picking opera, Gandong tea-picking opera, Ji'an tea-picking opera, Jingdezhen tea-picking opera and Ningdu tea-picking opera and so on. (Zhu Feiye, 2021)

There are several stages from tea-picking song to tea-picking opera. Tea-picking songs were first sung in minor tunes, with only four lyrics per line, which were lively and euphemistic. After the development of the tea-picking song, it was composed of tea-picking ditty, which was called twelve-month tea-picking songs. Later, the twelve-month tea-picking songs combined with folk dances became tea-picking lantern opera. The form of tea-picking lantern opera is relatively simple, pure collective performance of song and dance, but it has taken a step towards the tea-picking opera. (Zhu Feiye, 2021)

C. The Development of Tea-picking Opera

Tea-picking opera has experienced a tortuous process of development. In the Ming Dynasty, tea farmers in the Jiulong Mountain Tea District of Anyuan County, Jiangxi Province, which is rich in famous tea, often performed impromptu programs related to tea picking in the form of tea-picking lantern opera in order to receive tea merchants from Guangdong. This kind of performance is already the prototype of tea-picking opera.

Before the founding of the People's Republic of China, the performance of tea-picking opera was often interfered and banned by the rulers. The first reason was that there were few literati involved in tea picking, and the cultural level of the artists was not high, so the rulers thought these plays were very vulgar and difficult to be elegant. Secondly, in order to cater to the audience, the actors added some unhealthy contents during the performance. Some plays appear to be very vulgar and indecent, and even disturb social order. (Zhu Feiye, 2021)

In the middle Guangxu (光绪) period of the Qing Dynasty (about 1891), some Qi opera artists and half-troupe performers could independently perform high-tone and disordered-tone repertoire. The original plays of Qi opera and half-troupe repertoire coexisted on the half-troupe stage, so they were called Half Mix Opera. Around 10 years in the Republic of China, Half Mix Opera disintegrated, caused the reproduction of “seven tight eight loose nine free and unrestrained” half-troupe. They performed in the mountains until the eve of liberation. (Zhu Feiye, 2021)

After the foundation of the People's Republic of China, professional opera troupes were established. They not only excavated, arranged and made excellent traditional repertoire, but also created a number of new repertoires, such as One Heart, Send Straw Shoes, New Neighbors and the adaptation of Legend of Luang Knife. Ningdu Hakka Tea Picking Opera not only has a complete range of skills, beautiful tunes, but also has a variety of performance procedures. It has become a regular drama class capable of singing and dancing, modern and ancient, large and small, and martial arts, and has become a unique style of drama in China. (Zhu Feiye, 2021)

If there is no tea picking and other tea work, there will be no tea-picking songs and dances, and no tea-picking opera, which is widely popular in many provinces and regions in southern China. Therefore, tea picking is not only related to tea, but also a splendid culture derived from tea culture in the field of opera or absorbed by opera culture.

D. Gannan Tea-picking Opera

Gannan Tea- Picking Opera is an important school of Tea picking Oper, mainly popular in southern Jiangxi, that is, Ganzhou. In the tea-picking opera groups, the characteristics of tea picking in southern Jiangxi are reflected in the following aspects: First, it belongs to the Hakka ethnic group. The dialect of the South Jiangxi is Hakka, so the traditional repertoire of Gannan Tea-peaking Opera is basically performed in Hakka. Second, tea picking in southern Jiangxi originated early and had an impact on the early development of various tea picking operas.

Its origin can be traced back to the late Ming and early Qing dynasties. In the first year of Qianlong's reign, Yu Zhaoyue, governor of Jiangxi Province, mentioned in a note that “the custom of pretending to be a sex play is forbidden”[4]485. Drama experts believe that the “sex play” here is the tea-picking opera in southern Jiangxi Province[5], so it is speculated that its birth date should be earlier than this. Thirdly, in terms of artistic form, the traditional repertory of tea-picking opera in southern Jiangxi still retains the form of “three small operas”. And many other types of tea-picking opera have a trend of development to the big drama. For example, tea-picking opera in northern Jiangxi (Jiujiang tea-picking opera, Nanchang tea-picking opera, etc. ), influenced by Huangmei Opera in Hubei, has developed into a “half-troupe”, which can be used to perform ancient costume drama. In addition, a symbolic difference between different types of operas is music. The music of the tea-picking opera in southern Jiangxi belongs to the combination of Qupai（曲牌）. There are as many as two or three hundred Qupai, with beautiful melodies, which are well known to the local people[6]. (Wang Jingbo 2020)

The main performance forms of Gannan Tea-peaking Opera include dwarf step, single sleeve and fan, which deeply depict the character image and perform the story plot incisively and vividly. The main Musical Instruments used in the accompaniment of Gannan Tea-peaking Opera are hooks, Suona horn, bamboo flute, gong, drum, cymbals and other folk instruments, which is full of local atmosphere.

As a native Gannan culture, tea picking is a portrayal of Hakka people's life in the mountains. It expresses the joys and sorrows of Gannan people's life through comedy and farce. It is also a folk activity created in the tea-picking work and the main leisure and entertainment activity of the people after dinner. Tea-picking opera is a local opera developed from folk songs and dances and lanterns, and its repertoire mostly reflects the life of working people. Its music and singing styles are also folk songs, so it is deeply loved by the people. (xi-qu. com)

The general characteristics of Gannan tea-picking opera are: cheerful performance, humorous, singing and dancing, strong comedy, rich local flavor, quite popular with the masses. The representative works include Pairs of Flowers, Picking Tea in Jiulong Mountain, Digging Bamboo Shoots and so on.

Questions

1. Where is tea-picking opera popular?

2. When does tea-picking opera originate?

3. What is the nickname of tea-picking opera?

4. What are the main performance forms of Gannan Tea-picking Opera?

5. What are the general characteristics of Gannan Tea-picking Opera?

6. What are the representative works of Gannan Tea-picking Opera?

References

[1]采茶戏简介和影响_采茶戏历史_中国戏曲网 (xi-qu. com)

[2]国务院关于公布第一批国家级 非物质文化遗产名录的通知 国发〔2006〕18号 . 中国政府网

[3]试论我国采茶戏的形成与发展 - 中国知网 (cnki. net) 朱飞晔 2016

[4]清实录( 第九册) ·高宗纯皇帝实录: 卷十九［G］. 北京: 中华书局, 1985: 485.

[5］苏子裕. 赣南采茶戏的发展历程及其艺术形态［G］∥中国戏曲声腔剧种考. 北京: 新华出版社, 2001: 192.

[6]从传统到现代:赣南采茶戏的变迁与多元传承 - 中国知网 (cnki. net) 王静波

[7]施德玉. 中国地方小戏音乐之探讨［M］. 台北: 学海出版社, 2000: 241.

[8]采茶戏_百度百科 (baidu. com)

Session 4 OD Fri Mar 22 8:00-9:40 room 603

Notes

Remind to use the website

Intro cross-cultural “opera” meaning (musical play and labour)

1. Very good: 185 丁昕怡 ppt Opera: Huangmei opera : Hubei-Anhui (theme: Huangmei brought culture to Anhui after fleeing from a flood) (Easy listening, plain clothes). (popular Musical/Operetta stile) (“color cavity”)

International dissemination (strategic and aestetic reasons )

English version: Luo Yingying/Bunny Lo (German performer)

Emphasize need to advance language skills (poetry, structure)

[quiz, active presentation, some minor flaws in language and ppt spellings]

2. Very good 190 梁诚知 ppt Fine arts: Kunqu Opera “Master of all operas“, Yuan/Ming Dynasty (Jiangsu), royal entertainment, late Qing: decline - eclipsed by Beijing Opera.

Realistic and animated puppet performance clips shown. Research question: “Why are these love stories?” victory of love over death and traditional social system. Innovate by inheritance and transformation; go beyond tradition. (what are the limits of the Kunqu Opera regarding transformation?).

Cultivate masters and audience. Acquired and cultivated taste and understanding

Final discussion, where does culture come from: the tension between tradition and human motivation (love and death), connected by emotions such as pride.

FORMALITIES: Standardise the style (font, size etc.);

Present in an analytical structure

Distinguish reporter from presenter

Session 4: Student presentations

185 丁昕怡ppt Opera: Huangmei opera

Please upload your power point here: File:Huangmei Opera 2024.pdf

185. Opera: Huangmei Opera Brief Introduction Huangmei opera, formerly known as Huangmei tune and Caicha opera, originated in Huangmei, Hubei Province, and developed and expanded in Anqing, Anhui Province. Huangmei opera, together with Beijing opera, Yueju opera, Pingju opera, and Yuju opera, is one of the "five major opera genres in China", and is also the main local opera genre in Anhui Province. Huangmei opera singing simple and smooth, to bright and lyrical, with rich expressive power; performance is simple and meticulous, known for real and lively. The song "Matching of Heavenly Fairies" has made Huangmei opera popular in the north and south of China, and has a high reputation in overseas. On May 20, 2006, Huangmei opera was approved by the State Council to be included in the first batch of national intangible cultural heritage list. On May 24, 2021, Huangmei opera declared by Hubei Province was approved by the State Council to be included in the extended list of national intangible cultural heritage representative projects.

Origin The history of Huangmei opera is not considered very long, for the origin of Huangmei opera, there are 5 mainstream statements. In all the testimony, which is recognized version of the Hubei Huangmei said. The reason for this consensus, one is that historical documents record Huangmei County is both a tea song folk song of the country, but also a place where floods and droughts are frequent, including the most vicious floods. Good song of Huangmei people in such an environment to escape around, selling the field to beg. A large number of Huangmei victims who flowed into Anhui Susong, Taihu, Huaining and other counties, received local food, but also returned a rich spiritual food - Huangmei Caicha tune and a variety of folk songs and dances.

Development Huangmei Opera is developed on the basis of the song and dance of Huangmei Caicha tune in the adjoining areas of Anhui, Hubei and Gan provinces. One of them moved east to Anhui Huaining as the center of the Anqing area Indic language sound singing, known as Huai cavity or Huai tunes. This is the predecessor of today's Huangmei opera." Thus, it can be seen that Huangmei opera was developed on the basis of Huangmei tea opera. "Huangmei Caicha opera traditional singing set" defines Huangmei Caicha opera in this way: "Huangmei Caicha opera, referred to as 'Caicha ', is one of the excellent local opera in Hubei Huangmei Caicha tune floated into the Huaining area with the water, it flowed into a good ecological environment for opera incubation. Many opera singers and scholars call the junction of Hubei, Anhui and Jiangxi provinces as the "Golden Triangle" of opera, and Huaining County Shipai Town is one of the "opera nest".

Costume Huangmei costumes are generally less extravagant compared to the other Chinese opera branches. There is usually a greater emphasis on the singing than the display. In Hong Kong there is not necessarily a requirement to wear any traditional Chinese opera attire. An example is the cantopop artist Jenny Tseng singing Huangmei style music with Ivy Ling Po in a concert.

Artistic features The melody of Huangmei Opera is a plate-like variant, with three lumens: flower cavity, color cavity, and main tone. The flower cavity is mainly composed of small plays, the tone is healthy and simple, beautiful and cheerful, with a strong sense of life and the color of the folk songs; the color cavity is very popular, and it has been widely used in the small dramas; the main theme is the vocal used in the traditional Chinese drama of Huangmei opera. The Huangmei Opera is pure and fresh, exquisite and moving, with a bright and expressive sensibility, rich in expressiveness, easy to understand, easy to popularize, and deeply loved by people all over China.

Tune Huangmei opera singing voice has three forms: the main cavity, flower cavity, three cavities ("colorful cavity", "fairy cavity", "Yin Si cavity" three cavities collectively).

The main cadence of Huangmei opera The main cavity is the most dramatic expression of a cavity in the traditional singing cavity of Huangmei opera. It is the principle of the musical structure of the board change body (or board cavity body), and it is this main feature that makes it different from the tune embellishment body (or tune body) of the "flower cavity" and both the characteristics of the two systems "three cavities". The main cavity does not mean that it is predominant in all of Huangmei opera's repertoire. In fact, the main cavity is not used in small plays, and some big plays are not dominated by the main cavity. The reason why this cavity is called the main cavity is its musical form and musical performance function. In addition, from the history of the development of Huangmei opera music, the main cavity is also later than the flower cavity and three cavities. This development process coincides with the development of the repertoire from a one-act play, two small plays, three small plays to a series of plays and finally can play the whole course of the opera. Therefore, it can be considered that the main cavity is a product of the development of Huangmei opera to a mature stage. Its appearance, marking the basic style of Huangmei opera music frame.

Huangmei opera's flower cadence Huangmei opera originated from folk songs and dances. Mountain and village workers of the labor songs, women and children know the lane songs, lanterns and fires in the song and dance, is the source of Huangmei opera lively. Huangmei opera in the formation of the first stage results - two small opera, three small opera process, also formed more than a hundred small songs and miscellaneous tunes of the "flower cavity" cavity system. Flower cavity from the folk songs, but the role has been not quite the same as folk songs. It has moved from the field to the stage, from a casual song to a prescribed dramatic situation, conveying the voice of the character. The cadences we see today, however similar they may be to folk songs, have been polished by dramatic waves and have some of the qualities of dramatic music, a kind of folk song-style tune system.

Classical Works Huangmei opera's outstanding repertoire are "the fairy match" "cowherd and weaving maiden" "the story of the Sophora" "the female horse harnessed by the side of a horse" "the couple watching the lantern" "hitting pig grass" and so on. One of the most famous is the "match of the immortals", tells a moving love story: the seven immortals defied the rules of heaven, private mortal Dong Yong to marry, and was eventually broken up by the Jade Emperor.

References

1. 百度百科 黄梅戏https://baike.baidu.com/item/黄梅戏/2677?fr=aladdin

2. Berry, Michael. [2005] (2005). Speaking in Images: Interviews with Contemporary Chinese Filmmakers. Columbia University Press. ISBN 0-231-13330-8 3. "Huangmei opera". China intangible cultural heritage digital museum. Retrieved 20 November 2019.

190 梁诚知ppt Fine arts:Kunqu Opera

Please upload your power point here: File:Kunqu Opera 2024.pdf

190. Fine Arts: Kunqu Opera Kunqu Opera is one of the oldest existing opera genres in China, which originated in the Ming Dynasty (14th-17th century AD). The singing of Kunqu Opera has a strong artistic quality, and has a huge influence on all modern Chinese dramas, such as Chuan Opera and Peking Opera. Kunqu Opera performance includes singing, reciting,hitting,and dancing, etc. These contents are also the basic subjects for the training of Peking Opera actors. Kunqu Opera and its dramatic structure (characters such as Dan, Chou, Sheng, etc.) are also used for reference by other operas. " Kunqu Opera performances are accompanied by gongs, drums, strings, flutes, Xiao, Sheng, Pipa and other orchestral and percussion instruments. It is known as the"Master of Hundreds of Operas" and "Ancestor of Hundreds of Operas".

A.History of Kunqu Opera 1.Formation period Kunqu Opera originated in the Kunshan area of Jiangsu Province in the late Yuan and early Ming Dynasty, and has a history of more than 600 years. From the late Yuan and early Ming Dynasty, to the Jiajing and Longqing periods of the Ming Dynasty was the formation period of Kunqu Opera.In the beginning, Kunshan tune was only a minor mountain tune that spread among the people. Wei Liangfu made a living by singing folk tunes for a living, in the process of running around for a living, he collected a large number of northern and southern folk tunes. He and the folk musicians at that time worked together to create a new Kunqu Opera tune, the water mill tune(shuimodiao). After Wei Liangfu's reform, Kunqu Opera, as a brand-new form of opera, quickly became a popular music in Suzhou area. On the basis of Shuimodiao, Ming Dynasty dramatist Liang Chenyu and famous folk masters jointly studied and created China's earliest Kunqu Opera " "Huan Sha Ji" opened the historical prelude to the performance of Chinese Kunqu Opera. 2.Prosperous period The last years of Longqing in the Ming Dynasty and the early years of Wanli to the middle of Qianlong in the Qing Dynasty were the prosperous period of Kunqu Opera. Kunqu Opera entered the royal court and became a royal entertainment. At that time, almost every lord had its own Kunqu Opera class, and then a Kunqu Opera trend was formed across the country. In the mid-Kangxi period, Hong Sheng's "Palace of Eternal Life" and Kong Shangren's "Peach Blossom Fan" integrated their profound understanding of social history into the complicated historical reality, making the literary creation of Kunqu Opera reach a new peak. Once it came out, it caused a sensation and quickly spread across China. 3.Decline period From the middle period of Qianlong in the Qing Dynasty to 1921 , Kunqu Opera was in decline.Audiences who are accustomed to listening to the extravagant and gaudy sounds of Kunqu Opera are stimulated and evoked by the powerful, high-pitched Peking Opera, and Kunqu Opera has been strongly impacted and then fell down to a decline. 4.New period In 2000, Kunshan held the first Kunqu Opera Festival in China. In 2001, Kunqu Opera was included in the list of "Masterpieces of Oraland Intangible Heritage of Humanity" by UNESCO. Kunqu Opera has since opened a new journey in a new era.

B.Features of Kunqu Opera Kunqu Opera is a combination of singing, reciting, playing, dancing and martial arts. Kunqu Opera uses drums and boards to control the rhythm of singing, with Qudi and Sanxian as the main accompaniment instruments.The performance form of Kunqu Opera is very strict and standardized, which fully reflects the characteristics of opera as a comprehensive art.In Kunqu Opera performances, the actors' singing, chanting, body rhythm, movements, postures, and expressions are skillfully and harmoniously unified, which delicately and profoundly expresses the characters' characters and the development of the plot. Kunqu Opera has a gorgeous and tactful singing voice, elegant and elegant recitation, delicate performance, elegant dance, and perfect stage setting. It can be said that it has reached the highest level in all aspects of opera performance. The singing of Kunqu Opera pays great attention to the control of the voice, the grasp of the rhythm, the adjustment of the speed and the accuracy of the articulation and pronunciation, and the skills are very delicate and exquisite.The singing of Kunqu Opera can be divided into“huo豁”“die叠”“sou擞”“huo嚯”, etc. Different characters have different singing styles in line with their own personalities. The rhythm of Kunqu Opera music is typical of the three-eye board, one-eye board, flowing water board and scattered board ,all of are commonly used in traditional Chinese opera. Besides,There are prose, dialect and poetry in the Kunqu Opera script. Prose and dialect are mainly used for character dialogue or monologue, while poetry is mainly used for singing. It can be said that poetry and music constitute the soul of Kunqu Opera. The melody of Kunqu Opera music is beautiful and tactful, and it is welcomed by the literati and gentlemen with its elegant style. In line with this kind of music, the lyrics of Kunqu Opera are also full of moving poetry. The content and form of Kunqu Opera arias are highly harmonious, and the successful singing of the actors can perfectly express the poetry in the lyrics. Like traditional Chinese poetry, the lyrics of Kunqu Opera are mostly subjective, so the singing of Kunqu Opera is mainly lyrical, which seems to be closer to the aria in Western opera in terms of function and characteristics.

C.Classical works of Kunqu Opera 1.The Peony Pavilion An immortal masterpiece in the history of Chinese Kunqu Opera written by Tang Xianzu (1550-1616)during Ming dynasty. The author is known as the Eastern Shakespeare.The whole play borrows a story from the Song Dynasty to express the author's humanistic thought of advocating the liberation of individuality. In the Southern Song Dynasty, Du Liniang, the daughter of Du Bao, the prefect of Nan'an, was smart and beautiful. One day she went to play in the garden of her home with her maid Chunxiang in order to relieve her anxiety. The scenery of spring aroused Du Liniang's desire for love, and she immediately felt very melancholy. She fell asleep unknowingly. In her dream, she had a tryst with a young scholar, Liu Mengmei, by the peony pavilion in the garden. When she woke up, she felt very lost. The next day she came to the garden again, looking for the dream that had disappeared, but of course she didn't find it. Du Liniang missed her illusory dream lover, contracted a serious illness, lost weight day by day, and finally passed away with regret. Du Liniang's soul came to the Ming Si, and Judge Hu expressed sympathy for her experience and allowed her soul to move freely in the world. Du Liniang finally met Liu Mengmei. She explained her experience and instructed Liu Mengmei to open her grave and be resurrected for love. Later, Liu Mengmei won the first place in the imperial examination, and the emperor approved him and Du Liniang to officially marry. The image of Du Liniang is of great significance in Chinese literature and art. She can die for love, and she can also be resurrected for love. Such passionate love cannot be found in real life in ancient China. Tang Xianzu used romantic descriptions to express the victory of love over death and over the traditional social system that binds human nature. The whole work is full of optimism and a full sense of humor.

2.The palace of eternal life It is a classical play written by HongSheng during the reign of Kangxi."The palace of eternal life" is based on the love story of the emperor Tang Minghuang Li Longji and his concubine Yang Yuhuan. It not only praises the true feelings of life and death, but also criticizes the extravagance of the upper-class ruling class in China's feudal era, showing a clear sense of history and politics. Tang Minghuang Li Longji named the beautiful Yang Yuhuan as his concubine, and the two fell in love with each other and made an oath. The Yang family was rewarded for this, and Yang Yuhuan's elder brother Yang Guozhong was appointed as the prime minister. He used his power to accept bribes and betray officials, resulting in increasingly corrupt politics. In order to fight for power and profit, Yang Guozhong had a serious conflict with An Lushan, the ambitious lord of Dongping County. Tang Minghuang wanted to ease the conflict and transferred An Lushan to the military commander of the Anyang local army. An Lushan took advantage of this opportunity to lead the army to launch a rebellion against the capital Chang'an. Tang Minghuang took Yang Yuhuan to Sichuan for refuge, and the army defending the emperor mutinied in the middle, demanding the execution of Yang Guozhong and Yang Yuhuan. Tang Minghuang was forced to agree to their request and reluctantly ordered Yang Yuhuan to commit suicide. Later, the rebels were defeated, and Emperor Tang Ming returned to Chang'an, thinking of the dead Yang Yuhuan day and night, and his heart was very painful. The Taoist priest helped Tang Minghuang find Yang Yuhuan's soul and let them meet again in the moon. In the play, Tang Minghuang ignored his responsibilities as an emperor to the country and the people while pursuing personal love, which eventually caused political chaos and weakened national strength, brought huge disasters to the society, and buried himself in the process. The play unifies the love tragedies of Tang Minghuang and Yang Yuhuan with the social and historical tragedies of the entire dynasty, making people aware of the value along with the limitations of personal emotions.

Terms and expressions:

• the water mill tune 水磨调
• Huan Sha Ji 浣纱记
• Palace of Eternal Life 长生殿
• Peach Blossom Fan 桃花扇
• Masterpieces of Oraland Intangible Heritage of Humanity人类口头和非物质遗产代表作
• Qudi 曲笛
• Sanxian 三弦
• three-eye board 三眼板
• one-eye board 一眼板
• flowing water board 流水板
• scattered board 散板 Aria 咏叹调 The Peony Pavilion 牡丹亭 Du Liniang 杜丽娘 Liu Mengmei 柳梦梅

Reference: [1]俞振飞.昆曲源流及其变革[J].曲学,2020,7(00):1-18. [2]高燕.梦入游园品昆曲 余韵悠悠—昆曲艺术简论[J].黄河之声,2012,(24):83. [3]杨柳.昆曲在当代的继承与发展[J].戏剧之家,2022,(12):22-24 [4]徐秋明.大美昆曲：其声久远 其音袅袅[J].江苏地方志,2021,(03):50-53. [5]刘海红.古老昆曲“活”在当代[N].中国文化报,2022-04-21(005) [6]百度百科词条 昆曲 https://baike.baidu.com/item/%E6%98%86%E6%9B%B2/216928  [7]昆曲-中国非物质文化遗产网—中国非物质文化遗产博物馆 https://www.ihchina.cn/directory_details/11713

Questions: 1.Which kind of opera is called as"Ancestor of Hundreds of Operas"(百戏之祖)?

2.Who helped created the water mill tune and reform the Kunqu Opera?

3.What is the earliest Kunqu Opera piece?

4.When was Kunqu opera included in the list of "Masterpieces of Oraland Intangible Heritage of Humanity" by UNESCO?

5.Can you list some of the Kunqu Opera features?

6.Who is known as the "Eastern Shakespeare"?

7.Can you tell the story of The Peony Pavilion?

8.What do you think about the love between Tang Minghuang and Yang Yuhuan?

Session 5 MW Fri Mar 29 8:00-9:40 room 603

Session 5: Student presentations

177 周静怡 Zhōu Jìngyí（ppt） stage entertainment:Yuan drama

Please upload your power point here: File:Yuan Drama 2024.pdf

177. Stage Entertainment:Yuan Drama

The Definition of Yuan Drama

Yuan drama is a wonderful flower in the splendid cultural treasure-house of the Chinese nation, which embodies unique characteristics in ideological content and artistic achievements. Tang and Song poetry and Yuan drama have become three important milestones of the history of Chinese literature. 　　

The Yuan Dynasty was the heyday of the Yuan drama. Generally speaking, poetic drama(杂剧) and non-dramatic song(散曲) are collectively called Yuan drama, and both use north drama as a singing form. Non-dramatic song is the main body of Yuan Dynasty literature. However, the achievements and influence of poetic drama far exceed that of non-dramatic song,so some people refer to Yuan drama singly as "poetic drama", which is also "yuan dynasty opera".[1]

The Rise and development of Yuan Drama

Reasons of rise The rise and development of Yuan drama has complex reasons. First of all, the fundation of the previous society was the basis for the rise of the Yuanqu.The vast territory of the Yuan Dynasty, the prosperity of the city economy, the grand theater, the active book club and the countless audience laid the foundation for the rise of the Yuanqu; Secondly, the cultures of various ethnic groups in Yuan Dynasty exchanged and melted with each other, promoting the formation of Yuan drama; Third, Yuan drama isthe inevitable result of the inheritance and development of the literary tradition and the inherent law of poetry itself.

Development of Yuan drama The development of Yuan drama can be divided into three periods. Early period: The duriation between the founding of Yuan Dynasty and the destruction of Southern Song Dynasty. During this period, Yuan drama had just entered the poetry world from folk colloquial slang, and had distinct colloquial characteristics and a cheerful, simple and natural sentiment.Most of the authors in that period are northerners, among whom Guan Hanqing, Ma Zhiyuan, Wang Shifu, Wang Xiaojun and Bai Pu had the highest achievements. Middle period: from Zhiyuan period to post-Zhiyuan period. The creation of Yuan darama in this period began to make a comprehensive transition to literalization and specialization. Non-dramatic song became the main genre of poetry. Important writers include Zheng Guangzu, Sui Jingchen, Qiao Ji, Zhang Kejiu and so on. End: From Zhizheng period to the end of Yuan Dynasty. At this time, the composers of non-dramatic song were specialized in composing. They paid attention to the rhythm of words, deliberately seeking work in art and advocating elegance and delicacy, elegance and beauty. The represented writers are Zhang Yanghao and Xu Zaisi. [2]

Yuan Drama System

The system of Yuan drama is embodied in the following six aspects.

1.Temple(宫调): Temple refers to the mode of ancient Chinese music, the tune and temple are from court banquet music of Sui and Tang Dynasty.The north and south drama commonly used are five temples and four tones, including Zheng Gong(正宫), Zhonglu Gong(中吕宫), Nanlu Gong(南吕宫), Xianlu Gong(仙吕宫), Huangzhong Gong(黄钟宫) (five temples)(五宫), Damian tone(大面调), Double tone(双调), Shang tone(商调),Yue tone(越调) (four tones)(四调), each temple and tune has its own style. The number of opera sets and non-dramatic song sets in the yuanqu is formed by connecting two different song cards in the same palace key.

2.Qupai(曲牌): Commonly known as "Quzi", is a general name for various tunes, each with a special name, such as "Dot the red lip"(点绛唇), "Shan Po Yang"(山坡羊), etc. The total number is numerous, and there are 335 North Drama in Yuan Dynasty,each of which has a certain tune and singing method, and also stipulates the number of words, syntax, and pingshu of the song. According to this, people can fill in the new song lyrics, most of the song cards are from the folk, some of them are developed from the words, so Qupai is also the same as Cipai, but the content is not completely consistent. In addition, there are specially played Qupai, but most of them only have tunes and no lyrics.

3.Rhyme(曲韵): Yuan drama strictly abides by the requirements of the nineteen parts of the "Central China phonology" in terms of rhyme and divides it into flat, up, and go, and has the following characteristics in rhyme: flat rhyme, not avoiding heavy rhyme. It usually uses one rhyme to the end, borrowing rhyme, dark rhyme, redundant rhyme, and losing rhyme.

4.Level and oblique tones(平仄):Qu is more strict in the use of words than in Ci poetry, and pays special attention to the flatness of each last sentence.

5.Antithesis(对仗）：The Antithesis of Qu is relatively free, , that means it can use level tone to paralle with oblique tone, and level tone to parallel with level tone. There are thirteen kinds of confrontation forms of qu, such as "two-word pair"(两字对), "end-to-end pair"(首尾对), "serif pair"(衬字对), etc. and there are many characteristics in the use of language and word order combination, mainly manifested in that there are Gong Dui(a neat antithesis) and Kuan Dui(an untidy antithesis), but the phenomenon of Kuan Dui is more common; The sentence is self-contained,such as "loyal subjects are not afraid of death, afraid of death are not disloyal subjects".

Representatives of Yuan Drama

1.Guan Hanqing(关汉卿)

Guan Hanqing (1234 – c.1300), with courtesy name Hanqing and alias Yizhai(已斋), was a native of Xiezhou(解州) (present-day Yuncheng, Shanxi), and was also from Dadu(大都) (present-day Beijing) and Qizhou(祁州) (present-day Anguo, Hebei). The founder of Yuan drama, the first of the "Four Greats of Yuan Drama"(元曲四大家), together with Bai Pu(白朴), Ma Zhiyuan(马致远) and Zheng Guangzu(郑光祖), is known as the "Four Greats of Yuan Drama", and is known as "Qu sheng"(曲圣).

Guan Hanqing has the greatest achievement in poetic drama, with 67 now known and 18 extant, the most famous of which is "Snow in Summer"(《窦娥冤》). There are more than 40 Xiaoling(a short form of Yuan drama 小令) and more than 10 sets of scattered songs. Representatives of his work: "Snow in Summer","Rescued by a courtesan"(《救风尘》),"River-veiwing Pavilion"(《望江亭》),"Worshiping-the-moon Pavilion"(《拜月亭》)

2.Ma Zhiyuan(马致远)

Ma Zhiyuan, from Dadu (present-day Beijing), according to other research, Ma Zhiyuan is a native of Ma Citang Village, Dongguang County, Hebei Province, and the Dongguang County Chronicle and the Dongguang Ma Clan Genealogy are recorded. His courtesy name is Qianli(千里), which means "thousand miles" and in his later years, he used "East Fence"(东篱) as his alias to show his admiration for Tao Yuanming's ambition. The representative work is "Han Gong Qiu"(《汉宫秋》).

3.Zheng Guanzu(郑光祖)

His courtesy name is Dehui(德辉). He was a famous miscellaneous dramatist and composer inYuan Dynasty, and his miscellaneous dramas were "famous in the world and amaze boudoir"(名闻天下，声振闺阁) at that time.18 kinds ofpoetic dramas can be examined.The representative work is "Qian-nu's Soul Fleeying with Her Lover"(《倩女离魂》).

4.Bai Pu(白朴)

His original name was Heng(恒),and courtesy name was Renfu(仁甫), and later he changed his name to Pu(朴) and courtesy name to Taisu(太素), and his alias is Langu(兰谷). His ancestral home was Suizhou (隩州, near present-day Hequ, Shanxi), later migrated to Zhending(真定) (present-day Zhengding County, Hebei), and lived in Jinling(金陵) (present-day Nanjing) in his later years. He was a famous writer and miscellaneous dramatist of Yuan Dynasty, and one of "Four Greats of Yuan Drama". The masterpiece of him is "Pei Shaojun And Li Qianjun"(《墙头马上》).[3]

Four Tragedies of Yuan Drama

"Snow in Summer"(《窦娥冤》) Guan Hanqing

"Wu Tong Rain"(《梧桐雨》) Bai Pu

"Han Gong Qiu"(《汉宫秋》) Ma Zhiyuan

"Chinese Orphan"(《赵氏孤儿》) Ji Junxiang

Four Love Dramas of Yuan Drama

"Worshiping-the-moon Pavilion"(《拜月亭》) Guan Hanqing

"The West Chamber"(《西厢记》) Wang Shifu(王实甫)

"Pei Shaojun And Li Qianjun"(《墙头马上》) Bai Pu

"Qian-nu's Soul Fleeying with Her Lover"(《倩女离魂》) Zheng Guanzu

Reference

[1].https://baike.sogou.com/v144704.htm[Z].

[2].唐定耀.元曲 针砭时弊[J].神州学人,2019,(03):01-02.

[3].唱念做打 生旦净末——中国戏曲[J].万象,2019(01):34-37.

Terms and Expressions

• poetic drama 杂剧

• non-dramatic song 散曲

• temple宫调

• Zheng Gong 正宫

• Zhonglu Gong 中吕宫

• Nanlu Gong 南吕宫

• Xianlu Gong 仙吕宫

• Huangzhong Gong 黄钟宫

• Damian tone 大面调

• Double tone 双调

• Shang tone 商调

• Yue tone 越调

• Qupai 曲牌

• Dot the red lip 点绛唇

• Shan Po Yang 山坡羊

• Rhyme 曲韵

• Level and oblique tones 平仄

• Antithesis 对仗

• two-word pair 两字对

• end-to-end pair 首尾对

• serif pair 衬字对

• Four Greats of Yuan Drama 元曲四大家

• Qu sheng 曲圣

• Snow in Summer《窦娥冤》

• Xiaoling 小令

• Rescued by a courtesan《救风尘》

• River-veiwing Pavilion《望江亭》

• Worshiping-the-moon Pavilion《拜月亭》

• Han Gong Qiu《汉宫秋》

• famous in the world and amaze boudoir 名闻天下，声振闺阁

• Qian-nu's Soul Fleeying with Her Lover《倩女离魂》

• Pei Shaojun And Li Qianjun《墙头马上》

Questions

1.What is Yuan drama?

2.How many periods had Yuan drama experienced during its development?

3.What are the six aspects embodying the system of Yuan drama?

4.Who are the "four greats of Yuan drama"?

5.What are the four tragedies of Yuan drama?

6.What are the four love dramas of Yuan drama?

139 陈倩 Chén Qiàn ppt Stage entertainment: Crosstalk 相声

Please upload your power point here: Media:Crosstalk_2024.pptx

139. Stage Entertainment: Crosstalk 相声

The Development of Crosstalk

Crosstalk, in the ancient time known as onomatopoeia, originally refers to imitate others’ voices. It was evolved and further developed from the folk opera in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty(1636-1912). It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China (1912-1949), crosstalk gradually developed from one-person ventriloquism to one person stand-up talk, and the name changed to cross talk. Later, it developed into stand-up crosstalk, dual crosstalk, and group crosstalk. And it becomes a veritable form of art. After years of development, dual crosstalk has finally become the most popular form of crosstalk among audiences. In the late Qing Dynasty, crosstalk formed its modern features and styles. The language uses in crosstalk is mainly Peking dialect, however, there are also “dialect crosstalk” in other regions of China(360 Encyclopedia).

Crosstalk is an original folk art with a long history in China, which is deeply loved by the majority of the people. The crosstalk art was almost disappeared but has been reborn and developed very rapidly especially since the founding of the People’s Republic of China. It is no longer only palys in several cities in the north, nor spread only within the citizens, but also spread from the north to the whole country, and from the city to the countryside(Hou Baolin 1982, 01).

Four Basic Skills in Crosstalk

Speaking, imitating, teasing and singing are the four basic artistic skills of crosstalk. “Speaking” means to tell jokes, stories, lantern riddles, drinking games, etc; “imitating” is to imitate all kinds of birds and animals, hawking, singing and the sound of different languages, etc; “teasing” is to gag and tease; “sing” means to sing Taiping Lyrics (most of which contain the meaning of peace and prosperity, so they are called Taiping) (Hou Baolin, 1982, 194), opera lyrics and songs. Crosstalk artists regard “speaking, imitating, teasing and singing” as their "four compulsory lessons". For example, the artists grasp the rhythm in language and correct their pronunciations by “saying tongue twisters" or "reciting classical repertoires". And gain the ability of imitation by learning different kinds of sounds. Moreover, they practice the singing skills by singing “Taiping lyrics”, opera lyrics and songs(Hou Baolin 1982, 11).

Characteristics of Crosstalk

First of all, crosstalk is the art of “speaking”, which belongs to the art of “performing with words”, so it is different from drama that “performing with words as well as body movements”. This kind of performance has a close relationship between the actors and the audience that shortened the distance between the stage and the audience. The actors directly communicate with the audience and perform with the audience's cooperation and tacit understanding to obtain artistic effect. In this sense, crosstalk is a collective performance of actors and audiences. From the perspective of the audience, they are not standing on the opposite side of the actors and appreciating the stage performance passively and objectively, but creating artistic images with the actors(Hou Baolin 1982, 02).

Secondly, crosstalk is the art of "laughter". Crosstalk performers use laughter as a weapon to expose contradictions, shape characters and evaluate life. Without laughter, it can constitute any other arts, but not crosstalk and comedy. In other words, crosstalk has the characteristics of humor and satire. It reflects that life is not flat, but exaggerated and even deformed. China has a long tradition of satirizing emperors or high rank officials, and its written record could be traced back to the Zhou (1046BC-256BC) and Qin (221BC-207BC) Dynasties. Satire is the product of class oppression. China has been in a feudalistic society for a long time, without political democracy and freedom of speech, the people often take circuitous methods to fight against the ruling class. Satirical art is like a weed under a boulder. Only through deformation and roundabout can this kind of art maintain to exist(Hou Baolin 1982, 03).

“Speaking” and “laughing” constitute the basic outline of cross talk art, which is a language performance art with comedy style. “Speaking”, as a kind of rap art, establishes the mode of crosstalk art, which is distinguished from drama art. “Laughing” is the artistic characteristics of crosstalk, which distinguishes it from other rap art forms. These two characteristics are interdependent and complementary(Hou Baolin 1982, 04).

Crosstalk is different from comedy. In comedy, the laughter of audience mainly comes from plot and comic characters, while in crosstalk it mainly comes from “baofu” (jokes). Sometimes the laughter relies on the plot, but sometimes the plot is not needed. The performers win the applaud of audience by the charm of their language. And“Baofu” must be expressed in the way of “dialogue” and “chatting” between the actors (Hou Baolin 1982, 04).

Famous Artists of CrossTalk

In Emperor Tongzhi (1861—1874) and Emperor Guangxu (1875—1908) periods, Zhu Shaowen (stage name “Qiong Bupa, which means not afraid of poverty”) was regarded as the “ancestor”of crosstalk art. Other famous crosstalk artists including Hou Baolin(1917-1993), a pioneering master of crosstalk. In his 60 years of art career, he has devoted himself to the research and development of crosstalk art and brought laughter to the audience. Under his leadership and promotion, crosstalk art has really entered thousands of households and reached a remarkable artistic peak. His crosstalk works including Drama Talks, Drunkenness and etc. Ma Sanli (1914-2003) is the son of the crosstalk actor Ma Delu. Ma Sanli devoted himself to the exploration of long-term artistic practice, and created the unique “Ma’s Style of Crosstalk”. He was the oldest, most experienced and most accomplished crosstalk leader in the cross-talk circle at that time. So was deeply loved and respected by all walks of life and the audience. Ma's cross talk enjoys wide popularity among the people. In Tianjin, it was a saying that “no branches of crosstalk did not learn from Ma”. His representative works including “Eating Yuanxiao(dumpling)”, “Selling Tickets” and “the Yellow Crane Tower”. Other famous crosstalk artists include Zhang Yongxi, Liu Baorui, Hou Yaowen, Jiang Kun, Feng Gong, Niu Qun and Guo Degang. (Baijiahao 2018 )

Terms and Expressions

• speaking, imitating, teasing and singing 说学逗唱

• Taiping lyrics 太平歌词

• Baofu 包袱

• Drama Talks 《戏剧杂谈》

• Drunkenness 《醉酒》

• Selling Tickets 《卖挂票》

Questions

1. When did crosstalk form its format?

2. What is Taiping lyrics?

3. Who was regarded as the “ancestor”of crosstalk art ?

4. What are the four basic skills of crosstalk?

References

1. Hou Baolin, Xue Baokun, 侯宝林, 薛宝坤. (1982). 《相声溯源》[The Origin of Crosstalk]1-13+194. 人民教育出版社 People's Literature Publishing House.

2. Sohu 中国相声介绍 [The Introduction of China's Crosstalk] https://cul. sohu. com/20090619/n264630449. shtml

3. 360 Encyclopedia. 相声[Crosstalk] https://baike. so. com/doc/1925383-2037001. html

4. Baidu 最著名的十位相声名家排行[The Rank of Ten Famous Crosstalk Artists] https://baijiahao. baidu. com/s?id=1590742532351773378

Teacher contents

Continue with powerpoint to introduce traditional models of ethnocentric view on cultures, scientific, dialectic, dialogic, and a new model to view cultures as heterogeneous and mixed

Information: Apr 4-6 is Qingming holiday in China, the Chinese students make up for the missed classes on Sun (!) Apr 7 and 2

Session 6 OD Sun Apr 7 (for Qingming Festival Bridge Day Fri Apr 5) 8:00-9:40 room 603

Session 6: Student presentations

173 金川玉 Jīn Chuānyù ppt Entertainment: Deyunshe 德云社

Please upload your power point here: File:Deyunshe 2024.pdf

173. Entertainment: Deyunshe 德云社

Introduction Deyunshe, originally named as the Beijing Conversation Conference, is one of the biggest Chinese crosstalk organizations and folk art performance groups in China. Established in 1995, Deyunshe has been the common abbreviation of Beijing Deyunshe Culture Communication Company Ltd. since its renaming in 2003. Following its key principle of “lead crosstalk back to the theatre”, in these years, Deyunshe has made important contribution to the inheritance and innovation of Chinese crosstalk, opera, pingshu and other forms of folk art performance.

The Development of Deyunshe Crosstalk is a kind of intangible cultural heritage with a long history in China. Generally believed to be formed during the Emperor Xianfeng(1850-1861) and Emperor Tongzhi(1861-1874) period in Qing dynasty, the crosstalk art once almost disappeared but has been reborn and developed very rapidly especially since the founding of the People’s Republic of China. However, up to 1990s, crosstalk industry was locked into outmoded adversity again because of the newborn ways of entertainment, the decay of radios, and the obsolescence of the crosstalk content itself, etc. In 1995, crosstalk artists Guo Degang, Li Jing and Zhang Wenshun established the Beijing Conversation Conference and began to perform at Guangde Building, Workers Club, Zhonghe Theatre and other tea houses or small-scale theaters. In 2003, the Beijing Conversation Conference changed its name to Deyunshe. In October 2004, Kaixin Chuaguan (Pleasant Teahouse), a programme of Beijing Joy FM, began to broadcast the live recordings of Deyunshe, showing a new performance form that differs from the traditional crosstalk at gala evenings. In 2010, Deyunshe changed its management methods into corporate governance, and made labor contract with all the artists. In July 2011, Deyunshe inaugurated a new form in the Beizhan Theatre, by using the dialects operas and comic dialogues to interpret crosstalk of various styles from the Qing dynasty to the Republic of China. In April 2013, the first branch of the Chinese crosstalk club, the Deyunshe Melbourne Branch, was established. On 17 July, 2014, Deyunshe started to call for the anti-vulgarity campaign to purify the crosstalk performance. After years of hard work, Deyunshe has come a long way in the resistance of the vulgarity, kitsch and low-brow content by destroying the decay and establishing the fresh. In June 2020, Deyunshe made a contract with Qilu University of Technology, planning to cooperatively build the Deyun College. Since the establishment of Deyunshe in 1995, Guo Degang and his apprentices always hold some principles to inherit and innovate traditional Chinese crosstalk. For example, they believe crosstalk is essentially a kind of entertainment instead of a way of preaching, and it must appeal to all ages and social groups and root in small-scale theaters where artists can truly interact with audiences and hear the direct feedback voices. In a certain degree, it is the appearance of Guo Degang and his Deyunshe that draws a blueprint for the future development and breathes new life into crosstalk industry. By 2022, Deyunshe has established many branches at home and abroad, including Beijing, Tianjin, Harbin, Changchun, Nanjing and Melbourne. As the headquarters of Deyunshe, Beijing Deyunshe is comprised of Tianqiao Theater, the birthplace of Beijing-style folk art, Sanlitun Theater, Sanqingyuan Theater, Xinjiekou Theater, Guangdelou Theater and Huguang Guild Hall Theater.

The Mentorship-system of Deyunshe Up to now, Deyunshe still follows the mentorship-system of traditional Chinese opera and folk art industries and only accepts male apprentices. Most members or artists of Deyunshe are Guo Degang’s and his partner Yu Qian’s apprentices. Following the rank of “Yun, He, Jiu, Xiao, Long, Teng, Si, Hai” (Cloud, Crane, Nine, Sky, Dragon, Jump, Four, Sea)，every apprentice of Guo Degang will get a stage name after a formal ceremony of being admitted by Guo as his student after years of study. During the period of learning crosstalk, apprentices do not need to give any tuition to their masters. When eating or shopping together, junior students even do not need to pay their own bills if there are any other seniors. At the same time, apprentices of Deyunshe have to abide by the rules of the club, for example, obeying their masters’ instruction, respecting seniors and other counterparts, visiting their masters personally during the “Three Festivals and Two Birthdays”(the Dragon Boat Festival, the Mid-Autumn Festival, the Spring Festival, the birthday of Confucius and the birthday of their masters), paying attention to self-cultivation, learning the skills assiduously, and abstaining from gambling, prostitution and other illegal acts, etc. If any apprentice violates the regulations, his master will deprive his stage name and dismiss him.

The Fandom Culture and Deyunshe In recent years, Deyunshe has gained an increasingly larger fan base, and the fandom culture has dramatically influenced the development of Deyunshe. More crosstalk artists of Deyunshe are now regarded as celebrities and even idols. This is an unprecedented event in the history of crosstalk industry. On the one hand, the fandom culture does stimulate Deyunshe’s reformation and innovation. On the other hand, the complexity and pluralism of fans put much more pressure on artists. Sometimes the fans’ behavior such as trolling and invading comment areas and so on will cause heated controversies and damage the artists’ images. To thank for the fans’ support, Deyunshe holds a special performance, called the “Festival of Gang’s Fans” every September since 2010. Zhang Yunlei, one of Guo Degang’s apprentices, nowadays has enjoyed phenomenal popularity and been called “the Artist of Taiping Lyrics” of post-1990s generation because of his mellifluous and sensational voice, handsome looks and incredible life experience. Guo Degang, Zhang Yunlei, Yue Yunpeng, Meng Hetang, Qin Xiaoxian and other crosstalk artists use their own influence and the power of fans to promote the spread and productive protection of crosstalk and other forms of traditional Chinese folk arts. For example, in many of Zhang’s crosstalk performances, thousands of fans chorused traditional Taiping Lyrics, opera lyrics and songs to echo and support him. In addition, during the “Cultural and Natural Heritage Day” in 2019, the social platform of Weibo invited some artists of Deyunshe, including Zhang Yunlei, Tao Yunsheng, Zhang Helun, Meng Hetang, and Zhou Jiuliang, to join a series of activities associated with the inheritance and development of intangible cultural heritage and disseminate crosstalk, pingshu, pingju (a local opera of north and northeast China), Beijing Opera, jinyun dagu (story- telling in Beijing dialect with drum accompaniment) and so on to broader audience and receivers of traditional Chinese culture.

Representative Artists of Deyunshe https://m.baidu.com/sf/vsearch?pd=image_content&word=%E9%83%AD%E5%BE%B7%E7%BA%B2%20%E5%86%99%E7%9C%9F&tn=vsearch&sa=vs_kg_star_toppic&ms=1&from=1001192y&atn=page&fr=tab Guo Degang, a famous Chinese crosstalk artist and the founder of Deyunshe, was born in Tianjin in 1973. He began to learn crosstalk, Beijing Opera, pingshu and so on at the age of 8, following his master, Hou Yaowen, a respected Chinese crosstalk artist. The New York Times described Guo as “the Chinese Ricky Gervais” in 2011, and said, “He is a comedian who specializes in a traditional form of performance comedy called crosstalk that has undergone a revival recently, largely because of Mr. Guo’s antics. Chinese media have dubbed him ‘the savior of cross talk’ for attracting young and middle-aged audience members to the aging crosstalk crowd.” As one of the the eighth-generation crosstalk performers, Guo Degang tries his best to appeal younger audiences by weeding out the didactic and stale contents and adding fresh contents that conform to the spirit of the age and are much closer to modern life. Based on tradition, he creates many new crosstalk works, including “Yang Naiwu Writes Indictment”, “The Bodyguard”, “Sell Opera Tickets”, and “I want to be on the Spring Festival Gala Evening”, etc. Yu Qian, the fixed partner of Guo Degang and an apprentice of Chinese crosstalk master Shi Fukuan, is an expert at interacting with audiences and performing “Xiangua” (improvise on jokes in crosstalk). His acting style is cultured and leisurely, differing from but matching with Guo Degang’s lively and theatrical style.

https://m.baidu.com/sf/vsearch?pd=image_content&word=%E5%B2%B3%E4%BA%91%E9%B9%8F%20%E5%86%99%E7%9C%9F&tn=vsearch&sa=vs_kg_star_toppic&ms=1&from=1001192y&atn=page&fr=tab Yue Yunpeng, an apprentice of Guo Degang, mainly performs crosstalk as “Dougen” (the lead actor) with his fixed partner Sun Yue. As an old friend of all different gala evenings and a representative of new-generation crosstalk artist, Yue performed crosstalk at CCTV’s Spring Festival Gala for five times. His crosstalk works are always related to social reality, using a humorous way to criticize and roast the hypocrisy and seamy side of today’s society. Different Ranks of Deyunshe Members The rank of “wen” (culture): Xie Jin The rank of “ming” (bright): Guo Degang, Yu Qian, Gao Feng, Sun Yue, Liu Zhe, Wang Shaoli, Shi Aidong, Liu Chunshan, Yang Jinming, Hou Zhen, Zhang Deyan, Zheng Hao The rank of “yun” (cloud): Zhang Yunlei, Kong Yunlong, Luan Yunping, Yu Yunting, Zhu Yunfeng, Yue Yunpeng, Ning Yunxiang, Li Yunjie, Zhao Yunxia, Li Yuntian, Tao Yunsheng, Zhang Yunfan, Yu Yuntian The rank of “he” (crane): Cao Heyang, Liu Hexiang, Yan Hexiang, Li Helin, Li Hebiao, Liu Heying, Zhang Helun, Gao Hecai, Zhang Hejun, Ji Hewu, Wu Hechen, Meng Hetang, Ynag Hetong, Liang Hekun, Zhong Hexuan, Ma Heqi, Zhang Hefeng, Yu Hezhen, Liu Heqing, Zhang Hewen, Sun Hebao, Yang Heling, Zhang Hefan, Qi Hetao, Lang Heyan, Guan Hebai, Wang Hejiang, Gao Hepeng, Liu Helong, Li Hedong, Zhang Hejian, Jin Henian, Fang Hedi, Jin Helan, Zhu Hesong, Luan Hehua, Zhang Heluan, Li Hepu, Zhang Heqing, Liu Hean, Huang Hefei, Pi Hean, Xing Hewei, liu Hedan The rank of “jiu” (nine): Zhang Jiuling, Li Jiuchun, Zhou Jiuliang, Yang Jiulang, Zhang Jiuchi, Gao Jiucheng, Wang Jiulong, Zhang Jiunan, He Jiuhua, Zheng Jiulian, Li Jiujiang, Sun Jiuxiang, Liu Jiuren, Guan Jiuhai, Shang Jiuxi, Li Jiuchong, Liu Jiuru, Liu Jiusi, Chen Jiufu, Chen Jiupin, Ni Jiutao, Dong Jiuli, Li Jiutian, Chen Jiutong, Cao Jiutai, Zhang Jiutai, Han Jiuming, Dong Jiuhan, Zhang Jiulin, Mei Jiuliang, Sun Jiufang, Ji Jiuxiao, Ma Jiumeng, Yin Jiuyan, Shen Jiuping, Liu Jiuhui The rank of “xiao” (sky): Zhang Xiaobai, Wang Xiaoyi, Qin Xiaoxian, Fan Xiaoqi, Fan Xiaotang, E Xiaoxiong, Zhao Xiaoyuan, Wang Xiaohan, Zhang Xiaomo, Yang Xiaofeng, Xiao Xiaoyu, Kang Xiaozhe, Wang Xiaoxiu, Yang Xiaohong, Li Xiaoqiao, Sun Xiaoyao, Ge Xiaoqing, Wu Xiaoze, Wang Xiaokai, Ma Xiaosheng, Ma Xiaorong, Dong Xiaoye, Li Xiaohang, Gao Xiaofei, Ji Xiaotong, Chiwei Xiaotang, Dong Xiaoyuan, Zhang Xiaoting, Liu Xiaohang, Guo Xiaohan, Yang Xiaotai The rank of “xiao” (bamboo)(apprentices of the rank of “yun”): Shang Xiaoju, Liu Xiaoting, Gao Xiaobei, Gao Xiaobao, Xu Xiaozhu, Li Xiaokui, Hou Xiaolou, Guo Xiaoqiao, Wang Xiaoge, Yu Xiaohuai Apprentices of Yu Qian: Guo Qinlin, Feng Zhaoyang, Li Siming, Tai Rongjian, Guo Fenyang, Wu Suowei, Xiaolong Apprentices of Sun Yue: Lu Shuo, Sun Zizhao, Li Shijin Apprentices of Gao Feng: Lang Haochen, Miao Haoyu, Song Haoran, Wang Haoyue, Li Haoyang Apprentices of Hou Zhen: Zhuang Zijian, Gao Lei, Hong Chen, Zhang Guotang

Terms

• Deyunshe 德云社
• Beijing Conversation Conference 北京相声大会
• Cloud, Crane, Nine, Sky, Dragon, Jump, Four, Sea 云鹤九霄，龙腾四海
• Three Festivals and Two Birthdays (the Dragon Boat Festival, the Mid-Autumn Festival, the Spring Festival, the birthday of Confucius and the birthday of their masters) 三节两寿（端午节、中秋节、春节、孔子诞辰以及师父寿辰）
• Festival of Gang’s Fans 钢丝节
• Taiping Lyrics 太平歌词
• Cultural and Natural Heritage Day 文化和自然遗产日
• Jinyun dagu 京韵大鼓
• Yang Naiwu Writes Indictment《杨乃武写状》
• The Bodyguard 《大保镖》
• Sell Opera Tickets 《卖吊票》
• Xiangua 现挂
• Dougen 逗哏

Reference 1.Hou Baolin, Xue Baokun 侯宝林, 薛宝坤. 《相声溯源》[The Origin of Crosstalk]. 人民教育出版社 People’s Literature Publishing House, 1983:1-13. 2.Xiang Shi 向适. 论相声传统的继承与发展[On the Inheritance and Development of the Crosstalk Tradition]. 湖南第一师范学报 Journal of Hunan First Normal College, 2008(03):155-157. 3.You Hongxia, Tian Zhaoyuan 游红霞, 田兆元. 粉丝文化背景下非物质文化遗产的传承发展——以德云社相声为例[Inheritance and Development of Intangible Cultural Heritage under the Background of Fans Culture—Taking Deyunshe Crosstalk as an Example]. 湖北民族大学学报 Hubei Minzu University Journal, 2020(03):146-152. 4.Wikipedia 维基百科. Deyunshe 德云社 https://en.m.wikipedia.org/wiki/Deyunshe 5.Benjamin Haas. “Who’s on First?” Finds a Home in Chinese Clubs. The New York Times, 2011.3.2 https://www.nytimes.com/2011/03/03/world/asia/03beijing.html

Questions 1.What is the original name of Deyunshe? 2.What is the key principle of Deyunshe? 3.Who established the Beijing Conversation Conference? 4.What is the first oversea branch of the Chinese crosstalk club? 5.How The New York Times described Guo Degang?

178 徐硕珮 Xú Shuòpèi（ppt）Music and instruments: Erhu

Please upload your power point here: File:Erhu 2024.pdf

178. Music and instruments: Erhu Music and Instruments:Erhu

1.A Brief Introduction The Erhu is a Chinese two-stringed bowed musical instrument. It is used as a solo instrument as well as in small ensembles and large orchestras. It is one of the main bowed string instruments in the Chinese musical family used by various ethnic groups of China. The first Chinese character of the name of the instrument (二, èr, two) is believed to come from the fact that it has two strings. An alternate explanation states that it comes from the fact that it is the second highest huqin in pitch to the gaohu（高胡） in the modern Chinese orchestra. The second character (胡, hú) indicates that it is a member of the Huqin family, with Hu commonly meaning barbarians. The name Huqin literally means "instrument of the Hu peoples", suggesting that the instrument may have originated from regions to the north or west of China generally inhabited by nomadic people on the extremities of past Chinese kingdoms.

2.The Development of Erhu The Erhu, with a history more than one thousand years, originated from an ethnic minority in northeast China during the Tang Dynasty. And at that time, Erhu was called as Xiqin. During the Song Dynasty, it was called as Jiqin and had achieved a high level of performance according to scholar Shen Kuo, it is said that a minister Xu Yan’s had finished his playing with one of the string broken in front of the emperor and other ministers; during the Yuan Dynasty, people could accurately illustrate the principle of making a huqin, which pave the way for its further development; during the Ming and Qing Dynasty, Huqin became a main accompaniment instrument for opera which began prevailing; during Chinese modern times, the instrument was called as Erhu, and its performance has reached a very high level after more than half a century of development and spread; during this period, Liu Tianhua（刘天华） was the one who created Erhu’s new era and was seen as the father of the modern Erhu school. He assured five positions and created the vibrato(huaxian) technique, which expanded Erhu’s register, enriched its expression and made it sound more soft and smooth. He also departed it from accompaniments which laid the foundation for Erhu to enter the hall of elegance. After the founding of New China, ethnic and folk music developed rapidly. In order to vigorously explore the artistic treasures of folk artists, Hua Yanjun（华彦钧）, Liu Beimao（刘北茂） and other folk artists’ Erhu music was made into records, making the art of Erhu performance mushroom and develop rapidly. In the 1950s and 1960s, a group of erhu educators and performers represented by Zhang Rui（张锐）, Zhang Shao（张韶） and Wang Yi （王乙）emerged successively. Under their influence, new erhu performers such as Min Huifen（闵惠芬） and Wang Guotong（王国潼） were cultivated. For example, Erhu composer Liu Wenjin's（刘文金） Great Wall Capriccio （《长城随想曲》）gave full play to the performance of the Erhu and deliberately innovated to make the Erhu glow with new vitality and splendor.

3.Construction The Erhu consists of a long vertical stick-like neck, at the top of which are two big tuning pegs, and at the bottom is a small resonator body (sound box) which is covered with python skin on the front (playing) end. Two strings are attached from the pegs to the base, and a small loop of string (Qian Jin) placed around the neck and strings acting as a nut pulls the strings towards the skin, holding a minute wooden bridge in place. The parts of the Erhu: Qín tong (琴筒), sound box or resonator body; it is hexagonal (liu jiao, southern), octagonal (ba jiao, northern), or, less commonly, round. Qín pí/She pí (琴皮/蛇皮), skin, made from python. The python skin gives the erhu its characteristic sound. Qín gan (琴杆), neck. Qín tou (琴头), top or tip of neck, usually a simple curve with a piece of bone or plastic on top, but is sometimes elaborately carved with a dragon's head. Qín zhou (琴轴). tuning pegs, traditional wooden, or metal machine gear pegs Qiān jin (千斤), nut, made from string, or, less commonly, a metal hook Nèi xián (内弦), inside or inner string, usually tuned to D4, nearest to player Wai xián (外弦), outside or outer string, usually tuned to A4 Qín ma (琴码), bridge, the medium in the vibration between the strings and the skin , made from wood Qín Gong (琴弓), bow, has screw device to vary bow hair tension Qín diàn (琴垫), pad, a piece of sponge, felt, or cloth placed between the strings and skin below the bridge to improve its sound Qín tuō (琴托) – base, a piece of wood attached to the bottom of the qín tong to provide a smooth surface on which to rest on the leg

4.Playing Technique (1)Tuning The erhu is almost always tuned to the interval of a fifth. The inside string (nearest to player) is generally tuned to D4 and the outside string to A4. This is the same as the two middle strings of the violin. (2)Position The Erhu is played sitting down, with the sound box placed on the top of the left thigh and the neck held vertically, in the similar fashion as that of a cello or double bass player. However, performers of more recent years have played while standing up using a specially developed belt-clip. (3)Right hand The bow is held with an underhand grip. The bow hair is adjusted so it is slightly loose. The fingers of the right hand are used to push the hairs away from the stick in order to create tension in the hairs. The bow hair is placed in between the two strings and both sides of the bow hair are used to produce sound, the player pushes the bow away from the body when bowing the outside string, and pulls it inwards when bowing the inside string. Aside from the bowing technique used for most pieces, the Erhu can be plucked, usually using the second finger of the right hand. This produces a dry, muted tone (if either of the open strings is plucked, the sound is somewhat more resonant) which is sometimes used in contemporary pieces. (4)Left hand The left hand alters the pitch of the strings by pressing on the string at the desired point. Being a fretless instrument, the player has fine control over tuning. Techniques include hua yin (slides滑音), rou xian (vibrato揉弦), and huan ba (changing positions换把).

5.Ten Chinese Erhu Classics (1)Er Quan Ying Yue (Moon reflection in Erquan)《二泉映月》 (2)Liang Xiao (The Enchant Evening)《良宵》 (3)Ting Song (Listen to the Pines) 《听松》 (4)Kong Shan Niao Yu (The Birds Sing in Countryside)《空山鸟语》 (5)Han Chun Feng Qu (Cold Spring Wind Song)《寒春风曲》 (6)Yue Ye (Moonlight Night)《月夜》 (7)Liu Bo Qu (Flowing Wave Song)《流波曲》 (8)Bing Zhong Yin (Song by a Sick Man)《病中吟》 (9)San Bao Fo (Buddha Sambo)（三宝佛） (10)Guang Ming Xing (Marching Toward Brightness)《光明行》

Reference  [1]赵雪涵.二胡的发展历史与风格[J].北方音乐,2020(03):107-108. [2]Erhu--Wikipedia

Session 7 OD Fri Apr 12 8:00-9:40 room 603

Session 7: Student presentations

187 周莉 Zhōu Lì ppt Chinese Folk Art:Lion Dance

Please upload your power point here: File:Lion Dance 2024.pdf

187. Chinese Folk Art:Lion Dance

Introductions on Lion dance The lion dance is a popular activity among Chinese people of all ethnic groups, and it is a must for festivals and gatherings. The lion dance is a symbol of good luck and good intentions of the people to get rid of disasters and seek good fortune.In May 2006, the Chinese lion dance was included in the first batch of national intangible cultural heritage list by the State Council. The lion dance has a long history, and the existing lion dances are divided into two categories: cultural lion and martial lion. The martial lion has more difficult acrobatic performances, and the lion is vigorous and fierce, looking at the tiger; the cultural lion is naive and cute, with a lovely form, and mainly performs the lion's life and attitude; according to the different materials and methods of lion modeling, there are many different types of lion dances around the world, and they are very colorful. The lion dance is usually played by two people, the former holding the lion head props on his head with both hands, playing the lion's head, and the latter leaning over, holding the former's waist with both hands, wearing lion skin decorated with linen, cloth and other materials, playing the lion's body. Two people combined into one large lion, called "Large lion”. There is also a person wearing a lion mask, wearing a fake lion skin, playing a small lion, called "Small lion". In front of the lion, there is a lion, holding a colorful embroidered ball that can be turned to tease, and the dance ball movements include rolling the ball, turning the ball, throwing the ball, shaking the ball and dozens of other kinds, and the lion then makes various dance movements. In some places, the lion dancer wears a big-headed mask and plays a big-headed monk, holding a big fan or even a big knife instead of a ball. Schools of Lion Dance :With the continuous development of the lion dance movement, the art of lion dance has also been perfected, but because of the different customs in the north and south, the dance method is not the same, so the north and south has formed two major schools, namely the southern school and the northern school, also known as the southern lion and the northern lion. The northern lion's movements are light, mainly jumping and tumbling, with small gongs, drums,and cymbals, etc., mainly in the Central Plains and North China, with representative lions from Hebei, Anhui and Hunan. The southern lion, on the other hand, is a big and powerful lion with big gongs, drums, cymbals, etc. The drum music is majestic and inspiring, and is mainly popular in Guangdong, Guangxi, Hong Kong, Macau, Taiwan, Singapore and Malaysia.

The Origin of Lions Regarding the origin of the lion, scholars of all generations have concluded that the lion in the early Middle Kingdom came from the West. There is a large number of documents for evidence, including Jin Guopu’s "Mu Tianzi".It said: " The lion is also called mythical creature , produced by the Western region." The scholar Li Shizhen wrote in the "Compendium of Materia Medica": " The lion is out of the Western countries" From the research records of experts and scholars of the past generations, it is clear that China did not produce lions, scholars of the past generations After the study of the literature, It is thought that the lion was introduced from the West as a tribute in the Han Dynasty. Before the Han Dynasty, people do not know what it looks like. According to historical records, the lion was considered useless when it first entered the Middle Kingdom, and was not accepted because of its fierce appearance and habits. During the long history, due to various reasons, especially religious influence, people gradually accepted the lion and made it a mythical beast, together with the legendary dragon, phoenix, and qilin, known as the four spiritual beasts.The lion is known as the king of beasts, but China is generally not affected by lions, so the people have a sense of affinity to the lion, regard it as a symbol of power and good luck, and hope to use the lion's powerful image to drive away evil spirits.

The Origin and Legend of Lion Dance Regarding the origin of lion dance in ancient China, ancient literature and analysis by scholars over the ages show that the origin of lion dance in China is also recognized from the Han Dynasty, but the exact date cannot be determined. Through research and historical analysis, the following statements are more plausible. The first theory: Chinese lion dance originated from the Han Dynasty, and the lion was imported from foreign countries only after Zhang Sai's mission to the West during the reign of Emperor Wu. Whenever the Western ambassadors visited, he set up songs and dances to cheer, so those dancers put on masks dressed as birds and animals, but the Western ambassadors found that these birds and animals only lacked of lions, after asking, we knew that at that time China had not yet lions. Later.Later the western envoys sent a pair of lions to China, and the lion trainers performed lion training. This lion training performance may be the predecessor of the Chinese lion dance.

The second theory: the lion dance originated in the Three Kingdoms period and was popular in the North and South Dynasties. Meng Kang, a native of Wei during the Three Kingdoms period, wrote in The Elephant Man : If today's play is like shrimp, the lion is also. The Northern Wei Yang From it we can know, the lion not only protects the law to ward off evil, and can guide the way for the Buddha. If we look at the form, this lion guiding its front, very similar to the current lion guide, already slightly with the form of dance.

The third theory: According to the earliest historical records, the account of the real "lion dance" should be The Book of Ning - Zong Yi Zhuan. During the Northern and Southern Dynasties, in the 22nd year of Emperor Wujia's reign (445 A.D.), when the Nanning Army occupied Linyi, and Yi asked to be the leader. The soldiers were unable to resist, saying, "I have heard that the lion is a powerful lion, so I made its shape and fought against the elephant, and the elephant just ran in fear and were scattered. After that, the lion dance was performed in the military and slowly spread to the people, becoming the origin of the lion dance, but at that time it was not called the lion dance but the "Taiping music".According to records, the Taiping music and the modern lion dance are very similar. There are also various stories and legends about the lion dance in ancient China. One of the legends is that the "New Year" beast eats green. According to the legend, in ancient times, plague often occurred in China, so countless people died, but fortunately, every time the plague occurred, a divine beast appeared, and the plague disappeared as soon as it appeared. Since this beast "Nian" is so helpful to people, people use bamboo scales and colored cloths to tie into the "Nian" beast during the farming season, and dance in front of each house with majestic drums and music, in order to suppress evil spirits and seek good luck. Because the "New Year" beast likes to eat vegetables, so every family places a plate of vegetables in front of the door for the "New Year" beast to eat. As time goes by, people find that the shape of the "New Year" is very much like a lion. So they called this kind of thing as the lion, and the vegetables were called "Caiqing".

The Value and Functions of Lion Dance First, it connects with emotions. While it is a sport, its more obvious attribute is that it belongs to the category of folklore. The cultural accumulation of each nation is often expressed in folklore activities, and healthy folklore activities not only express the soul of the nation, but also convey the message code of mutual feeling and knowledge between the brothers of the nation. In the case of "lion dance", a folklore activity loaded with the accumulation of feelings of the children of Yanhuang, wherever there is a Chinese settlement, there is a lion dance and a lion dance culture. The lion dance for good luck is often the best way for Chinese people who are wandering around the world to share happiness and feelings.

Second, it can strengthen the body. The actual operation of lion dance requires good coordination among all the components, and it is a kind of project that combines multiple factors such as music and lion dance. Because of this integration, the lion dance has a strong ornamental and artistic value, which can fully meet people's entertainment and aesthetic needs. At the same time, for the performers, lion dance is a sport that strengthens the body and cultivates the emotions.

Third, it has educational significance. The lion dance is a traditional culture in China, and it is the inheritance of the culture to carry forward the lion dance. We can understand the history and culture of the region through lion dance.

Fourth, it has the commercial function. The performance nature of lion dance brings a lot of commercial benefits. In addition, the lion dance brings about the development of tourism and other related industries. In the author's opinion, the commercial function of lion dance is not only this, as the development of cultural industry is gaining momentum today, lion dance with deep cultural heritage will face better development opportunities.

Fifth, it enriches the spirit of the nation. The spirit of mutual cooperation and solidarity. The participation of dragon dance is very common, and the professional requirements are not very high. It shows a kind of momentum and team spirit, with a few people or even hundreds of people, dancing up and down, surging and inspiring. This requires more than one person to complete the whole set of interlacing, running and jumping, tumbling and other movements, mutual cooperation is particularly important, must maximize the team effect; inherit the spirit of tradition and innovation, although the dragon and lion dance has a long history, but also not unchanging, positive, innovative features nurtured in different ways of performance, reflecting the spirit of never-ending innovation

Historical Stages of the Development of Traditional Lion Dance During the Northern Wei Dynasty, the traditional lion dance developed to a deeper level The skills of the Wei, Jin and Northern Dynasties formed different performance styles and program focuses in the North and South due to geographical barriers and different environments. In the south, the Han regime inherited the 'orthodoxy', and the ideology of Confucianism was changed to Zhuanglao, and the social habits tended to be weak. Therefore, although the Southern Dynasty had the majestic 'White Tiger ' and other programs from the Northern Dynasty, its mainstream was slender and soft.The traditional lion dance began to be performed on the same stage with ceremonial music(the beginning of music) in the Sui Dynasty, and after the Northern Wei Dynasty and the North and South Dynasties, its artistic image became richer and had a strong folk base, and the court performance became more mature. In the eleventh year of Emperor Taizong of Tang Dynasty, the nine music parts of Sui Dynasty were adjusted and increased into "ten music parts". One of the most famous "five lions", also known as "Taiping music".Performers danced and sang "Taiping music", taking the meaning of world peace and good fortune, which was basically the same as the symbolic meaning of today's lion dance. During the Song and Yuan dynasties - a turning point in the development of traditional lion dance technology, the performance form, performance team and program creation of lion dance in the Song dynasty underwent more profound changes. Techniques began to be divided into sections, prompting peer artists to gather for social fires; social fires further united the team and promoted the development of skills, as well as the formation of various genres, creating conditions for the prosperity of the folk lion dance movement. In Yuan Dynasty, "lion dance" also had innovation,.For instance,"high Cui lion dance" in the Yuan Dynasty first seen in the records. Although the Qing Dynasty Palace also had lion dance performances, generally speaking, the scale was not large. Southern and northern lion performances in the Qing Dynasty formed different images and different techniques of performance style. In the north, there were "Large lion" and "Small lion", whose images and performances resembled real lions, while the lion dance in the south had integrated dance, acrobatics and martial arts into one, which was quite new compared to the traditional lion dance methods.

The Development of Modern Lion Dance (A) Before the liberation of the competition between the lion teams in the festive activities of the nature of the competition In the 1920s and 1930s, the lion dance was generally preceded by the Shaolin and the Five tiger stick , followed by the lion , the vine , the rice-gale , the shuttlecock , and the kong Schools, which started from their respective villages and rushed to the temple. Along the way, whenever they encountered the roadside tea huts or tea points, they should get off the performance. To the temple they worshiped after the incense and performed martial arts. Then they returned along the way, if on the way the temple fair and several villages a few teams met together, this performance was often with the nature of the competition '; in some places gradually formed a regular tournament .In modern times during the festival have a relatively fixed lion team to perform and the lion team also competed and cut martial arts, with the nature of the competition. The lion dance has taken the form of a competitive lion dance.

(B) Lion dance became a traditional national sport On February 28, 1934, the first Folk Games of Henan Province, there were more than 20 folk martial arts associations such as dry boat, dragon lantern, lion and kite flying to perform and compete. In 1978, the lion dance was invited as a special performance at the First Folk Games, and it became an official event at the Fourth Agricultural Games. Now there are different events such as National Lion Dance Championship and various kinds of North-South Lion King Competition, National Dragon and Lion Invitation Tournament and Elite Tournament every year, and it has become an official competition item in the National Agricultural Games, National Urban Games and the Third National Sports Congress.

(C) Lion dance shine on the acrobatic stage In 1972, Premier Zhou Enlai personally watched the acrobatic performances of six large troupes in Beijing, including China, Shanghai, Wuhan, Shenyang, Xi'an and Warriors, and affirmed the skills of the "lion dance", which were partly choreographed according to the laws of acrobatics.They have been organized to visit Asian, African, American and European countries and become the first team of people's diplomacy. The lion dance skills have developed rapidly on the acrobatic stage, and a series of new and difficult skills have been developed on the basis of inherited traditions. The high skills of acrobatic lion dance have a great influence on the traditional folk lion dance and competitive lion dance, and the traditional folk lion dance and competitive lion dance have absorbed the performance style and props of acrobatic lion dance, enriched their own performance forms, and continuously improved the level of traditional lion dance and competitive lion dance.

Lion Dance Culture Development Problem As it is not easy to cultivate talents to inherit the lion dance culture, and the props used to make the lion dance are expensive, the traditional lion dance culture is also facing the crisis of no one inheriting it. As a representative of the excellent traditional culture, how to survive and develop the lion dance culture in the intersection of modern technology and traditional culture is an important issue that contemporary lion dancers have to think about.

Measures for Solving the Problem (A) Strengthen corooperation with colleges and universities to carry out lion dance classes Youth is the future and hope of the country.Vigorously developing traditional culture education for youth, and incorporating lion dance culture into students' curriculum can not only enrich campus culture, but also greatly improve the popularity of lion dance culture and enhance youth's cultural identity and national pride. Students are the successors of the communist cause, the main body of education, and the main body of cultural inheritance and dissemination. Relying on school education to develop lion dance culture, more people can understand and inherit lion dance culture. The rejuvenation of traditional culture and its development on the basis of popularization are the needs of lion dance culture inheritance and the wishes of lion dance lovers.

(B) Promote the culture and spirit of lion dance through the Internet and mass media In order to make the lion dance culture develop better, we make use of the development of the whole media to promote the beautiful connotation of the lion dance culture through the Internet and make use of the mass media to vigorously publicize it, so that more people really like the lion dance culture and really enter the lion dance culture; we rely on the Internet to strengthen the cultural exchange among the lion dance enthusiasts all over the country, so as to promote the spread and inheritance of the lion dance culture; we rely on the whole media to carry out the lion dance culture competition, formulate scientific competition rules and generous rewards to arouse people's enthusiasm for participation, so that more people can participate in the promotion of the lion dance culture and promote the spread of the lion dance culture.

(C) Accelerate the innovation to push the development of lion dance culture The premise of traditional culture innovation is to first understand its cultural value, grasp the comprehensive traditional cultural content, and then promote the corresponding lion dance culture, so that the folk lion dance is known to more people, even to learn the skills, so that the lion dance is well inherited. In the traditional lion dance culture promotion at the same time, the lion dance team should also be committed to in-depth study of the lion dance culture with the times to drive the value of the economy to achieve the culture to give rise to the economy and the economy in turn to support the culture of mutual assistance and harmony. In such a way wa can break the situation that traditional culture has no successor due to the narrow market prospect, and provide a reference for the inheritance and development of Chinese traditional culture. With the rapid development of the times and the improvement of people's living standards, some connotations of traditional culture are no longer applicable to modern life, so it is necessary to accelerate the promotion of cultural innovation, promote the innovation of lion dance culture, and constantly innovate the form of lion dance culture development and inheritance, so as to attract more people to understand lion dance culture and inherit it.

(D) Cultivate lion dance culture talents,and pay attention to integration of local culture To actively carry out lion dance culture promotion activities, select talents from young people who are interested in lion dance culture, make them receive professional training in lion dance culture, develop their interest into a profession, make them become the inheritors of lion dance culture, and promote the inheritance of lion dance culture. In the local lion dance culture, we dig deep into the local culture and explore the cultural heritage, so that the lion dance culture can be well inherited and developed, integrating the traditional lion dance into the local cultural connotation and giving it new vitality. In addition to the local culture, there is also a folk lion dance culture with local characteristics, establishing unique cultural programs, spreading unique cultural values, so that the traditional lion dance culture continues to be inherited.

(E) Define the cultural positioning, actively implement the "going out" strategy, and promote the lion dance culture to the world The government should formulate relevant policies to support, position lion dance culture well, and support key projects to promote the inheritance and development of lion dance culture, so that more people can understand lion dance culture and participate in the inheritance of lion dance culture, thus enhancing the social status and influence of lion dance culture. While promoting the inheritance and development of lion dance culture, we should not only spread and develop the inheritance at home, but also actively promote the strategy of "going out" to promote Chinese traditional culture to the world, so that people around the world can understand lion dance culture, learn lion dance culture, inherit and spread lion dance culture, so that lion dance culture can be developed around the world and spread the beautiful connotation of China's excellent traditional culture. The beautiful connotation of excellent traditional culture.

Terms:

• Compendium of Materia Medica 《本草纲目》
• the four spiritual beasts 四大灵兽
• national intangible cultural heritage 国家级非物质文化遗产
• the State Council 国务院
• gongs, drums,and cymbals 大锣、大鼓、大钹
• Zhang Sai's mission to the West 张赛出使西域
• The Elephant Man 《象人》
• Caiqing 采青
• orthodoxy 正统
• High Cui lion dance 高毳舞狮
• Acrobatic Stage 杂技舞台
• National Agricultural Games 全国农运会
• National Urban Games 全国城运会
• The Third National Sports Congress. 第三届全国体育大会

References: 中国最独特的舞狮文化 The Most Unique Lion Dance Culture in China 宴姝下一代2019,(04),7 舞狮运动的起源与发展研究[J] The Origin and Development of lion Dance 郭绿杨.当代体育科技 . 2017 (22) 论舞龙舞狮运动塑造学生民族精神的功能[J]. Arguments on the function of dragon and Lion Dance to Shape students' national spirit曹虎愚.成功(教育) . 2012(11) 我国舞狮运动与文化的价值底蕴分析[J]. Analysis on the value of Lion dance and culture in China管罗红.企业家天地(理论版) . 2011(01) 新时代下传统舞狮的传承发展与问题[J]. Inheritance, development and problems of traditional lion Dance in the new era 杨晓坤,代继盟,林宵,于娇.中国民族博览 . 2019(06)

168 肖娄君 Xiào Lóujūn（PPT） Martial Arts: Chinese Swordsman Spirit

Please upload your power point here: File:Swordsman 2024.pdf

168. Martial Arts:Chinese Swordsman Spirit

Martial Arts: Chinese Swordsman Spirit1. 1.Foreword “We haven’t seen a real swordsman arts for a long time.” The Chinese swordsman spirit has quite a long history and won a worldwide reputation. From Gu long（古龙） to Jin Yong（金庸）, from Guo Jing（郭靖） to Yang Guo（杨过）.Though as an exception, I haven’t read that much Swordsman novels or watched swordsman TV series, the swordsman spirit has always been a hot topic in Chinese literary works and has become the precious youth memories for lots of Chinese. However, nowadays, as the emergence of the fast-food culture, many producers produced some TV series or movies in the name of Chinese swordsman spirit in order to cater to the market without even knowing the real core of Chinese swordsman spirit, which makes the audiences sigh disappointedly “The swordsman videos in the past is about the plots and subplots for the well-being of citizens and justice in the whole countries while the swordsman videos these days focuses overly on the love affairs between couples and the identification as swordsman just functions as the tool for the characters to play cool, which makes them seems like a joke.” Still, we do have some excellent Chinese swordsman art works nowadays. For example, Biaoren（镖人）, which is known as “ the king of Chinese comic arts”, is was in 80s and 90s last century. Based on this situation, this essay will discuss the topic “Martial Arts: The development of Chinese Swordsman Spirit” by mainly following the time order from 4 perspectives--- the definition, the history of Chinese swordsman spirit, the development of Chinese swordsman art works , and the application of Chinese swordsman spirit in society today. Chinese swordsman spirit is an indispensable part of Chinese cultures and deserves to be inherited and spread. 2.Definition As Bing dictionary suggests “Swordsman refers to someone who uses a sword, especially in a skillful way.” In China, swordsman, also known as wuxia（武侠）, extends to someone who has excellent martial arts skills and empathetic minds. In my opinion, the core of Chinese swordsman spirit is the upright determination on building a better world and the sympathetic care for the well-being for humans. Let’s then check the definition from wikipedia ---“Swordsmanship or sword fighting refers to the skills of a swordsman, a person versed in the art of the sword. The term is modern, and as such was mainly used to refer to smallsword fencing, but by extension it can also be applied to any martial art involving the use of a sword. The formation of the English word "swordsman" is parallel to the Latin word gladiator, a term for the professional fighters who fought against each other and a variety of other foes for the entertainment of spectators in the Roman Empire. The word gladiator itself comes from the Latin word gladius, which is a type of sword.” It explains the word “swordsmanship” from the formation of the word, providing us a perspective on the understanding of the Chinese Swordsman spirit. Actually, swordsmen are not only exist in China but also quite popular in other country, especially among the East Asian countries. The Japanese swordsmen prevails too in ancient times and also nowadays. According to the historical records, Japanese swordsman spirit has many things to do with that of China and innovates itself of course with the development of their own cultures. When it comes to the comparison with western knights’ culture, Chinese chivalrous culture shares many common points with western knights’ culture but also differs in aspects like the love values, the classes they symbolize and so on. In conclusion, swordsman refers to a group of people at the very beginning, but as the influences of this group of people continue spreading, their skills and most importantly, their spirit has been hold dear to people for years. 3.History of Chinese swordsman spirit Swordsman spirit is the product of Chinese society, culture and ideology, and a form of expression of the Chinese nation to vent its emotions. It has the unique temperament and emotion of the Chinese nation and the inherent morality of the Chinese society. Being active in civil life, Chinese swordsmen are a pure product of the mass culture of the lower society.As it is estimated, long before in the Spring and Autumn Period, we have the first ever swordsman in history--- Mo-tse（墨子）, also known as Mozi is regarded as the first people to have built the Mohist school（墨派） aimed at helping people in need and against the violence, which quite squares with the swordsman spirit we know nowadays and thus be regarded as the representative of Chinese swordsman spirit in early period. In Han Dynasty, what Sima Qian（司马迁） summed up becomes the core concept and principle of the ancient swordsman spirit. Until later times, the swordsman spirit has developed in the folk. Chivalry is developed from martial arts, and martial arts depend on chivalry. Martial arts is the foundation of chivalry, chivalry is the sublimation of personality. The swordsman spirit is actually recognized by civil society as a code of ethics that governs human relations. In the Biographies of Knight errant （《游侠列传》），Sima Qian gives a comprehensive evaluation of xia and Outlines the basic characteristics of xia（侠） in detail. "Now the ranger, although its line is not in justice, but its word is true, its action will be sincere, do not love its body, to the courtyard trapped. There are many people who have lived and died and lived without pity or shame."（“今游侠，其行虽不轨于正义，然其言必信，其行必果，已诺必诚，不爱其躯，赴士之院困。既已存亡死生矣，而不矜其能，羞伐其德，盖亦有足多者焉。”）Sima Qian ignores the social attribute of justice in chivalry, and thinks that chivalry has an ideal personality and lofty moral quality. What stands out in chivalry is honesty, loyalty and commitment, not fearing death, not taking credit, not being proud, not being brave. In Tang dynasty, Li Deyu（李德裕） pointed out in the The Legendary of Heroes（《豪侠传》） that "A man of chivalry is a very man. He must be based on righteousness and chivalrous. These two qualities cannot stand without each others’ support. "（“夫侠者，盖非常人也，虽然以诺许人，必以节义为本，义非侠不立，侠非义不成。难兼之矣。”）Righteousness is the standard of chivalrous behavior legitimacy. Although Chinese swordsmen are different in appearance, they share common points like giving aid to the needy, punishing the evil and promoting good, loyalty and being fearless facing death. They embody the wisdom and power of Chinese martial arts, so that the combination of martial arts and chivalry becomes the embodiment of force and morality. 4.The development of Chinese swordsman art works As it known to all, the development of Chinese swordsman art works has marked a new era in 80s and 90s last century. Huang Feihong（黄飞鸿）, Crouching Tiger Hiddedn Dragon（卧虎藏龙）, Ashes of Time（东邪西毒）, The Legend of The Condor Heroes（射雕英雄传）and son on are all typical examples represent the understanding of Chinese Swordsman spirit at that time. And there are also many art works that though don’t focus on portraying Chinese Swordsman spirit, still have some of the manifestation of it. 80s and 90s last century is regarded as the third and fourth wave in the development history of Chinese Swordsman art works and is also seen as the peak of the whole period. The third creation wave is the revival period from 1980 to 1989. After the reform and opening up in 1978, martial arts films in the Chinese mainland regained vitality. The coming of this wave was marked by the release of Shaolin Temple（少林寺） in 1982. From 1983 to 1989, 40 martial arts films were made in the mainland. The fourth creative wave was the boom period from 1990 to 1999: the wave of reform and opening up and the integration of cultures across the Taiwan Straits.The number of martial arts films co-produced by the Mainland and Hong Kong and Taiwan surged, reaching its peak in 1993. The swordsman film series are developing strongly, including the Swordsman trilogy （笑傲江湖三部曲）and The Huang Feihong series（黄飞鸿系列）. In addition, during this period, the martial arts films "old appearance changed a new look"（“旧貌换新颜”）, "New Longmen Inn"（新龙门客栈）, "New Fire Red Lotus Temple"（新火烧红莲寺） and so on have been released. "National justice" （家国情怀）is the goal that heroes defend in martial arts movies regardless of life and death. The narrative background of Huang Feihong series is that the Chinese nation is facing a serious national crisis. Huang Feihong attaches great importance to the national interests, goes through many dangers and obstacles, and finally punishes the crooked sycophants as expected and protects the national interests. The swordsman series contains the meaning of chivalry. The chivalry of Linghu Chong （令狐冲）is in sharp contrast to the infighting in the rivers and lakes. In the film, various groups of characters fight for "Sunflower Bible"（葵花宝典） to promote the development of the plot. In contrast, facing the "Sunflower Bible" , Linghu chong is totally unmoved, in the light boat playing and singing "swordsman"（笑傲江湖）. In addition to the chivalrous style of linghu Chong, the chivalrous gentleness of "man dies for someone who knows himself well" is also reflected in the life-or-death friendship between Liu Zhengfeng （刘正风）and Qu Yang（曲洋）. After Liu Zhengfeng died to protect Qu Yang, Qu Yang entrusted linghu Chong with the swordsman and sailed to the middle of the lake alone, leading the boat to burn and die with Liu Zhengfeng.The 1980s and 1990s were a peak of Chinese swordsmen films, because the films integrated the characters' deep thoughts on the future direction of the nation, and the depth of their thoughts was unmatched by other swordsmen films. Wuxia films have a unique narrative ethical charm bears the unique mission of sublimating the audience's psychology. Through the soul of religion, the body of chivalry and the art of martial arts, the narrative content of martial arts films is completed. “That is when we see the manifestations of the real Chinese swordsman spirit.” 5.The application of Chinese swordsman spirit in society today When we talk about the Chinese swordsman spirit, what on earth does it mean to our nowadays society? The development of Chinese swordsman spirit is definitely not just limited to it’s definition, the history and the arts works but more importantly, it’s practical significance to the reality. Based on what is mentioned above, personally, I want to propose three main aspects which I think are most valuable--- bravery for being true self, justice for criticizing violence and sympathy for the needy. That is to say, no matter how others forced you or how stressful the environment is, with Chinese swordsman spirit, we can always stay true to ourselves and don’t need to wear the pretending mask to cater to the unnecessary and meaningless things. When we are facing the violence and injustice in society, with Chinese swordsman spirit, we dare to criticize it directly and appeal to the public attention to make an overturn with solidarity. When the needy or the disadvantaged groups are being bullied, with Chinese swordsman spirit, we are capable to stand out to supply the voice for them and protect them. Besides, though I’ve added “Chinese” before “swordsman spirit” to make it more specific, as what is mentioned before, the Chinese swordsman spirit has also been spread and innovated by many other cultures which also have their unique spirits. 6.Epilogue To be honest, I can not be called as a fan or a master of Chinese swordsman spirit for sometimes for me, it’s too hard to be deeply learned because of it’s grand background and profound connotation. When I was working on this essay, I did quite a lot research and add many weigh tones to make my words more precise and just. But as a Chinese who even has a little understandings about the Chinese swordsman spirit, I still view it as an unprecedented, irreplaceable and unique culture of our country, which makes me very proud. Every time when Chinese swordsman spirit is mentioned, it leads to a nostalgia memories and emotional feelings. For me, it’s also the same. To put an end to this essay is like saying goodbye to a romantic journey.

Refrence: 1.Bing （Bing词典）swordsman 2.Wikipedia（维基百科）swordsmanship 3.手机知网：1）谢铭庭，董超(Xie Mingting, Dong Chao )从建构到表意：中国武侠电影的内在基因与叙事伦理(From Construction to Meaning Expression: The Inner Genes and 2）闫岩(Yan Yan)中国武侠文化与西方骑士文化之比研究

Session 8 OD Fri Apr 19 8:00-9:40 room 603

Session 8: Student presentations

134 陈健 Chén Jiàn Silk Road - by land and by sea: Zhang Qian and the Silk Road

Please upload your power point here: File:Silk Road Zhang Qian 2024.pdf

134. Silk Road: Zhang Qian and the Silk Road

In general, “the Western Regions” mentioned during the Han Dynasty refer to Central Asia west of the Pamir Plateau, part of West Asia and South Asia, as well as a few areas in East Europe and North Africa. That was the boundary of Chinese geographical knowledge. At that time, there were 36 small states scattered around the Tarim Basin. They were all subject to the Xiongnu’s exploitation and enslavement. The Darouzhi kingdom in the area between the Dunhuang and the Qilian Mountains was defeated by the Xiongnu. Their king was killed and his skull turned into a drinking vessel. As a result, the Rouzhi fled and bore a constant grudge against the Xiongnu. At this time, the Han became increasingly strong, and Emperor Wu was determined to defeat the Xiongnu. Therefore, when he heard of the Xiongnu’s exploits in Darouzhi, he sent the adventurous Zhang Qian (164 BC-114 BC) to establish relations with the Darouzhi and persuade them to attack the Xiongnu from the West while the Han empire attacked from the East.

In 139 BC, Zhang Qian traveled westward through the Xiongnu territory. He was captured and detained for over 10 years, yet he and his party escaped at last and resumed their journey toward the Darouzhi. They traveled for months before arriving at the Dawan Kingdom. The King of Dawan, who had long desired to establish friendly relations with the Han empire, was very glad to see Zhang and sent men to escort him to the Darouzhi. The Darouzhi had settled down in the rich and fertile Am River Valley, and their king had no wish to avenge his father’s death by attacking the Xiongnu. Zhang had no choice but to begin the treacherous journey back to Chang’an, the Han capital. Now, 13 years after his departure from Chang’an, out of the 100-strong party, only he and Kanfu managed to make their way back to China. Zhang told the court what he had seen and learned on his expedition. Later, he carried out military conquests while following General Wei Qing (?-106 BC), earning him the title of “Marquis Bowang”.

In 119 BC, Emperor Wu sent Zhang on a second journey to the Western Regions, as he was informed that the state of Wusun (in the present-day Barkash Lake Area) had conflicts with the Xiongnu after the Wusun people had migrated to the Yili River. This time Zhang had 300 brave men under his command, each equipped with two horses. They took gold, silk, goods and over 10, 000 heads of cattle and sheep with them, and were ordered to persuade the Wusun ruler to wage a united war against the Xiongnu. They arrived, but failed to persuade the ruler to migrate eastward and get united with the Han empire. Zhang dispatched deputy envoys to contact territories such as Dawan, Kangju, Darouzhi and Daxia. In 115 BC, Zhang returned to Chang’an, accompanied by dozens of Wusun emissaries.

After this, the Han court sent more messengers to Parthia (Persia), Kizil, Hindu (India) and other kingdoms, and established the Protectorate of the Western Regions to handle official relations with the West. Trade and communication with the Western Regions became frequent. As a result, walnuts, grapes, pomegranates, broad beans, alfalfa, fine race horses from Dawan, and Guizi music and instruments such as the huqin (two-stringed bowed instrument) were introduced to the Han empire. The state of Anxi on the west of Dawan did not produce silk. Neither did they know how to cast iron tools. The emissaries of the Han court spread these techniques to the Western Regions. The exchanges between the Han empire and the Western Regions enriched the material and cultural life of the states involved, and made significant contribution to the progress of civilization in China.

Zhang Qian’s missions to the Western Regions led to the opening of the Silk Road. It stretched from Chang’an to the Hexi Corridor, branched into the south and north routes after passing the Yumen Pass (or the Yang Pass), and converged at Shule (present-day Kashi). After stretching across the Pamirs, it diverged again: towards the southwest, it reached Darouzhi, Anxi and Daqin; toward the north, it reached Dawan and Kangju. After the Silk Road was opened, Han envoys and merchants traveled it frequently, and exported large quantities of silk products to the West. Meanwhile, rare treasures from the West were imported through it. The opening of the Silk Road was a historical milestone. Thanks to it, China could have frequent economic and cultural exchanges with states in Central, West and South Asias. Iron tools and silk, along with the techniques of raising silkworms, casting iron, digging channels and making paper were introduced to the Western Regions, and Buddhism spread to China.

Terms and Expressions

• Western Regions 西域
• the Pamir Plateau 帕米尔高原
• the Tarim Basin 塔里木盆地
• Xiongnu 匈奴
• Darouzhi 大月氏
• Zhang Qian 张骞
• the Dawan Kingdom 大宛
• the Am River 阿姆河
• Kanfu 甘夫（堂邑父）
• Wei Qing 卫青
• Marquis Bowang 博望侯
• the state of Wusun 乌孙国
• the Barkash Lake 巴尔喀什湖
• the Yili River 伊犁河
• Kangju 康居
• Daxia 大夏
• Parthia 帕提亚（安息）
• Kizil 克孜勒
• the Protectorate of
• the Western Regions 西域都护府
• Guizi 龟兹（丘兹）
• pomegranate 石榴
• alfalfa 苜蓿
• huqin 胡琴
• Shule （喀什）疏勒
• Daqin 大秦（罗马）

Questions: 1. What does “the Western Regions” refer to? 2. What was the relationship between the Darouzhi and the Xiongnu like? 3. Why was Zhang Qian sent on his western expedition? 4. Why was Zhang Qian’s journey to the Darouzhi a treacherous one? 5. How long did it take Zhang Qian to finish his first expedition? What role did Kanfu play? 6. How important was the information that Zhang Qian got to the conquest of “the Western Regions”? 7. In military and political terms, was Zhang Qian’s second expedition a success? 8. How important were Zhang Qian’s expeditions in cultural terms? 9. How important was the Silk Road to the exchanges between China and the West?

136 罗彬 Luó Bīn Silk Road - by land and by sea: Zheng He's Voyages

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136. Silk Road – by land and by sea: Zheng He’s Voyages

From 1405 to 1433, the Chinese imperial eunuch Zheng He led seven expeditions to the coastal territories and islands in and around South China Sea, the Indian Ocean, and beyond for the Ming emperor which is an unprecedented feat in world history. (English Encyclopedia Treasure Voyages)

Zheng He Zheng He was born Ma He to a Muslim family in the far southwest, in today's Yunnan province. It is said that his original surname is Ma, his full name as Ma Sanbao . At ten years old he was captured by soldiers sent there by the first Ming emperor intent on subduing the south. (Baidu Encyclopedia Zheng He)

He was sent to the capital to be trained in military ways. Growing up to be a burly, imposing man, over six feet tall with a chest contemporaries said measured over five feet around, he was also extremely talented and intelligent. He received both literary and military training, then made his way up the military ladder with ease, making important allies at court in the process. Besides Zheng He has a background of both Buddhism and lslam. Thus, he was assumed as the perfect choice to lead the emperor’s splendid armada. (Ye Lang 2008, 116)

Reasons for the voyages The Yongle Emperor sent Zheng He to the “Western oceans”, both to demonstrate the might of the Ming Empire and to realize the diplomatic ideal of peace and harmony among all nations. Zheng He's fleet manifested the prosperity , the imperial power , its advanced navigation technologies and exquisite ship-building techniques of China at that time , thus many small countries and bribes agreed to recognize China as their superior and its emperor as lord of “all under Heaven”. These countries and bribes regularly gave gifts of tribute in exchange for certain benefits , like military posts, treaties and licence to trade. (Qian Zhiqian 2005, 93) During the voyages , Zheng He's fleet did not act as a sea ruler, but appeared in peace all over the world, laden not only with goods exchanged with those countries, but also with the friendship of peoples. (Ye Lang 2008, 120)

These expeditions were astonishing as much for their distance as for their size: during the first one, Zheng He traveled all the way from China to Southeast Asia and then on to India, all the way to major trading sites on India's southwest coast. The first expedition of this mighty armada was in 11th July of 1405, composed of 317ships and perhaps as many as sixty huge Treasure Ships and nearly 28000 men with thousands of soldiers , sailors , diplomatic specialists , medical personnel, astronomers and scholars. The fleet stopped in Java and then arrived at Ceylon (today’s Sri Lanka ). Compared to the first one, the second voyage(1407-1409) was smaller with only 68ships sending foreign envoys back home. (Zhen Hesheng, Zhe Yijun 1983, 38)

Zheng He led the third voyage (1409-1411) visiting many of the same countries as the first one did, like Champa and Java. When fighting broke out there between his forces and those of a small kingdom, Zheng put down the fighting, captured the king and brought him back to China where he was released by the emperor and then returned home duly impressed. (Baidu Encyclopedia Zheng He's Voyages to the Western Oceans) The fourth voyage (1413-15) extended the scope of the expeditions even further. This time in addition to visiting many of the same sites, Zheng He commandeered his 40 ships and over 28, 000 men to Hormuz on the Persian Gulf. This trip has 48 ships with doctors , officials , translators and more than 27000 troops . The fifth voyage (1417-1419) was primarily a return trip for seventeen heads of state from South Asia. They had made their way to China after Zheng He's visits to their homelands in order to present their tribute at the Ming Court. (Baidu Encyclopedia Zheng He's Voyages to the Western Oceans)

The sixth voyage began in 1421 and lasted for nearly two years. Then the expeditions were halted due to the death of the Yongle emperor. It sailed to many of the previously visited Southeast Asian and Indian courts and stops in the Persian Gulf, the Red Sea, and the coast of Africa, principally in order to return nineteen ambassadors to their homelands. Zheng He returned to China after less than a year, having sent his fleet onward to pursue several separate itineraries, with some ships going perhaps as far south as Sofala in present day Mozambique. (Baidu Encyclopedia Zheng He's Voyages to the Western Oceans)

The seventh and final voyage (1431-33) was sent out by the Yongle emperor's successor, his grandson the Xuande emperor. This expedition had more than one hundred large ships and over 27, 000 men, and it visited all the important ports in the South China Sea and Indian Ocean as well as Aden and Hormuz. One auxiliary voyage traveled up the Red Sea to Jidda, only a few hundred miles from the holy cities of Mecca and Medina. It was on the return trip in 1433 that Zheng He died and was buried at sea, although his official grave still stands in Nanking, China. Nearly forgotten in China until recently, he was immortalized among Chinese communities abroad, particularly in Southeast Asia where to this day he is celebrated and revered as a god. (Zhen Hesheng, Zhe Yijun 1983, 43)

Terms and expressions

• The Yongle emperor 永乐皇帝（明成祖）
• Java 爪哇
• Ceylon 锡兰（今斯里兰卡）
• Champe 占城（印度支那古国）
• Hormuz 霍尔木兹
• The Persian Gulf 波斯湾
• Medina 麦地那市（沙特阿拉伯西部城市）
• Mecca 麦加 （穆斯林圣地）

Questions 1. What was Zheng He like? 2. Why did the Yongel Emperor sent the armada to the “Western oceans”? 3. How many people did Zheng He bring at the first voyage , and what did these people do? 4. Why did the expeditions stopped during the 1423-1430? 5. The last trip was sented by?

References Ye Lang 叶朗. 中国文化读本[A book of Chinese Culture][M]. 北京, 2008, 115-123. Qian Zhiqian 钱志乾. 试论郑和下西洋的主要目的[On the purpose of Zheng He's Voyages to the Western Oceans] [J]. 江西社会科学, 2005, (02):90-94. Zhen Hesheng, Zhe Yijun郑鹤声 , 郑一钧. 郑和下西洋简论[A brief Introduction of Zheng He's Voyages to the Western Oceans] [J]. 吉林大学社会科学学报, 1983, (01):36-48. [Baidu Encyclopedia]百度百科. 郑和 [Zheng He] [Baidu Encyclopedia]百度百科. 郑和下西洋 [Zheng He's Voyages to the Western Oceans] [English Encyclopedia]英语百科. 郑和下西洋[Treasure Voyages]

Session 9 OD Sun Apr 26 8:00-9:40 room 603

Session 9: Student presentations

167 王晨 Wáng Chén（PPT） History: Wang Shouren

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167. History:Wang Shouren

Brief Introduction WangShouren (1472-1529), originally known as Wang Yun, also named Wang Yangming, was born in Yuyao, Zhejiang Province. Wang was the son of Wang Hua, the Minister of Nanjing Ministry of officials.Wang Shouren was an outstanding thinker, litterateur, militarist and educator in the Ming Dynasty. In 1499, he was admitted as a jinshi and served as the minister of punishment. He was appointed as the yicheng of Longchang in Guizhou, the county magistrate of Luling, the imperial censor of Youjin capital, the grand coordinators of southern Jiangxi provinces, the governor of Guangdong and Guangxi provinces, the minister of Nanjing Military Department, and the imperial censor of left capital in his political career. He successively pacified the banditry and chaos of southern and Jiangxi provinces, Guangdong and Guangxi provinces, and the chaos of Zhu Chenhao, and was granted the title of new earl. He became one of the three literary ministers who won the title of nobility by virtue of military exploit in the Ming Dynasty. He died in 1529，at the age of 57.

The basic course of the development of the philosophy of the mind in the Ming Dynasty can be summarized as follows: Chen Xianzhang started, Zhan Ruoshui improved, and Wang Shouren integrated. Wang Shouren's Yangming School of mind was later spread to Japan, Korea and other countries. Its disciples are numerous and are known as "Yaojiang school" in the world. His article is broad and prosperous, and there is a free and easy spirit between the lines. His Complete Works of Duke Wang Wencheng was handed down from generation to generation.

Longchang Enlightment In the winter of 1506, the eunuch Liu Jin was in charge of political affairs, and arrested more than 20 people for no reason, including the imperial censor of Nanjing. WangShouren was angry with Liu Jin for his wrongdoing of innocent people. He was demoted to Guizhou Longchang (70 miles northwest of Guiyang) as the manager of Longchang post. At the same time, his father, Wang Hua, was also driven out of Beijing and transferred to the position of minister of Nanjing. During the journey, WangShouren was hunted by Liu Jin, and he forged a diving suicide to avoid being robbed. WangShouren escaped the hunt and secretly went to Nanjing to meet his father Wang Hua. Wang Hua said to him, "since the imperial court has appointed you, you have the responsibility. You'd better take office." Then he set out on his way to Longchang, Guizhou, where "thousands of mountains are thin and Miao and Liao live together". At that time, Longchang was still an uncivilized area. WangShouren was not discouraged. He taught the local people according to their customs and was supported by the people. During this period, he had a new understanding of the central idea of the University. WangShouren realized that "the way of saints is self-sufficient, and those who seek reason from it are wrong." During this period, he wrote "dogma to show all the students in the Longchang", which is called "Longchang Enlightenment" in history.

Unity of Knowledge and Practice In 1508, WangShouren, the master of philosophy of the mind, gave a lecture at Guiyang Civilization Academy, and put forward the theory of unity of knowledge and Practice for the first time. The so-called "unity of knowledge and practice" is not the relationship between general knowledge and practice. "Knowledge" mainly refers to people's moral consciousness and ideology. "Practice" mainly refers to people's moral practice and practical action. Therefore, the relationship between knowledge and practice refers to the relationship between moral consciousness and moral practice, and also includes the relationship between some ideas and practical actions. WangShouren's thought of "unity of knowledge and action" includes the following two meanings.

1. There is practice in knowledge, and there is knowledge in practice. WangShouren believes that practice and knowledge is one thing and cannot be divided into two parts. "Practice and knowledge are two words,but be mentioned at the same time". From the perspective of moral education, WangShouren strongly opposes the disconnection between knowledge and practice and "knowledge but not practice" in moral education, and prominently attributes all morality to the conscious practice of individuals, which is of positive significance. Because from the perspective of moral education, moral consciousness is inseparable from moral behavior, and moral behavior is inseparable from moral consciousness. The two are inseparable from each other. Knowledge must be manifested as practice, and failure to do so cannot be regarded as true knowledge. Moral cognition and moral consciousness must be manifested in moral behavior. If we do not practice, we cannot be regarded as attaining true knowledge. WangShouren believes that conscience can do nothing but practice consciously, that is, knowledge. This is undoubtedly profound.

2. Knowing is practicing, knowing decides practicing. WangShouren said ,"knowledge is the idea of practice, practicing is the process of knowing; knowing is the beginning of practicing, and practice is the accomplishment of knowledge". It means that morality is the guiding ideology of human behavior, and acting according to the requirements of morality is the time to reach "conscience". The idea activity under the guidance of morality is the beginning of behavior, and the behavior conforming to the requirements of moral norms is the completion of "conscience".

Achievements WangShouren opposes regarding Confucianism of Confucius and Mencius as unchanging commandments, and opposes blindly obeying feudal ethics. Instead, he emphasizes personal initiative. The philosophical proposition of "bringing conscience" and the methodology of "unity of knowledge and practice" put forward by him have the significance of breaking through the feudalistic ideas and calling for the liberation of thought and personality. Wang Shouren received a wide range of disciples to publicize his ideas, which was known as "Yangming school" (also known as "Yaojiang school"). His works, including 38 volumes of the Complete Works of Duke Wang Wencheng , were appraised by the academic circles as the earliest enlightenment philosophy in the late feudal medieval society of China. In terms of calligraphy, WangShouRen's calligraphic works are mainly cursive. His calligraphy was mainly based on Wang Xizhi, and also on the bone techniques of Ouyang Xun and Huang Tingjian. He integrated the philosophy of the mind into calligraphy, which enriched Chinese calligraphy theory. His main works are "University Questions", " Complete Works of Duke Wang Wencheng" and "Chuanxilu ". His works are included in the History of the Ming Dynasty and The Finest of Ancient Prose.

Terms and Expressions 1.jinshi进士 2.minister of punishment刑部尚书 3.yicheng of Guizhou Longchang贵州龙场驿丞 4.magistrate of a county知县 5.the imperial censor of Youjin capital右佥都御史 6.grand coordinators巡抚 7.governor总督；明初在用兵时派往地方巡视监察的官员;清朝始正式成为地方最高长官,一般管辖两省的军事和政治,也有管三省或只管一省的 8.the minister of Nanjing Military Department南京兵部尚书 9.pacify平定 10.banditry土匪行为(或活动) 11.Zhu Chenhao朱宸濠 12.new earl新建伯 13.literary minister文臣 14.military exploit军功 15.Chen Xianzhang陈献章 16.Zhan Ruoshui湛若水 17.Yaojiang school姚江学派,即阳明学派(明朝中晚期的主流学说) 18.Longchang Enlightment龙场悟道 19.Liu Jin刘瑾 20.take office上任 21.University《大学》 22.unity of knowledge and practice知行合一 23.Guiyang Civilization Academy贵阳文明学院 24.Confucianism of Confucius and Mencius孔孟之道 25.Complete Works of Duke Wang Wencheng《王文成公全书》 26.Wang Xizhi王羲之 27.Ouyang Xun欧阳询 28.Huang Tingjian黄庭坚 29.University Questions《大学问》 30.Chuanxilu《传习录》 31.History of the Ming Dynasty《明史》 32.The Finest of Ancient Prose《古文观止》

Questions 1. What is the basic course of the development of the philosophy of the mind in the Ming Dynasty? 2. Where did Wang Shouren comprehend the philosophy of mind? 3. What theory did WangShouren put forward when he gave lectures in Guiyang? 4. What does WangShouRen think is the relationship between knowledge and action? 5. What is the historical significance of the unity of knowledge and action?

References 1. 王阳明, 《传习录》;中州古籍出版社2008年1月 2. 《明史》 列传第八十三 王守仁传,国学网[引用日期2014-01-21] 3. 当年明月．《明朝那些事儿》：浙江人民出版社，2011年11月第1版 4. 杨嵘 编著．《王阳明大全集》．北京：中国华侨出版社，2011年 5. 余姚历史人物——四大先贤 ．浙江在线[引用日期2020-08-20] 6. 《王守仁》，中国网[引用日期2014-01-20]

145 石慕予 Shí Mùyǔ Traditional Crafts: Shu Embroidery (Sichuan Embroidery)

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145. Shu Embroidery (Sichuan Embroidery)

Introduction "Shu" was a beautiful and rich land in Chinese ancient times. In the book Origin of Chinese Characters(Shuo Wen Jie Zi), it explained that the character "Shu" looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character "Shu" also had the image of silkworm, which obviously expressed the relationship between "Shu" and silkworm. What's more, there were many legends that showed that Shu was the birthplace of silkworms and the kingdom of silk. For thousands of years, the silk civilization of ancient Shu bred advanced silk weaving technology, which not only provided raw materials——silk and silk threads for Shu Embroidery, which laid a solid foundation for the development of Shu embroidery; but also created an industrial and cultural environment for the development and prosperity of Shu embroidery. (Zhao Min 2011)

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

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

The hedonics of the emperors of the Song Dynasty greatly stimulated the demand for embroidery and promoted its development. And affected by Central Plains Embroidery School, people tended to pay more attention to the decoration and artistry of Shu embroidery rather than its practicality. Therefore, a large number of Shu embroidery were created on the basis of calligraphy and paintings of celebrities in the Song Dynasty. In the Ming Dynasty, in order to restore economy, Zhu Yuanzhang took effective measures to develop industry and commerce. Thanks to this, traditional textile technology had developed by leaps and bounds. Especially cross-stitch work and drawnwork were appreciated by civilians for their durability. In the Qing Dynasty, the industry of Shu embroidery gradually developed from home handmade to market-oriented management. In the late Qing, Shu embroidery formed a production and sales distribution center in Chengdu. With the improvement of the quality and quantity of Shu embroidery, a large number of works were spread overseas, which greatly enhanced the popularity of Shu embroidery in the world. Although various wars in modern times had a huge impact on Shu embroidery, and its skills had once been on the verge of extinction, after the foundation of new China, Chinese government attached great importance to the revival of Shu embroidery. Construction of a large number of technical centers and cultural bases helped to maintain the cultural treasure for generations. (Zhao Min 2011 3-6).

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

Characteristics 1. Material Selection The materials used in Shu embroidery are especially carefully selected, the base material is usually silk soft satin, the embroidery thread is silk thread, and there are two strands in one thread, eight silk threads in one velvet. Generally, Shu embroideries are made of silk, satin, spun silk, yarn and crepe, and the threads and materials used vary according to the needs of the embroideries. (Xia Fangsheng 2020)

The materials used in Shu embroidery are especially carefully selected, the base material is usually silk soft satin, the embroidery thread is silk thread, and there are two strands in one thread, eight silk threads in one velvet. →The materials used in Shu embroidery are especially carefully selected. The base material is usually silk soft satin, the embroidery thread is silk thread, and there are two strands in one thread, eight silk threads in one velvet.

2. Embroidery Techniques According to statistics, there are 12 categories of stitches and more than 130 kinds of stitches in Shu embroidery, which is the richest among the four famous embroideries, and the 70 processes of exquisite "Yi Jin Thread" are even unique to Shu embroidery. Commonly used stitches include halo stitch, needle laying, needle rolling, needle cutting, needle blending, needle covering, etc. Halo stitch is one of the basic techniques of Shu embroidery and is often used to express the texture of the work, reflecting its light, color and shape, so that the embroidered work comes to life. There are single-sided embroidery, double-sided embroidery and double-sided triple-variant embroidery, among which double-sided triple-variant embroidery is the highest and most difficult expression of Shu embroidery techniques. (Wu You 2020)

3. Classic Patterns The themes of Shu embroidery works are mostly beautiful and auspicious objects, such as dragon and phoenix symbolizing nobility, mandarin ducks symbolizing a happy couple, butterflies symbolizing happy love, hibiscus flowers symbolizing prosperity and wealth, and carp symbolizing luck and good fortune. What's more, Shu embroidery also often features rare animals unique to Sichuan, such as the panda and the golden snub-nosed monkey. (Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong 2018))

4. Color Matching There are four basic color matching methods in Shu embroidery, namely the overlay color matching method, the single-color matching method, the upper five-color matching method and the lower five-color matching method. The first two color schemes are used to produce a simple and generous work with consistency and coherence. The upper color scheme is bright and vivid, while the lower color scheme is quiet, elegant, and not too bright. (Hang Jianqin 2017)

Current Situation and Inheritance Although Shu embroidery is one of the four famous embroideries, it is much lower than Su embroidery and Xiang embroidery in terms of domestic consumption and foreign export sales. At present, most of the enterprises engaged in the creation of Shu embroidery are small in scale, with insufficient brand influence, backward talent training mechanism, and the problem of talent gap is prominent. Most of the embroideries on the market are mainly handicrafts, but there are few practical items. (Yang Dequan 2020) For Shu embroidery to have a breakthrough, it should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies. By developing Bashu culture, preserving Shu embroidery works and nurturing back-up talents, Shu embroidery is thus consistently protected and inherited. (Xue Xiaoqian Li Qiju 2015. 07. 15)

References Zhao Min赵敏. (2011). 古蜀丝绸文明[Ancient Shu Silk Civilization]. 中国蜀绣Chinese Shu Embroidery, 四川科学技术出版社, 2011. 05, 1-50 Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6), 2020 Wu You吴忧(2020). 蜀绣纹样在文创产品中的创新性应用[Innovative Application of Shu Embroidery Patterns in Cultural and Creative Products]. 《西部皮革》Western Leather(3) 2020 Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong吴楠 王康建 陈政 刘才容 曾蓉 徐曼玲 朱利容(2018) 蜀绣纹样的美好寓意[The Bautiful Symbolism of Shu Embroidery Patterns]. 《纺织科技进展》Advances in Textile Science and Technology(12), 2018 Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2), 2017 Yang Dequan杨德全(2020)《现代艺术》"文艺百家"工程·文艺讲坛Modern Art" "100 Artists of Literature and Art" Project - Literature and Art Forum(7), 2020, 110-115 Xue Xiaoqian Li Qiju薛晓倩 李奇菊(2015) 浅谈蜀绣历史发展与保护[A Brief Introduction to the Historical Development and Conservation of Shu Embroidery]. 《民俗民风》Folk customs and folkways, 2015. 07. 15 87-88

Terms and Expressions Origin of Chinese Characters 说文解字 central Plains Embroidery School 中原绣派 cross-stitch work 挑花 drawnwork 抽纱绣 cottage handmade 家庭手工制作 market-oriented management 市场化经营 subject mater 题材 silk 绸 satin 缎 spun silk 绢 yarn 纱 crepe 绉 Stitch 针法 single-sided embroidery 单面绣 double-sided embroidery 双面绣 double-sided triple-variant embroidery 双面三异绣 the overlay color matching method 套色配色法 the single-color matching method 单色配色法 the upper five-color matching method 上五彩配色法 the lower five-color matching method 下五彩配色法 back-up talents 后备人才

Questions 1. When and where did Shu embroidery came into being? 2. What are the common used stitches of Shu embroidery? 3. What are the classic patterns of Shu embroidery? 4. How should Shu embroidery be inherited?

Session 10 MW Fri May 10 8:00-9:40 room 603

Session 10: Student presentations

147 赵欣雨 Zhào Xīnyǔ ppt Traditional Crafts: Folk Art - Chinese Paper-cutting

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147. Traditional Crafts: Folk Art - Chinese Papper-cuttting 剪纸

Introduction With a long history, the Chinese paper-cutting could be dated back to 2000 years ago according to the archaeological records. It originated in ancient ancestor worship activities in which people pray for their ancestors and gods. Later, with the widespread paper-cutting techniques and people’s growing love, it gradually served as the decorations for the doors, walls, mirrors, lanterns and so on. Nowadays, paper-cutting has already become an integral part of Chinese traditional culture and serves as a window of the Chinese folk culture. (Jiao Youtian 2016, 3)

History The skill of cutting and carving appeared way before the invention of paper, and a number of materials, from the bark, leaves and animal skin, to later silk, were cut into certain shapes to decorate things, which laid a solid foundation for the art of paper-cutting. (Li Youyou, Zhang Jingjuan 2015, 7) As the paper is not easy to preserve, few of the paper works could survive to modern times. “The earliest such work surviving are five examples dating from the Northern Dynasties period (386-581), unearthed in Turfan, in the Xinjiang Uygur Autonomous Region. ” (Lu Zhongmin 2002, 8) In the Tang dynasty the custom of paper-cutting began to be popular, and the handicraft man cut paper to different shapes, each given a special name. Namely, the shape of square was named “Fangsheng”, the flower-shaped “Huasheng”, the people-shaped “Rensheng”. Two pieces of “Huasheng”, which were the remains in the Tang Dynasty, are preserved now in Shōsō-in in Japan. (Li Youyou, Zhang Jingjuan 2015, 7-8) By the Song Dynasty, with the prosperous economy and culture, in addition to daily decoration, paper-cutting was used in other crafts such as porcelain and blue calico. (Li Youyou, Zhang Jingjuan 2015, 8) The art of paper-cutting became mature in Yuan, Ming, and Qing dynasties. There emerged well designed paper-cutting works in the Yuan dynasty, and collectors began to collect paper-cutting as artworks. By the Ming Dynasty, the application of paper-cutting became even wider, with clip gauze lantern as a representative. It is a lantern with paper-cutting clipped in, candlelight reflecting the pattern. (Li Youyou, Zhang Jingjuan 2015, 8) Since its birth, the art of paper-cutting has never been interrupted. In its long history, it evolved with pottery, printing, dyeing, and other forms of art, being an indispensable part of people’s life. (Li Youyou, Zhang Jingjuan 2015, 8) Five Regions The distribution of Chinese folk paper-cutting, combining with the historical changes, geographical and ecological environment changes, cultural development differences, and so on, can be divided into five regions. (Wang Minbo 2006, 106) Northeast Changbai Mountains region: It mainly covers the Changbai Mountain area in Heilongjiang Province and Liaoning Province. As the birthplace of the nation of Man, the paper-cutting here herited the culture and customs of Man. (Wang Minbo 2006, 106) Yellow river basin region: With the north of Shaanxi' paper-cutting as the center, it is simple but more expressive because of its rough lines and designs. (Wang Minbo 2006, 106) Yangtze River basin region: It covers paper-cutting in the Provinces of Sichuan, Hubei, Hunan and Jiangsu. Influenced by folk farming culture and the Confucian culture in the Han dynasty, paper-cutting in this region is in the rough in shape but bears a sense of delicacy. (Wang Minbo 2006, 106) Southeast coastal region: It is highlighted by the paper-cutting of Zhejiang and Fujian Provinces. Paper-cutting in this region, with a richer life, especially in Jinhua, Zhejiang Province, and Foshan, Guangdong Province, have their own features in the history of cultural development. The vein is also more distinct, and it tends to be elegant and commonly appreciated. (Wang Minbo 2006, 106) Southwest minority region: It is characterized by paper-cutting in the minorities in Provinces of Yunan and Guizhou. Many paper-cuttings are combined with embroidery patterns. The religious beliefs of this region obviously involved in the art of paper-cutting. (Wang Minbo 2006, 107) Categories There are various ways to make paper-cutting works, including folding paper-cutting, smoked paper-cutting, color-blocking paper-cutting, and copper-lined paper-cutting, but the most common ones are mono-colored and dot-colored. (Li Youyou, Zhang Jingjuan 2015, 8) Mono-colored paper-cutting refers to paper-cuttings cut or curved with a single-colored paper, mostly in red. The Chinese revered red since ancient times, and whenever there are grand celebration ceremonies or festivals, red is the main color, demonstrating warmth, passion, brightness, and happiness. Besides red, mono-colored paper-cutting is also available in black or other colors, which are used according to different circumstances, among which white paper-cutting is mostly used, as it could serve as the base sample for embroidery. (Li Youyou, Zhang Jingjuan 2015, 8) Dyed paper-cutting is also called dotted paper cuttings. The handicraftsman would mostly choose Xuan paper as the material, a kind of thin white paper that absorbs water easily. Twenty or thirty pieces of such paper are put into a pile and the pattern is carved out with a knife. Then the mass of paper is dyed. The colors become rich and elegant after dying, with endless changes and a strong local flavor. The dyed paper-cutting is mainly found in Hebei, Shanxi, and Guangdong Provinces, among which the dotted paper cuttings in the Wei County, Hebei owns a very unique style. (Li Youyou, Zhang Jingjuan 2015, 8) Themes Folk paper-cutting has a wide range of subjects, including auspicious patterns, historical allusions, mythological dramas, landscapes, flowers, birds, fish and insects, twelve zodiac animals, pavilions, totem worship, and religious beliefs. Its connection with the major festivals and traditional customs finds its full expression in every aspect of life. Paper-cutting is an essential folk activity in the villages. Traditionally, on the 23rd day of the twelfth lunar month, women "drop their hoes and pick up scissors to cut papers"; on the 28th, flowers are pasted on the windows. On this day, every family paste window decorations, new year’s pictures, and Spring Festival couplets to create a lively environment for the new year. (Li Youyou, Zhang Jingjuan 2015, 8) It is the rural working women who design and create the majority of the delicate paper-cuttings. When they are five or six years old or seven or eight years old, they begin to follow their mothers and grandmothers to learn paper-cutting. Mothers would pass on their treasured paper-cutting patterns to their daughters and daughters-in-law as family heirlooms. This is how China’s folk paper-cutting has been passed down from generation to generation. They devoted themselves to the paper-cutting that are rich in connotations such as prosperity, peace and good fortune, happiness, health, and longevity. It is the inheritance of this spirit that has enabled the art of paper-cutting to last for thousands of years. (Li Youyou, Zhang Jingjuan 2015, 9)

References Jiao Youtian. 矫有田. (2016). 中华剪纸绝艺 [Chinese paper-cutting]. 济南：济南出版社 Jinan: Jinan Press. Li Youyou, Zhang Jingjuan. 李有有&张静娟. (2015). 剪纸 [paper-cut]. 北京: 中国旅游出版社 Peking: China Travel & Tourism Press. Lu Zhongmin. (2002). Folk Handicrafts. Peking: Foreign Language Press. Wang Minbo. 王敏伯. (2006). 中国民间剪纸史 [The History of Chinese Folk Paper-cut Arts]. 杭州: 中国美术学院出版社 Hangzhou: China Academy of Art Press. Terms and Expressions color-blocking paper-cutting 拼色剪纸 copper-lined paper-cutting 铜衬剪纸 dyed paper-cutting 点染剪纸 mono-colored paper-cutting 单色剪纸 smoked paper-cutting 熏样剪纸 Shōsō-in 正仓院 Spring Festival couplets 春联 totem worship 图腾崇拜 Turfan 吐鲁番

Questions 1. Where did people found the earliest paper-cutting in China? 2. How many regions the distribution of Paper-cutting can be divided into? 3. Which two types of paper-cutting are the most common ones? 4. What could be the themes of the paper-cutting?

176 刘欣雨 Liú Xīnyǔ ppt Traditional Crafts: Handcraft - Oil-paper Umbrella

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176. Traditional Crafts: Handcraft - Oil-paper Umbrella

History The spread of oil-paper umbrellas was started by the invention of Yun, wife of Lu Ban. "Chop bamboo sticks to thin strips, covered in animal fur, closed to become a cane, opened as a cone." Early umbrella materials were mostly feathers or silks, later replaced by paper. When oil-paper umbrellas first appeared is unknown. Some estimate that they spread across to Korea and Japan during the Tang dynasty. It was commonly called the "green oil-paper umbrella" during the Song dynasty. The popularity grew and the oil-paper umbrella became commonplace during the Ming dynasty. They are often mentioned in popular Chinese literature. By the 19th century, oil-paper umbrellas were a common item in international trade under the name kittisols.

Basic production process The production process and required procedures are different in each region. However, in general, they can be divided into four main steps: 1.Bamboo is selected. 2.The bamboo is crafted and soaked in water. It is then dried in the sun, drilled, threaded and assembled into a skeleton. 3.Washi paper is cut and glued onto the skeleton. It is trimmed, oiled, and exposed to sunlight. 4.Lastly, patterns are painted onto the umbrella. Oil-paper umbrella in customs and cultural ceremonies

Hakka marriage and bride dowry In traditional Hakka marriages, the bride's parents must pay dowry to the husband's family, in which oil-paper umbrella is one of the required dowries. "纸" (Paper) is a homonym for "子" (sons) in Chinese, for the connotation of having sons early. The character "傘" (umbrella), contains five "人" (man) with the connotation of many sons and grandsons. Oil-paper umbrella is straight up, with the symbol to eradicate evil spirits. The circular appearance symbolizes "fullness" connotation of a beautiful marriage. And since the umbrella itself can shield rain and the wind, thus prohibiting evil spirits from entering in. Other dowries that come with the oil-paper umbrella include five colored pants, make up the table, door curtain, and boxes. In wealthier families, dowries could include god and jewelry or high-quality cloth or blankets. In addition, bride family would give vegetables that have homonym with positive words such as 芹菜, 大蒜, 香葱, 韭菜 that are then tied with red rope given as gifts to the husband's family.

Hakka second burial funerals Since many of the Hakka populations are in the mountainous areas of China, most corpses are buried on the mountains. Initially, Hakka people do not put up a gravestone, however, after the second time the corpse is buried (usually 3–5 years later), the additional grander ceremony is added. When buying, usually in the eighth month of the Chinese calendar, an experienced burial master is hired to dig the old burial and enter the clean bones for an official and permanent burial at the exact spot. The oil-paper umbrella is used to cover the bones while they are being cleaned.

Hakka dance ceremony "Umbrella Dance" is one of the traditional dances of the Hakka culture, during the ceremony, the dancer must be holding a paper umbrella and wearing a blue shirt (traditional Hakka Clothing). Hakka Dance Ceremony is an important part of the Hakka Culture along with "tea leaf drama" and "mountain song".

Engagement present of the Yao people In the population of Yao located in Longhui County of Hunan, oil-paper umbrella is used as an engagement present by the men side. When a consensus is built between the two families, the family of the man's side would hire an experienced man to propose a marriage in the woman's house. The first propose does not require any gift but only the permission of the parents of the bride. During the day of engagement, the man's side needs to bring an oil-paper umbrella to the woman's house and place it on the sacred table located in the house; the bride must take the umbrella from the table personally and close the umbrella that is stitched with 12 triangles. Then the experienced man must bring the oil-paper umbrella back to the husband's house for the proof of a successful engagement. On the way back, the experienced man must not open the umbrella himself. If a divorce is made later, the husband must return the string on the stitch back to the bride.

Funerals of the Dai people Dai people located in Yunnan use a special type of paper called "嘎拉沙" (Garcia) to make oil-paper umbrella, which is brushed with sesame oil. The Dai believe that the umbrella could lead the dead to heaven. This type of umbrella is still available in a village today.

Oil-paper umbrellas in China The art of the Chinese style of oil-paper umbrellas are mostly focused on traditional black and white Chinese painting such as flowers, birds, and scenery. Others include scenes from famous Chinese literature, such as Dream of the Red Chamber and Romance of the Western Chamber. Yet, some have Chinese calligraphy instead of paintings. However, traditional colors are kept on the sticks and the scaffold of the umbrella to maintain the antiquity.

Yuhang, Zhejiang In Yuhang District, Zhejiang, oil-paper umbrellas have been produced since the era of the Qianlong Emperor (1769), by Dong Wenyuan, who owned an umbrella shop. Oil-paper umbrellas in Yuhang are made with high mechanical skills and top materials, which provide their endurance. Prolonged exposure to sunlight and rain does no damage, thus their popularity among common people. Many travelers who passed through Yuan would buy umbrellas from Dong Wenyuan's umbrella shop as souvenirs for friends and relatives. Oil-paper umbrellas in Yuhang are available in a variety of different types and purposes, including those used for fishing or as collectibles. In 1951, Zhejiang province has chosen Yuhang as the focused point of the industrial artifact for oil-paper umbrellas and initiated a group for this establishment in 1952. The later established "Artifact Rain Umbrella Industry Co-operations" was the first industry of artifacts in Zhejiang province. This establishment was once in the spotlight of the Chinese media, however, as the popular metallic umbrella appeared on the market and oil-paper umbrellas have faced extinction. On December 5, 2006, artisan Liu Youquan met a government official of the Yuhang district and proposed to recover the oil-paper umbrella in Yuhan, with the intention of starting a new pop culture trend and increase local wealth. Liu spent a few hundred RMB and bought some dozens of the bamboo umbrella from a bamboo umbrella factory. But Liu did not have the skills, only to keep these as a "canvas" for 30 some years. A local media reported for a search of an oil-paper umbrella artisan and increased local awareness. Four days later, four artisans: Fang Jinquan, Chen Yue Xiang, Shen Lihua, and Sun Shuigen prompted and have intentions to recover the art (drawing oil paintings on the bamboo umbrella). They have passed their skills and technique to some local bamboo farmers and brought income to them. The governmental officials of Yuhang have listed this art for major protection and important antique artifact (Antiquities Act[1]). Production requires skilled hands and technique as well as personal experience. Training to become a master in oil-paper umbrella manufacture requires an apprenticeship and a great deal of practice. Apprentices must practice the skills for three years to officially master this technique. Tools are made by professional blacksmiths. The material of the umbrellas is chosen with care. The umbrella scaffold is made from either bamboo or wood, tied with hair strings. The best umbrellas are made from peach flowers, as the umbrella surface is soaked in persimmon pigment. The persimmon pigment is made from fermenting the juice of green persimmons,[2] which provides a suitable stickiness. The soaked flower petals are stuck to the umbrella scaffold one by one. Paintings or pictures are drawn on the peach flower petals prior to painting tung oil on top. The finalized umbrella is left to dry in a dry dark room. It requires at least 70 steps to produce a well-crafted oil-paper umbrella.

Hunan Oil-paper umbrellas in Changsha, Hunan province date back to about 100 years, the earliest oil-paper umbrella shop is 陶恒泰纸伞店, Which is named after Tao Jiqiao, who established the shop during the Qing dynasty. In 1900, Liang Jingting, who worked in an umbrella shop in Changsha opened his own umbrella shop called the Lianghongfa San. It produces the old type of oil, black ink umbrella. The beautiful name Xiangtan Muji Jing Gang You San is attributed to its fine features and endurance. In 1921, the Pan Kuiqing (潘馈清) brothers started a factory called Feifei San (菲菲伞) that mass-produces umbrella skin paper. The umbrella skin it produced included traditional flowered ones and many other pictures, these umbrellas were exported to Hong Kong, Macau and South East Asia. The umbrella was awarded in a Chinese exhibition in 1929. The highest production rate was thirty thousand per year, until February 1975 when Jing Gang Yusan She(靖港雨伞社; jìng gǎng yǔsǎn shè) was abolished, and Taohengmao (陶恒茂) oil-paper umbrella production was terminated. The raw materials of the Changsha oil-paper umbrella are skin paper, bamboo, cotton silk, rope, tung oil, persimmon water, pigment, cow horn, and wood. The umbrellas produced by Taohengmao are especially fine-featured and commit to abide by the traditional production methods with strict materials.

Taiwan Oil-paper umbrella production in Meinong initiation has two rumors.One was that it started during the Japanese rule, during which, Lin Agui and Wu Zhenxing invited oil-paper umbrella artisans from mainland China to Taiwan for the purpose of passing the skills to the locals.The other was that oil-paper umbrella artisan Guo (郭玉琴) have arrived in Taiwan from Guangdong province. Since then, he had permanently stayed in the Meinong district and spread the skills locally. Early Meinong oil-paper umbrella factor was called "廣" (pronounced "Young") for connotations of wealth, wide and progression. In 1960, oil-paper umbrella, tobacco leaves, and rice were Meinong district's major income sources. At that time, it was the renaissance of oil-paper umbrella. It was estimated that there were at least twenty factories producing twenty thousand oil-paper umbrellas annually. However, with the rapid industrialization in Taiwan, mechanically produced Western umbrellas have replaced them in attribute to low cost, longevity, and portability. Taiwan has become the key country of Western umbrella production and forced many traditional handmade oil-paper umbrella factories out of business. In 1970, an English journal used the Goung (广进胜) oil-paper umbrella pioneer, Lin Xianglin and his umbrella as the magazine cover, along with a detailed article on the culture and production of oil-paper umbrella. BBC have also included a series of recording of the oil-paper umbrella called the "Long Search". In addition, 1983, famous Hakka movie producer, Lin Fu-De, have incorporated the oil-paper umbrella into his drama, Star Knows My Heart. When the drama was played in the Japanese television, Taiwanese oil-paper umbrella gained impression in the Japanese, who have ordered a large quantity for imports. After 1980, with the increase of Taiwan overall financial status, Meinong's increased tourism, oil-paper umbrella have recovered its utility in the daily life along with its value as a local culture and travel souvenir. Oil-paper umbrellas in foreign countries

Japan Oil-paper umbrellas are often known in Japanese as wagasa, and these with a bull's-eye design are called janomegasa. The handle and scaffold are often colored black, however, sometimes other colors are applied as well. The surface paintings include traditional Japanese culture, gained popularity from the Azuchi–Momoyama period to Edo period.

Tailand Oil-paper umbrella art in the Northern Thailand, or Chiang Mai dates back to around two hundred years. The umbrella scaffold is made from green bamboo sticks, the colors and images are abundant including pictures of scenery, animals, people and flowers. The umbrella surfaces can have a square shape in addition to the traditional circular one. Oil-paper umbrellas in Thailand have unique features, which often entice tourists to buy them. Of the several types, the most famous are the ones made in the Bo Sang village. Most farmers produce oil-paper umbrellas during their free time in specialized factories.

References 1. The Antiquities Act of 1906 (Pub.L. 59–209, 34 Stat. 225, 54 U.S.C. §§ 320301–320303), is an act that was passed by the United States Congress and signed into law by Theodore Roosevelt on June 8, 1906. 2."Hiromi Paper International". hiromipaper.com.

Terms and Expressions 1.Yun 云氏 2.Lu Ban 鲁班 3.Washi 和纸 4.Hakka 客家人 5."Artifact Rain Umbrella Industry Co-operations" 雨伞手工业合作社 6.Lianghongfa San 梁宏发伞 7.Xiangtan Muji Jing Gang You San 湘潭木屐 靖港油伞 8.wagasa (Japanese)和伞, "Japanese umbrella" 9.janomegasa (Japanese)蛇の目伞, "snake-eye umbrella"

Questions 1.What did people in Song Dynasty commonly call the oil-paper umbrella? 2.What are the general production procedures of oil-paper umbrellas? 3.Why do Dai People use oil-paper umbrellas in funerals? 4.What is wagasa?

Session 11 MW Sun May 12 8:00-9:40 room 603

May 1-3 is an extended May First Holiday. The classes of the Bridge Day May 3 need to be repeated on Sun May 12.

148 陈昕舟 Chén Xīnzhōu ppt Traditional Crafts: Handcraft - Chinese Knots

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148. Traditional Crafts: Handcraft - Chinese Knots

A. Chinese Knots 1. A Brief Introduction about Chinese Knots The Chinese knot is a hand-woven handicraft unique to China. The exquisiteness and wisdom displayed on it are just one aspect of the ancient Chinese civilization. It originally evolved from the sewing of the Paleolithic period, to the ritual memorial of the Han Dynasty, and then into today's decorative craft. The jade worn by people in the Zhou Dynasty was often decorated with Chinese knots, and there were also Chinese knot patterns on the bronzes of the Warring States Period. (Li Ku 2016, 125） The Chinese knot continued to become a popular art in the Qing Dynasty. Now, Chinese knots are often used as interior decorations, gifts between relatives and friends and personal accessories. It is possessed of delicate and symmetrical appearance and accords with the conventions of Chinese traditional decorations and aesthetics, which earned the knot as its name. (Li Lifang & Sun Jianjun 2002, 38） 2. The Classification of Chinese Knots There are ten main kinds of Chinese knots which are named according to the shape, purpose or meaning of the knot. They are Double Coin Knot(双钱结）, Good Luck Knot（吉祥 结）, Chinese Button Knot（纽扣结）, Sauvastika Knot（万字结）, Oxalis Knot（酢浆草结）, Pan Chang Knot（盘长结）, Round Brocade Knot（团锦结）, Caisson Celling Knot（藻井结）, Cross Knot(十字结） and Ping Knot（平结）. (Li Ku 2016, 125） Here, we mainly introduce three main Chinese knots, which are the Double Coin Knot, the Good Luck Knot and the Pan Chang Knot. 2. 1. The Double Coin Knot Ancient coins are closely related to a country’s history, culture, politics, and economy, and are regarded as treasures both at home and abroad. The Chinese people's views on coins are not limited on their prices but value, which can be seen in the auspicious characters and patterns cast on many ancient coins. Money in China not only represents the value of a certain currency, but also something of good luck. Every Chinese New Year's Eve, children can receive the so-called "luck money". ( Li Lifang & Sun Jianjun 2002, 40） Therefore, for the Chinese people, money also has the meaning of eliminating and avoiding evil. Double Coin Knot is named after two bronze coins connecting together, which symbolizes "good things come in pairs". This knot is often used in weaving necklaces, belts and other accessories, and the combination of several Double Coin Knots can form beautiful patterns, such as clouds and Perfect Knots, etc. （Li Ku 2016, 126） 2. 2. The Good Luck Knot As for the Good Luck Knot, it is an extension of the cross knot, and is also one of the ancient decorative knots, which means auspiciousness. The knitting method is simple. And the knot shape is beautiful, varied and widely used. When used alone, if a heavy object is hung, the knot is easy to deform, and it can be fixed with a shaping glue. (Wu Hongfang 2004, 120） 2. 3. The Pan Chang Knot Pan Chang Knot is also a kind of Chinese knot. It symbolizes the highest realm of unity of mind and matter and eternal immortality. It represents the auspiciousness of the avenue and is therefore highly valued by Chinese people. Pan Chang (盘长） is a symbol of the origin of all things, and is one of the most important basic knots. It is often the main knot of many changing knots. Because the Chinese knot has the characteristics of close symmetry, it is easy to be liked by us in terms of its perception. (Li Lifang & Sun Jianjun 2002, 44） 3. The Knitting Method of Chinese Knots The knitting of Chinese knots can be roughly divided into three categories: basic knots, variable knots, and combined knots. Their knitting technology requires a variety of basic knot knitting skills, and all have common knitting principles, which can be summarized into basic technique and combination technique. The basic technique is to knit with single lines, double lines or multiple lines, using the parallel or separation of the thread ends to make colorful knots. The combination technique means to use thread extension to flexibly combine various knots, so as to make a group of varied knots. (Xu Xing 2004, 46） The final stage of learning knitting is the self-designing. When designing a set of beautiful knots, the most important thing is to determine its purpose and function, and then determine its size and shape, while considering the color matching and the appropriate use of accessories. As long as the decorations are used flexibly, andthe designer's artistic beauty and deep thoughts are poured into, the Chinese knot can fully express the beauty of traditional Chinese art. (Xu Xing 2004, 47） 4. The Cultural Connotations of Chinese Knots Chinese people love the Chinese knot because it embodies the cultural essence and national characteristics of the Chinese nation. The Chinese knot is a woven fabric of rope and thread. In Chinese, "rope" (绳）and "god" （神）are homophonic, so the Chinese nation has a worship of "rope". In addition, Chinese people are descendants of Dragons. (Wang Mizhu &Sun Sun& Qu Hongjian 2014, 44） Because the shape of "rope" is like a winding dragon, people also regard "rope" as a symbol of dragon. Chinese people also have their own unique understanding of "knot", which means reunion and happiness. Many of the Chinese words composed of "结"（knot) that we usually see have beautiful meanings, such as 团结（unity）, 结交 （making friends), and 永结同心（tie the knot), etc. "结"(knot) is also homonymous with "吉"（ausipiciousness), so people even think that "knot" is a symbol of good luck. (Wang Mizhu &Sun Sun& Qu Hongjian 2014, 44） 5. Comparisons between Chinese Knots and Cross Necklaces 5. 1. Different Cultural Connotations From the above, we can see that the Chinese knot generally have many meanings, such as good luck, love, unity and so on. The cross necklace, however, is symbolic of Christianity. The cross, derived from the Latin "crux", means "fork". It was originally a cruel instrument of torture used to execute prisoners. It was popular in ancient Rome, the Persian Empire and Carthage. Later, cross evolved into a symbol of the Christianity due to Christ's death on the cross to redeem sinners. Therefore, such cross ornaments in the west as cross necknaces are usually used to represent love and salvation. (Wang Mizhu &Sun Sun& Qu Hongjian 2014, 45） 5. 2. Different Shapes Similarly, from the above we can also learn that Chinese knots have many shapes, and different shapes represent different meanings. The cross necklace can also have different shapes and sizes. Christians can hang a small cross on their chest to express their identity, while the large cross is a symbol of the bishop's authority. (Xu Xing 2004, 47）

References Li Ku 李库. (2016). 符号学视角下的中国结解读 [The Analysis of Chinese Knots from the Perspective of Semiology ]. 艺海 Yi Hai (08) 125-126. Li Lifang & Sun Jianjun 李立芳, 孙建君. (2002). 民间绳结 [Folk Knots]. Wuhan: Hubei Fine Arts Publishing House 湖北美术出版社. Xu Xing 许星. (2004). 路论中国结 [On the Chinese Knots]. 丝绸 The Silk (02) 46-47. Wu Hongfang 邬红芳. (2004). 中国结的意象美学特征 [The Rhetorical-Beauty of Chinese Knots]. 装饰 Decoration (09) 120-121. Wang Mizhu &Sun Sun& Qu Hongjian王眯珠, 孙荪, 曲洪建. (2014). 怀旧心理与创新意识对中国结的影响分析[The Analysis of the Impact on Chinese Knots from Reminiscence and Consciousness of Innovation ]. 丝绸 The Silk (11) 43-50.

terms and Expressions Double Coin Knot 双钱结 Good Luck Knot 吉祥结 Chinese Button Knot 纽扣结 Sauvastika Knot 万字结 Oxalis Knot 酢浆草结 Pan Chang Knot 盘长结 Round Brocade Knot 团锦结 Caisson Celling Knot 藻井结 Cross Knot 十字结 Ping Knot 平结 tie the knot 永结同心 luck money 压岁钱 the bishop's identity 主教职权

Questions 1. What is the Chinese knot? 2. Do you know the names of the main Chinese knots? What are they? 3. What do "绳" and "结" mean in Chinese culture?

154 李静怡 Lǐ Jìngyí Traditional Cuisine: Four Distinct Regional Cuisines

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154. Traditional Cuisine: Four Distinct Regional Cuisines

Universally recognized as one of the great cuisines of the world, Chinese food in all its variety and complexity is unquestionably one of the finest pleasures a visitor can experience in China. There is a vast range of restaurants, from street stalls serving noodles and revolving restaurant atop of hotels to roast duck specialists and converted courtyards where the imperial family once dined. China’s vast territory and long history have resulted in distinct regional cuisines over the centuries. The precise number of regional cuisines is still under dispute, but experts agree on at least four: Sichuan, Shandong, Guangdong (Cantonese) and Jiangsu-Zhejiang cuisines.

Of the four major schools of China’s culinary art, Sichun cuisine is perhaps the most popular. It is well-known for its hot and pungent flavoring. Yet the highly distinctive pungency is not its only characteristic. In fact, Sichuan cuisine boasts a variety of flavors and different methods of cooking. A Sichuan dish may be hot, sweet, sour, salty or tongue-numbing. Dishes typical of Sichuan are Twice Cooked Pork Slice, Spicy Diced Chicken with Peanuts, Dry-fried Shark Fin and Fish-flavored Pork Shred. One of the most popular dishes is Pockmarked Woman’s Bean Curd, which was invented by a Chengdu chef’s pockmarked wife decades ago. The cubed bean curd is cooked over a low flame in a sauce which contains ground beef, chili, and pepper. When served, the bean curd is tender, spicy and appetizing.

Shandong cuisine includes many well-known seafood dishes. Shandong dishes are usually fresh, tasty but not greasy. Some of the famous dishes are Deep-Fried Red-Scale Fish, Yellow River Carp in Sweet and Sour Sauce, Stewed Sea Cucumber, and Sautéed Pickled Fish Slice. When meat or seafood is cooked there, only small amounts of cooking oil and mild spices are used so that the natural flavor of the food is preserved. Dezhou Braised Chicken is known throughout the country. The chicken is so well cooked that the meat easily separates from the bone although the shape of the chicken is preserved. The most representative of Shandong cuisine is, perhaps, Peking Roast Duck. It is prepared from specially-bred Peking crammed duck in a unique roasting process, which gives it a perfect combination of color, aroma and taste, a crisp thin skin, and a mouth-melting delicious flavor. Shandong cuisine has been influenced by the “Confucius Family Dishes”. The dishes are renowned for their taste, aroma, color and shape. The most famous ones are Jadeite Shark Fin, Agate Sea Cucumber, Shrimps Wearing Jade Belts, and Eight Immortals Crossing the Sea. Guangdong cuisine (known as Cantonese cuisine in the West) was developed in Guangzhou, Huizhou, Chaozhou and Hainan Island. As the climate of Guangdong is hot, these dishes must be fresh, tender, and lightly seasoned. The raw material for Guangdong cuisine is very rich, including snake, cat and pangolin. Cooked snake is considered a delicacy. The most famous snake dish is Dragon and Tiger Locked in Battle, in which cobra and leopard cat and over twenty spices are used. Roast Snake with Chrysanthemum Blooms is provided in autumn. The dish is creamy in color and is garnished with beautiful petals of chrysanthemum, mushrooms, and various flavorings. Other delicacies in Guangdong cuisine include Roast Suckling Pig, Duck Web in Oyster Sauce, and Braised Chicken Feet with Wild Herbs.

Jiangsu-Zhejiang cuisine is popular in the middle and lower reaches of the Yangtze River and is characteristically very sweet. In this school of cooking, cutting technique and temperature control are emphasized. Some of its best-known dishes are Crystal Pork, Braised Shark Fin in Brown Sauce, Simmered Pork Head, Eel and Crab Meat in Crab Shells, and West Lake Fish in Vinegar Sauce. Jiangsu-Zhejiang cuisine is also becoming popular in the north. In addition to the principal cuisines mentioned above, there’re more than twenty other well-known styles, which include Peking cuisine, Henan cuisine, Hunan cuisine, Hubei cuisine, Anhui cuisine, Fujian cuisine, Muslim cuisine and vegetarian cuisine.

Terms and Expressions Cuisine n. 烹饪 Sichuan Cuisine 川菜 Culinary adj. 烹调的 Pungent adj. 辛辣的 Tongue-numbing 麻舌头的 Twice Cooked Pork Slice 回锅肉 Spicy Diced Chicken with Peanuts 宫保鸡丁 Dry-fried Shark Fin 干烧鱼翅 Fish-flavored Pork Shred 鱼香肉丝 Pockmarked Woman’s Bean Curd 麻婆豆腐 Cubed adj. 切成块状的 Sauce n. 酱汁 Chili n. 干辣椒 Pepper n. 辣椒, 胡椒 Shangdong Cuisine 鲁菜 Deep-Fried Red-Scale Fish 干炸赤鳞鱼 Yellow River Carp in Sweet and Sour Sauce 糖醋黄河鲤鱼 Stewed Sea Cucumber 红烧海参 Sautéed Pickled Fish Slice 糟溜鱼片 Dezhou Braised Chicken 德州扒鸡 Peking Roast Duck 北京烤鸭 Crammed Duck 填鸭 Confucius Family Dishes 孔府家宴 Jadeite Shark Fin 翡翠鱼翅 Agate Sea Cucumber 玛瑙海参 Shrimps Wearing Jade Belts 玉带虾仁 Eight Immortals Crossing the Sea 八仙过海 Guangdong Cuisine 粤菜 Pangolin n. 穿山甲 Delicacy n. 美味 Dragon and Tiger Locked in Battle 龙虎斗 Cobra n. 眼镜蛇 Leopard cat 豹猫 Roast Snake with Chrysanthemum Blooms 金菊银蛇 Roast Suckling Pig 烤乳猪 Duck Web in Oyster Sauce 蚝油鸭掌 Braised Chicken Feet with Wild Herbs 凤爪炖山瑞 Crystal Pork 水晶肉 Jiangsu-Zhejiang Cuisine 淮扬菜 Braised Shark Fin in Brown Sauce 红烧鱼翅 Simmered Pork Head 扒烧猪头 Eel and Crab Meat in Crab Shells 蟹盒青鳝 West Lake Fish in Vinegar Sauce 西湖醋鱼

Questions 1. What are the 4 most popular regional cuisines of China? 2. What school of China’s culinary art is perhaps the most popular? What is it famous for? 3. What dishes are typical of Sichuan cuisine? 4. What do you know about Pock-marked Wife’s Bean Curd? 5. What are the characteristics of Shangdong Cuisine? 6. Why are small amounts of cooking oil used in Shandong Cuisine? 7. What do you know about Peking Roast Duck and Confucius Family Dishes? 8. Why must Guangdong dishes be lightly seasoned? What Guangdong dishes can you name? 9. What is the greatest characteristic of Huaiyang cuisine? What Huaiyang dishes can you name? 10. What other schools of China’s culinary art do you know? 11. What dishes show Chinese people’s indifference to animal protection?

Session 12 MW Fri May 17 8:00-9:40 room 603

Session 12: Student presentations

155 廖巧然 Liào Qiǎorán Traditional Cuisine: Breakfast Culture of Wuhan

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157 黄薪诺 Huáng Xīnnuò Traditional Cuisine: Hotpot

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Session 13 MW Fri May 24 8:00-9:40 room 603

Session 13: Student presentations

179 师瑶 Shī Yáo ppt Traditional and Modern Views on Marriage and Love

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126 刘春秀 Liú Chūnxiù ppt Science and Technology: China's Four New Inventions

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Session 14 MW Fri May 31 8:00-9:40 room 603

Session 14: Student presentations

138 刘晓宇 Liú Xiǎoyǔ ppt Social: Round Table Culture

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192 易祺芳 Yì Qífāng ppt National Belief: the Chinese Dream

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Session 15 MW Fri Jun 7 8:00-9:40 room 603

Session 15: Student presentations

Review of this semester