20201215 cultexam 2

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Final Exam Paper. Please write now and improve until grading on 2020 12 15

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

Chinese Red Culture

Chinese red culture is unique in the world. As a very important cultural resource, it has both tangible culture and intangible culture. Red culture in China refers to the advance culture with Chinese characteristics created by party and people in revolutionary years.Quotation missing. E.g. (Gui Ninghuo 2009, 12)

1. Development

China has brilliant history and splendid civilization in ancient times. However, with the Opium War of 1840, China was plunged into the darkness of domestic turmoil and foreign aggression. Despite of all efforts that countless dedicated patriots had made, they still failed to change the plight. The October Revolution in Russia brought Marxism-Leninism. With Communism as the the highest ideal and ultimate goal, the Communist Party of China shouldered the historic mission of national rejuvenation. With the firm leadership of the party, Chinese people embraced national independence, people's liberation, national reunification and social stability, and stepped into a new era of prosperity and happiness.Quotation missing. E.g. (Gui Ninghuo 2009, 12)

Red culture is condensed by the Communist Party of China in the great struggle of leading the Chinese revolution. It is an advanced Marxism culture that was inherited and developed in the new period of socialist construction. It's a collectivism culture of bravery, sacrifice and devotion that seeks happiness for the Chinese people and rejuvenation for the Chinese nation.Red culture is embodied in the aspects of ideal belief, value pursuit and spiritual outlook, and is integrated into material remains, mechanism behaviors and cultural and artistic forms.Quotation missing. E.g. (Gui Ninghuo 2009, 12)

First of all, red culture is a revolutionary culture, which was formed by the Chinese Communist Party in the great struggle of leading the Chinese revolution. After the founding of People's Republic of China, the Communist Party of China led the Chinese people to inherit and carry forward the revolutionary culture. In the new period of socialist construction and reform and opening up, a vigorous and advanced socialist culture was formed, which enriched and developed the connotation of red culture. Revolutionary culture and advanced socialist culture are two major components of red culture, and are the core value and spiritual subject of contemporary Chinese culture. As for Chinese red culture, Among them, Marxism is the soul, the common ideal of socialism with Chinese characteristics is the theme, the national spirit and the spirit of the times are the essence, and the socialist concept of honor and disgrace is the foundation. These four aspects influence, infiltrate and interact with each other, revealing the essential characteristics of red culture scientifically and completely.Quotation missing. E.g. (Gui Ninghuo 2009, 12)

2. Symbols

The word “red” in “red culture” has many symbols. Chinese people have “red” complex since ancient time. Red represents authority. For, example, official documents are also called red heading documents. Red represents courage. Red is the color of Chinese national flag. Chinese military strategists and generals have a deep understanding of the role of red in war, so they use red flags to unite their morale, inspire their fighting and their courage, and summon the spirit of going forward bravely and not fearing sacrifice. Red represents honor and auspiciousness. For instance, the places are always adorned with red for conference and ceremony. People are awarded with red flower and red certificates. Red represents revolution. When Marx was asked about "favorite color" in his early years, he clearly answered "red". In 1864, First International was founded, and its logo was red. The first army of Communist Party of China was named Red Army, and Ruijin, the first revolutionary base area, was called Red Capital. There were also red boats in South Lake and red flags in Jinggangshan.Quotation missing. E.g. (Gui Ninghuo 2009, 12)

3. Values

Red culture has many values. Red culture has the value of history. It witnesses the early development history of the Communist Party of China. It shows the inevitability of the socialist road in China. And it is an important weapon to guide the success of Chinese revolution. Besides, red culture has the value of civilization. Carrying forward the red culture is an urgent need to cultivate a new national spirit. Red culture is important for the construction of socialism culture and ideology. Moreover, red culture has the value of economy. Red culture is a powerful driving force for the development of socialist market economy. It is an important medium of economic development under the new historical conditions. The red cultural industry has become a new economic growth point.Quotation missing. E.g. (Gui Ninghuo 2009, 12)

4. Red Culture in Nanchang

Nanchang is the capital city of Jiangxi Province and it is where August 1st uprising took place. Nanchang is renowned as the cradle of Chinese revolution and the place where the military flag rose. Because in August 1st uprising, communist party of china formed its first army in Nanchang. There are lots of red culture resources in Nanchang. Bayi Square is at the center of Nanchang city. It was built to memorize August 1st uprising. Bayi Square highlights the theme of "Bayi History and Culture" in all directions. The memorial area, cultural area, reminiscence area and leisure area of Bayi Square show Bayi Uprising in different forms. The landmark in the square is Bayi Nanchang Uprising Memorial Tower. Besides, Nangchang August 1st Memorial Hall is a special memorial hall established to commemorate Nanchang Uprising.Quotation missing. E.g. (Gui Ninghuo 2009, 12)

References

References missing.

Terms and Expressions

red culture 红色文化

Opium War 鸦片战争

red heading documents 红头文件

red army 红军

August 1st uprising 八一起义

Questions

1. What is the historical background of the birth of red culture?

2. What are two major components of red culture?

3. How many symbols dose the word "red" in red culture has? What are they?

4. How many values dose red culture has? What are they?

5. What is the landmark in Bayi Square?

Landscape, The Ancient Tea Horse Road - Lei Fangyuan 雷方圆

The Ancient Tea Horse Road

Introduction

The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation. The ancient tea horse road is divided into two routes: the Sichuan-Tibet line and the Yunnan-Tibet line. The ancient tea horse road originated from the ancient southwest frontier of the tea horse mutual market, flourished in the Tang and Song dynasties, in the Ming and Qing dynasties, and most prosperous in the middle and late World War II. The ancient Tea Horse Road divided into Shanxi-Gan, Shanxi-Kangtang (folk called wade ancient road, Sichuan-Tibet line is part of it), Yunnan-Tibet and other three main routes, connecting Sichuan, Yunnan-Tibet, extending into the territory of Bhutan, Sikkim, Nepal, India, until reaching West Asia, West Africa, the Red Sea coast. 5 March 2013, the Tea Horse Road was listed by the State Council as the seventh batch of national key cultural relics conservation units.(Baidu Baike)

Historical Routes

China’s ancient tea horse road is divided into: 1. The Shanxi-Gansu tea horse road is the main route for tea to travel westward in mainland China and exchange for horses. It is one of the main routes of the ancient Silk Road.

2. Shanxi and Tibet tea horse road (wade ancient road), began in the Han Dynasty, formed by the Shanxi merchants and the ancient southwest border tea and horse each other. Due to the Ming and Qing dynasties, the government control of tea trafficking, tea trafficking sub-regional, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road.((Baidu Baike)

3. the ancient Yunnan-Tibet Tea Horse Road. Formed around the late sixth century AD, it is south of Yunnan's main tea producing areas in Xishuangbanna Yiwu, Pu'er City, intermediate through today's Dali Bai Autonomous Prefecture and Lijiang City, Shangri-La into Tibet, directly to Lhasa. Some also re-exported from Tibet to India and Nepal, is an important trade channel between ancient China and South Asia.(Baidu Baike)

4.Sichuan-Tibet Tea Horse Road is a part of the Shan-Kang-Tibet Tea Horse Road, east of Yazhou edge tea production Ya'an, after playing arrow furnace (now Kangding), west to Lhasa, Tibet, and finally through to Bhutan, Nepal and India, a total length of nearly four thousand kilometers, is an essential bridge and link between ancient Tibet and the interior.(Baidu Baike)

There are three main routes of the ancient tea-horse road: The Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line.

Among the three ancient tea-horse roads, the Qinghai-Tibet line was established in the Tang Dynasty and developed earlier, while the Sichuan-Tibet line was the most influential and well-known later. These three routes are closely related to Chengdu, among them, the Yunnan-Tibet route and the Sichuan-Tibet route must pass through Chengdu, and their development is closely related to the tea-horse trade.

Shanxi- Tibet tea horse road (wade ancient road), was formed in the Han dynasty through the efforts of the Shanxi merchants and the ancient southwest border tea and horse. During the Ming and Qing dynasties, the government controlled tea traffickin along the tea trafficking sub-region, including the most prosperous tea horse trading market in Kangding, known as the wade ancient road.--Li LIli (talk) 03:02, 7 December 2020 (UTC)Li Lili

Historical Value

The Silk Road in the north and the ancient Tea Horse Road in the south. The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization. However, its history and value will always shine brightly.(Baidu Baike)

1.The Golden Road of Tourism

The ancient tea-horse road tour has unique scenery, profound cultural connotation, exclusive resources and is unparalleled in the world.(Baidu Baike)

2. Ancient Roads for the Propagation of Civilization

The ancient Tea Horse Road was not only an important migration corridor for the ancient ancestors between Wei-Tibet and present Sichuan and Yunnan, but also an important aperture for the spread and exchange of ancient civilizations between present Sichuan, Yunnan and Tibet.(Baidu Baike)

3.Migration Corridor of National Cultures

On this ancient road, which stretches for more than 10,000 miles, Chinese, Tibetan, Yi, Naxi, Lisu, Hani, Kino, Qiang, Pumi, Bai, Nu, Jingpo, Achang and other ethnic groups have flourished here for thousands of years, highlighting the diversity and original form of ethnic culture in southwest China.(Baidu Baike)

4.Religious Propagation Road

With the development of the tea-horse trade and the extension of the ancient tea-horse route, Tibetan Buddhism spread widely along this route on the Tibetan Plateau and surrounding areas. The development and spread of Tibetan stupas can be roughly divided into two routes: one is Tibet - Qinghai - Gansu - Inner Mongolia - the other is Tibet - Qinghai - Gansu - Inner Mongolia. -Liaoning--Jilin--Heilongjiang--Beijing--Hebei --Henan--Jiangsu; second, Tibet--Yunnan--Sichuan. --Guangxi--Hubei.(Baidu Baike)

5. The Path of National Spirituality

You can't talk about the ancient tea-horse road without mentioning the horse gangs. The horse gangs have formed a unique cultural carrier in the course of thousands of years. Their spirit is attached to this ancient road, and become part of the Chinese national spirit.(Baidu Baike) 6.The Road of National Unity and Integration

The ancient tea-horse road is like a huge net in southwest China, through which people of all nationalities strengthen their ties and communication, promote political, economic and cultural interaction, development and integration among all nationalities, and enhance the emotional ties between them.(Baidu Baike)

7.The Road of Securing the Borders

The expansion of the ancient tea-horse road and the flourishing of the tea-horse trade contributed to the stability and consolidation of China's southwest frontier.(Baidu Baike)

8.The road to economic development

The Thousand-Year Tea Horse Trail contributed to the formation of many towns in the region through the tea and horse trade, which greatly contributed to the economic development of the region.(Baidu Baike)--Lei Fangyuan (talk) 03:42, 29 November 2020 (UTC)

Terms and Expressions

1.The Ancient Tea Horse Road(茶马古道)

2.Sichuan-Tibet Line（川藏线）

3.Yunnan-Tibet line（滇藏线）

4.wade ancient road（蹚古道）

Questions

1.What is the ancient tea horse road ?

2.How many main routes does the ancient tea-horse road conclude?

3.What is the historical value? --Lei Fangyuan (talk) 04:15, 29 November 2020 (UTC)

Answers

1.The Ancient Tea Horse Road is a folk international trade route that exists in southwest China and is a corridor for ethnic economic and cultural exchanges with horses as the main means of transportation.

2.There are three main routes, including the Qinghai-Tibet line (the ancient Tang and Tibetan road), the Yunnan-Tibet line and the Sichuan-Tibet line.

3.The ancient Tea Horse Road, a passage that once played an important role in the birth and development of the Chinese nation just like the Silk Road, has been gradually buried in the dust of history with the washing away of modern civilization.

References

The Chinese text rooted in Baidu Baike. The website as following:https://baike.baidu.com.--Lei Fangyuan (talk) 06:15, 8 December 2020 (UTC)

Literature, Novels - Lei Kuangxi 雷旷溪

Four satirical novels in ancient China

At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as "the four great condemnation novels of the late Qing Dynasty". They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times. The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, "the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much", they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.Quotation missing. E.g. (Gui Ninghuo 2009, 12)

Introduction

At the end of the Qing Dynasty, literary scholars with reformist ideas criticized current affairs through novels and proposed to save the country, which were called novels of condemnation. The novels Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua represent the highest achievement of such novels, and are known as "the four great condemnation novels of the late Qing Dynasty". They attacked corruption and made straightforward decisions about current problems, forming a strong literary trend of criticizing reality in modern times. The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time. In spite of the shortcomings pointed out by Lu Xun, "the rhetoric is revealing, the pen has no hidden edges, and the rhetoric is even too much", they have unprecedented breadth in reflecting social reality, and their sharp and incisive strokes caused strong repercussions at that time.

Nie Hai Hua

Nie Hai Hua was written by Zen Pu (1872-1935).A total of 35 chapters.it is a novel of condemnation, historical fiction and political fiction. In the novel, Jin yun (wen qing) is the main character.After won the scholarship, he took a famous courtesan, Fu Caiyun, as his concubine in Suzhou.He was then ordered to travel to Russia, Germany, Austria, and the Netherlands. After returning to China, Jin Wenqing died of illness in Beijing, and Fu Caiyun left the Jin family to resume her old profession in Shanghai, changing her name to Cao Menglan then went to Tianjin to work as a prostitute, calling herself Sai Jinhua. The novel takes the story of Jin Wenqing and Fu Caiyun as the main line, vividly describes the historical and cultural changes as well as political and social changes from Tongzhi to Guangxu more than 30 years, exposing the decay and decline of the rulers, criticizing the feudal system of imperial examination, satirizing the officials, truly reflecting their spiritual life and cultural mentality. at the same time also enthusiastically glorifies Feng Zicai, Liu Yongfu and other war heroes and Sun Yat-sen and so on. The revolutionary activities of the Democratic Revolutionaries express the author's patriotic thoughts against the feudal dictatorship and advocate national democratic revolution. In specific writing, the author adopts the modern popular block novel structure combined with the traditional mesh novel structure to unfold the plot, with ups and downs, twists and turns, touching and orderly, always around the main line. As a historical novel, Nie Hai Hua draws on the spirit of the ancient "good history" of China to portray its characters. At the same time, it draws on the satirical approach of "The History of Confucianism" in which "the fair-minded accuse the evils of the times", commenting on events and weighing characters in a realistic manner. In terms of art, Nie Hai Hua also has many shortcomings.However, it is a skillful structure and outstanding novel at that time.

the Travels of an Old Man

The Travels of an Old Man was written by Liu E (1857-1909) and a total of 20 chapters. Liu E was an entrepreneur and scholar, not a professional writer, but his reputation as a literary figure was far greater than that of an entrepreneur and scholar. This novel is an unfinished work of his that was written in his later years with an autobiographical nature. The novel takes a bell-ringing mountebank, Lao can (Tie Ying), as its main character, and narrates his experiences and activities during his travels in northern China, exposing the decadence and darkness of the Qing government, the brutality and lethargy of the officials, and the poverty and oppression of the people, especially attacking the abusive behavior of those "Qing officials" who are actually cruel officials, and expressing the author's strong views on the perilous reality of society and the country. The artistic achievement of the novel is very high. The first is the superb descriptive skills, whether it is a description, a landscape, or a narrative, can be vividly depicted, such as the scenery of Thousand Buddha Mountain, Daming Lake etc., which makes people have a sense of being in the real world. Secondly, its psychological description and psychological analysis, with appropriate language, can brilliantly show the inner world of the characters. Thirdly, the exquisite structural art. The novel is in the form of a Travel Journal, with travel as a clue,and organic combined of what he see, hear, think and do along the way forms a unique structural feature of the novel.

The Records of Officialdom Exposure

The Records of Officialdom Exposure by Li Baojia (1867-1906), five editions and a total of 60 chapters. This is the first long chapter novel in China's modern era that was published serially in newspapers and magazines and achieved a social sensation, creating a culture of critical reality in modern fiction. The novel consists of more than 30 relatively independent bureaucratic stories linked together,involving the Qing government from the emperor, down to the minor officials and so on,and these various bureaucrats of all kinds of evil behavior were exposed:They embezzled public funds, corrupt and pervert the law or the named "expedition bandits", but is harmful to the people. The work is like a scroll of the officialdom at the end of the feudal society, touching on the main contradictions of that time. The novel's writing method is modelled on "The Scholars" and has been developed, making full use of exaggeration, comic style and satirical techniques. only a few strokes will outline the character's voice and physical appearance. And the author also good at describing the details, so that the characters are vivid and evocative, with a strong artistic impact. Therefore, the subsequent imitation of the work is quite a lot, it become a great view.

20 years witness strange present situation

The Strange Situation Witnessed in Twenty Years was written by Wu Woyao(1866-1910), A total of 60 chapters. This is a long novel with autobiographical flavor.it through nearly 200 short stories that the protagonist hears and witnesses from the death of his father to his failure in business. it outlines the strange realities of late Qing society during the 20 years from the Sino-French War to the beginning of the 20th century. The scope of social life is much broader than The Records of Officialdom Exposure. In addition to describing the officialdom, there are also involving the shopping malls, foreign markets, science fields, medical and astrological practices. It exposes the political situation, moral outlook, social customs, and human conditions of the increasingly colonized Chinese feudal society, and is of high cognitive value in helping readers to see the irreparable historical destiny of the late Qing society and feudal system. The novel adopts the first-person narrative story, structured in a way that makes the reader feel intimate and trustworthy, setting a precedent in the history of Chinese fiction. The structure is also very clever: "nine deaths and a lifetime" is not only the narrator of the book story, but also the backbone of the structure of the book, and at the same time uses flashbacks, interpolations and other methods, combining it organically together, making the whole book complex and simple appropriate, muddle together.

Conclution

As a result of the bourgeois reformists and democratic revolutionaries strongly advocated, the novel creation in the late Qing Dynasty got unprecedented development, and a large number of influential novels emerged, forming a prosperous situation of the novel creation in the late Qing Dynasty.The emergence of the "Four satirical novels" in the late Qing Dynasty is an important sign that The creation of Chinese novels has entered another prosperous period.

Reference

https://baike.baidu.com/item/%E6%99%9A%E6%B8%85%E5%9B%9B%E5%A4%A7%E8%B0%B4%E8%B4%A3%E5%B0%8F%E8%AF%B4/702907?fr=aladdin

Terms and Expressions

The Records of Officialdom Exposure 《官场现形记》

The Strange Situation of Seeing in twenty years 《二十年之目睹怪现象》

the Travels of an Old Man 《老残游记》

Nai Hai Hua 《孽海花》

The Four Great Condemnation Novels of the late Qing dynasty 晚清四大谴责小说

Questions

1、what are The Four Great Condemnation Novels of the late Qing dynasty ?

2、which novel is modeled the "The Scholars"?

3、what’s the common characteristic of these four novels?

4、what other satirical novels do you know?

Answers

1、They are Li Baojia's The Records of Officialdom Exposure, Wu Wa-ren's The Strange Situation of Seeing in twenty years, Liu E's the Travels of an Old Man and Zeng Pu's Nai Hai Hua.

2、The Records of Officialdom Exposure

3、The Four Great Condemnation Novels of the late Qing dynasty mainly exposed the dark side of society and its various shortcomings, and dealt with various aspects of social life at that time.

4、E.g.The Scholars

Shadow Puppets - Li Lili 李丽丽

Shadow Puppets

The Origin of Shadow Play

Shadow play has a history of more than 2000 years from the written records. Legend has it that Madame Li, the wife of Emperor Wu of the Han Dynasty, died of illness. Emperor Wu's yearning was so intense that he was in a trance and ignored the government's affairs all day. Minister Li Shaoweng went out one day when he came across a child playing with a doll in his hand, with its shadow being vivid. So he came up with an idea that he could cut the image of Mrs. Li from cotton and silk, painted it with color, and installed wooden poles on her hands and feet. After seeing it, Emperor Wu was glued to it and couldn't put it down. This love story written in Hanshu is considered to be the earliest origin of shadow play. There are also some views that shadow play originated in Xi'an of Tang Dynasty, however, it is worth discussing that although there were an variety of operas in the Tang Dynasty, yet there were no any records of shadow play mentioned in the Tang Dynasty. Up to now, the earliest shadow play we can see is recorded in Song Dynasty. Its rise and development in Bianjing of the Northern Song Dynasty is closely related to Bianjing’s superior geographical environment, the development of commodity trade and commercial transportation at that time(Wei Liqun 2019,14).

====Introduction====File:Shadow play More than 2,000 years ago, Chinese began to give performances using puppets against an illuminated screen. This is “shadow puppets”, also known as “lamp and shadow play”. It is considered as “precursor of movie” because it was the earliest moving part of form dubbed with human voice in the world. During a play, puppeteers hide behind the white screen and move puppets, while narrating the story, usually through singing. Performances are accompanied by musicians playing percussion and stringed instruments. A shadow puppet can perform actions such as “serving drinks” , “waving a sword and a spear, ” or even “smoking ”by puppeteer holding and moving manipulating rods on its body. Typically, a shadow puppet has three rods, some may have five or seven rods. It can create rich designs such as shadow puppets, animals and stage props, for example, buildings, imperial palaces, chariots, tables and chairs as well as weapons. It is so rich that it includes almost everything under the sun. It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools. The well-known ones include Tangshan Shadow Play in Hebei Province, Beijing Shadow Play as well as Shaanxi, Shanxi and Hunan Shadow Play. etc. So how to make a puppet? First. Draw pictures of the various parts of the shadow puppets; second, finish carving with a knife and a hard board underneath the design; third, color the puppet with watercolor pens; forth, paint the body parts with a brush dipped in oil. This can make the puppet transparent and better reflect colors under the light.; fifth, connect joint sections with the cotton thread; sixth, make the manipulating rods; finally, attach the manipulating rods to the shadow puppet with cotton thread. The “head” is the most important part of a shadow puppet and its total component number is about four times that of the “body”. A shadow puppet’s “head”. And the “body” can be mixed and matched with each other. The eyes and the eyebrows of a shadow puppet’s five facial features represent different personalities. The good and positive people are typical of a benevolent and kind countenance, with nice-looking eyebrows and eyes, while the villain or the general are ferocious look, with sharp eyebrows and almond-shaped eyes. And the former are often concealed teeth and the latter are revealed teeth. The middle-aged person are short beard, but the elderly man are long beard. The decorative designs on the shadow puppets are very important and match the character’s social status. In a shadow play, female characters are usually decorated with patters such as flowers, grass, clouds and phoenix, while male characters are often decorated with dragons, tigers, water and clouds. Shadows puppets look colorful under the light. To achieve a better visual effect, the translucent puppets need to be painted on both sides. The head of color can also represent different characters’ personalities. The red is symbol of a heroic and upstanding character. The black is a sign of a just, honest and selfless personality. The yellow shows a brave and irascible character, also are used in fantasy plays to represent people with magic power. To make a shadow puppet move flexibly, a complete figure often has many components such as a head, a chest,a belly, two legs, two arms, two elbows, two hands.

1.3. The Present Situation of Contemporary Shadow Play

Since the founding of the People's Republic of China, shadow play, as an art form, has undergone a series of reforms under the guidance of the Party's principles, including the organization of theatrical troupes, the compilation and creation of plays, the drawing and performing forms of shadow play. With the advent of the "Cultural Revolution", the prosperity of shadow play came to an abrupt end. The troupe was disbanded, the repertoire was banned, and the artists were transferred to work. A large number of precious shadow puppet props and documents were damaged. This situation, except for some places, lasted until 1976. After the end of the "Cultural Revolution", shadow puppet art recovered rapidly, However, with the economic development being put in the first place of social activities and the popularity of television and the richness of artistic forms, shadow play is declining day by day with an irresistible trend, because shadow play arts are unable to keep pace with the times and get the appreciation of the audience. As a result, the prospect of shadow play art is becoming increasingly bleak. In order to inherit Chinese excellent culture and protect the ancient art forms such as shadow play. On May 20, 2006, it was approved by the State Council to be included in the first part of national intangible cultural heritage list. On November 27, 2011, UNESCO put Chinese shadow play on the "list of representative works of human intangible cultural heritage".

References：

《皮影戏》王业霞编著 《小书大传承-皮影》魏力群著

Words and Expressions

shadow puppet皮影戏 paper cutting 剪纸 ventriloquism 口技 manipulating rod 操纵杆 five facial features 五官 sharp eyebrows and almond-shaped eyes 尖眉杏眼 Cultural Revolution 文化大革命 intangible cultural heritage 非物质文化遗产

Questions

1.When is the earliest shadow puppet’s record?

2.What art of forms do shadow play use?

3. What does a red head stand for in a play?

4.When is it put on the list of intangible cultural heritage".

Answers

1.Song dynasty.

2.It combines traditional Chinese plastic art and performing art as well as the arts of painting, paper cutting, local opera, and ventriloquism. Besides, it has absorbed the best parts of local operas, folk songs and emerged into many schools.

3.The red is symbol of a heroic and upstanding character.

4. On November 27, 2011.

Confucian Culture - Li Liqin 李丽琴

Confucian Culture

Introduction

Confucian school is an academic school founded by Confucius, developed by Mencius, and composed by Xunzi. Today, it still retains a certain vitality. Confucian school takes Confucianism as its guiding ideology whose central ideas are forgiveness, loyalty, filial piety, brotherhood, courage, benevolence, righteousness, propriety, wisdom and faith. Confucian school was on an equal footing with the other hundred schools in the pre-Qin period. After the First Emperor of Qin, also called Qin Shihuang, burned books and buried scholars alive, the development of the Confucian school suffered a serious defeat. Then, in order to maintain the feudal autocratic rule, Emperor Wudi of the Han Dynasty followed Dong Zhongshu's advice of "banishing other schools of thought and worshiping Confucianism only" and imposed restrictions on thought, which led to the revival of Confucian school. The concepts of "Confucian school", "Confucianism", and "Confucian Religion" should be distinguished since Confucian school is a school of theory, Confucianism a social stratification, and Confucian religion a belief. Laozi founded Chinese Taoist school; Confucius started Chinese Confucian school; Sun Tzu initiated Chinese military strategist school; Mozi was the founder of Mohism in the early Warring States. Confucianism contributes to guiding the code of conduct and constructing social order; Daoism focuses on fostering the view of nature and the orientation of spiritual development; Legalism serves the system construction of national political management.; the concepts of Universal Love and utilitarianism are two cornerstones for the Mohism. The General Unity idea of Confucianism has played an important role in the unification of a nation, the enhancement of national cohesion and the integration of cultural values. After more than two thousand years of development and evolution, Confucian culture has built up a complete ideological system, involving politics, education, morality, ethics, code of conduct, life skills and other aspects. It has cultivated the wisdom and soul of the Chinese people throughout the history, and formed deep-rooted set patterns of thinking, psychology and survival.

Analysis of Confucian culture

Intelligence development

Confucius is a great educator, as well as a pioneer and practitioner of mass education. After Confucianism was established as a dominant culture, both the rulers and the public respected the teachings of the sage and attached great importance to education. In this context, a basic requirement is to stay highly cultured and steeped in propriety. After the Emperor Wen initiated the imperial examination system in the Sui Dynasty, those who are good scholars could make an official, which inspired students of poor families to change their lives by studying hard and diligent. For generations, the Chinese people have attached great importance to the education of their children, which is conducive to the improvement of the thinking ability of the whole nation. However, the corrupt of bureaucracy and the darkness of officialdom in metaphase and anaphase made many literati feel despairing about official career and discredit about the concept. In addition, the Four Books and Five Classics were the main learning content of Confucianism. Apart from government-run schools, private schools and self-study can hardly meet the requirements of the Six Classical Arts. Therefore, the Four Books and Five Classics were the focus of students, while the Six Classical Arts were not highly valued.

Spiritual guidance

In terms of spirit, Confucianism contends that "As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue." Benevolent people love each other, which reflects the essence of “Unity of Man and Nature” and also the most brilliant connotation of Confucianism. This philosophy calls for people’s active contributions to the society. It is still alive in modern times, and is the fundamental requirement of people's spiritual orientation in the future.

Order construction

In the age of barbarism and backwardness, a common feature was that a small number of people used power and force to suppress and enslave the majority, thus resulting in labor division and unfair distribution of wealth and generating corresponding social hierarchy and concepts. Given the fact that Confucianism developed in the transitional period of feudal society, the thoughts of Confucius and Mencius were rooted in the idealist view of destiny and did not break the shackles of social hierarchy. In addition, they even advocated the distinguish between the noble and the humble and highlighted the importance of hierarchy division. In this context, the benevolence they advocated had great limitations in political management. The public could not be treated equally in terms of political status. Instead, the so-called benevolence calls for improvement of the living conditions of the public and more benefits from the ruling class. However, its purpose was to maintain social order and reconcile social contradictions. This is also the root cause of feudal rulers’ favoring of Confucianism. In essence, Confucianism did not promote social equality, instead, it worked to maintain the unequal feudal hierarchy that aggravated servitude. In fact, after a long history of feudal rule, the sense of hierarchy would be part of the national psyche. With the progress of times and civilization, the view of destiny and the thought of social order have become psychological shackles of the Chinese people. After eliminating the ideology of feudal hierarchy and formalism, some philosophies of Confucianism still generate positive effects on modern society. Specifically, the spirit of benevolence and universal love is conducive to cultivate people’s spirits; the concept of “the country belongs to the public” reflects a sense of social responsibility to make contributions for society, which can be expanded into a sharing social and political philosophy for different countries. Filial piety and brotherhood increase the harmony and stability of family; Loyalty, faithfulness, propriety and forgiveness are conducive to the relationship between different countries, societies and people. "Loyalty" means that people should stay loyal to the country and people; "Friendliness" and "forgiveness" play an important role in resolving various contradictions and animosities; when it comes to "filial piety" and "propriety", many redundant forms inherited from feudal society should be eradicated and be more practical.

The contemporary value of Confucian culture

Today, Confucian culture is still of great significance. We must explore the value of Confucian culture on the basis of the excellent tradition of the Chinese nation and by combining the characteristics of the times with and the actual situation. The Confucian culture has affected Chinese more than two thousand years and gone deep into each aspect of Chinese society.

Ideological and political education

Confucian culture calls for “the people-oriented” philosophy, and it places a high priority on human value and dignity. Over the years, the Chinese nation has been influenced by this excellent philosophy. On this occasion, its behavioral pattern and psychological structure are endowed with uniqueness, which is mainly manifested in two aspects. One is to respect yourself, learn how to love and care yourself. Moreover, gain dignity and achieve the development of human value through the continuous improvement of moral cultivation. Second, respect others and show respect for others' personality by respecting, understanding and caring for others.

Modern economic construction

Under today’s circumstance, some ideological contents are still alive and produce positive effects on promoting the economic construction of modernization and fostering modern patriotism emotion of the Chinese people. First of all, Confucian culture emphasizes the thought of "benevolence" and group consciousness. It is conducive to the cultivation of collectivism and provides a spiritual pillar for China's modern economy. Since Confucian culture reflects a collectivist view on life, individuals are full of sense of duty and responsibility towards others and groups. In this context, their self-cultivation targets at regulating the family, country and the world. Thus, the value of individual is closely linked with the rise and fall of the country, so they have a strong sense of responsibility. "Everyone being responsible for the fate of his country" has been a common belief for thousands of years. Such a social responsibility will give rise to a huge driving force for the development of the country and society. Second, the consciousness of "self-improvement" and the proposition of "seeking truth" in the Confucian culture strengthen the national spirit and provide a source power for China’s economic modernization. Yi Zhuan put forward: "As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection.’’ It means that continuous development is the law of nature and that a gentleman should pursue progress and be strong, unyielding resilient and positive. For thousands of years, the Chinese nation has formed a fine tradition of working hard and striving for strength under the influence of these thoughts. Today, we carry forward the spirits of “self-improvement” and "seeking truth" in ways that further enhance national spirits and provide a strong driving force for the socialist modernization. Third, the "reform and innovation" concept in Confucian culture is conducive to the expansion of the reform and opening up and the acceleration of China's socialist modernization. On the basis of admitting the fact that the continuous development is the universal law of nature, Confucian culture puts forward the "innovation idea". The Book of Rites said, "If you can in one day renovate yourself; do so from day to day and let there be daily renovation." The Book of Changes said, "Reform refers to destroy the old, while innovation means to establish the new.” The concept is not only serves as the theoretical basis for reform and innovation throughout the history, but also provides valuable lessons for the reform in socialist economic and political systems today. Domestically, promoting the innovative spirits can greatly enhance the reform consciousness of the Chinese people. Externally, it is conducive to advancing the opening up by leveraging the global influence of Confucian culture.

Legal construction

Confucian culture places a high priority on personal cultivation, while a highly civilized society under the rule of law must be composed of highly educated citizens. Confucian school, a school with thousands of years of history in China, has become an integral part of the Chinese culture. Nowadays, since China has called for the policy of combining the rule of virtue with the rule of law, it is the time for Confucian culture to find its historical position and fully play its role. Exploring the influence of Confucian culture on the construction of contemporary Chinese rule by law, not only can we help us more deeply understand the traditional culture, but also can promote the process of building the rule of law in contemporary China. The rule by virtue thought is an important part of Confucian culture and it emphasizes the importance of moral education. It is a national strategy pursued by ancient Chinese rulers and a method of national governance embodying reference significance in today’s China. In terms of national governance, Confucianism emphasizes the importance of morality, believing that national governance should not mainly rely on harsh punishment, instead, moral education should be applied to reform people. Confucius said, "By governing with virtue, rulers will be loved by the public, just like stars surround the North Star." By comparing rulers to the North Star and people to the stars, Confucius emphasized the importance of moral governance. How to rule by virtue? First of all, rulers should pay attention to their personal cultivation and develop good moral characters, so that they can set a good example for the public. Only when officials and common people obey the ruler sincerely, can a good social atmosphere be formed. Secondly, since Confucianism takes "benevolence" as its core and calls for the rule of virtue, many people subconsciously believe that Confucianism denies the role of criminal law and that Confucian culture does not call for the rule of law. In fact, this is not the case. While Confucianism advocates the rule of virtue, it also emphasizes the supplementary role of rule of law. Confucius said, "Sages believe that national governance must combine the rule of virtue and law." That is to say, if people are governed by systems and laws, they seek for impunity but lack of conscience; however, if they are guided by morality and etiquette, they will have a sense of right and wrong and will impose strict requirements on themselves. In a word, we should clearly realize that, although Confucian culture is an excellent traditional culture in China, it was generated from the feudal society and its original intention was to maintain the feudal autocratic monarchy. Therefore, it inevitably has some drawbacks and limitations. Under this circumstance, we must analyse Confucian culture dialectically and explore the value of Confucian culture. At the same time, we should discard the bad habits and unfavorable factors left by it, so as to better carry forward our traditional culture and accelerate the construction of the rule of law in contemporary China.

The Confucius institute

With the improvement of China's international status and the increasingly extensive international exchanges, Chinese culture has won wider foreign attention and the world is more eager to learn and understand the Chinese culture. The Confucius Institute project, founded in 2004, emerges in response to the call of the times. Today, Confucius Institutes have spread throughout Asia, Africa, The Americas, Europe and Oceania. Fundamentally speaking, its is conducive to the "going out" of Chinese culture since language is an important carrier of Chinese culture. It is of positive significance to the construction of China's national image, the promotion of China's international influence, the realization of wider international communication. The rapid development of Confucius Institutes has fully demonstrated the needs and aspirations of people around the world to learn Chinese and learn more about China, but there are still some problems in this process. Today, countries are committed to spreading their own language and culture, so there is a fierce competition in international cultural promotion. In addition, the Confucius Institutes is struggling to achieve sustainable development. Internally, its development has been restricted by many factors, including the shortage of teachers and textbooks, the low quality and the lack of pertinence. At present, Confucius Institutes are prevalent all over the world, but the promotion strategy seeking for quantity and speed results in a serious shortage of teachers capable of teaching Chinese as a foreign language. According to statistics, there is a global shortage of at least five million TCSL teachers. Secondly, the lack of high-quality and localized teaching materials for Chinese has also become a bottleneck for the development of Confucius Institutes. The shortage of Chinese textbooks affects the depth of cultural communication of Confucius Institutes directly. Thirdly, Confucius Institutes are not capable of spreading the ideological depth of the Chinese culture. Although the textbooks are rich in content, they mainly focus on promoting folk culture by introducing Chinese food, tea and wine, traditional Chinese medicine and martial arts. Meanwhile, they rarely involve the ideological essence of traditional Chinese culture and the modern value of Chinese culture. The Confucius Institutes should fully explore the modern significance of Confucianism and cast the quintessence of Chinese culture, and strengthen the spread of the core idea of Chinese culture and its modern cultural value. The connotation of Chinese culture is very rich. What Confucius Institutes should spread is not all the contents of Chinese culture, but the contents with universal value that are different from other countries and represent the essence of Chinese culture.

Terms and expressions

儒家Confucian school

儒学Confucianism

儒教Confucian religion

兼爱 Universal love

恕、忠、孝、悌、勇forgiveness, loyalty, filial piety, brotherhood, courage

仁、义、礼、智、信benevolence, righteousness, propriety, wisdom and faith

学而优则仕 A good scholar will make an official

四书五经 the Four Books and Five Classics

天行健，君子当自强不息；地势坤，君子以厚德载物。As heaven maintains vigor through movements, a gentleman should constantly strive for self-perfection; The terrain is vast, a gentleman carries goods with great virtue.

天下兴亡，匹夫有责 Everyone being responsible for the fate of his country

Questions

What’s the central ideas of Confucian culture?

What’s the difference among Confucian school, Confucianism and Confucian religion?

What do you think of the relationship between Confucian school, Taoist school, Mohist school, Legalist school?

What’s the Six Classical Arts?

What you think of the ancient influence of Confucian culture?

Do you think Confucian culture still has its contemporary values in China? And why?

What do you think of the current situation of the development of the Confucian institute?

Liu Liu 刘柳

Ch'ien Chung-shu

Ch'ien Chung-shu (1910-1998), a well-known scholar, writer, translator and literary researcher, was born into an education family in Wuxi, Jiangsu Province. In Chinese academic circles, Qian was ranked with Rao Zongyi, a master in academic circles, and both were called "South Rao and North Qian". He was admitted to Tsinghua University in 1929 and got to know Yang Jiang in 1932. Qian became famous soon after the enrolment, not only for the 15 mark of his mathematics, but for his excellent Chinese and English, especially full marks in English. Qian had an engagement with Yang the year after their acquaintance and went to study at Oxford University in England along with her. In 1937, he obtained the bachelor's degree from Oxford with the treatise China in the English Literature of the Seventeenth and Eighteenth Centuries, and his daughter Qian Yuan was born the same year. He wrote a great many profound literary works in his lifetime. When it comes to Ch'ien Chung-shu, people would think of his representative work Fortress Besieged, which was published in 1947.

As a realistic satirical novel, Fortress Besieged is known as "The New Scholars" in the 1940s. The novel is centralized on Fang Hongjian,who returned from studying abroad at the beginning of the War of Resistance against Japanese Aggression. It depicts the struggles in love, marriage,career and life of a group of intellectuals who were far away from the times and the people during the War of Resistance against Japanese Agression. It reveals their inner poverty, emptiness and lowliness, criticizes the dark reality of the Kuomintang-controlled areas, and reveals the crisis of modern civilization and the dilemma of modern life. In the preface of the book, Qian said that, "In this book I intended to write about a certain segment of society and a certain kind of people in modern China. In writing about these people, I didn’t forget they are human beings, still human beings with the basic nature of hairless, two-legged animals. "The novel is like an X-ray mirror that reveals the deformed characters and ugly souls of those "hairless and two-legged animals" and analyzes the cultural matrix which is responsible for the deformed characters and ugly souls of these "latest style" literati. Yang Jiang said, "The main connotation of Fortress Besieged is that those who are besieged by the city want to escape, while those outside want to rush in. This is what most people wish for in life, whether in marriage or career. "The meaning of "fortress besieged" is also stated several times in the novel. It tells people that life is a besieged city everywhere, people have marriage and divorce, divorce and marriage in endless succession,with everlasting confusion and dilemma. The questions that Qian raised in the novel refer to a question of universal significance, which is the crisis of modern civilization and the dilemma of modern life as a whole. In December 1990, the television series Fortress Besieged was broadcast on China Central Television(CCTV) and enjoyed great popularity.

Ch'ien Chung-shu has made significant achievements in literary research and literary creation. In particular, it is of great significance to carry forward and deny traditional Chinese culture scientifically and learn from foreign culture selectively. He has wrote the collection of essays Written in the Margins of Life(1941), the collection of short stories Humans·Beasts·Ghosts(1946), and the novel Fortress Besieged(1947). Both his essays and novels are wise and meaningful. Qian has read Chinese history, philosophy and literary classics in depth and has studied western old and new literature, philosophy and psychology. Many of his works, such as Limited Views:Essays on Ideaas and Letters and Patchwork:Essays on Art and Literature, have enjoyed high reputation in academic circles both at home and abroad.

Ch'ien Chung-shu viewd China and the world with a cultural criticism spirit. Based on his profound knowledge of Chinese and world culture, Qian has always shown a clear mind and a deep insight when observing Chinese and Western culture. He didn't reject any theories or doctrines, nor did he blindly follow any authorities. He devoted his life to promoting Chinese literature and art to the world. To this end, he not only explicated the profound meaning and unique value of Chinese culture in depth, but also pointed out its historical and regional limitations. He not only criticized the Chinese for their arrogance towards the local culture due to certain illusions, but also mercilessly eliminated the Westerners' prejudice centered on European and American culture due to ignorance. It is Ch'ien Chung-shu who has promoted cultural communication between China and other countries.

November 21st,2020 is the 110th anniversary of the birth of Ch'ien Chung-shu. People often call him a well-informed scholar, but he is more of a down-to-earth writer and scholar. He was indifferent to fame and wealth and alaways took a rigorous and serious attitude towards academic research. We feel ourselves in an entirely new world when we read the subtle metaphors in Fortress Besieged, while we read Limited Views:Essays on Ideas and Letters and Patchwork:Essays on Art and Literature, we are amazed at Qian's erudition. People all over the world admire his talent, but in fact,it is his meticulous and diligent reading spirit that makes him a well-informed scholar. Many of his life experiences and the question of whether his scholarship was systematic or not have attracted much attention. Wang Shuizhao, professor of Chinese Department of Fudan University, who has studied and worked with Ch'ien Chung-shu for a long time, has recently published his new book Academic Life of Qian Zhongshu, in which he writes about Qian's life experiences and academic achievements based on the first-hand historical data, his personal experiences and his own understanding of academia, and gives answers to the questions discueesed widely, such as Qian's experience of being falsely accused, whether there exists system in his scholarship and the collision of viewpoints between Qian and Chen Yinke.

Terms and Expressions

China in the English Literature of the Seventeenth and Eighteenth centuries 《十七十八世纪英国文学中的中国》

Fortress Besieged 《围城》

Kuomintang-controlled areas 国统区

Written in the Margins of Life 《写在人生边上》

Humans·Beasts·Ghosts 《人·兽·鬼》

Limited Views:Essays on Ideas and Letters 《管锥编》

Patchwork:Essays on Art and Literature 《谈艺录》

the 110th anniversary of the birth of Ch'ien Chung-shu 钱钟书诞辰110周年纪念日

Academic Life of Qian Zhongshu 《钱钟书的学术人生》

Questions

1.What is Ch'ien Chung-shu's representative work? When was it published?

Ch'ien Chung-shu's representive work is Fortress Besieged. It was published in 1947.

2.When was the TV series Fortress Besieged broadcast?

It was broadcast in December 1990.

3.Do you know other works about Ch'ien Chung-shu? Can you list some of them?

Patchwork:Seven Essays on Art and Literature（《七缀集》） and Poetic Remains of an Ephemeral Life（《槐聚诗存》）.

4.Which book did Wang Shuizhao publish in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu? What does he talk about in this book?

Wang Shuizhao published his new book Academic Life of Qian Zhongshu in commemoration of the 110 anniversary of the birth of Ch'ien Chung-shu, in which he writes about Qian's life experiences and academic achievements.

5.Which sentence is your favoriate in Fortress Besieged?

"I want to be able to occupy the whole life of the man I love. Before meeting me, he would have had no past and would be waiting for me with a clean slate." --Liu Liu (talk) 02:19, 9 November 2020 (UTC)

Liu Ou 刘欧

The History of Cross Talk

Cross talk, in the ancient time was known as onomatopoeia, originally refers to imitate other's voices, also known as neighboring cross talk. It was evolved and further developed from the folk music 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. 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, cross talk gradually developed from one-person ventriloquism to stand-up one person talk, and the name changed to cross talk. Later, it gradually developed into stand-up cross talk, dual cross talk, and group cross talk. And become a veritable form of art. After years of development, dual cross talk has finally become the most popular form of cross talk among audiences.--Liu Ou (talk) 06:33, 23 November 2020 (UTC)

Liu Yi 刘艺

Go 围棋--Liu Yi (talk) 08:04, 9 November 2020 (UTC)

GO

Go is an adversarial game with the objective of surrounding a larger total area of the board with one's stones than the opponent. As the game progresses, the players position stones on the board to map out formations and potential territories. Contests between opposing formations are often extremely complex and may result in the expansion, reduction, or wholesale capture and loss of formation stones. A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board. One or more liberties enclosed within a group is called an eye, and a group with two or more eyes cannot be captured, even if surrounded. Such groups are said to be unconditionally alive.

The general strategy is to expand one's territory, attack the opponent's weak groups (groups that can be killed), and always stay mindful of the "life status" of one's own groups. The liberties of groups are countable. Situations where mutually opposing groups must capture each other or die are called capturing races, or semeai. In a capturing race, the group with more liberties (and/or better "shape") will ultimately be able to capture the opponent's stones. Capturing races and the elements of life or death are the primary challenges of Go.

Players may pass rather than place a stone if they think there are no further opportunities for profitable play. The game ends when both players pass or when one player resigns. In general, to score the game, each player counts the number of unoccupied points surrounded by their stones and then subtracts the number of stones that were captured by the opponent. The player with the greater score (after adjusting for komi) wins the game.

In the opening stages of the game, players typically establish positions (or "bases") in the corners and around the sides of the board. These bases help to quickly develop strong shapes which have many options for life (self-viability for a group of stones that prevents capture) and establish formations for potential territory. Players usually start in the corners because establishing territory is easier with the aid of two edges of the board. Established corner opening sequences are called "joseki" and are often studied independently.

"Dame" are points that lie in between the boundary walls of black and white, and as such are considered to be of no value to either side. "Seki" are mutually alive pairs of white and black groups where neither has two eyes. A "ko" (Chinese and Japanese: 劫) is a repeated-position shape that may be contested by making forcing moves elsewhere. After the forcing move is played, the ko may be "taken back" and returned to its original position.[30] Some "ko fights" may be important and decide the life of a large group, while others may be worth just one or two points. Some ko fights are referred to as "picnic kos" when only one side has a lot to lose. The Japanese call it a hanami (flower-viewing) ko.

Playing with others usually requires a knowledge of each player's strength, indicated by the player's rank (increasing from 30 kyu to 1 kyu, then 1 dan to 7 dan, then 1 dan pro to 9 dan pro). A difference in rank may be compensated by a handicap—Black is allowed to place two or more stones on the board to compensate for White's greater strength. There are different rule-sets (Korean, Japanese, Chinese, AGA, etc.), which are almost entirely equivalent, except for certain special-case positions.

Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, there are essentially only two rules in Go: • Rule 1 (the rule of liberty) states that every stone remaining on the board must have at least one open "point" (an intersection, called a "liberty") directly orthogonally adjacent (up, down, left, or right), or must be part of a connected group that has at least one such open point ("liberty") next to it. Stones or groups of stones which lose their last liberty are removed from the board. • Rule 2 (the "ko rule") states that the stones on the board must never repeat a previous position of stones. Moves which would do so are forbidden, and thus only moves elsewhere on the board are permitted that turn. Almost all other information about how the game is played is a heuristic, meaning it is learned information about how the game is played, rather than a rule. Other rules are specialized, as they come about through different rule-sets, but the above two rules cover almost all of any played game. Although there are some minor differences between rule-sets used in different countries, most notably in Chinese and Japanese scoring rules, these differences do not greatly affect the tactics and strategy of the game.

Except where noted, the basic rules presented here are valid independent of the scoring rules used. The scoring rules are explained separately. Go terms for which there is no ready English equivalent are commonly called by their Japanese names.

The two players, Black and White, take turns placing stones of their colour on the intersections of the board, one stone at a time. The usual board size is a 19×19 grid but for beginners, or for playing quick games, the smaller board sizes of 13×13 and 9×9 are also popular. The board is empty to begin with. Black plays first, unless black is given a handicap of two stones or more (in which case, white plays first). The players may choose any unoccupied intersection to play on, except for those forbidden by the ko and suicide rules (see below). Once played, a stone can never be moved and can be taken off the board only if it is captured. A player may also pass, declining to place a stone, though this is usually only done at the end of the game when both players believe nothing more can be accomplished with further play. When both players pass consecutively, the game ends and is then scored.

Terms and Expressions

Go 围棋 heuristic 启发式的 adversarial game 对抗性游戏 intersection 交叉点 board 棋盘 black 黑棋 formation 阵型 white 白棋 move 走棋 scoring rule 计分规则 liberty 自由度 player 棋手

Questions

1, What’s the basic principle of Go?

2,Aside from the order of play (alternating moves, Black moves first or takes a handicap) and scoring rules, What are other two essential rules in Go？

3, What countries have the most notable scoring rules differences?--Liu Yi (talk) 08:36, 9 December 2020 (UTC)

Answers

1, A basic principle of Go is that a group of stones must have at least one open point bordering the group, known as a liberty, to remain on the board.

2,The rule of liberty and the "ko rule".

3, Most notably in Chinese and Japanese scoring rules--Liu Yi (talk) 08:35, 9 December 2020 (UTC)

References

[1]Cho Chikun (1997). Go: A Complete Introduction to the Game. Tokyo: Kiseido Publishers. ISBN 978-4-906574-50-6.

[2]NRICH Team, Going First, University of Cambridge, retrieved 2007-06-16

[3]Iwamoto, Kaoru (1977). Go for Beginners. New York: Pantheon. ISBN 978-0-394-73331-9.

[4]British Go Association, Comparison of some go rules, retrieved 2007-12-20

[5]Kim, Janice; Jeong, Soo-hyun (1997). Learn to Play Go. Five volumes (2nd ed.). New York, NY: Good Move Press. ISBN 978-0-9644796-1-6.

[6]百度百科：围棋

Liu Yiyu 刘怡瑜

The Four Most Handsome men in Ancient China

It is said that there were four most beautiful women in ancient times, and corresponding to that, it is worth mentioning that there were four most attractive men at that time.Despite that we consider these four men as attractive, this refers to more than just their appearance. They have a common feature: it proves that while their appearance is marvelous, they are also outstanding in literature. Namely, as a Chinese saying goes, they are endowed with both beauty and talent. These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.

The allusion of “throwing fruit to fill a carriage” originates from Pan An, which resembles movie fans nowadays to see their idols. There is a comment on Pan An’s appearance: "No more and no less." The history books also describe Pan An with three words “good-looking, well-mannered, and graceful”. Although these did not describe Pan An’s appearance in details, such as eyebrows and eyes or lips, from these side descriptions, we can know that Pan An’s appearance is far above ordinary people, and even his styles draw imitation from others. At the same time, Pan An is known as “the flower of a county in Heyang”, and he is also one of the few men who are compared with flowers to be praised for excellent appearance. The beauty of exterior only fails to last long in this world. Pan An's talent and temperament and the devotion to his wife are also often eulogized. Pan Yue showed his unusual talent since he was a child, and he was called a child prodigy by the villagers. In his early years, he was appreciated by an official and recommended as a scholar. Later, served as the magistrate of Heyang (now Meng County, Henan), he was diligent in political affairs, and advocated the people to plant more fruits and trees. The county was full of trees and peaches and plums everywhere, known as “Flower County”. During his administration, his political achievements were remarkable. Besides, Pan An holds a special place in the history of literature. He was good at composing verse and orders, expatiation, and skilled in the choice of words and building of sentences, which fully reflects the characteristics of Taikang literature that pays attention to the beauty of form. He was expert in composing Ci lyric of sorrow and admonishment, and his current works such as Widow's Fu, Mourning Poem and other famous works are all known for their narration and empathy. Pan An can be described as both internally and externally blessed.（刘细学,2003）

Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng. There is a very popular legend about King Lanling. It's believed that King Lanling was a brave and supremely skilled general. However, because he looked very sweet and it seemed hard to frighten the enemy, he often wore a half-mask when fighting, which sounds very fairytale. Nevertheless, the beauty of King Lanling is beyond doubt and otherworldly. Book of Northern Qi Dynasty described that he was friendly looking and mentally strong, with beautiful voice and appearance. King Lanling spent half his life in military affairs, and made great achievements. While this gave him glory, it also brought bad luck. There is an old Chinese saying that the glow of a inferior from massive achievements will overshadow his superior. Although the King Lanling did not have the idea of usurping the throne, but the incumbent felt threatened because of his existence itself. In the end, a glass of poisonous wine ended the life of the Lanling King.（王真波,2008）

Song Yu (about 322 BC-298 BC), as it is widely rumored, a student of Qu Yuan, was born in the capital city of Song Dynasty during the Warring States Period (now Shangqiu, Henan). Song Yu was a writer of Ci lyric of State Chu in the late Warring States period, adept in Ci lyric and even acclaimed as a great poet after Qu Yuan' reputation. Later generations often referred to them as “Qu Song”. Rumors circulate that there are many Ci lyrics from him, and Book of Han records about 16 works, but many of them are lost today. His works embrace Nine Discriminations, The Fu poetry of Wind and so on. He was the first to write about sadness from Autumn and to write about women. His description of women's nature exerts a great influence on later generations such as Cao Zhi. The goddess in Song Yu's The Fu poetry of Goddess embodies the essence of pre-Qin female beauty, recounting the beauty of the goddess of Wushan Mountain in details so much so that later generations have coveted for it for thousands of years. 16 works survived, among which Nine Discriminations is believed to be truly composed by him. It is equivalent to Qu Yuan's Li Sao or A lament in the history of Chinese literature. Both poets can be called the two shining pearls in Ci lyric at their times.（王真波，2008）

Wei Jie (286-June 20, 312), a metaphysician and an official of the Jin Dynasty. Wei Jie was a noted talker and metaphysicist during the Wei and Jin Dynasties. He was appointed as an assistant of the prince in the matter of politics. In the fourth year of the reign of Emperor Yongjia(AD310), Wei Jie died at the age of 27. Both ancient books and ancients commented on Wei Jie's appearance. Wang Ji reckoned that, “A jade is on my side, and I feel like I am nobody”; “Wandering with Jiu is like sauntering with a pearl on the side, with him shining brightly.” History Retold as a Mirror for rulers authored by Sima Guang goes into detail: "Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior..." Wei Jie not only have a mere marvelous exterior, but also he can discern metaphysics from his perspective. Wei Jie’s views always amaze the concerned parties. It is said that even three sons of the Wang family, are not as good as the first son of the Wei family, and the three sons of the Wang family were all well-known scholars at that time, and the Wei Jie could be regarded as unmatchable compared with the three in family background, appearance, and talents.（王真波，2008）

Terms and Expressions

Pan An 潘安

King Lanling 兰陵王

Ji Kang 嵇康

Wei Jie 卫玠

throwing fruit to fill a carriage 掷果盈车

scholar 秀才

expatiation 铺陈

Book of Northern Qi Dynasty 《北齐书》

the Warring States Period 战国时期

Book of Han 《汉书》

Nine Discriminations 《九辨》

The Fu poetry of Wind 《风赋》

The Fu poetry of Goddess 《神女赋》

the goddess of Wushan Mountain 巫山神女

metaphysician 玄学家

a noted talker 清谈名士

History Retold as a Mirror for rulers 《资治通鉴》

Widow's Fu 《寡妇赋》

Mourning Poem 《悼亡诗》

Questions

1.Who are the four most handsome men at ancient time in China?

2.Who is Gao Changgong?

3.How did Lanlin King die?

4.What works did Song Yu compose?

5.Who are the two shining pearls in Ci lyric according to the passage?

6.What History Retold as a Mirror for rulers comment on Wei Jie?

Answers

1.These four men are Pan An, King Lanling, Ji Kang, and Wei Jie.

2.Gao Changgong (541-573), known as King Lanling, the grandson of Gao Huan, Emperor Shenwu, and the fourth son of Wen Xiang, Emperor Gaocheng.

3.In the end, a glass of poisonous wine ended the life of the Lanling King.

4.His works embrace Nine Discriminations, The Fu poetry of Wind and so on.

5.Qu Yuan and Song Yu

6."Wei is blessed with attractive appearance and has his own understanding when talking and sharing; Often he reckons people can be forgiven if they are inferior..."

References

[1]刘细学.古代四大美男[J].文史天地,2003(06):63-64.

[2]王真波.四大美男都是怎么死的[J].青年文学家,2008(11):59-60.

Mogao Grottoes--Lou Cancan 娄灿灿 student no.202070080599

Introduction

The Mogao Grottoes, known as the Thousand Buddhas Caves, were built on the eastern cliff of Mingsha Mountain, 25 kilometers to the southeast of Dunhuang city. There are 492 caves (well preserved) today, containing over 2,400 painted clay statues and 45,000 square meters of murals and 5 timber structures on the cliff of the southern district. There are also more than 300 caves used as both living room and burying place for monks and painters on the cliff of the northern district. Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes,so they are often referred to as Dunhuang Grottoes. From the 4th until the 14th century, caves were constructed by monks to serve as shrines with funds from donors.(Fan Jinshi 2010，170)The major caves were sponsored by patrons such as important asclergies, local ruling elites, foreign dignitaries, as well as Chinese emperors. Other caves may have been funded by merchants and other local people such as women's groups.

History

Mogao Grottoes were not built in one day. According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff. Later, monk Faliang（法良）came here and joined him cultivating in caves. Since then more and more caves have been excavated over a thousand year. (Whitfield 1990, 8)

By the time of Northern Liang, small community of monks had formed at this site. The caves initially served only as a place of meditation for hermit monks. Later, they were developed to serve the monasteries that sprang up nearby. Members of the ruling families of Northern Wei and Northern Zhou constructed many caves here, and it flourished in the short-lived Sui Dynasty. By the Sui and Tang Dynasties, Mogao Caves had become a place of worship and pilgrimage for the public. In the Sui Dynasty, Hexi Corridor was controlled by central authority. The emperors were pious followers of Buddhism and they ordered to build stupas across the country. Therefore, more than 100 caves were excavated in Mogao Grottoes within 37 years. By the Tang Dynasty, the number of caves had reached over a thousand. During this period, Dunhuang became the main hub of commerce of the Silk Road and a major religious center. A large number of the caves were constructed during this era, including the two large statues of Buddha at the site, the largest one constructed in 695 following an edict a year earlier by Tang Empress Wu Zitian to build giant statues across the country. The site escaped the persecution of Buddhists ordered by Emperor Wuzong in 845 as it was then under Tibetan control. As a frontier town, Dunhuang had been occupied at various times by other non-Han Chinese people.

After the Tang Dynasty, the site went into a gradual decline, and construction of new caves ceased entirely after the Yuan Dynasty. In the Five Dynasties and Ten States period and the Northern Song Dynasty, Mogao Grottoes were preserved and kept by Cao Yijin（曹议金)and his later generations who governed Dunhuang Prefecture.(MA Shichang 2010, 303) During the Ming Dynasty, the Silk Road was finally abandoned and Dunhuang slowly became depolulated and was forgotten by the outside world. Most of the Mogao caves were abandoned. The site, however, went back to a place of pilgrimage and worship by local people at the beginning of the twentieth century. On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings. Since then, Dunhuang has become well known throughout the world. Both Chinese and foreign scholars have made extensive studies on the findings.(Stein 1912, volume 2)

Art

The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture and they vary from dynasty to dynasty. There are mainly three types of structural forms of Mogao Grottoes: Vihara, Chaitya and Hall with inverted funnel shaped ceiling. A Chaitya with a central pillar is the main form of the caves in the early period of the Sixteen States, with Northern Wei, Western Wei and Northern Zhou Dynasties included. The murals may be divided into seven sorts:Buddhist figures, Sutra illustration, Buddhist stories, Buddhist historical pictures, Chinese mythologies, donors and decorative designs. Buddhist stories in the murals can be divided into three types:Jataka（佛本生), Buddha’s life and fate story. A Jataka is a narrative which tells of the good deeds performed by Sakyamuni during his perious existence such as prince Sudanda giving up his body to feed the hungry tigers. As to sculptures, initially, they were constructed on a wooden frame, padded with reed, then modelled in clay stucco and finished with paint.（Duan Wenjie 1994, 163)

A Prince is Feeding Hungry Tigers with His Body

The artistic styles in the Sixteen States, which gradually turned away from being primitive and simple to an easy and graceful styles in the Northern Wei, manifested in figures with well-chiseled builds and emaciated looks. In Northern Zhou, the styles of figures show that Chinese art combining the influence of foreign and native styles gradually became more nationalized. The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs. The caves become spacious and more suited for large paintings, such as the Sutra illustrations and huge pictures of Buddha expounding sermons. Bold and vigorous, brush work was painted with intricate and flowing lines. For example, Lotus Sutra on the ceiling of Cave 420 displays a lot of episodes of mountains, forests, rivers, buildings and so on in a limitated space. The theme and art in the Sui Dynasty show an important devdelopment in traditional art and indicate a comimg glorious new era. In Tang Dynasty, the caves are large with an inverted funnel shaped ceiling. The murals consist mostly of huge paintings of stories from Buddhist Sutras with well-regulated scenes and well-balanced composition. The figures at that time have round and plump faces and curved eyebrows which expresses the aesthetical taste of the people living in Tang. The mural in Cave 220 contains vivid portraits of the Emperor and his ministers listening to a sermon. The ministers attending to Emperor are each bestowed with differrent appearances and expressions. Some are natural and graceful and some cautious. The well-proportioned painted statues were made with more consummate care and attention to the detail, showing us the solemn Buddha. In addition, very tall and colossal statues of Buddha began to be made. The outstanding one is an early Tang Dynasty statue 34 metres high in Cave 96.( Fan Jinshi 2010, 175) In 781-848A.D.,Hexi region fell into the Tibetan. Hence, there was an interesting changes: the king of the Tibetan took the place of central-plain emperors in the wall-painting.

By the time of the Five Dynasties and Ten States period and the Northern Song Dynasty, the grottoes carved in this period are very large and different in form and layout. The subject and style of the statues and murals remain the influence from Tang Dynasty, but the use of colours and the drawing techniques show a simple folk style. From the 9th century to 12th, the Uygur had been in Dunhuang. The artistic styles bear the imprint of both Han and Uygur. The Uygur murals are benerally characterized by the simplicity of the subject, the looseness of the arrangement, the direct and rough brush strokes. The human figures have features of certain minority groups. In the Western Xia Dynasty(1036-1227), most of caves were repaired and renovated, and only 10 caves were built because of the limited cliffs. Compared to the Yulin Grottoes at the same time, painting of Dunhuang display the Pure-land Sutra, containing simpler content. Only 27 caves are extant in Yuan times(1227-1372). The murals in Cave 3, however, still remain the Tang and Song techniques, namely using different types of drawing to depict different parts of human figures such as iron-wire lines, orchid-leaf strokes and broken-reef strokes, etc. Since the 15th century, the Mogaoo Grottoes had gradually fallen into neglect in the Ming and Qing Dynasties.(Rong Xinjiang 1999, 248)

Terms and Expressions

hermit 隐士

stupas 舍利塔

Emperor Wuzong 唐武宗

Vihara 精舍

Chaitya 支提窟

stucco 灰泥

Sakyamuni 释迦牟尼

Sutras 佛经

Questions

1.What do Dunhuang Grottoes refer to?

2.Who built the first cave and when?

3.In 1900, who found the treasure-house in Mogao Grottoes and what were stored in it?

4.How many aspects does the art of Mogao Grottoes mainly consists of and what are they respectively?

5.What are the characteristics of the statues in Sui Dynasty?

Answers

1.Near the Mogao Grottoes, there are some other cave temples: West Caves of Thousand Buddhas (22 caves), Yulin Caves (42 caves), East Caves of Thousand Buddhas (23 caves, 8 caves with murals and statues among them), Five Cave Temples( 5 caves). Their built-dates, contents and artistic styles are very similar to Mogao Grottoes, so they are often referred to as Dunhuang Grottoes.

2.According to relevant records in Tang Dynasty, in 366 AD, a monk named Yuezun（乐僔）was roaming about Dunhuang. One day, he caught a sight of the Buddhas over the Sanwei Mountain opposite the cliff of the Mingsha Mountain, so the devout believer set to build the first cave on the cliff.

3.On June 22th,1900, while Taoist priest Wang Yuanlu（王圆箓）was removing sand from Cave 161, he found a treasure-house on the wall of the corridor containing a great number of scrolls of Buddhist writings, old administrative papers, embroidered work and paintings.

4.The art of Mogao Grottoes mainly consists of three aspects: architectural structure, mural and sculpture.

5.The characteristics of the statues in Sui Dynasty are robust body, large head, square face and short legs.

References

Fan Jinshi 樊锦诗. (2010). 敦煌石窟[The Caves of Dunhuang]. Gansu: The Dunhuang Academy敦煌学院. 

MA Shichang.(2010).Buddhist Cave‐temples and the Cao family at Mogao Ku, Dunhuang[J].MA Shichang,27(2),303-317.

Rong Xinjiang 荣新江. (2010). 敦煌藏经洞的性质及其封闭原因[The Nature of the Dunhuang Library Cave and the Reasons for Its Sealing]. Shanghai: Shanghai Ancient Books Publishing House上海古籍出版社.

Stein, M. Aurel. Ruins of Desert Cathay.(1912). Personal Narrative of Explorations in Central Asia and Westernmost China, volume 2. London: Macmillan.

Suemori Kaoru. (2020)."Thousand-Buddha images in Dunhuang Mogao Grottoes: Religious spaces created by polychromatic patterns". Kyoto: Hozokan. 

DuanWenjie. (1994). Dunhuang Art: Through the Eyes of Duan Wenjie. Abhinav Publications. p. 163.

Whitfield, Roderick and Farrer, Anne, Caves of the Thousand Buddhas. (1990). Chinese Art from the Silk Route, British Museum Publications. P . 5-20.

https://books.google.ru/books?hl=zh-CN&lr=&id=vYPNqlAMZWAC&oi=fnd&pg=PP7&dq=info:9v6pr21oST8J:scholar.google.com/&ots=s-uXhnyDBp&sig=u3H7MAh_OpGRS6Iwxoqx0rC5_fo&redir_esc=y#v=onepage&q&f=false

https://en.m.wikipedia.org/wiki/Mogao_Caves

https://scholar.google.com/scholar?hl=zh-CN&as_sdt=0%2C5&q=mogao+grottoes&oq=

Luo Weijia 罗维嘉

Civil Service Examination System

--Luo Weijia (talk) 08:27, 2 November 2020 (UTC)

The Forbidden City Luo Yuqing 罗雨晴 Student No.202070080601

===The Forbidden City===--Luo Yuqing (talk) 08:30, 2 November 2020 (UTC)

I.Introduction

The Forbidden City (Chinese: 紫禁城; pinyin: Zǐjìnchéng) is a palace complex in Dongcheng District, Beijing, China, and with a total area of 720,000 square meters (180 acres). It lies in the center of Beijing's central axis. Today, the Forbidden City houses the Palace Museum, and was the former Chinese imperial palace and residence of the Emperor of China from the Ming dynasty (since the Yong Le Emperor) to the end of the Qing dynasty, between 1420 and 1924. The Forbidden City served as the home of Chinese emperors and their households and was the ceremonial and political center of the Chinese government.(Barmé, Geremie R 2018,26) The Forbidden City is a national AAAAA tourist attraction and was listed as the first batch of key cultural relics under national protection in 1961. What’s more, it was declared a world cultural heritage in 1987, and listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.(UNESCO,2007)

II.The Name of the Forbidden City

The common English name "Forbidden City" is a translation of the Chinese name Zijin Cheng (Chinese: 紫禁城; pinyin: Zǐjìnchéng; English: Purple Forbidden City). The name Zijin Cheng first formally appeared in the period of Jia Jing. (Li Xieping1997, (04)29-31) In ancient China, the planning concept of "harmony between man and nature" was emphasized. The stars in the sky were used to correspond with the capital planning to highlight the legitimacy of the regime and the supremacy of imperial power. “ Zi ”, or "Purple", refers to the North Star, which in ancient China was called the Ziwei Star, The emperor of heaven lived in Ziwei palace, while the human emperor claimed to be the "son of heaven" who was ordered by heaven. His residence should be a symbol of Ziwei palace to correspond to the heaven emperor. “Jin” means that this splendid palace symbolizes supreme power and status of the royal family. In that case, this palace was forbidden, no one could enter and leave the palace without the emperor’s permission. Cheng means a city. Today, the site is most commonly known in Chinese as Gùgōng (故宫), which means the "Former Palace". The museum which is based in these buildings is known as the "Palace Museum" (Chinese: 故宫博物院; pinyin: Gùgōng Bówùyùan).

III.The History of the Forbidden City

When Hongwu’s son Zhu Di became the Yong Le Emperor, he moved the capital from Nanjing to Beijing, and construction began in 1406 on what would become the Forbidden City. Construction lasted 14 years and required more than a million workers. From 1420 to 1644, the Forbidden City was the seat of the Ming dynasty. (Yu Zhuoyun1984,18)In April 1644, it was captured by rebel forces led by Li Zicheng. He set fire to parts of the Forbidden City in the process of retreating to Shannxi. By October, the Manchus had achieved supremacy in northern China, and a ceremony was held at the Forbidden City to proclaim the Emperor Shunzhi as ruler of all China under the Qing dynasty. (Guo Moruo 1944,3.14) In the 22nd year of Kangxi's reign (1683), the reconstruction of the rest of the destroyed buildings of the Forbidden City was started, and it was basically completed in 1695.After being the home of 24 emperors – 14 of the Ming dynasty and 10 of the Qing dynasty – the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last Emperor of China. In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders of Chiang Kai-shek.After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city.( Xie Mengyin&Qu Wanlin2006, 11.7)

IV.The Structure of the Forbidden City

Firstly, The Forbidden City is a rectangle and symmetric in its layout. Its palaces are arranged along a north-south axis, on which the three main halls, the rear three palaces and the imperial garden are all located. This central axis not only runs through the Forbidden City, but also reaches Yongding Gate in the south, Drum Tower and bell tower in the north, and runs through the whole city.(Xie Li 2005,(03)100-102) Secondly, the Forbidden City is divided into two parts, the Outer Court and Inner Court. The Outer Court is the place where the emperor deals with political affairs. There are mainly three halls: the Hall of Supreme Harmony, the Hall of Central Harmony, and the Hall of Preserving Harmony. The Inner Court or Back Palace includes the northern sections, and was the residence of the Emperor and his family, and was used for day-to-day affairs of state. The inner court takes Palace of Heavenly Purity, Hall of Union and Palace of Earthly Tranquility as its center with six palaces in the east and six palaces in the west.

VI The Collections of the Forbidden City

The Palace Museum was then established in the Forbidden City in 1925, whose extensive collection of artwork and artifacts were built upon the imperial collections of the Ming and Qing dynasties. Part of the museum's former collection is now in the National Palace Museum in Taipei. Both museums descend from the same institution but were split after the Chinese Civil War.(Li Wei & Wang Shuo 2005,6-22) The collections of the Palace Museum are based on the Qing imperial collection, including paintings, ceramics, seals, steles, sculptures, inscribed wares, bronze wares, enamel objects, etc. According to latest audit, it has 1,863,404 pieces of art. They are numbered by "Gu", "Xin" and "Shu". Except for the ancient books and documents, all the other collections are labeled with "Gu" and "Xin". The number of ordinary cultural relics begins with the word "Zi", and the ceramic specimens begin with the word "Biao". The general catalogue is divided into 25 categories, and the numbers in each category are sorted from small to large. Many collections once lost and was brought to the Palace Museum, For example, Han Banquet map. And there are some exquisite collections like Painted Pottery Figurine of a Female Dancer, Mirror with the Twelve Astrological Emblems and Snuff Bottle with Painted Enamel Design of Western Women.(Website:The Collection of the Palace Museum )In addition, The Palace Museum has one of the largest collections of mechanical timepieces of the 18th and 19th centuries in the world, with more than 1,000 pieces. (Meng Fuxia 2012, (21) 73-74)

Terms and Expressions

palace complex 宫殿群

central axis 中心轴

the Palace Museum故宫博物院

the Yong Le Emperor 永乐皇帝

key cultural relics under national protection 国家重点文物保护单位

world cultural heritage 世界文化遗产

harmony between man and nature 天人合一

the imperial garden 御花园

the Hall of Supreme Harmony 太和殿

the Hall of Central Harmony 中和殿

the Hall of Preserving Harmony 保和殿

Palace of Heavenly Purity (乾清宮)

Hall of Union 交泰宫

Palace of Earthly Tranquility 坤宁宫

Han Banquet map 韩熙载夜宴图

Painted Pottery Figurine of a Female Dancer陶彩绘女舞俑

Mirror with the Twelve Astrological Emblems十二生肖镜

Snuff Bottle with Painted Enamel Design of Western Women画珐琅西洋人物鼻烟壶

Questions

1. What’ s the meaning of “Zi” in the Chinese name Zijin Cheng?

2. When was the Forbidden City listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.

3.How many emperors have been lived in the Forbidden City?

4.How long did it take to build the Forbidden City?

5.Why some parts of national treasures are in the National Palace Museum in Taipei now.

6. What two parts can the Forbidden City be divided into?

7.When was the Palace Museum established?

Answers

1.“Zi” refers to the North Star, which in ancient China was called the Ziwei Star

2.In 1897.

3.24 emperors.

4.14 years.

5.Because both museums descend from the same institution but were split after the Chinese Civil War.

6.They are the Outer Court and Inner Court.

7.The Palace Museum was then established in the Forbidden City in 1925

References

Barmé, Geremie R(2008). The Forbidden City. Harvard University Press.26.

UNESCO(2007). "UNESCO World Heritage List: Imperial Palaces of the Ming and Qing Dynasties in Beijing and Shenyang".

Li Xieping 李燮平. (1997) "紫禁城"名称始于何时[When did the name of the Forbidden City come into being?]. 紫禁城Forbidden City, (04) 29-31.

Yu Zhuoyun(1984), Palaces of the Forbidden City, New York: Viking Press,p18.

Guo Moruo 郭沫若.(1994) 甲申三百年祭[Commemorating 300th Anniversary of the Jia-Sheng Year]. 新华日报 New China Daily, 3.19.

Xie Li 谢丽.(2005) 北京中轴线上的十七座门[Seventeen doors on the central axis of Beijing].紫禁城 Forbidden City, (03)100-102.

Meng Fuxia 孟福霞. (2012)北京故宫空间布局构思探源——论中国古代宫殿建筑的美学精神[On the Origin of the Space Layout of the Palace Museum in Beijing--On the Aesthetic Spirit of Ancient Chinese Palace Architecture]大众文艺Popular Literature and Art, (21) 73-74.

Li Wei&Wang Shuo 刘薇,王硕.2005故宫文物南迁路线图揭秘[Unveiling the Route Map of the Cultural Relics of the Imperial Palace to the South] 华夏经纬网Jinwei Network, 6.22 http://www.huaxia.com/wh/gjzt/2005/00333230.html

The Collection of the Palace Museum 故宫博物院馆藏https://www. dpm.org.cn /Home.html

Xie Mengyin & Qu Wanlin 谢荫明,瞿宛林. (2006) “文化大革命” 中谁保护了故宫 [Who protected the Forbidden City in the Cultural Revolution? ].人民网People’s Daily Online,11,7. http://history.people.com.cn/n/2014/0811/c372327-25441615.html

Mo Ling 莫玲

Chinese Marriage Customs

China is an ancient country of rites. When it comes to the most important thing in one’s life---marriage, Chinese people have developed a set of unique and grand ceremonies. Generally speaking, weddings in ancient China needed to be approved by parents and arranged by parents.

Six Procedures

There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying. Na Cai is the begining of all the marriage procedures. It refers that if a boy intends to marry a girl, firstly his family must invite a matchmaker to the girl's home to propose marriage. After obtaining the consent of the girl's family , the boy's family should entrust the matchmaker to make a proposal formally with some gifts. Usually, the most common gift is wild goose,which represents fidelity. Besides, mandarin ducks, phoenix and sheep are also frequently-used gifts. Wen Ming means that the boy's family ask the matchmaker to fetch the girl's name and date of birth. There are two purposes of this step: the one is to prevent the marriage of close relatives with the same surname; the other is to assure the compatibility of the potential bride and bridegroom through their “eight characters” of the birth moment. Naji happens after the matchmaker takes back the woman's name and eight characters. If divining an auspicious omen, the boy's family will inform it to the girl’s parents and decide to engage the marriage. What is more, Na Zheng is an important step when the boy sends betrothal presents to the girl and for courtesy the girl will send back part of the presents such as food and some clothes. Qing Qi means that the boy's family choose an auspicious day to hold the wedding ceremony and then dispatch the matchmaker to tell the girl’s family. Qin Ying is the last procedure of the six etiquettes, that is, the groom goes to the bride's home to take the bride to his home.

Customs

In addition to the six steps mentioned above, there are many other customs in the traditional Chinese wedding ceremony. Generally speaking, ancient marriage was ordered by parents and matchmaker, many young people could not master their own marriage. Before wedding ceremony, men and women were not allowed to meet each other in that ancient people were very conservative and most girls were kept in boudoirs. If they met in private before marriage, it would be regarded as a kind of female infidelity and parents would also think it quite unlucky. Under this circumstance, newlyweds could only see each other until the day of marriage.

On the wedding day, the boy’s family will hold a big banquet at home. Before setting out to pick up bride, the bridegroom should first worship his ancestors for the sake of safety and auspice during the process of picking up the bride. After that, the following step is the most grand one among the whole ceremony --- at the dusk moment, the groom and the bride, his parents as well as all the guests will gather together at the central room to witness the kneeling etiquettes of the couple, which consists of 4 steps: The first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber : the bride will be sent into the bridal chamber and the groom will drink with guests until night.

After wedding ceremony, the couple must return to the girl’s home together at the third day, which is called “Huimen” or “Guiling”. This etiquette is indispensable. The groom should take some gifts for respect and change the way that he calls the bride’s parents, and the latter will also prepare a good meal for the couple’s coming.

Development

As time goes by, there are many reforms about marriage right now. Adults own the freedom to choose their spouse and they can meet each other every day if possible. Parents can’t master their “life event” any more. In addition, many couples skip the cumbersome rites in the wedding ceremony. Some of them choose to hold the ceremony in the church with some close relatives and friends and some even finish it through travel. Nevertheless, most young people still adopt the main procedures of the traditional Chinese customs, some of which are handed down until right now. There still exist betrothal gifts and dowry, and many couples choose to wear red costumes. The groom should go to the bride’s home to escort her to the wedding and so on. Thus it can be seen that most traditional Chinese marriage customs are deep rooted in the hearts of Chinese people and shows a unique Chinese characteristics.

Terms and Expressions

Na Cai 纳彩

Wen Ming 问名

Na Ji 纳吉

Na Zheng 纳征

Qing Qi 纳征

Qin Ying 亲迎

Huimen 回门

Guiling 归宁

betrothal presents 彩礼

the central room 堂屋

bridal chamber 婚房

“eight characters” of the birth moment 生辰八字

Questions:

1.How many procedures are needed from the negotiation to the completion of marriage?

2.Did the ancient young people have the rights to decide their own marriage or not and why?

3.What is the kneeling etiquettes?

4.When the couple have to return to the girl’s home?

5.What changes have been made nowadays?

6.Please list some new wedding customs.

Answers:

1.There are six etiquettes in the process from the negotiation to the completion of marriage, namely Na Cai, Wen Ming, Na Ji, Na Zheng, Qing Qi and the last step Qin Ying.

2.No, they didn’t have the right to decide their own marriage because ancient marriage was ordered by parents and matchmaker.

3.It consists of 4 steps: the first kowtow is for heaven and earth, which shows ancient people’ reverence and appreciation towards the gods and nature for creating a favarable living environment for them. The second kowtow orients parents to express gratitude to parents for their fostering and sincere hope that parents can keep in good health. And then the new couple will kowtow towards each other, which carries the couple’s expectation of living together until old age. The last procedure is Going to the bridal chamber.

4.At the third day of the wedding ceremony.

5.Adults can choose their spouse by themselves and they can meet each other whenever they want; Some couples choose to hold the ceremony in the church some even finish it through travel, etc.

6.Examples:couple can choose to live in the either part of the two families; wedding ceremony can be hold in hotel; the bride can wear white wedding dress rather than the single red in the ancient time.

Twelve Animals of the Chinese Zodiac - Ouyang Ling 欧阳玲 202070080603

Twelve Animals of the Chinese Zodiac

2020 is the year of rat according to the Chinese zodiac which consists of twelve animals used by people to name years. The traditional Chinese zodiac has been passed down for more than 2200 years since its origin before 221 B.C. when the first Dynasty of Qin ( 221 B.C. to 207 B.C.) was established. The twelve zodiac signs are Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig, which are assigned in a repeating 12-year cycle. This traditional Chinese scheme was originated from China and then has enjoyed a popularity in many other Asian countries. With its cultural connotation and time-honored impact, the Chinese zodiac have been engraved in every Chinese people.

Origin

Regarding the origin of the Chinese zodiac, there are various opinions but many of them are presented with no sufficient evidence. There are many myths explaining these animal signs and their arrangement. Among them the most enduring one is the Great Race. In this story, the Jade Emperor, Ruler of the Heavens, wanted to devise a way to measure time, so he organized a race. At the end, the first twelve animals who made it across the river were the winners and so they earned themselves a spot on the zodiac calender in the order they arrived. Besides this folk story, some scholars claim the zodiac scheme was indeed derived from the Twelve Earthly Branches but did not occur at the same time while the Earthly Branches appeared. Since the Han Dynasty, the Earthly Branches have been used to record the time of day. Therefore some hold until that time, the 12 zodiac came into being as a supplementary to refer to the 12 periods of 24 hours. Since the original meaning of the Earthly Branches at that time was obliterated due to the passage of time, the ancient Chinese attached the Earthly Branches and the Ten Heavenly Stems to the zodiac. There also stands an opinion that the zodiac signs were originated from the totem worship in the primitive society. According to some research on the origin of Chinese zodiac, there were only twelve earliest surnames in ancient China, which were derived from the names of the twelve animals in the Chinese zodiac scheme. Here the twelve animals refer to the totems at ancient times and different surname tribes use different animals as their totems. Therefore, the twelve animals of Chinese zodiac was developed from the totems of ancient tribes.

Folk Culture and Belief

The zodiac sign not only can reveal one’s age, but also represents his or her personality, career prospects and way of life according to Chinese superstition.

The Chinese seem to believe that they have some affinity with the animals of the years in which they were born and that their personal traits and fortunes come under their mysterious influence. Zodiac animals are deemed to have certain advantages and disadvantages. For example, people born in the years of rat are smart, adaptable, and have the will to fight, but, on the other hand, they are so over-ambitious and easy to fail. And if you are born in the years of ox, you are deemed to be humble and likely to be someone who always put their families first but also dedicate time to their career.

Besides, since the zodiac is determined by the year of birth, there are many implications of one’s birth year. For example, some zodiacal preferences prevail in Chinese population. Chinese have always had a strong affection for the Dragon, so married couples prefer to give births in the Year of Dragon. Since dragon is regarded as the auspicious and divine creatures, the children born in these years of dragon are believed to have fortune. These cultural preferences and folk beliefs have influenced prospective parents’ reproductive behavior in the Chinese society.

Moreover, Chinese people believe certain animals get on better than the others, so the zodiac has had a great impact on marriage as well. Specifically, people who is born in the Year of Tiger would have perfect romance with Pigs, Rabbit with Dogs and Dragon with Roosters. On the contrary, some zodiac signs are believed to have misfortune if they are married with people of certain zodiac. As the Chinese idiom goes, if a dragon and a tiger fight each other, there will be one injured. This old says reflects that dragon and tiger are natural enemies according to the belief. And this is the reason why men and women would like to evaluate their Bazi, the Eight Characters, before they get married. However, in reality, personality is related to one’s experience through the life journey rather than the pre-written zodiac signs. People born in the same year would have very distinctive personalities. Similarly, the destiny is also a result of people’s character and most decisions they’ll be making along the way. Of course the marriage is a more complex thing that cannot be deemed to have a pre-given outcome brought by the zodiac.

Conclusion

Chinese zodiac is a complex scheme which combines the traditional Chinese astrology in it. Based on the Five Elements theory, Yin and Yang system and Heavenly Stems and Earthly Branches system, the traditional scheme have developed a profound connotation and implications through generation. Over thousands of years, this popular culture has affected people’s major decisions in naming, marriage, giving birth and attitude towards each other. But people have to consider zodiac in a rational and scientific way. Perhaps the zodiac may help us to understand what we’re given, but it cannot determine our destiny. We should treat it as the precious cultural heritage and explore the profound culture and historical traces embodied in it.

References

Paul Yip, Joseph Lee, Y.B Cheung.(2002).The influence of the Chinese zodiac on fertility in Hong Kong SAR. Social Science & Medicine, Volume 55, Issue 10, 1803-1812.

Terms and Expressions

Jade Emperor 玉皇大帝

Ten Heavenly Stems 十天干

Twelve Earthly Branches 十二地支

Eight Characters 八字

Five Elements 五行

Questions

1.How long is the history of Chinese zodiac?

2.What are the twelve zodiac signs in order?

3.From what time the Earthly Branches was used to record time?

4.According to Chinese folk belief, what kind of characteristics do people born in year of rat have?

5.Which zodiac animal is mostly praised in China?

6.Can you name some pairs of zodiac animal that get along well with each other according to Chinese folk culture?

7.Which pair of animals that are natural enemies according to Chinese folk culture?

Answers

1.More than 2200 years.

2.Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig.

3.Han Dynasty.

4.They are smart, adaptable, and have the will to fight, but, on the other hand, they are so over-ambitious and easy to fail.

5.Dragon.

6.Tiger and pig, rabbit and dog and dragon and rooster.

7.Dragon and tiger.

Peng Ruihong 彭锐宏

Lisu People and Daogan Festival of Lisu Ethnic Minority--Peng Ruihong (talk) 08:20, 2 November 2020 (UTC)

Introduction of Lisu people and Daogan festival

The Lisu people are a Tibeto-Burman ethnic group who inhabit mountainous regions of Myanmar (Burma), southwest China, Thailand, and the Indian state of Arunachal Pradesh. About 730,000 Lisu live in Lijiang, Baoshan, Nujiang, Diqing and Dehong prefectures in Yunnan Province and Sichuan Province, China. The Lisu form one of the 56 ethnic groups officially recognized by China. In Myanmar, the Lisu are recognized as one of 135 ethnic groups and an estimated population of 600,000. Lisu live in the north of the country; Kachin State (Putao, Myitkyina, Danai, Waingmaw, Bhamo), Shan State, (Momeik), (Namhsan, Lashio, Hopang, and Kokang) and southern Shan State (Namsang, Loilem, Mongton) and, Sagaing Division (Katha and Khamti), Mandalay Division (Mogok and Pyin Oo Lwin). Approximately 55,000 live in Thailand, where they are one of the six main hill tribes. They mainly inhabit remote mountainous areas.[2]

The Lisu tribe consists of more than 58 different clans. Each family clan has its own name or surname. The biggest family clans well known among the tribe clans are Laemae pha, Bya pha, Thorne pha, Ngwa Pha (Ngwazah), Naw pha, Seu pha, Khaw pha. Most of the family names came from their own work as hunters in the primitive time. However, later, they adopted many Chinese family names. Their culture has traits shared with the Yi people or Nuosu (Lolo) culture.

Daogan Festival (刀杆节) is a traditional festival of Lisu ethnic groups living in Lushui County(泸水县), Nujiang Lisu Autonomous Prefecture(怒江傈僳族自治州).Due to the death of the old artists, they were once lost in Nujiang Prefecture and recovered in recent years. They are mainly distributed in Luzhang Village(鲁掌镇), Luzu Village(鲁祖村) and Loma Village(洛玛村) of Lushui County(泸水县).

Legend

In the Ming Dynasty, when the people who is not in the same clan of feudal China invaded the frontier in Yunnan, The King dispatched Wang Ji(王骥), the Ministry of War in feudal China, to take troops to resist the enemy. Wang Ji fought in unity with the local Lisu ethnic groups and soon expelled the invaders. Later, Wang Ji was murdered by a traitor. In order to commemorate Wang Ji’s great achievements and pray sacrifices to the souls of the brave soldiers who died bravely to defend the frontier, Lisu ethnic groups held the activities of Going up to Daoshan and Going down to Sea of Fire(上刀山,下火海), and designated the fifteenth day of the first lunar month of each year as Daogan Festival.

Meaning

Going up to Daoshan and Going down to the Sea of Fire is the main custom performance activity of Daogan Festival, which reproduces the life experience of people who live in mountain crossing mountains, as well as the arduous spirit and skills of climbing mountain.

Performing

Use pine tree as tool pole, iron knife as tool ladder, wrinkle paper as flower, and bamboo as flower stick.When Going up to Daoshan and Going down to the sea of fire, we play with cowhide drums(鼓), gongs(锣), hairpins(钗), suonas(唢呐) and other musical instruments under the knife pole. There are strict procedures and sacrificial ceremonies from flower-lighting(点花), knife-pointing(点刀), knife-playing(耍刀), knife-piercing(扎刀), flower-greeting(迎花), altar-setting(设坛), knife pole(祭刀杆), vertical pole(竖杆), dragon-sacrificing(祭龙), knife-mounting(上刀) and knife-disassembling(拆刀) to the sea of fire. Knife pole is commonly known as gold pillar, silver pillar or male pillar, mother pillar, respectively, representing the deceased and the living. Thirty-six long sharp knives, representing 365 days a year, are tied on both sides of the knife ladder with paper flowers made of five-color paper. After the knife pole is tied up, Xiangtong /香通(sorcerer) recites words in his mouth and performs knife dance in drum music. After the knife dance, in the sound of Suona and gongs and drums, the knife-bearer grasps the knife edge with both hands, treads barefoot on the knife edge and climbs up. When he reaches the top through three scissors, the knife-bearer opens the sky lock(天锁), takes out the grains and flowers and spreads them to the boiling crowd, and puts the red silk ribbon ,which is on the colored door, on his body, he sang the old prayer song, then,he came down from the knife pole in turn. After that, he stepped barefoot into the burning charcoal fire, licked the burning plough with the tip of his tongue, and bit the burning iron chain with his teeth, which showed the Lisu ethnic national spirit and superb performance skills. --Peng Ruihong (talk) 04:06, 8 December 2020 (UTC)

Phyo, Su Kyi

Chinese Clothing== Phyo, Su Kyi, Student No-20191108000

Introduction

Chinese Clothing has many ethnic groups with a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress of nation can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000years ago. Archaeological findings of 18,000 years-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization. --Phyo Su Kyi 1 (talk) 08:30, 9 December 2020 (UTC)www.topchinatravel. com, 2004.
Chinese clothing has undergone continuous transformations throughout history,providing a reflection of the culture in place at any given time. A wealth of archaeological findings coupled with ancient mythology, poetry, and songs enable us to see the development of distinctive Chinese fashions through the ages. This illustrated introductory survey takes the reader through traditional Chinese clothing,ornamentation,and ceremonial wear, and discusses the importance of silk and the diverse costumes of China's ethnic groups before considering modern trends and China's place in the fashion world today.--Phyo Su Kyi 1 (talk) 08:30, 9 December 2020 (UTC)Mei Hua-2010-page-1.

A- Chinese traditional clothing

Chinese traditional clothing contains rich cultural connotations.Today, after the reform and opening up, the clothing industry has developed vigorously. People gradually start pay attention to the local clothing culture, and pursue cultural connotation contained in clothing. For modern designers, the traditional clothing and its cultural background are their creation inspirations during creation phases,and they are also one of the expressive elements preferred by designers at home and abroad. Inheriting traditional clothing culture not only means that it needs us to turn the traditional clothing elements into a symbol, but also needs us to further understand the background and connotations of traditional clothing culture. The work of design without culture is like a gorgeous shell that can't stand the test of history. Only by grasping the inner spirit of traditional clothing culture, abandoning simple piled up work and patch-up work without connotation and learning the modern expressive methods of traditional clothing elements, one can design out the works which can touch people's heartstrings. --Phyo Su Kyi 1 (talk) 08:30, 9 December 2020 (UTC)Jiangsu ,page-2,2016.
Traditional clothing is the clothing which can reflect the traditional clothing culture with Chinese characteristics. Traditional clothing mutually integrates its unique style, comfortable fabric, bright colors,rich designs and exquisite craft elements to bring people impulsive feelings with visual communication. Traditional clothing culture with Chinese characteristics enjoys its unique artistic features in the style, color,fabrics,decoration and craft, ect. They are profoundly influenced by Chinese traditional culture ideas in the process of their formation and development and finally condensed into the national culture bearing Chinese culture features. These elements are the source of our inspiration in contemporary clothing design, and the use of these Chinese elements can help people to design out the clothing Chinese style.--Phyo Su Kyi 1 (talk) 08:30, 9 December 2020 (UTC)Jiangsu, page-2,2016.
Chinese traditional culture is an indispensable source of inspiration in fashion design. Putting the traditional elements into fashion design not only helps the native culture to extend itself, but also greatly promotes the culture exchanges in nationalities. Therefore, we should advocate the national advanced culture,make the Chinese traditional culture achieve the development in the clothing design, use the common language to express Chinese traditional culture essence, and integrate Chinese traditional element symbol into the spiritual elements of fashion design to make the national culture spirit and the language of the world integrate into the mainstream of modern clothing design. --Phyo Su Kyi 1 (talk) 08:30, 9 December 2020 (UTC)Jiangsu, page -3,2016.
---Traditional Han Chinese Clothing (Han Fu):It refers to the attire worn byvthe Han people from the enthronement of the Yellow Emperor(about 2698BC) till the late Ming Dynasty (1368-1644AD).It became known as the Han Fu(fu means 'clothes" in Chinese)because the fashion was improved and popularized during the Han Dynasty. It is usually in the from of long gown,cross collar, wrapping the right lapel over the left, loose wide sleeves and no buttons but a sash. Although simple in design, it gives different feelings to different wearers. --Phyo Su Kyi 1 (talk) 08:30, 9 December 2020 (UTC)www.topchinatravel.com, 2019-Aug-2.

---Chinese Suit(Tang Zhuang):It is a combination of the Manchu male jacket ofvthe Qing Dynasty and the western style suit. It is usually straight collared,with coiled buttons down the front. Its color and design are in traditional Chinese style but tailoring is western.--Phyo Su Kyi 1 (talk) 08:30, 9 December 2020 (UTC)www.topchinatravel. com, 2019,Aug-2.

---Cheongsam(Qi Pao):Originated from the Manchu female clothes, it evolved by merging with western patterns that show off the beauty of a female body. Its features are straight collar, strain on the waist,coiled buttons and slits on both sides ofvthe dress. Materials used are usually silk, cotton and linen.Cheongsam is the most popular Chinese attire in the world today. --Phyo Su Kyi 1 (talk) 08:30, 9 December 2020 (UTC)www.topchinatravel. com, 2019,Aug-2.

---Chinese Tunic Suit(Zhongshan Zhuang) :Also called the Yat-sen Suit , it is designed by Dr.Sun Yat-sen by combining the western-style suit and Chinese attire. It has a turn-down collar and four pockets with flaps. As Chairman Mao Zedong worn it quite frequently, it is also called the Mao Suit by westerners. It is the main attire from the founding of the People's Republic of China in 1949 till 1980,s. The country's leaders still wear it today when attending important occasions, such as military parades. --Phyo Su Kyi 1 (talk) 08:30, 9 December 2020 (UTC)www.topchinatravel. com,2016,Auge-2.

Trems and Expressions

历史-history, 期-period, 世代-generations, 服装-clothing, 设计师-designers , 装饰-ornamentation 中国服饰- Chinese clothing 服饰-Costumes 传统服装-Traditional clothing 服装设计-Clothing design 时尚设计-Fashion design

How long is the history of years clothing manufacture in China?

Pingki, Tanchangya

Chinese traditional dance--PINGKI TANCHANGYA 4 (talk) 02:46, 12 November 2020 (UTC)

Insert non-formatted text hereInsert non-formatted text here==Phyo, Su Kyi== Chinese Traditional women clothing 1- History of Chinese clothing

History of Chinese clothing China has many ethnic groups with a long history while Han people dominate most periods in history. For thousands of years, generations of clothing designers have devoted themselves to building the Kingdom of Clothes, making the garments that cover the human body into an important component of Chinese culture. The progress of nation can be seen through its changes in clothing styles.Clothing manufacture in China dates back to prehistoric times, at least 7,000 years ago. Archaeological findings of 18,000 year-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization.

A- Chinese Clothing during Qin and Han Dynasties (221 B.C - 220 A.D)

The Qin and Han dynasties (221 B.C. - A.D. 220) witnessed the unification of territory as well as written language. Qin Shihuang, the First Emperor of the Qin Dynasty, established many social systems, including one for uniforms to distinguish people's ranks and social positions. China's complete code of costume and trappings was established in the Han Dynasty (206BC-220AD). The yarn-dyeing, embroidering and metal-processing technologies developed rapidly in the period, spurring changes in costume and adornments.

B-Chinese Clothing during Wei,Jin, South and North Dynasties(220-589)

Chinese clothing experienced a rapid development during the Wei, Jin, and Southern and Northern dynasties (220-589). Before 265, the cultures and esthetic views of the peoples in north and south China merged because of the moves initiated by frequent wars. Many philosophical schools of thought influenced both people's lives and the conceptions of clothing design.

C- Chinese Clothing during Tang Dynasty(618-907)

The Tang Dynasty (618-907) wrote the most brilliant page in the history of Chinese clothing. People's clothes were more varied than before because the state was more open to the outside world and people became more cosmopolitan in their thinking. The clothes for women could be called fashionable because they changed rapidly and were showy. Once only a new style came out, many people would be willing to take it.

D-Chinese Clothing during Song, Yuan, Ming Dynasties

Casual wear appeared during the Song Dynasty (960-1279), and clothes were simple and elegant.During the Yuan Dynasty (1206-1368), the Mongolian ethnic group, known as the People on Horseback, was in power. The style of clothing was mainly a combination of Mongolian and Han. Clothes were luxurious for upper class yet simple and unadorned in design.Dramatic changes took place during the Ming Dynasty (1368-1644). A new conception came into being in clothing design, with no limitation to one style and advocating natural beauty, thus bringing vigor and vitality to the clothing culture.

E- Chinese Clothing during Qing Dynasty

During the Qing Dynasty (1644-1911), clothes became elegant, poised, and glorious. During the 200 years of the Qing Empire, the entire world witnessed dramatic changes such as the Renaissance in Italy and Columbus's discovery of the Americas, but the changes did not affect traditional Chinese clothing because China had a closed-door policy. People still wore clothes showing rank and lifestyle. The retreat from outside cultures has left a precious heritage for traditional Chinese clothes.

F-Chinese Clothing from 1930s till Modern Era Chinese clothing from 1930s till now, Qipao has become into fashion since then. During 1930s to 1940s, dress is further westernized, tailored to flatter body shape. During 1940s to 1960s, Qipao(Cheongsam) survives as everyday wear in Hong Kong until the late 1960s.

Terms and Expressions Questions References.--Phyo Su Kyi 1 (talk) 17:37, 25 November 2020 (UTC)Phyo Su Kyi

Qu Miao 瞿淼

Chinese wine culture--Qu Miao (talk) 08:28, 30 November 2020 (UTC)

Rajabov, Anushervon

China Railway High-Speed ​​(CRH)

China Railway High-Speed ​​(CRH) is a high-speed rail service operated by the China Railway. The introduction of the CRH series was an important part of the 6th National Rail Acceleration, which took place on April 18, 2007. By the end of 2018, China Railway High Speed ​​served all provinces in China except Taiwan and covered over 29,000 km. (18,000 miles) the length of passenger routes, which make up about two-thirds of the world's high-speed rail routes served by commercial enterprises. It is the most widely used rail transport in the world, with 1.713 billion flights in 2017, bringing the total cumulative number of flights to 7 billion. More than 1000 sets of rolling stock are operated under the CRH brand, including the Hexie CRH1 / 2A / 5, which are rated for a top speed of 250 km / h (160 mph), and the CRH2C / 3 has a top speed of 350 km / h. ( 220 mph). The in-house developed CRH380A has a maximum test speed of 416.6 km / h (258.9 mph) at a commercial speed of 350 km / h.The fastest CRH380BL train reaches a maximum test speed of 487.3 km / h (302.8 mph) ). In 2017, China Standardized EMU brand, including CR400AF / BF and CR200J, joined China Railway High Speed ​​and is designated Fuxing along with the letters CR (China Railway). With gradual planning, the CR brand will replace the existing CRH brand in service. Depending on the speed, there are 3 categories of high-speed trains: G, D and C (G and some C are the fastest at 350 km / h, D at 250 km / h and C at 200 km / h). High speed rail network. High speed rail services were first introduced in 2007 on CRH rolling stock. They operate on existing lines that have been upgraded to speeds of up to 250 km / h (160 mph), and on newer dedicated high-speed routes rated up to 350 km / h (220 mph). CRH service on dedicated high-speed lines

Language, The Chinese Language - Seydou, Sagara, student no. no. missing

Introduction

Chinese is a very big country with large population. Each may have its own lingo, or dialects. There are great differences between these dialects. If people in different places use their dialects to talk, they may not be able to understand each, and the situation may lead to embarrassment and understanding. Therefore, the Chinese people communicate with each other in a common language, Putonghua, also known as Mandarin in Western countries. Putonghua is the modern standard Chinese language with the Beijing pronunciation as its standard pronunciation, the northern dialect (also known as Mandarin, the official language in the past) as its basic dialect, and the modern vernacular as its grammatical norm.Quotation missing. E.g. (Gui Ninghuo 2009, 12)

Therefore, the northern dialect sounds more like Putonghua than other dialects. Putonghua is a standardized language, which is legally used all over the country. In 2000, the law of the People’s Republic of China on common languages and characters established the legal status of Putonghua and standardized Chinese Characters as the national language and writing system. Putonghua is also one of the six working language of the United Nation and an important means of communication between China and foreign countries.Quotation missing. E.g. (Gui Ninghuo 2009, 12)

According to statistics, in 2015, 70 percent of China’s population had the ability to speak Putonghua, but there were still about 400 million people who spoke dialects or minority languages. Article 19 of the constitution of the People’s Republic of China stipulates that ‘’ Putonghua is widely used by the state ‘’Quotation missing. E.g. (Gui Ninghuo 2009, 12), and the third week of September is the national Putonghua Publicity week. We often hear some sayings like this: ‘’ Learn Putonghua well and you will have friend all over the world.’’Quotation missing. E.g. (Gui Ninghuo 2009, 12) Quotation missing. E.g. (Gui Ninghuo 2009, 12)

Chinese dialects are usually divided into seven groups: northern dialect Wu dialect, Hunan dialect, Jiangxi dialect, Hakka dialect, and Cantonese dialect and Fujian dialect. Most northern are close to Putonghua and easy to understand a non-native speaker.Quotation missing. E.g. (Gui Ninghuo 2009, 12)

The dialects in China differ greatly. Speaking Putonghua allows the Chinese people to communicate better with each other and promote the development of economy and culture everywhere. However, the promotion of Putonghua cannot be achieved in a short time. The Chinese government plans to enable more than 80% of Chinese people to speak Putonghua by 2020.Quotation missing. E.g. (Gui Ninghuo 2009, 12)

Only by learning Putonghua can you communicate with people from all parts of China and event with Chinese –speaking people all over the world. While striving to promote Putonghua among the people of the whole country, China also pays special attention to the protection of dialects, which should not be lost after learning Putonghua.Quotation missing. E.g. (Gui Ninghuo 2009, 12) --Sagara Seydou 3 (talk) 14:09, 6 December 2020 (UTC) --Sagara Seydou 3 (talk) 02:24, 20 November 2020 (UTC)

1 Putonghua and Dialects

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2 Ancient Chinese and Modern Chinese

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3 Idiomatic Phrases - Idioms, Common Sayings, and Allegorical Sayings

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4 Language Policy

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References

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Terms and Expressions

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Questions

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