Cult Ov 1 Fin Exam 2024

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Li Jingyi | Traditional Cuisine：Breakfast Culture of Guangdong

Introduction:

Guangdong dim sum brunch is a folk dietary custom in Guangdong, which is a social and dietary custom of the Han ethnic group. This custom commonly found in southern China, such as Guangdong, Jiangsu, Zhejiang, etc., especially in Guangdong. Cantonese people very enjoy dim sum brunch, some of which are used as breakfast. Generally, the whole family sits together at a table, sharing the joy of family. Most people in Guangdong taste tea three times a day in the morning, middle, and evening. However, morning tea (dim sum brunch) is the most exquisite and the culture of having dim sum brunch is also the strongest. People often drink tea with dim sum, so the locals refer to drinking morning tea as eating dim sum.【1】

Guangdong dim sum brunch is a unique culinary cultural custom that emphasizes the enjoyment process and is an essential part of Guangdong people's daily lives. As the name suggests, morning tea is closely related to tea. In traditional tea houses, the commonly used varieties of morning tea include Tie Guan Yin, Shou Mei tea, black tea, oolong, Pu-erh tea, Ju Pu tea (chrysanthemum and Pu-erh), and narcissus. Today, ordinary tea houses have been simplified into three types: Tie Guan Yin, Pu-er, and Chrysanthemum. The Dim sum snacks of the brunch are even more important in Guangdong dim sum brunch. "Guangdong dim sum brunch is rich and luxurious. Tea is just a supporting role, and more importantly, dim sum, dishes and congee."【2】

Every dim sum establishment will serve a slightly different list of dishes. Some may even have special variations or entirely new dishes they invent. However, there's almost certainly a few popular dishes that you should be able to find regardless of whichever dim sum establishment you go to. Some of these essential staple items include barbecued pork buns, shrimp dumplings, beef or shrimp rice rolls, phoenix claws (which are actually chicken feet), pork ribs, turnip cakes, egg tarts, and egg custard buns, among others. You might even go as far to say that dim sum isn’t quite dim sum, in the traditional sense, without at least some of these dishes.【3】

Specialities:

Barbecued pork bun

Barbecued pork bun is one of the representative traditional Xiguan famous dishes in Guangdong. The name of barbecued pork bun comes from the pork filling inside the dough.

This popular Chinese dish is prepared by combining small chunks of barbecued pork seasoned with oyster sauce and other spices, then encasing them in a thin layer of flour. This delicacy is then steamed in a steamer, resulting in a fluffy, tender pastry. The dough used for barbecued pork bun is an enhanced version of the traditional fermented dough commonly found in northern China. When shaping the buns, they are formed into a bird cage design, which allows for proper fermentation. After steaming, the top of the bun naturally cracks, revealing a beautiful, flower-like pattern. This, in essence, is a type of steamed bun with barbecued pork as its filling. Barbecued pork buns are typically 5 centimeters in diameter, with each steamer holding three to four buns. Authentic barbecued pork buns are filled with a balanced mixture of fatty and lean barbecued pork. Once steamed, the wrapper is soft and smooth, with a slightly cracked surface exposing the barbecued pork filling. The aroma of barbecued pork is thoroughly infused throughout the dish.【4】

Shrimp dumpling

This traditional dim sum, known as shrimp dumplings, originates from Guangzhou, Guangdong Province, and is a representative dish of the region's cuisine. Comprising shrimp, winter bamboo shoots, pork fat, and wheat flour among its ingredients, the dish's most distinctive feature is the complete shrimp filling.

The preparation of shrimp dumplings consists of two principal steps: creating the filling and preparing the dumpling skin. Regarding the filling, the shrimp must first be cleaned and minced, after which winter bamboo shoots, pork, and seasonings are added to create a well-blended mixture. As for the dumpling skin, a combination of wheat flour and cooked lard is mixed, to which some boiled water is added to form a dough. This dough is then rolled out into strips, cut into evenly sized pieces, and finally wrapped around the filling in a steamer, where it is steamed for approximately 8 minutes.

High-quality shrimp dumplings should possess a thin and soft skin, with a translucent appearance being preferable. The shrimp should be fresh, and the dumpling should contain a small amount of juice, ensuring that the entire dish is served at a suitable temperature. These dumplings are traditionally accompanied by black vinegar, dark soy sauce, and tender shredded ginger as a dipping sauce.【5】

Steam pork dumpling

Steam pork dumpling is a traditional local snack in Guangzhou, which is also one of the most popular dim sums in dim sum brunch. The primary ingredients used in the preparation of steam pork dumplings include semi-fat and lean pork, shrimp, and egg, seasoned with a delicate balance of light soy sauce, sugar, salt, chicken powder, pepper, cornstarch, and cooking wine. The savory filling, wrapped in a semi-dewy dough, is then steamed to perfection, resulting in a coloration that is both appetizing and appealing to the eye. The texture is cool, moist, and inviting, while the taste is notably non-greasy, making it a favorite among locals and visitors alike.【6】

Cultural Background：

Geographic Reasons

Guangdong is located in southern China with a warm and humid climate, which makes people more inclined to engage in activities in the morning, such as drinking tea, chatting, etc. This lifestyle habit provides the foundation for the formation of the culture of dim sum brunch.

Guangdong is the commercial center of southern China and has been an important area for trade and cultural exchange since ancient times. This geographical location allows Guangdong to be exposed to various cultures and ingredients, providing a material basis for the richness of dim sums. In the long historical process, Guangdong's tea culture has gradually formed its own unique style and tradition, absorbing the essence of local food culture, which also makes Guangdong's dim sums a wide variety.

On the other hand, the geographical environment of Guangdong also nurtures abundant agricultural products and seafood resources, providing a rich selection of ingredients for dim sums. For example, the ingredients commonly used in cuisine in Guangdong, such as shrimp, meat, eggs and vegetables, are all provided by the rich local agricultural products and seafood resources.

In short, it can be said that the emergence of the culture of dim sum brunch in Guangdong is closely related to its geographical reasons. It is Guangdong's unique geographical environment and climate conditions that have nurtured this unique culinary culture.

Historical Reasons

The history of Guangdong dim sum brunch can be traced back to the Qing Dynasty. During the Xianfeng period of the Qing Dynasty, places such as Guangzhou and Foshan began to have "Erli pavilions" for drinking tea. Later, more upscale tea houses were born, and they had already reached a two-story scale, allowing tea guests to sit down and chat slowly. 【6】With the further development of the commodity economy, tea houses gradually shown a trend of prosperity and there were more and more tea houses.

Starting from the late 1920s, many high-end tea houses in Guangzhou rushed to launch "Weekend Delights" to attract diners, becoming a trend in the catering industry at that time. At that time, the tea house was like a "small society", where people engaged in business, blind dates, and gatherings. The various aspects of the world, human emotions were all condensed into "drinking tea". In the teahouse, while enjoying delicious food, everyone talked to their family and friends about everything, and the relationships between people gradually became closer. In Guangdong, "inviting dim sum brunch" became a common way of socializing.【8】

Population Composition

The population composition has had a significant impact on the emergence and development of the culture of Guangdong dim sum brunch. In densely populated Guangdong region, there are a large number of migrants and overseas Chinese who jointly promote the prosperity and development of morning tea culture.

Firstly, Guangdong has a dense population, especially in the Pearl River Delta region, which provides a vast market for the development of dim sum brunch. A large population means a large number of consumers, thus promoting the prosperity of the culture of dim sum brunch. Cantonese people enjoy liveliness and socializing, and this culture, as a way of socializing, perfectly meets their needs. In the tea house, people can taste delicious food while chatting and enjoying a relaxed and enjoyable time.

Secondly, Guangdong has a large influx of migrants, which also brings diverse elements to the culture. People from different regions have brought their own cultural backgrounds and dietary habits, which are integrated with the culture of Guangdong dim sum brunch, forming a unique flavor.

In addition, there are a large number of overseas Chinese in Guangdong, who have a deep affection for the cuisine and culture of their hometown. When they return to their hometown, they often choose to go to tea houses to taste authentic Guangdong dim sum, which also promotes the inheritance and development of the culture of dim sum brunch. At the same time, some overseas Guangdong nationals have also brought this culture to various parts of the world, allowing more people to understand and love Guangdong dim sum.【9】

Terms

barbecued pork buns 叉烧包

shrimp dumplings 虾饺

beef rice rolls 牛肉肠粉

shrimp rice rolls 鲜虾肠粉

phoenix claws 豉汁凤爪

pork ribs 蒸排骨

turnip cakes 萝卜糕

egg tarts 蛋挞

egg custard buns 奶黄包

Questions

1.When did Guangdong dim sum brunch originate? What are its historical origins?

2. What are the representative dim sum or delicacies in Guangdong dim sum brunch?

3. How did Guangdong dim sum brunch become a part of Guangdong people's social interaction?

References

【1】https://baike.baidu.com/item/%E5%B9%BF%E4%B8%9C%E6%97%A9%E8%8C%B6/5406079

【2】宋爽 广东早茶文化对餐桌礼仪以及现代人生活方式的影响研究——以广州为例

【3】https://dimsumguide.com/site/page/the-ultimate-guide-to-dim-sum

【4】https://baike.baidu.com/item/%E5%8F%89%E7%83%A7%E5%8C%85/79401?fr=ge_ala

【5】https://baike.baidu.com/item/%E8%99%BE%E9%A5%BA/2829637?fr=ge_ala

【6】https://baike.baidu.com/item/%E5%B9%B2%E8%92%B8%E7%83%A7%E5%8D%96?fromModule=lemma_search-box

【7】https://baike.baidu.com/reference/844043/533aYdO6cr3_z3kATPeKzqihNS-VYIj_7-DTUuRzzqIPmGapB4zkU4I74d8-8bllFQLPpdZhb9tahbejXkZE6fcVde0wRLwin3b8VjbDz7vn6Z5n2NwH49MXDe8B0a6zuwSv

【8】https://baike.baidu.com/reference/844043/533aYdO6cr3_z3kATPeKzqihNS-VYIj_7-DTUuRzzqIPmGapB4zkU4I74d8-8bllFQLPpdZhb9tahbejXkZE6fcVde0wRLwin3b8VjbDz7vn6Z5n2NwH49MXDe8B0a6zuwSv

【9】https://baike.baidu.com/item/%E6%97%A9%E8%8C%B6/844043#reference-6

传统美食：广东早餐文化

简介：

广东早茶是一种广东民间饮食风俗。早茶是汉族社交饮食习俗，多见于中国南方地区，如广东、江苏、浙江等地，尤其是在广东。广东人饮早茶，有的是当作早餐的，一般都是全家老小围坐一桌，共享天伦之乐。广东人品茶大都一日早、中、晚三次，但早茶最为讲究，饮早茶的风气也最盛，由于饮早茶是喝茶佐点，因此当地称饮早茶为吃早茶。【1】

广东早茶是一种独特的饮食文化习俗，注重享受过程， 是广东人生活中必不可少的一项内容。早茶顾名思义与茶水密不可分，旧式茶楼，早茶的品种常用的有铁观音、寿眉、红茶、乌龙、普洱茶、菊普 （菊花和普洱） 和水仙。 今天普通茶楼已经简化为铁观音、普洱、菊花三种。早茶的点心小吃更是广东早茶中的重要内容。“广东早茶丰富而奢侈，茶只是配角，更重要的是点心、菜肴和粥品。”【2】

每家早茶店供应的菜品略有不同。有点店会有一些创意菜或者是自己发明的新菜。然而可以肯定的是，无论你去哪家早茶店，都会有一些招牌菜.其中一些主要的菜品有叉烧包、虾饺、牛肉肠粉或鲜虾肠粉、豉汁凤爪、蒸排骨、萝卜糕、蛋挞和奶黄包等等。在传统意义上，你甚至可以说，如果没有这些菜品，点心就不太像点心了。【3】

特色点心：

叉烧包

叉烧包是广东地区具有代表性的特色传统西关名点之一。叉烧包是因面皮内包入叉烧肉馅，故使用此名。

叉烧包以切成小块的叉烧，加入蚝油等调味成为馅料，外面以面粉包裹，放在蒸笼内蒸熟而成。叉烧包的面皮是用北方常用的发酵面团经过改进而成的。包制时要捏制成雀笼形，因为发酵适当，蒸熟后包子顶部自然开裂，实际上是一种带有叉烧肉馅的开花馒头。叉烧包一般大小约为直径五公分左右，一笼通常为三或四个。好的叉烧包采用肥瘦适中的叉烧作馅，包皮蒸熟後软滑刚好，稍为裂开露出叉烧馅料，渗发出阵阵叉烧的香味。【4】

虾饺

虾饺是广东省广州市的传统小吃，属于粤菜菜系。其原料包括虾仁、冬笋、猪肥肉、澄粉等，最大的特色是馅料有完整的虾仁。

虾饺的制作方法包括馅料制作和饺皮制作两部分。馅料制作方面，要先将虾仁洗净剁成碎末，加入冬笋、猪肉及调料拌匀成馅。饺皮制作方面，将澄粉、熟猪油混合，加入适量开水和成面团，搓条摘剂，擀成大小均匀的面皮，最后包入馅料，入笼屉用旺火蒸约8分钟即成。

优质的虾饺一定要皮薄而软，饺皮半透明则更佳，同时虾要爽口弹牙，饺内有少量汁液，全只饺要够热。食用时可以搭配乌醋与老抽，以及嫩姜丝作为沾酱。【5】

干蒸烧卖

干蒸烧卖是广州市的一道传统地方小吃，该小吃也是广式早茶中必点的人气点心之一；干蒸烧卖是用半肥瘦猪肉、虾仁、云吞皮和鸡蛋为主要原料，以生抽、白糖、盐、鸡粉、胡椒粉、生粉、料酒为配料加工制作，薄面皮裹半露的肉馅料蒸熟，色鲜味美，质地爽润，爽口不腻。【6】

文化背景

地理原因：

广东位于中国南方，气候温暖湿润，这种气候条件使得人们更倾向于在早晨进行活动，如饮茶、聊天等。这种生活习惯为早茶文化的形成提供了基础。

广东是中国南方的商业中心，自古以来就是贸易和文化交流的重要地带。这种地理位置使得广东能够接触到各种不同的文化和食材，从而为其早茶的丰富性提供了物质基础。在漫长的历史进程中，广东的茶文化逐渐形成了自己独特的风格和传统，吸收了各地美食文化的精华，这也使得广东早茶的种类繁多。

广东的地理环境也孕育了丰富的农产品和海鲜资源，这为早茶提供了丰富的食材选择。例如，广东的点心和茶点中常用的食材如虾、肉、蛋、蔬菜等，都是当地丰富的农产品和海鲜资源提供的。

总之，可以说广东早茶文化的产生与广东的地理原因密不可分，是广东独特的地理环境和气候条件孕育了这种独特的饮食文化。

历史原因：

广东早茶历史可追溯到清代，在清朝咸丰年间，广州、佛山等地方开始有喝茶的“二厘馆”。后来更高档的茶居诞生了，茶居已经有了两层楼的规模，可以让茶客们坐下来慢慢聊。【7】伴随着商品经济的进一步发展，茶居渐渐现出繁荣之势,茶楼越来越多。

20世纪20年代末期开始，广州许多上档次的茶楼为了招揽食客，争相推出“星期美点”，成为当时餐饮界的潮流。那时茶楼如同“小社会”，谈生意的、相亲的、聚会的都有，世相百态、人情世故都凝聚在“饮茶”之中。在茶楼里，大家一边品尝美味，一边和家人朋友说东家长西家短，人与人之间的关系也逐渐拉近。在广东，“请早茶”成为一种普遍的社交方式。【8】

人口组成：

人口组成对广东早茶文化的产生和发展产生了重要的影响。广东地区的人口密集、外来人口众多以及大量的华侨和海外华人等因素共同推动了早茶文化的繁荣和发展。

首先，广东地区人口密集，尤其是珠三角地区，这为早茶文化的发展提供了广阔的市场。大量的人口意味着有大量的消费者，从而推动了早茶文化的繁荣。广东人喜欢热闹，喜欢社交，而早茶作为一种社交方式，正好满足了他们的需求。在茶楼中，人们可以一边品尝美食，一边聊天交流，享受轻松愉快的时光。

其次，广东地区外来人口众多，这也为早茶文化带来了多元化的元素。来自不同地域的人们带来了各自的文化背景和饮食习惯，这些元素与广东早茶文化相互融合，形成了独具特色的早茶风味。

此外，广东地区还有大量的华侨和海外华人，他们对家乡的美食和文化有着深厚的感情。当他们回到家乡时，往往会选择去茶楼品尝正宗的广东早茶，这也促进了早茶文化的传承和发展。同时，一些海外的广东籍人士也将早茶文化带到了世界各地，让更多的人了解和喜爱广东早茶。【9】

术语：

barbecued pork buns 叉烧包

shrimp dumplings 虾饺

beef rice rolls 牛肉肠粉

shrimp rice rolls 鲜虾肠粉

phoenix claws 豉汁凤爪

pork ribs 蒸排骨

turnip cakes 萝卜糕

egg tarts 蛋挞

egg custard buns 奶黄包

问题：

1. 广东早茶起源于何时？它有哪些历史渊源？

2. 广东早茶中有哪些代表性的点心或美食？

3. 广东早茶是如何成为广东人社交方式的一部分的？

参考文献：

【1】https://baike.baidu.com/item/%E5%B9%BF%E4%B8%9C%E6%97%A9%E8%8C%B6/5406079

【2】宋爽 广东早茶文化对餐桌礼仪以及现代人生活方式的影响研究——以广州为例

【3】https://dimsumguide.com/site/page/the-ultimate-guide-to-dim-sum

【4】https://baike.baidu.com/item/%E5%8F%89%E7%83%A7%E5%8C%85/79401?fr=ge_ala

【5】https://baike.baidu.com/item/%E8%99%BE%E9%A5%BA/2829637?fr=ge_ala

【6】https://baike.baidu.com/item/%E5%B9%B2%E8%92%B8%E7%83%A7%E5%8D%96?fromModule=lemma_search-box

【7】https://baike.baidu.com/reference/844043/533aYdO6cr3_z3kATPeKzqihNS-VYIj_7-DTUuRzzqIPmGapB4zkU4I74d8-8bllFQLPpdZhb9tahbejXkZE6fcVde0wRLwin3b8VjbDz7vn6Z5n2NwH49MXDe8B0a6zuwSv

【8】https://baike.baidu.com/reference/844043/533aYdO6cr3_z3kATPeKzqihNS-VYIj_7-DTUuRzzqIPmGapB4zkU4I74d8-8bllFQLPpdZhb9tahbejXkZE6fcVde0wRLwin3b8VjbDz7vn6Z5n2NwH49MXDe8B0a6zuwSv

【9】https://baike.baidu.com/item/%E6%97%A9%E8%8C%B6/844043#reference-6

Chen Xinzhou | Telecast：Become a Farmer

Program Introduction

iQIYI's (a film and television app)self-made reality show Become a Farmer is China's first interactive documentary reality show, featuring ten "new farmers" as the main characters, delving deep into rural areas, and documenting their farming life scenes of working from sunrise to sunset. The planning of the program for this show began after the Spring Festival in 2022, with the original intention of producing a program about farming. After investigation, the program team chose to set the filming location at No. 58 Houdoumen, Shanlian Village, Sandun Town, Hangzhou. Ten young people, Jiang Dunhao, Lu Zhuo, Li Gengyun, Li Hao, Zhao Yibo, Zhuo Yuan, Zhao Xiaotong, He Haonan, Chen Shaoxi, and Wang Yiheng, stood out in the audition and formed the" Farming Team". The program truthfully recorded their entire process of farming. (杨长岭Yang Changling,2023,(10):84-86)

Reasons for the creation of the program

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

Program contents

Ten urban youths, carrying hope and dreams, have interpreted the value of "doing every task seriously, and there will always be a harvest if you put in the effort " personally. They immersed themselves in the field for over 200 days, completing the sowing, irrigation, and fertilization of 142 acres of farmland; planting and maintaining 4000 pots of roses; moving 30 tons of fertilizer in one go; learning to use various agricultural tools and create a "Shi Ge Qin Tian" agricultural company to sell their agricultural products. In addition to working in the fields, they also have to cook for themselves and decorate their own houses. In over 200 days, they transformed from novices who knew nothing about agriculture to agricultural “experts”; they adapted to each other, transitioning from a single person's "solo work" approach to an efficient team operation mode. （黄雯,李梦洁 Huang Wen, Li Mengjie,2023,(12):29-33）

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

Innovative Aspects

• Become a Farmer truly reflects rural life, avoiding labeling and idealization, and narrowing the gap between "media reality" and "real reality ". Compared to the traditional rural reality shows that focus on expressing the "interest of labor" and "results of labor," the program pays more attention to portraying the "hardship of labor" and "process of labor," conveying real land harvest, growth experience, and emotions to the audience. (董钧君Dong Junjun,2023,44(21):135-138)

• Become a Farmer breaks through the traditional format dominated by long videos in reality shows, synchronizing a "dual-line development", and practicing a combination of "long video + short video + live broadcast", which allows viewers to have real-time communication and interaction with the farming team at different stages of the farming process. Long videos are the main episodes; short videos are behind-the-scenes footage and extended versions as well as single-line videos of ten members; live broadcasts are daily life broadcasts and farmer-assisting broadcasts, which provide viewers with a sense of immersion and companionship.(董钧君Dong Junjun,2023,44(21):135-138)

Social Influence

• Inherit Agricultural Culture and Support Rural Revitalization

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

In the program, the audience can directly feel the application of new technologies and concepts in agricultural production. At the same time, the identity of the ten young people as "new farmers" has given the audience a new definition of what it means to be a farmer. Become a Farmer also explores new models of rural revitalization through methods such as farmer-assisting live streaming and the establishment of farmer markets. It has also invited agricultural experts and new farmers to exchange and learn with young people multiple times, hoping to call on more young people to participate in agricultural production and boost rural revitalization.(黄雯Huang Weng,李梦洁Li Mengjie,2023,(12):29-33)

• Cultivate Spiritual Soil and Lead Emotional Resonance

The program showcases the growth process of ten young men, who went from being at a loss to being adept at handling farming, from being strangers to relying on each other, and from being unknown to becoming widely known. The transformation and growth of young people demonstrate the charm of labor to the audience, conveying the positive energy of exchanging sincerity for sincerity and giving the audience a warm sense of healing, allowing them to appreciate the wisdom of life and living.(黄雯Huang Weng,李梦洁Li Mengjie,2023,(12):29-33)

Terms

• Become a Farmer 《种地吧》

• extended versions 加更视频

• behind-the-scenes footage 幕后花絮

• Haloxylon ammodendron trees 梭梭树

Questions

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

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

References

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

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

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

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

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

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

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

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

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

http://xhslink.com/XTJYGL

种地吧

节目简介

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

节目创作原因

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

节目内容

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

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

创新

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

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

社会影响

1.传承农耕文化，助力乡村振兴

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

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

2.培育心灵土壤，引领情绪共鸣

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

术语

• 《种地吧》
• 加更视频
• 幕后花絮
• 梭梭树

问题

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

参考文献

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

Chen Qian | Animals：Chinese Rural Dog

Origin of the Chinese Rural Dog

The Chinese Rural Dog is one of the oldest animals native to China. Its ancestor is the Southeast Asian wolf, which evolved into the Chinese Rural Dog through a combination of natural selection and human domestication.

There are many controversies about the origin time of the Chinese Rural Dog, but what is certain is that it originated very early in China. As early as in the Qin Dynasty, there is an allusion to the record:Li Si, the prime minister of the Qin Dynasty, lamented before his execution: I can no longer lead the yellow dog out with me to chase after the crafty rabbit at the east gate of CAI.The "yellow dog" here refers to the Chinese Rural dog, which was the dog held by Emperor Qin Shi Huang when he unified China. In modern Han Chinese society, it is also called "Tu Gou" or "Da Huang".

The Chinese Rural Dog is thought to have followed the Han Chinese people as they migrated from the northern regions of the middle and upper reaches of the Yellow River to all parts of China. The Chinese Rural Dog is highly adaptable, so it has a wide geographic distribution, both in the north and south, mainly south of the Great Wall, east of the Tibet Plateau, and in the lower altitudes of the Han collection centred on the central region, and is widely founded in the Han Chinese countryside and in Southeast Asia. In the north, due to the cold climate, the dog will generally nest in the wood stove or woodpile, so some places in the north called it "firewood dog"(Chai Gou); the east of Jiangsu, Zhejiang and Shanghai areas are generally referred to as "grass dog"(Tu Gou), Here "grass" means "soil" and "local products".

The Chinese Rural Dog can be broadly divided into three major strains, namely the Northern strain, the Jiang Zhe strain, and the Liang Guang strain. The Chinese Rural Dog is a product of China's thousands of years of agricultural society, a living fossil of history and culture, and is also honored as the "Chinese National Dog".

Morphological characteristics of the Chinese Rural Dog

The morphology of the Chinese Rural Dog is similar to that of the Japanese Akita, and the Chinese Rural Dog was named to distinguish it from the Akita. Some scholars believe that the Chinese Rural Dog is genetically related to the Japanese Akita, and that it was bred by the same canine ancestor in Japan and China respectively. The shape and size of the Chinese Rural Dog varies from region to region, but they all share the same main characteristics. The Chinese Rural Dog is a medium-sized, well-proportioned dog, neither too large nor too small, and can adapt to a wide variety of environments and uses. Its facial features are close to those of a wolf, with a sharp, short mouth and a flat forehead; its tail is shaped like a sickle and is raised upwards, especially when walking; its hair is rough and easy to keep clean, and it comes in a variety of colors, mainly yellow, white and black.

Life Habits of Chinese Rural Dog

The Chinese Rural Dog is docile and loyal to people, but also has a strong sense of territory, is wary of strangers and is not prone to skin diseases, so it is widely used in rural areas for home guarding and early hunting. They show their bellies to express obedience and pampering to you; they wag their tails to express pleasure to you. Chinese Rural Dog is a carnivore, when feeding needs to be formulated more animal protein to maintain the normal development and health of the dog, but in rural areas, most people just take the Chinese Rural Dog as a livestock that can look after the house, coupled with the dog's adaptability, so most people are not too focused on the dog's nutritional formulations, and just feed the dog with leftovers. However, with the rapid development of urbanization, there are many people who feed their Chinese Rural Dogs finely as pets. Like other dogs, the Chinese Rural Dog has a habit of eating faeces, either to supplement trace elements or to ingest the proteins in the faeces to promote digestion. There is a Chinese saying "A dog can't change its habit of eating faeces", which is used to describe a person's habit or nature that is hard to change.

Chinese Rural Dogs can live in groups, and when in groups they establish their own hierarchy to keep the group stable. They will use urine to mark territory, attract the opposite sex or as signposts, just like their ancestors, the wolves. They love to have their bellies and backs stroked and like to wag their tails when they are happy. Showing their bellies and wagging their tails are both ways for puppies to express their emotions and communicate. They will take a look around before going to sleep to make sure there is no danger. When the Chinese Rural Dog is sick, they will instinctively avoid humans or other dogs and hide in the shadows to recover. They will leave their owner's home when they realize they are going to die and wait silently for death by themselves.

Three major strains

The Chinese Rural Dog is widely distributed in rural China, and due to factors such as geography, environment and blood relations have formed many different strains and subspecies, which can be roughly divided into three major strains, namely the northern strain, the Jiang Zhe strain, and the Liang Guang strain. The Northern strain is distributed in the Northeast - Yellow River basin - Upper and Middle Yangtze River - Yunnan-Guizhou Plateau area, the hair colour of the dog breeds in this area is mainly in mixed colors, with fewer breeds of solid coloured hair, and the ears will naturally hang down towards the front of the head in a relaxed state, with a dignified face, making it a very good watchdog. The Jiang Zhe strain is mainly found in Zhejiang, Jiangsu and Anhui, and there are fewer mixed-coloured dogs in this region, with large, long and erect ears, pointed mouths and long limbs. The dogs of this region bear a strong resemblance to those of Japan and Korea, which may be closely related to the frequent foreign exchanges on the East China Sea in ancient times. This was a way of spreading Chinese culture to foreign countries, and it also brought various kinds of Chinese products, including domestic dogs, to these places. The distribution area of the Liang guang strain is centred on Guangdong, including parts of Guangxi and Fujian. This area is also best known for its breeds, such as the Sha Pi, the Chao Shan Big Head, and the Guangdong Song Shi.

Chinese Rural Dog with chinese traditional culture

As one of the oldest dog breeds in China, the Chinese Rural Dog is a product of China's thousands of years of agricultural society, a living fossil of history and culture. They are the guardians and companions of China's rural areas, and have been baptized by time for thousands of years, and are the bearers of China's rural culture. In the countryside, the Chinese Field Dog is the guardian of the family, guarding the farmhouse, the fields and the safety of the family. At the same time, they are also excellent sheepdogs, able to help farmers drive livestock and protect crops, making them indispensable companions for rural labour. In the Chinese Field Dog, we can see the shadow of thousands of years of traditional Chinese farming culture. In addition to its role in rural life, the Chinese Field Dog also carries a rich cultural connotation. In traditional Chinese culture, dogs have always been regarded as symbols of loyalty, bravery and good fortune, so the Chinese Rural Dog is also endowed with many auspicious symbols. For example, some regions of China believe that if a dog suddenly enters a home, then good things will happen to the family recently, and there is a high probability that they will have good fortune. The Chinese Rural Dog is also depicted in art and literature. Su Shi, a famous writer of the Northern Song Dynasty, wrote a poem in which he refers to the Chinese Rural Dog in the phrase: "The Yellow Dog on the Left, the goshawk on the Right", which expresses the heroic spirit of a warrior on the battlefield. In art, the image of a dog appeared in the painting "A Beauty Wearing a Hairpin " by Zhou Fang, a painter of the Tang Dynasty, and in porcelain works, the three-colour dog of the Tang Dynasty is realistic and highly skilled in sculpture.

However, in recent years, with the accelerated process of urbanization, people's living standards have risen significantly, a large number of foreign dog breeds introduced, people are more willing to support foreign expensive dog breeds, while the purebred Chinese Rural Dogs have suffered from the spurning of many kinds of Chinese Rural Dogs are facing the risk of imminent extinction. The Chinese Rural Dog is a part of Chinese culture and a gift left to us by our ancestors. Protecting the Chinese Rural Dog is not only a sign of respect and care for life, but also a sign of protection for traditional Chinese culture.

The Chinese Rural Dog is not just a breed of dog, but also a symbol of culture and spirit. It represents the diligence, wisdom and kindness of the Chinese people, and is the inheritor and promoter of our national spirit. We should act together to protect and pass on the valuable cultural heritage of the Chinese Rural Dog!

Terms and expressions

Chinese Rural Dog 中华田园犬

A dog can't change its habit of eating faeces 狗改不了吃屎

The Yellow Dog on the Left, the goshawk on the Right 左牵黄，右擎苍

A Beauty Wearing a Hairpin 《簪花仕女图》

Three-colour dog 三彩狗

Questions

1.What is the ancestor of Chinese Rural Dog?

2.What are the three strains of Chinese Rural Dog?

3.What can we do to protect the Chinese Rural Dog?

References

[1]https://baijiahao.baidu.com/s?id=1782987267976379965&wfr=spider&for=pc

[2]https://baike.baidu.com/item/%E4%B8%AD%E5%8D%8E%E7%94%B0%E5%9B%AD%E7%8A%AC/4815748?fr=ge_ala

[3]https://www.baidu.com/s?tn=98010089_dg&ch=22&word=%E7%8B%97%E4%B8%BA%E4%BB%80%E4%B9%88%E4%BC%9A%E5%90%83%E7%B2%AA%E4%BE%BF

[4]https://zhuanlan.zhihu.com/p/604551461

[5]https://www.sohu.com/a/276117321_132450

[6]https://zh.m.wikipedia.org/wiki/%E4%B8%AD%E5%8D%8E%E7%94%B0%E5%9B%AD%E7%8A%AC

动物：中华田园犬

中华田园犬的起源

中华田园犬是中国本土最古老的动物之一。它的祖先是东南亚狼，在自然筛选和人类驯化的共同作用下演变成了中华田园犬。

对于中华田园犬的起源时间学界有许多争议，但可以确定的是它在中国的起源时间很早。早在秦朝就有典故记载：秦朝丞相李斯临刑哀叹：“吾欲与若复牵黄犬俱出，上蔡，东门逐狡兔，岂可得乎”。这里的“黄犬”指的就是中华田园犬，是秦始皇一统中国时牵的狗。在现代汉民族社会它也被叫作是“土狗”或“大黄”。

中华田园犬被认为是跟随汉民族一道从黄河中上游的北方地区迁移到中国各地。中华田园犬的适应性很强，因此它的分布地域很广，在南北都有分布，主要分布于长城以南、青藏高原以东，以中部地区为中心的低海拔的汉族集聚地，广泛存在于中国汉族农村及东南亚地区。 在北方由于气候寒冷，狗一般都会窝在柴灶或柴堆旁，因此北方有的地方又把它叫作“柴狗”；东方江浙沪地区则一般把它称为“草狗”，这里的“草”就是“土”、“本地产”的意思。

中华田园犬大致可分为三大品系，分别是北方品系、江浙品系、两广品系。中华田园犬是中国几千年农耕社会背景下的产物，是历史和文化的活化石，还被尊称为“中华国犬”。

中华田园犬的形态特征

中华田园犬的形态特征与日本的秋田犬相似，“中华田园犬”的命名也是为了与秋田犬区分开来，有部分学者认为中华田园犬与日本秋田犬在遗传上的确存在联系，是同一犬类祖先在日本与中国分别培育出来的。在不同的地区，中华田园犬的形态，大小各有差异，但都有共同的主要特征。中华田园犬的体型中等，身体匀称，既不过于庞大，也不过于瘦小，能适应各种各样的环境和用途。它的面部特征接近于狼的特征，嘴尖而短，额平；尾巴形似镰刀，向上翘起，特别是在行走时容易高高翘起；它的毛质粗糙，容易保持干净，毛色多样，主要有黄，白，黑等颜色。

中华田园犬的生活习性

中华田园犬性格温顺，对人的忠诚度高，但也具有很强的领地意识，对陌生人很警惕，且不易生皮肤病，因此在农村它被广泛用于看家护院和早期狩猎。它们露出肚皮，是在向你表达顺从和撒娇；它们摇尾巴是在向你表达愉悦的心情。 中华田园犬是食肉动物，在喂养时需要配制较多的动物蛋白来维持狗的正常发育和健康，但在农村地区，大部分人只是把中华田园犬当作一个能够看家护院的牲畜，再加上狗的适应能力较强，因此大多数人都不太会注重狗的营养配制，只是给狗喂食剩饭剩菜。不过，随着城市化的迅速发展，也有许多人把中华田园犬当作是宠物来精细喂养。中华田园犬也同其它犬类一样有食粪便的习惯，这可能是为了补充微量元素或者是摄入粪便中的蛋白质来促进消化。中国有句俗语叫作“狗改不了吃屎”，用来比喻一个人的习惯或本性难以改变。

中华田园犬可以群居生活，在群居时他们会建立起自己的等级制度，来保持群体的稳定。它们会和它们的祖先狼一样用尿液来标记领地，吸引异性或做路标。它们喜欢被人抚摸肚皮和背部，开心的时候喜欢摇尾巴。露出肚皮和摇尾巴都是小狗表达情绪和沟通的方式。睡觉前会先在周围转一转，确定无危险后，才会安心睡觉。中华田园犬在生病时，会本能地避开人类或者其他狗，躲在阴暗处去康复。它们在意识到自己将要死亡时会离开主人家，自己默默地等待死亡。

三大品系

中华田园犬广泛分布于中国农村，由于地域、环境和血缘等关系的因素形成了很多不同的品系、亚种，大致可分为三大品系，分别是北方品系、江浙品系、两广品系。 北方品系分布在东北—黄河流域—长江中上游—云贵高原一带，这一区域的犬种毛色以杂色为主，纯色毛发的犬种较少，耳朵在放松状态下会自然向头部前方垂下，面相威严，是很好的看家狗。 江浙品系主要分布于浙江、江苏、安徽一带，这一区域的犬种杂毛狗较少，耳朵大而长且直立，嘴尖，四肢修长。这一地区的狗与日本、韩国的狗有很大的相似之处，这也许跟古代中国东海频繁的对外交往有着密切的联系。这是中国文化对外传播的一种方式，同样也把中国各种的物产包括家畜狗也带到这些地方。 两广品系分布区域以广东为中心，包括广西和福建的一部分地区。这一地区的犬种也最让大家所熟知，如：沙皮、潮汕大头、广东松狮。

中华田园犬与中华传统文化

中华田园犬作为中国最古老的犬种之一，是中国几千年农耕社会背景下的产物，是历史和文化的活化石。它们是中国农村地区的守护者和伙伴，历经千年的时光洗礼，是中国乡村文化的承载者。在乡村，中华田园犬是家庭的守护者，守护着农舍、田地和家人的安全。同时，它们也是优秀的牧羊犬，能够帮助农民驱赶牲畜、保护农作物，是农村劳作不可或缺的伙伴。在中华田园犬的身上，我们能够看到中国几千年传统农耕文化的影子。除了在农村生活中发挥作用外，中华田园犬还承载着丰富的文化内涵。在中国的传统文化中，犬类一直被视为忠诚、勇敢和吉祥的象征，因此中华田园犬也被赋予了许多祥瑞的寓意，例如中国有地区认为如果一只狗突然走进了家中，那么这户家庭最近会有好事发生，很有可能会走财运。中华田园犬还会被描绘在艺术或文学作品中，北宋著名文学家苏轼有一句诗：“左牵黄，右擎苍”中的“黄”指的就是中华田园犬，这句诗表达出了战士出征时的豪情壮志。而在艺术方面，唐代画家周昉的《簪花仕女图》中就出现了狗的形象；在瓷器作品中，唐代的三彩狗形象逼真，雕塑记忆高超。

但近年来随着城市化进程的加快，人民生活水平大幅度提升，大量引进国外犬种，人们更愿意赡养国外的名贵犬种，而纯种的中华田园犬却遭受唾弃，许多种类的中华田园犬面临着濒临灭绝的风险。中华田园犬是中华文化的一部分，是我们的祖先留给我们的礼物，保护好中华田园犬不仅是对生命的尊重和关爱，更是对中华传统文化的保护

中华田园犬不仅仅是一种犬种，更是一种文化和精神的象征。它代表着中国人民的勤劳、智慧和善良，是我们民族精神的传承者和弘扬者。我们应当一起行动起来，为保护和传承中华田园犬这一宝贵的文化遗产而共同努力！

问题

1.中华田园犬的祖先是什么？

2.中华田园犬的三大品系是什么？

3.为保护保华中华田园犬，我们能做些什么？

Liang Chengzhi | Clothing：Hanfu

Unveiling the Beauty of Chinese Traditional Clothing

Introduction

Chinese traditional clothing, known as Hanfu, has a rich history and cultural significance that spans thousands of years. Hanfu originated in ancient China and evolved over time, reflecting the dynastic changes and societal transformations experienced by the Chinese people. This essay aims to explore the emergence, development, and cultural significance of Hanfu throughout history. It will examine its unique characteristics, discuss its influence on Chinese culture, and shed light on its current revival. The study of Hanfu provides valuable insights into the traditions, aesthetics, and heritage of Chinese civilization.

I. Origins and Spread of Hanfu

Hanfu traces its origins back to the Zhou Dynasty (1046-256 BCE) and experienced significant development during the subsequent dynasties, such as the Han, Tang, and Ming. Initially, Hanfu represented the clothing of the Han ethnic group, but it gradually became the widely accepted attire of the ruling class and was eventually adopted by the broader population. The spread of Hanfu was closely tied to the political, social, and cultural changes occurring in ancient China.

During the Han Dynasty (206 BCE-220 CE), Hanfu became standardized and characterized by loose-fitting robes with crossed collars, wide sleeves, and a sash tied around the waist. This style of clothing symbolized the hierarchical structure of society and conveyed a sense of dignity and decorum. The cultural influence of Hanfu expanded beyond China's borders, reaching neighboring regions and contributing to the development of East Asian clothing traditions.

II. Unique Characteristics of Hanfu

Hanfu stands out for its distinct design elements, which reflect the values and aesthetics of traditional Chinese culture. One of the distinguishing features is the use of traditional Chinese silk fabrics, known for their exquisite craftsmanship, lustrous appearance, and smooth texture. Silk production and weaving techniques were highly developed in ancient China, and silk garments were considered a symbol of luxury and refinement.

The design of Hanfu also emphasizes the concept of modesty and harmony. The clothing typically consists of several layers, including an inner garment, an outer robe, and various accessories. The overall silhouette is loose and flowing, allowing for ease of movement and emphasizing natural beauty. The color palette of Hanfu is often vibrant and diverse, with different hues representing various seasons, occasions, and social statuses.

III. Cultural Significance of Hanfu

Hanfu carries profound cultural significance and serves as a visual representation of Chinese traditional values. It embodies the concept of Confucianism, emphasizing respect for hierarchy, filial piety, and adherence to social norms. The attire reflects the traditional Chinese belief in the harmony between humans and nature, as well as the pursuit of balance and elegance in daily life.

Furthermore, Hanfu plays a crucial role in preserving cultural heritage and fostering a sense of identity among the Chinese people. It serves as a link connecting the past, present, and future, allowing individuals to reconnect with their historical roots and express their cultural pride. Hanfu enthusiasts and cultural revival movements have emerged in recent years, contributing to the resurgence of interest in traditional clothing and reviving ancient craftsmanship techniques.

IV. Contemporary Revival and Global Influence

In recent decades, there has been a noticeable resurgence of interest in Hanfu among the younger generation in China. This revival can be attributed to factors such as increased cultural awareness, the influence of social media, and a growing appreciation for traditional aesthetics. Hanfu enthusiasts organize gatherings, festivals, and fashion shows to promote the beauty and cultural significance of Hanfu.

Additionally, Hanfu has gained international recognition and appreciation, with individuals from various cultural backgrounds showing interest in this unique form of traditional clothing. Its elegance, historical depth, and distinctive design have captivated the attention of Western fashion designers, scholars, and enthusiasts, leading to cross-cultural exchanges and collaborations.

Conclusion

Hanfu, as a symbol of Chinese traditional clothing, carries immense cultural and historical significance. Its evolution throughout the centuries reflects the development of Chinese society and highlights the enduring beauty of traditional Chinese aesthetics. The revival of Hanfu in contemporary times demonstrates the resilience of cultural heritage and the continued importance of preserving and celebrating traditional customs. By embracing Hanfu, individuals can deepen their understanding of Chinese culture, foster cultural exchange, and appreciate the timeless elegance of this remarkable attire.

Terms and Expressions

Hanfu (汉服) - Chinese traditional clothing

Zhou Dynasty (周朝) - An ancient Chinese dynasty that ruled from 1046 to 256 BCE

Confucianism (儒家思想) - A system of philosophical and ethical teachings attributed to Confucius, emphasizing moral values, social harmony, and respect for authority

Silk (丝绸) - A fine fabric produced from the fibers of the silkworm cocoon

Cultural heritage (文化遗产) - The legacy of physical artifacts, traditions, and practices that are passed down from previous generations

Questions

What is the origin of Hanfu and how did it spread?

What are the unique characteristics of Hanfu?

What cultural significance does Hanfu hold?

How has Hanfu experienced a revival in contemporary times?

What is the global influence of Hanfu?

References

Wang, L. (2020). Hanfu and National Clothing Movement in China: Fashion, Identity, and Cultural Revival. Fashion Theory, 24(4), 445-468.

Yang, S. (2019). A study on the development and innovation of Chinese traditional clothing design under the cultural background of Hanfu. 2019 Seventh International Conference on Culture, Education and Economic Development of Modern Society (ICCESE), 1-4.

Chen, X. (2017). The Revival of Hanfu and the Construction of Chinese Nationalism. Nanjing University of Information Science and Technology.

Li, M. (2016). Traditional Chinese Clothing Culture and Its Contemporary Value. International Journal of Advanced Research (IJAR), 4(8), 188-192.

Finnane, A. (2008). Changing Clothes in China: Fashion, History, Nation. Columbia University Press.

汉服：揭示中国传统服饰之美

引言： 汉服作为中国传统服饰，有悠久的历史和文化意义，跨越了数千年的时间。汉服起源于古代中国，并随着时间的推移不断演变，反映了中国人民经历的朝代变革和社会转变。本文旨在探讨汉服在历史中的出现、发展和文化意义。将研究其独特特点，讨论其对中国文化的影响，并探讨其当前的复兴。研究汉服为了解中国文明的传统、审美和遗产提供了宝贵的见解。

一、汉服的起源与传播 汉服的起源可以追溯到周朝（公元前1046年-公元前256年），并在随后的汉唐明等朝代经历了重要的发展。最初，汉服代表的是汉族人的服饰，但它逐渐成为统治阶级广泛接受的服饰，并最终被更广泛的人群所采纳。汉服的传播与古代中国正在发生的政治、社会和文化变革密切相关。

汉服在汉朝（公元前206年-公元220年）期间得到了规范化，并以宽松的袍子、交叉领子、宽大的袖子和系在腰间的腰带为特征。这种服装风格象征着社会的等级结构，传达出一种庄重和端庄的感觉。汉服的文化影响超越了中国的边界，影响了周边地区，并对东亚服饰传统的发展做出了贡献。

二、汉服的独特特点 汉服以其独特的设计元素脱颖而出，这些元素反映了中国传统文化的价值观和审美观。其中一个显著特点是使用传统的中国丝绸面料，以其精湛的工艺、光泽的外观和柔滑的质地而闻名。古代中国的丝绸生产和织造技术非常发达，丝绸服装被视为奢华和精致的象征。

汉服的设计也强调谦逊和和谐的概念。服装通常由内衣、外袍和各种配饰组成。整体的轮廓宽松而流畅，方便活动，突出自然之美。汉服的色彩调色板通常是鲜艳多样的，不同的色调代表不同的季节、场合和社会地位。

三、汉服的文化意义 汉服具有深远的文化意义，是中国传统价值观的视觉表达。它体现了儒家思想的概念，强调对等级制度的尊重、孝道和社会规范的遵守。这种服饰反映了中国传统文化中人与自然和谐相处的信念，以及追求生活中的平衡和优雅。

四、当代复兴与全球影响 在过去几十年中，汉服在中国年轻一代中出现了明显的复兴现象。这种复兴可以归因于文化意识的增强、社交媒体的影响以及对传统审美的不断增长的欣赏。汉服的热衷者组织集会、节日和时装秀，以推广汉服的美丽和文化意义。

此外，汉服在国际上获得了认可和赞赏，引起了来自不同文化背景的人们对这种独特的传统服饰的兴趣。其优雅、历史深度和独特的设计引起了西方时尚设计师、学者和爱好者的注意，从而导致了跨文化的交流和合作。

结论： 汉服作为中国传统服饰的象征具有深厚的文化和历史意义。其在几个世纪的发展中反映了中国社会的发展，并突显了中国传统审美的持久魅力。汉服在当代的复兴表明了文化遗产的坚韧性以及保护和庆祝传统习俗的持续重要性。通过拥抱汉服，个人可以加深对中国文化的理解，促进文化交流，并欣赏这一独特服饰的永恒优雅之美。

Zhao Xinyu | Music and instruments：Chime 编钟

1. Introduction

Chime is an important percussion instrument of Han nationality in ancient China, which is a kind of clock Chimes rose in Zhou Dynasty and flourished in Spring and Autumn Period and Warring States Period until Qin and Han Dynasties.Chimes are composed of several bells of different sizes hung in sequence on a wooden frame and made into a group or groups, each of which strikes a different pitch Chimes are the concentrated embodiment and materialized form of Chinese ritual and music culture.According to different types of chimes, they can be divided into three types:cymbals,Yong and buttons.Among them, the cymbals are the only clocks that can be flush with the mouth among the three kinds; There is a long "Yong" above the Yong bell, which is concave and curved on the mouth; the mouth below the button is also concave and curved, but the top of the dance part is not long Yong, but a bell button is cast like a pewter.

2. Origin and casting

According to Lu's Spring and Autumn Annals, the history of chime bells can be traced back to the time of the Yellow Emperor, when he assigned Ling Lun and Rong to "cast twelve bells to harmonizing the five tones", that is, to create 12 chime bells capable of playing the pentatonic scale.However, archaeological evidence shows that the earliest bronze musical instrument was actually a bronze bell unearthed from Taosi site in Shanxi Province, which may have evolved from the pottery bell and then became the Shang Dynasty cymbals Tao Zhong of Longshan culture was also found in Doumen Town, Chang'an, Shaanxi Province, and its dance department had Changyong, which later evolved into the cymbals of Shang Dynasty The earliest bronze cymbals have been unearthed from a Shang Dynasty tomb in Chengjia Village, Oceania Township, Xingan County, Jiangxi Province. This discovery provides an important clue for the academic circles about the origin time of cymbals and confirms the argument that cymbals already existed in Shang Dynasty.

As for the origin of Yong Zhong, there are four main viewpoints in academic circles, which involve the compilation of cymbals and the relationship between them.Director Wang Qinglei tends to think that Yongzhong is mainly based on the genes of large cymbals and absorbs some characteristics of cymbals.By the late Western Zhou Dynasty, Yong Zhong had matured and most of them had tuning function Six of the eight Yong bells unearthed in M64 of Jinhou Cemetery in Shanxi Province are engraved with Chu Gong's inverse inscription, which indicates that there may be only six "Chu Gong's inverse bells".Until the Western Han Dynasty, Yongzhong was still common. For example, Guangzhou Nanyue King's Tomb, Shandong Zhangqiu Luozhuang Han Tomb, Jiangxi Haiyue Hou Liu He's Tomb and other places were unearthed.

The history of the button bell began with M210 unearthed in Shangguo Village, Wenxi, Shanxi Province, which was a product of the late Western Zhou Dynasty.During the Spring and Autumn Period and the Warring States Period, the bell was notable In the Qin Dynasty, the exquisite "Yuefu Bell" appeared Button bells were also unearthed from the Han Tomb in Luozhuang, Zhangqiu in the Western Han Dynasty, especially in the tomb of Liu He, the button bells were beautifully decorated with gold mistakes and left wear marks due to knocking, which provided valuable information for scholars to study the performance of chimes.

3. Composition and pronunciation principle

Since the Shang and Zhou Dynasties, the artistic form of chimes has emerged after years of baptism and craftsman's wisdom. Although the appearance of chimes in the Warring States Period has been different, its core mechanism and sound still continue to be ancient.In 1978, archaeologists excavated the shocking "Zeng Houyi Chime".in the Warring States ruins, which is undoubtedly the most grand and complete ancient chime discovered so far. Its scale is large enough to cover the stage of modern concert hall, and it is revered as the pinnacle of ancient chime in China.

Taking Zeng Houyi's chimes as an example, this set of chimes includes 19 exquisite buttons, 45 Yong bells and 65 bells presented by King Hui of Chu, all of which are carefully cast in bronze, and each one exudes unique artistic charm.The bell frame is based on children's wood, and the beam is painted with exquisite painted patterns, while the two ends are decorated with embossed bronze sets, showing luxury 45 Yong bells are orderly distributed in the middle and lower layers of the bell frame. The middle bells are smaller and melodious; The lower bell body is huge and the sound is deep While the 19-button bell is lightly hung on the top layer of the bell frame, which is small and exquisite, and its sound is crisp and sweet.

Talking about the pronunciation mechanism of chimes, the core of which lies in the relationship between bell size and tone The smaller the bell body, the higher the tone produced after striking, and the sound is crisp and pleasing to the ear; On the contrary, the bigger the clock, the lower the tone, and the deep and heavy sound This set of Zeng Houyi chimes has a wide range spanning five octaves, although it is not as good as modern pianos, but it can play two tones by striking the front two sides of the bell to form three overlapping voices, and almost complete twelve semitones can be performed, thus playing a rich musical work of five tones, six tones or seven tones.

In ancient times, the performance of chimes often required the tacit cooperation of five musicians.Among them, three musicians hold a D-shaped wooden hammer and gently tap the "Yong Zhong" and "Niu Zhong" on the upper and middle floors to interweave the main theme of the music.While the other two musicians waved big wooden sticks and knocked on the lower "Dayong" to add harmony beauty to the music.This kind of performance not only shows the exquisite skills of ancient musicians, but also brings the musical charm of chimes into full play.

4. Status and influence

As a bright pearl of bronze musical instruments, chimes have not only left a strong color in the history of Chinese music, but also had a far-reaching impact on the global music culture.First of all, it played a key role in the evolution of ancient Chinese music theory, especially laid a foundation for the initial formation of the Twelve Equal Laws, and provided a solid sound support for later music creation.Secondly, the extensive use of chimes promoted the popularization of music education and the deepening of cultural exchanges, which made ancient music more systematically and standardly inherited and In addition, through the study of chimes, we can get a glimpse of the rich and colorful ancient social life, profound religious beliefs and outstanding achievements in scientific and technological level. It is like a bridge connecting the context of ancient and modern cultures.

Chinese bronze musical instruments represented by chimes are not only brilliant treasures of ancient music art, but also vivid witnesses of the glorious history of Chinese civilization These musical instruments, which embody the wisdom and ingenuity of the ancients, have passed through the dust of history and still tell us the life picture and spiritual outlook of the Bronze Age, continuing the profound cultural heritage of the Chinese nation Through in-depth study and inheritance of chimes, we can not only better understand the essence of ancient music culture, but also draw inspiration from it, inject new vitality into the innovation and vitality of modern music culture and national music, and make ancient art glow with new brilliance in the new era.

Terms and expressions

Percussion 打击乐器

Embodiment 体现

Concave 凹

Bronze 青铜

Pinnacle 顶峰

Exquisite 精致的

inheritance 继承

glorious 光荣的

popularization 推广

Questions

1.What is Chime Bell, and what role does it play in ancient Chinese music culture?

2.What are the three types of chimes mentioned in the article, and how do they differ from each other?

3.What is the historical origin of chimes, and how do archaeological findings support the timeline of its development?

4.Where was the earliest bronze musical instrument, believed to be a precursor of chimes, unearthed?

5.What are the features of the earliest bronze cymbals that have been excavated, and how do they relate to the development of chimes?

References

[1]Wang Qinglei (2021) : Chime Bells from The Perspective of the Ritual and Music System of the Zhou Dynasty _ Private History _ The Paper

[2]"Dare to break the Cauldron and answer the Chime Bells" : The Origin and Development of "Chime Bells" (baidu.com)

[3]编钟（古代乐器）_百度百科 (baidu.com)

[4]China Daily Website - Connecting China Connecting the World

[5]https://baijiahao.baidu.com/s?id=1740641922457417977&wfr=baike

[6]https://baijiahao.baidu.com/s?id=1758805541751528915&wfr=spider&for=pc

[7]https://www.zdic.net/hans/%E9%95%88%E9%92%9F

音乐与乐器：编钟

1.简介

编钟是中国汉民族古代重要的打击乐器，是钟的一种。编钟兴起于周朝，盛于春秋战国直至秦汉。编钟由若干个大小不同的钟有次序地悬挂在木架上编成一组或几组，每个钟敲击的音高各不相同。编钟是中国礼乐文化的集中体现与物化形式。根据器型的不同，编钟可以分为三种：镈、甬钟和钮钟。其中，镈是三种之中唯一于口平齐，能够站立的钟；甬钟上方有一根很长的“甬”，于口上凹弧曲；钮钟下方的于口也是上凹弧曲，但舞部上方不是长甬，而是与镈一样，铸有钟钮。

2.起源与铸造

《吕氏春秋》中提及，编钟的历史可追溯到黄帝时代，当时黄帝指派伶伦与荣负责“铸十二钟，以和五音”，即打造了能演奏五声音阶的12件编钟。然而，考古证据表明，最早的青铜乐器实为山西陶寺遗址出土的铜铃，它可能是从陶铃演变而来，并进而发展成商代的镈。在陕西长安斗门镇，也发现了龙山文化的陶钟，其舞部带有长甬，这后来演化为商代的铙。江西省新干县大洋洲乡程家村的一座商代墓葬中出土了迄今最早的青铜镈，这一发现为学术界关于镈的起源时间提供了重要线索，证实了商代已存在镈的论点。

至于甬钟的起源，学界存在四种主要观点，涉及编铙、大铙以及两者之间的交融。王清雷主任倾向于甬钟主要基于大铙的基因，同时吸收了编铙的部分特点。到西周晚期，甬钟已发展成熟，多数具备调音功能。山西晋侯墓地M64中出土的8件甬钟，其中6件刻有楚公逆铭文，这表明“楚公逆钟”可能只有6件。直至西汉，甬钟仍较为常见，如广州南越王墓、山东章丘洛庄汉墓、江西海昏侯刘贺墓等地均有出土。

钮钟的历史则始于山西闻喜上郭村M210出土的编钮钟，为西周末期制品。春秋战国期间，钮钟得到了显著的发展。到了秦代，出现了工艺精湛的“乐府钟”。西汉时期的章丘洛庄汉墓、海昏侯刘贺墓等也出土了编钮钟，尤其是海昏侯刘贺墓中的编钮钟，钟体上的错金纹饰精美，且因长期敲击而留下磨损痕迹，这些为学者研究编钟的演奏方式提供了宝贵资料。

3.组成及其发音原理

自商周之际，编钟的艺术形式崭露头角，历经岁月的洗礼与匠人的智慧雕琢，战国时期，编钟的面貌虽已有所不同，但其核心机理与发声方式依然延续着古老的传统。1978年，考古学家在战国遗址中挖掘出了震撼人心的“曾侯乙编钟”，它无疑是迄今发现的最为宏大、完整的古代编钟，其规模之大，足以铺满现代音乐厅的舞台，被尊崇为我国古代编钟的巅峰之作。

以曾侯乙编钟为典范，这套编钟包括了19个精致的钮钟、45个矗立的甬钟，以及楚惠王赠送的镈钟，共计65件，它们均由青铜精心铸造，每一件都散发着独特的艺术魅力。钟架以童木为基，横梁之上绘制着精美的彩绘花纹，两端则以浮雕青铜套为饰，尽显华贵。45枚甬钟井然有序地分布在钟架的中、下层，中层钟体较小，音色悠扬；下层钟体庞大，声音深沉。而19枚钮钟则轻巧地悬挂在钟架的最上层，小巧玲珑，声音清脆悦耳。

谈及编钟的发音机制，其核心在于钟体大小与音调之间的关系。钟体越小，敲击后产生的音调越高，声音清脆悦耳；反之，钟体越大，音调越低，声音则显得深沉厚重。这套曾侯乙编钟的音域广阔，横跨五个八度，虽不及现代钢琴，但通过敲击钟的正、侧两面，却能奏出升降两音，形成三个重叠的声部，几乎可以演绎完整的十二个半音，从而演奏出五声、六声或七声音阶的丰富音乐作品。

在古代，编钟的演奏往往需要五名乐工的默契配合。其中，三名乐工手持丁形木锤，轻轻敲击上中两层的“甬钟”和“钮钟”，交织出乐曲的主旋律；而另外两名乐师则挥舞大木棒，敲击下层的“大甬”，为乐曲增添和声之美。这样的演奏方式，不仅展现了古代乐工们的精湛技艺，更将编钟的音乐魅力发挥得淋漓尽致。

4.地位与影响

编钟，作为青铜乐器中的璀璨明珠，不仅在中国音乐史上留下了浓墨重彩的一笔，更对全球音乐文化产生了深远影响。首先，它在中国古代音乐理论的演进中起到了关键作用，尤其是为十二平均律的初步形成奠定了基础，为后世音乐创作提供了坚实的音响支撑。其次，编钟的广泛运用推动了音乐教育的普及和文化交流的深化，使得古代音乐得以更加系统、规范地传承与发展。此外，通过对编钟的研究，我们得以窥见古代社会生活的丰富多彩、宗教信仰的深厚底蕴以及科技水平的卓越成就，它如同一座桥梁，连接着古今文化的脉络。

以编钟为代表的中国青铜乐器，不仅是古代音乐艺术的璀璨瑰宝，更是华夏文明辉煌历史的生动见证。这些凝聚着古人智慧与匠心的乐器，穿越了历史的尘埃，至今仍然向我们诉说着青铜时代的生活图景与精神风貌，延续着中华民族深厚的文化底蕴。通过对编钟的深入研究和传承，我们不仅能够更好地理解古代音乐文化的精髓，更能够从中汲取灵感，为现代音乐文化和民族音乐的创新与发展注入新的活力，让古老的艺术在新时代焕发出新的光彩。

问题

1.什么是编钟?它在中国古代音乐文化中扮演着怎样的角色?

2.文章中提到的三种编钟是什么，它们之间有什么不同?

3.编钟的历史起源是什么?考古发现如何支持它的发展时间表?

4.最早被认为是编钟前身的青铜乐器是在哪里出土的?

5.出土最早的青铜钹有什么特点?它们与编钟的发展有什么关系?

Liu Xiaoyu | Garden Culture：Suzhou Gardens 苏州园林

Garden Culture：Suzhou Gardens

Chinese gardens, along with their European and West Asian counterparts, form the world's three major systems of garden design. Among them, the gardens of Suzhou stand as the quintessential representatives of Chinese garden art. The artistic achievements of Suzhou gardens are inextricably linked to China's brilliant architectural aesthetics and the ecological aesthetics. Enhancing the aesthetic literacy of the public, integrating modern technology, and cultivating architectural talent may well be the key to this endeavor.

1. The History of Suzhou Gardens

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

2. The Art of Construction in Suzhou Gardens

A. The Principle of "Unity of Heaven and Man" As early as the Western Zhou period, the concept of "Unity of Heaven and Man" had already taken root. According to the I Ching (Book of Changes), there is a harmonious resonance between humans and the heavens, with a mutual seeking of like qi. Among the most famous expressions of this concept is found in Zhuangzi's Qi Wu Lun(On the Equality of Things), where it is said, "Heaven and Earth and I were born together, and all things and I are one." This idea later flourished in the field of aesthetics and became one of the guiding principles in many artistic domains.

In Suzhou gardens, the concept of "Unity of Heaven and Man" is taken to its zenith by the garden creators and artisans. Suzhou gardens place great importance on integrating nature into artificially constructed landscapes, using mountains and water as the skeleton, and trees and flowers as the flesh and blood. Pavilions, terraces, towers, and bridges are arrayed around the water, with some extending directly over it, such as the "Small Flying Rainbow" and "Small Canglang." Looking north from Small Canglang, one can see the Small Flying Rainbow reflected in the water. Moreover, the pool surface mirrors the clouds in the sky and the surrounding trees, allowing visitors to view bridges, clear water, trees, sky, and clouds from a single perspective. This small space encapsulates the beauty of the entire natural world. （Mao Jiamian,2024,(08):46-48）

B.The construction technique of dynamic and static combination

The principle of "combining dynamic and static" is a common sight in garden design. For instance, the profoundness of mountains and the liveliness of water offer a striking contrast that complements each other. In terms of spatial arrangement, larger structures within the garden, such as pavilions, towers, and halls, are static. However, garden designers skillfully employ winding paths and corridors to create a sense of extension and meandering movement, crafting an artificial beauty in motion. This approach presents an aesthetic that blends dynamic and static elements. Take the Liu Yuan garden as an example, where a corridor over 670 meters long weaves through the garden, connecting all the landscapes into a cohesive whole. It achieves a perfect balance of twists and turns on the ground level and variations in height on the vertical plane, allowing visitors to enjoy the delight of changing scenery with each step in the confined space.

"Silence makes the fish leap, and stillness enhances the fragrance of the lotus." （人静鱼白跃，风定荷更香）The dynamic and static states of the garden scenery are intertwined. The philosopher Wang Fuzhi once pondered the dialectical relationship between dynamic and static: "Dynamic implies stillness," and "stillness implies dynamic." Therefore, stillness contains "motion," and "motion" does not abandon "stillness." The relationship between dynamic and static landscapes is precisely like this. In Chinese gardens, the scenery is never fragmented but emphasizes the intrinsic interaction between different elements. In this interaction, the elements blend with each other, combining dynamic and static elements and transforming each other, making the garden subtly unique in the eyes of different visitors in different seasons and at different times. It is not only a visual enjoyment but also a spiritual interest.

3.The Ecological Beauty of Suzhou Gardens

A. The Verdant Charm of Vegetation The enchantment of Suzhou gardens is inextricably linked to their diverse array of plants. These plants not only serve as visual focal points but also play a crucial role in the ecological cycle. Through photosynthesis, they absorb harmful carbon dioxide and release refreshing oxygen, creating a pleasant breathing environment for visitors. Moreover, the plants in Suzhou gardens not only beautify the surroundings but also provide essential elements for the survival of birds and insects, which plays a key role in maintaining ecological diversity and balance.

B. The Ecological Grace of Dynamic Water Features The element of water holds a significant place in the design of Suzhou gardens, existing in various forms, but the most captivating is the so-called "living water." This refers to water bodies that are continuously sourced and flow naturally. This type of water has the ability to self-purify due to its flowing nature, effectively maintaining water quality. Ensuring the vitality of water bodies is a top priority when designing water features in Suzhou gardens. In the past, without modern machinery, how did ancient craftsmen ingeniously keep the water in the gardens flowing? Drawing inspiration from the natural cycle, ancient craftsmen cleverly applied this principle to the construction of Suzhou gardens. They used techniques such as "diverting," "borrowing," and "excavating" to connect the garden's water bodies with Suzhou's extensive waterway network, creating a closed-loop system. In this system, water cycles continuously through processes like evaporation, condensation, precipitation, and absorption by plants and runoff. It mains the vitality of the water bodies while also serving to purify and oxygenate, offering visitors a water scenery that is both ecologically rich and aesthetically pleasing.（Zhao Yanxia,2023(12):50-53.）

4.The inheritance of traditional aesthetic art in modern times

Suzhou gardens, from their names to their layouts, and from their mountains, waters, flowers, and trees to their pavilions and towers, all exude an astonishing aura of cultural and artistic significance. Therefore, it is our unwavering duty to inherit and promote the art of classical gardens, merging it with modern times. Firstly, we must vigorously promote the aesthetics of gardens to inspire a deeper understanding of garden art among visitors. According to data from the Suzhou Culture, Radio, Television, and Tourism Bureau, Suzhou gardens, as a popular tourist destination, attract a large number of visitors during holidays. However, behind the bustling tours, most visitors only engage in superficial visits, taking photos at popular internet-famous spots. Secondly, integrating garden art with modern technology is another path to innovatively inheriting this art. In today's era of rapid development in the internet and artificial intelligence, we can utilize these technologies to preserve garden data, establishing comprehensive garden information databases for better protection of these cultural heritage sites. Through online platforms such as websites and applications, people can experience the charm of garden art without even stepping outside. Moreover, the maturity of virtual reality (VR) technology offers new possibilities for the dissemination of garden art, allowing the historical appearance of gardens to be recreated. （Xie Minmin,2023,42(09):77-79.） Finally, It is crucial to cultivate a group of architects who understand traditional aesthetics and possess modern architectural skills. As China undergoes reform, opening-up, and modernization, the landscape design are trending towards internationalization. However, we are also glad to see that traditional Chinese aesthetic elements are increasingly being integrated into modern architecture. China's construction industry should establish firm cultural confidence, strengthening the study and inheritance of traditional Chinese architectural aesthetics and technology in higher education and professional training. By combining traditional garden aesthetics with modern architecture, we can achieve innovative development in the art of gardens.

Reaction：

In conclusion, Suzhou gardens are not just a historical relic but a living testament to the timeless beauty of Chinese culture. As university students, it is our responsibility to appreciate, preserve, and promote this rich heritage, ensuring that future generations can continue to draw inspiration from the artistry and wisdom of Suzhou gardens.

References：

[1]Mao Jiamian毛嘉勉.中式审美下的苏州园林[J].大众文艺,2024,(08):46-48. https://kns.cnki.net/kcms2/article/abstract?v=wYgW8A8u9voGxYKumhfrbYY_mlkOFA5PO-GkWec_ZMwQCMbvkTfYDWerHC8qstJfUKIPWOHvOmSNuNf_vCNgufYaCmeaeP-EjW_E6mOJeAOvOiTgMXX-awEbptpZoP8GoT40nM3bVv0=&uniplatform=NZKPT&language=CHS

[2]Yang Yunfeng杨云峰,熊瑶.意在笔先、情境交融——论中国古典园林中的意境营造[J].中国园林,2014,30(04):82-85. https://kns.cnki.net/kcms2/article/abstract?v=qwZretP9BaEN07A-eRBjfQ8OfRYF7nP87M2HQzRrv_Xr9ZsffhB50-Fpw93GqFI5TowAIO29iaSFkOe8GUeKigdlhHPRkzMmdix2VEN-PqHLE0-pUSyyxq814yWjjemVdsB3-p2G02Q=&uniplatform=NZKPT&language=CHS

[3]Zhao Yanxia赵艳霞.虽由人作 宛自天开 苏州园林的科学之美[J].知识就是力量,2023(12):50-53. https://kns.cnki.net/kcms2/article/abstract?v=MTbc36RhFpSMky6Us5lW_PVCBFuzJWSmJfx4ma_X0-QisvvK0JipxLNaVcV7cjwlD-ula2x5UK1S3qL0WT0R6hfnf-UE4rVkIL8Sc2HDqRxvs_yRu0kI4RCIYVVWj9PIcmY_LwnNIXrVC5JPv1lKTA==&uniplatform=NZKPT&language=CHS

[4]Xie Minmin谢铭铭,印蝶.元宇宙视角下中国古典园林设计的美学研究[J].纺织报告,2023,42(09):77-79. https://kns.cnki.net/kcms2/article/abstract?v=qwZretP9BaEN07A-eRBjfQ8OfRYF7nP87M2HQzRrv_WiSOl4Lc9uHFTSoXpI4pN7XhROB2Sq_E5gC8-m0OBs8J8ValEIj6FIu4UBbkpIMeJSZpT06ccKdU9gli_zJ-OzmJRvno-RCgOpS1iljKx1SA==&uniplatform=NZKPT&language=CHS

[5]Tceluiko S D ,S D T .Space structure of the Garden of Pleasance in the context of traditional private gardens of Suzhou[J].IOP Conference Series: Materials Science and Engineering,2020,962(3):032077-. https://kns.cnki.net/kcms2/article/abstract?v=wYgW8A8u9vpoBmkP2OaAAOF9pVkM2bvi2XlfpVKIYctkq3lj_L97qxsiINCwMXXRhLGY5hReKl0f8a4mDsMhBK75nuvEwL3bMIXC24qU4IsTrlb30GGSTFkUtsTuRTyvP037oyuNaUreh5AofbU2MiNTAN9BBmkV2PxDwj657vU=&uniplatform=NZKPT&language=CHS

Terms： Shoushan Gengyu: 寿山艮岳

Huaqing Palace: 华清宫

Unity Of Heaven And Man 天人合一

Small Flying Rainbow 小飞虹

Small Canglang 小沧浪

Dynamic and static combination 动静结合

Humble Administrator’s Garden: 拙政园

Liu Yuan garden 留园

Living water 活水

Virtual reality (VR) technology 虚拟现实技术

Questions： 1: When did Suzhou gardens begin to develop? Suzhou gardens began to develop during the Tang and Song dynasties.

2: What is the guiding principle of “Unity of Heaven and Man” in Suzhou gardens? The guiding principle is the integration of nature into artificially constructed landscapes.

3.Question: How did ancient craftsmen keep the water in Suzhou gardens flowing? Ancient craftsmen kept the water in Suzhou gardens flowing by connecting the garden’s water bodies with Suzhou’s extensive waterway network, creating a closed-loop system.

4.What are some ways to inherit and promote the art of classical gardens in modern times? Some ways to inherit and promote the art of classical gardens in modern times include promoting garden aesthetics, integrating garden art with modern technology, and cultivating architects who understand traditional aesthetics and possess modern architectural skills.

苏州园林

中国园林与欧洲园林、西亚园林一起构成了世界园林三大系统。其中，苏州园林又是中国园林的典型代表。苏州园林以其独特的造园手法、深厚的文化底蕴和精湛的工艺技术，吸引了无数游客和学者，是中国乃至世界园林艺术的瑰宝。苏州园林的艺术成就是中国千年建筑美学和国人生态美学的集中体现。在有限的空间里，苏州园林创造了无限的可能，体现了中华文化“天人合一”的永恒追求，寄托了中国文人寄情山水的旷世幽怀。而传承和弘扬优秀的园林艺术，已成为当代人的重要课题。提高人民群众的美学素养、利用现代科技以及培养建筑人才或成为破题之要。

1.苏州园林的历史沿革

苏州园林的历史可以追溯到春秋战国时期，当时的吴国和越国就已经有了造园活动。然而，真正意义上的苏州园林则是在唐宋时期开始形成的。这一时期的园林以皇家园林为主，规模宏大，风格华丽。其中，最具代表性的园林有宋代的“寿山艮岳”和唐代的“华清宫”。 明清时期，苏州园林达到了鼎盛。这一时期的园林以私家园林为主，数量众多，风格各异。其中，最具代表性的园林有明代的“拙政园”和清代的“留园”。这些园林不仅在造园手法上有所创新，而且在文化内涵上也有所提升，成为了中国园林艺术的典范。

2.苏州园林的建造之美

A.“天人合一"的建造原则 早在西周时期，“天人合一"思想就已经萌生了。在《周易》看来，人与天地“同声相应，同气相求“。人只有“与天地合其德，与日月合其明”才能达到品德的高尚，赢得众生的敬仰。在东周时期，无论是道家的庄子，还是儒家的孔子和孟子，都在不同程度上对这一思想进行了继承与发展。庄子在《齐物论》中的名句“天地与我并生，万物与我为一”，尤为人们所熟知。这一思想在美学领域亦得到了广泛的推崇，成为众多艺术创作的灵感之源。

这种理念认为，只有当人与天地同德，与日月同辉时，在苏州园林中，“天人合一”的思想被园林创作者与工匠发挥到了极致。苏州园林十分注重在人工建造的园林中融入自然，以山水为骨，以树木花草为血肉，通过巧妙的布局和精致的景观配置，展现出自然界的壮丽画卷。苏州的园林，无论规模大小，皆巧妙地融入了假山、水池、茂盛的树木和多样的花卉。以拙政园为例，园内中心区域以水池为核心，亭台楼阁环水而建，有的建筑甚至凌波微步，如“小飞虹”和“小沧浪”。从小沧浪向北远眺，小飞虹在水面上的倒影映入眼帘，不仅如此，水池还映照着天空的云彩和四周的树木，游客只需驻足一隅，便可一览桥廊、碧水、树木、天空、云朵的和谐共融。这一方小小的天地，却蕴含了自然界的全部美丽。园林的建造者所追求的，正是通过山水相依的布局，将天地云彩尽收眼底，创造出一种"虽由人作，宛自天开"的意境。 B.动静结合的建造手法 在园林设计中，随处可见“动静结合"的建造手法。例如，山的深沉和静止，水的明快和曲折，两者形成鲜明对比又相互衬托。在空间布局上，园林中的体量较大的建筑，如亭、阁、堂等，是静态的建筑，但园林建造者善用曲径、曲廊等让空间形成延伸铺展，曲折蜿蜒的动态之势，构造出人工动态之美，从而呈现出动静结合的审美意趣。例如留园，园子以曲廊贯穿其中，长670余米，将全园景观连成一片，完美地实现平面上的曲折，和立面上的高低错落，使游人在有限的空间中体会移步换景的趣味。 〝人静鱼白跃，风定荷更香。"动观和静观并不是绝对的。园中之景的动静状态是互相交织的。哲学家王夫之曾思考过关于动静辦证关系：“方动即静”，“方静旋动”，所以静中含“动，“动”不舍“静”。动态景观与静态景观的关系也正是如此。在中式园林中，景物永远不是割裂地，而是特别注重景物之间的内在互动。在这种互动中，景物相互融合，动静结合相互转化，使得不同季节、不同时刻，园林在不同的游客眼中都有细微的独一无二之处，不仅是视觉上的享受，更是心灵上的意趣。

3.苏州园林的生态之美

A. 绿意盎然的植被之美 苏州园林之所以迷人，离不开其中千姿百态的植物。这些植物不仅构成了园林的视觉焦点，还在生态循环中扮演着至关重要的角色。它们通过光合作用，吸收有害的二氧化碳，释放出清新的氧气，为游客营造了一个宜人的呼吸环境。更值得一提的是，苏州园林中的植物不仅美化了环境，还为飞鸟和昆虫提供了生存的必需品，如食物和栖息地，从而在维护生态多样性和平衡方面发挥了关键作用。 B. 动态水景的生态之美 水元素在苏州园林的设计中占据着举足轻重的地位，它的存在形式多种多样，但最为引人入胜的莫过于“活水”。所谓“活水”，是指那些源源不断、自然流动的水体。这种水因其流动性质而具备自我净化的能力，能够有效保持水质清洁。在苏州园林的营造过程中，确保水体的活力是设计水景时的首要考量。在没有现代机械辅助的过去，古代工匠们如何巧妙地让园林内的水流动起来呢？ 古代工匠们从自然界的循环中获得灵感，将这一原理巧妙地应用于苏州园林的构建之中。他们采用“引水”“借水”“掘水”等手法，将园林中的水体与苏州丰富的水道网络相连，形成了一个闭合的循环系统。在这个系统中，水分通过蒸发、凝结、降水以及植物吸收和径流等过程，不断地循环往复。这既保持了水体的活力，又起到了净化和氧化的作用，为游客提供了一处既生态又美观的水景。

4.传统美学艺术在现代的传承

苏州园林从名字到布局，从山水花木到亭台楼阁，都展现出了惊人的文化艺术气息。它作为作为中国传统文化与美学思想的载体，凝聚了古代文人墨客的智慧与情感。因此，传承与弘扬古典园林艺术，使之与现代结合，是吾辈义不容辞的职责。 首先，大力宣传园林美学，激发游客更深刻地认识园林艺术。根据苏州市文化广电和旅游局的数据，苏州园林作为热门的旅游景点，节假日期间吸引了大量的游客。然而，火爆游览的背后，我们仍需看到，大部分游客只是浅层次游览，身着汉服或旗袍，在热门的网红打卡地拍照，在社媒上po出照片，就算是“到此一游”，完成任务。但真正了解园林，尤其是能欣赏园林美学的游客，数量仍然稀少。而要想真正传承园林艺术，光靠专业人士是远远不够的，艺术必须仰仗人民群众才能迸发出更鲜艳的色彩。园林艺术不只是文人士大夫的专属，而是能“飞入寻常百姓家”，滋润着每一个中国人的心灵。

其次，将园林艺术与现代科技相融合，是创新传承园林艺术的另一途径。在互联网和人工智能技术飞速发展的今天，我们可以利用这些技术来保存园林数据，建立详尽的园林信息数据库，以更好地保护这些文化遗产。通过网页、应用程序等线上平台，人们即使足不出户也能体验到园林艺术的魅力。此外，虚拟现实(VR)技术的成熟为园林艺术的传播提供了新的可能性，它能够重现园林的历史面貌，让园中的文物、古建筑和景观在虚拟世界中得以保存和展示。

最后，培育一批既懂得传统美学又掌握现代建筑技术的新时代建筑师至关重要。随着中国改革开放和现代化的进程，城市建设和景观设计正趋向现代化和国际化。然而，我们也欣慰地看到，中国传统美学元素越来越多地被融入到现代建筑之中。中国的建筑行业应当树立坚定的文化自信，在高等教育和专业培训中加强对中国传统建筑美学和技术的研究与传承，培养具有中华美学素养的建筑人才。通过将传统造园美学与现代建筑相结合，我们可以实现园林艺术的创新发展。

思考感悟： 综上所述，苏州园林不仅是历史的遗物，更是中国传统文化永恒之美的生动见证。作为新时代的大学生，我们有责任去欣赏、保护和传承这份丰富的文化遗产，确保未来世代能够继续从苏州园林的艺术与智慧中汲取灵感。

参考文献： [1]毛嘉勉.中式审美下的苏州园林[J].大众文艺,2024,(08):46-48.

[2]杨云峰,熊瑶.意在笔先、情境交融——论中国古典园林中的意境营造[J].中国园林,2014,30(04):82-85.

[3]赵艳霞.虽由人作 宛自天开 苏州园林的科学之美[J].知识就是力量,2023(12):50-53.

[4]谢铭铭,印蝶.元宇宙视角下中国古典园林设计的美学研究[J].纺织报告,2023,42(09):77-79.

[5]Tceluiko S D ,S D T .Space structure of the Garden of Pleasance in the context of traditional private gardens of Suzhou[J].IOP Conference Series: Materials Science and Engineering,2020,962(3):032077-.

问题 1: 苏州园林的雏形是在何时开始形成的？ 苏州园林的发展始于唐朝和宋朝。

2: 苏州园林中“天人合一”的指导原则是什么？ 是将自然景色融入人工构造的景观中。

3: 古代工匠是如何保持苏州园林中水的流动的？ 古代工匠通过将园林的水体与苏州庞大的水系网络相连，构建了一个封闭的循环系统，从而保持了苏州园林中水的流动。

4: 在现代，有哪些方法可以继承和推广古典园林艺术？ 在现代，继承和推广古典园林艺术的方法包括推广园林美学、将园林艺术与现代技术相结合，以及培养兼具美学素养与现代建筑技能的建筑师。

Huang Wenli | Traditional crafts：Tuanshan/Moon-shaped fans 团扇

Foreword

Chinese fan culture is an integral part of Han culture with profound heritages and foundations. Closely associated with bamboo culture and Confucian culture, Tuanshan, or Moon-shaped fans, are a significant component of Chinese fan culture with important practical, aesthetic, and literary value as a traditional Chinese handicraft and artwork.

Introduction

Tuanshan, also known as Gongshan(palace fans), Wanshan(silk fans), harmony fans, are circular fans with handles. Made from fine, thin silk fabrics, it is characterized by its clean white hue and round moon-like shape with the handle centered and symmetrically positioned, symbolizing reunion and boast the auspicious meanings of "moon-shaped fan bringing happiness and harmony.” [2][7](terminology from wikipedia)

Development

• Origin

Fans first appeared in the Shang Dynasty, made from colorful feathers from pheasant and known as Zhangshan(barrier fans.) At that time, they were not used for cooling but rather as a shade and windbreak for emperors on their outings. The origin of Tuanshan can be traced back to the Western Han Dynasty.[2]

• Development in ancient China

After the Western Han Dynasty, fans began to be used for cooling. Tuanshan flourished during the Tang Dynasty, with high demand among aristocratic women and affluent households, for which they were also known as palace fans. In the Song Dynasty, painted Tuanshan were prevalent influenced by the imperial family, fan painting reaching its peak. However, as the more portable folding fan gradually gained popularity, this trend declined from the Yuan Dynasty onward, and the phenomenon intensified during the Ming and Qing dynasties, when painted folding fans took the lead. (Li Ying, 2017)

• Development in modern China

During the Republic of China era, a period of blending with Western ideas, most fans were crudely made or incorporated with modern materials, losing their original quaint charm. (Li Ying, 2017)

The political crisis and economic downturn during the war directly contributed to the decline of Tuanshan. After the foundation of People’s Republic of China, the "Four Olds" campaign in 60s and the nation's thirst for foreign cultures, along with the introduction of Japanese fans, inflicted significant losses on Tuanshan. (Li Ying, 2017)

• Overseas Development

Tuanshan were introduced to Japan from the Tang Dynasty during the Nara period (710 -784), initially used exclusively in the imperial court and served as a symbol of status. It was during the Heian period(794-1185) that Tuanshan became accessible to ordinary people. In the later Edo period(1603-1868), with the prevalence of summer festivals and the Obon Festival, Tuanshan gained widespread popularity. [2]

In terms of shape, Japanese Tuanshan retain the predominantly moon-shaped design, but have undergone significant changes in function. For example, Tuanshan are not only tools for cooling but also represent a religious and cultural belief. Structurally, the ribs of Japanese Tuanshan radiate to support the surface, but the frame material and shape are relatively uniform, with greater emphasis on decoration of the surface. (Liu Shenmiao, 2014)

Chinese Tuanshan

Japanese Tuanshan

Artistic Characteristics

• Artistic Features

A. Shapes

Over time, the structure of the Tuanshan has become increasingly diverse. Besides the most common shapes such as perfect circles, long ovals, rectangles, rounded ovals, and hexagons, there are also shapes modeled after flower petals, including sunflower, plum blossom, and lily shapes and other uniquely shaped fans as peach-shaped fans, each exhibiting various exquisite forms. Nevertheless, Tuanshan consistently maintained the smooth lines, lightweight texture, and the "elegant and upright" beauty of bilateral symmetry. (Zhou Meng, 2021).

Shapes of Tuanshan

B.Materials

In ancient times, the fan surfaces were initially made using colorful local pheasant feathers. As material craftsmanship advanced, the range of materials expanded, including textiles such as silk, gauze, and fine silk fabrics, allowing for intricate embroidery and painting. The handles of fans were crafted from materials like Xiangfei bamboo, ivory and boxwood, achieving an elegant yet refined aesthetic. Accessories such as fan pendants, tassels, and jade ornaments were also used. (Zhou Meng, 2021).

C.Patterns

Tuanshan can be embroidered, painted, or inscribed with poetry and calligraphy, featuring various patterns such as landscapes, flowers and birds, auspicious clouds and mythical creatures, and court ladies, among others. Combined with poetry, calligraphy, and other artistic elements, the styles are diverse and captivating, through which Chinese arts are vividly reflected; within a square inch, it can encompass the vast world.

Some patterns of Tuanshan

• Aesthetic Value

Tuanshan are generally well-made for the quaint charm, being a delight to watch. The overall design emphasizes symmetrical beauty, with its round shape mirroring the moon, creating a visually balanced and coordinated beauty. The handle serves as the central axis of the fan, adding to its unity and harmony. The diverse handles make it pleasing to the eye when paired with the fan; Most importantly, the patterns and designs are countless. In the combination of much possibilities, each Tuanshan has its own unique characteristics, thus forming the distinctive Tuanshan culture in China.

Cultural Values

• Literary Works

A. Poems about Tuanshan

In literary, the image of the Tuanshan is frequently presented in poems and classical writings with the a sense of joy or sorrow. For example, a typical example of using the Tuanshan to express loneliness and bitterness is found in the works of the famous poet Liu Yuxi. He had much ups and downs in career and failed to fulfill his ambitions in his later years. With strong resentment and helplessness, he composed the poem Song of the Tuanshan. Through vividly depicting a worn-out Tuanshan, he metaphorically portrayed the unfortunate fate of the abandoned beauties in the palace after their youth faded; meanwhile, conveyed his dissatisfaction and loss regarding his own career path. The earliest tuanshan poem was composed by Ban Concubine. During the reign of Emperor Cheng of the Western Han, his affection for the concubine Zhao Feiyan stirred jealousy in Ban. In response, she wrote the "Moon-shaped Fan" to express herself. In the poem, Ban uses the Tuanshan as a metaphor for herself, lamenting her loneliness and desolation like withered leaves in the autumn wind, and expressing the deep, unresolved sorrow within her heart. (Liu Fuge, Zhang Yibing & Zheng Wangcheng. 2015, 108-109+112)

《团扇诗》 班婕妤 Moon-shaped fan By Concubine Ban

新裂齐纨素，皎洁如霜雪。Scissoring the new silk in the palace, it's as white as the snows.

裁为合欢扇，团团似明月。Making it a moon-shaped fan, embroidering my little yearn.

出入君怀袖，动摇微风发。You take it in your sleeve, in the hot night,a fan you wave.

常恐秋节至，凉飙夺炎热。So sweet,your breath exhales, so bleat,autumn will come.

弃捐箧笥中，恩情中道绝。Your love to me is like this fan, always will throw me aside after the zephyr breezes.[9]

Excerpts from other poems and verses:

The light of silver candles shines on the Painting Screen, she uses the silky fan. ( Autumn evening By Du Mu )[9]

银烛秋光冷画屏，轻罗小扇扑流萤。——杜牧《秋夕》

At dawn she brings her broom to dust the golden halls; She lingers with a fan within the palace walls.( A disfavored court lady in autumn by Wang Changling )[11]

奉帚平明秋殿开，且将团扇共徘徊。——王昌龄《长信愁》

If love could stay in the day we firstly met, maybe i wouldn't languish for your sweet love.( If love could stay in the day we firstly met By Nalan Xingde )[9]

人生若只如初见，何事西风悲画扇。——纳兰性德《木兰花·拟古决绝词柬友》

B.The Story of the Stone

In the Chapter 27th, "Beauty Perspiring sports with butterflies by the Raindrop Pavilion And Beauty Suspiring weeps for fallen blossoms by the Flowers’ Grave ", it depicts the scene of Baochai holding a fan and pouncing on butterflies.

Excerpt from translation of "The Story of the Stone" by David Hawkes: “...Her mind made up, she turned round and began to retrace her steps, intending to go back to the other girls; but just at that moment she noticed two enormous turquoise-coloured butterflies a little way ahead of her, each as large as a child’s fan, fluttering and dancing on the breeze. She watched them fascinated and thought she would like to play a game with them. Taking a fan from inside her sleeve and holding it outspread of her, she followed them off the path and into the grass. To and fro fluttered the pair of butterflies, sometimes alight?ing for a moment, but always flying off again before she could reach them. Once they seemed on the point of flying across the little river that flowed through the midst of the garden and Bao-chai had to stalk them with bated breath for fear of start?ling them out on to the water. By the time she had reached the Raindrop Pavilion she was perspiring freely and her interest in the butterflies was beginning to evaporate. She was about to turn back when she became aware of a low murmur of voices coming from inside the pavilion.”[10]

• Artistic Works

The renowned paintings such as "Court Ladies Adorning Their Hair with Flowers handscroll" and "Gongyue tu, A Palace Concert" and Dunhuang murals depict numerous court ladies holding Tuanshan. During the Song Dynasty, the Tuanhsan reached its pinnacle. For instance, in the famous painting "Along the River During the Qingming Festival" there are over a hundred figures holding Tuanshan, vividly portraying the prosperity at that time.

• Cultural Significance

A. Harmony and Unity

The ancient Chinese philosophy regarded the world as "heaven is round and the earth is square," which profoundly influenced various art forms. Therefore, the pattern of "roundness" is considered a symbol of completeness and harmony in traditional Chinese aesthetics, containing rich ethnic aesthetic connotations, also reflecting the simple belief and persistent pursuit of "harmony and perfection."

B. Female Culture

In ancient paintings and literary works, Tuanshan are often associated with female imagery. They portray either court ladies with obedient countenance, showing a kind of misty and reserved beauty, or sorrowful and haggard women who become the carriers of poets' melancholy expressions. The depiction of shy and obedient female figures in association with Tuanshan fully satisfies the traditional male pursuit of the subtle and reserved beauty of women, representing a male-dominated aesthetic expression. Simultaneously, the depiction of tragic female figures associated with Tuanshan also reflects the oppression women under teh shackles of feudal society, such as Ban Jieyu, who, feeling neglected by Emperor Han Cheng, composed the "Moon-shaped Fan" resigned to her fate and willing to devote herself in Changxin Palace, only able to console herself with her fan. (Liu Chenmiao, 2014, 16)

Reflection

With the recent resurgence of Hanfu, the Tuanshan is also gaining popularity due to its aesthetic appeal, practicality, and affordability. The resurgence of the Tuanshan not only protects traditional culture but also prompts reflection on how to preserve and inherit this exquisite craft.

From the perspective of craftsmanship inheritance, although traditional Tuanshan are exquisite, the process is complex, and even with many skilled craftsmen today, inheritance remains mostly within families. The development of Tuanshan can now leverage new materials and technologies, eliminating many cumbersome steps. Simultaneously, Tuanshan culture and memories can be promoted through the mass media. Various practical activities can be organized, such as bringing them to schools to boost students’ interest and allow them to gain hands-on experience and truly feel the charm of Tuanshan.

From the perspective of cultural inheritance, it is evident that the cultural value of Tuanshan is being lost, with many people only treating it as a tool. Mass-produced fans often lack diversity in design and vary in quality, losing the unique charm and aesthetic. To address this, new patterns can be introduced, combining traditional designs with contemporary aesthetics, creating styles that appeal to young people. Additionally, lectures and promotional videos on the stories and culture behind Tuanshan can be organized to bring the profound cultural heritage behind Tuanshan to the world.

Terms

• Tuanshan 团扇

• Gongshan 宫扇

• Wanshan 纨扇

• "Four Olds" “破四旧”

• gauze 绢

• boxwood 黄杨木

• Accessory 配饰

• fan pendants扇坠

• tassels流苏

• Court Ladies Adorning Their Hair with Flowers handscrol 《簪花仕女图》

• "Gongyue tu, A Palace Concert" 《唐人宫乐图》

• "Along the River During the Qingming Festival" 《清明上河图》

• quaint 古香古色的

Questions

1. What’s the first poem about Tuanshan?

2.When was the Tuanshan introduced to Japan?

3.What’s the most significant feature of the shapes of Tuanshan?

4.What are the theme for the fan surface?

Reference

[1]Liu Fuge, Zhuang Yibin & Deng Wangchen.(2015).The Origin and Development of Moon-shaped Fan. Academy, (31),108-109+112.

[2]https://baike.baidu.com/item/团扇/9814083?fromModule=search-result_lemma-recommend

[3]Zhou Meng.(2021).On the Evolution of the Art Form of Tuan Fan. Beauty&Time(10),40-42. doi:10.16129/j.cnki.mysds.2021.10.014.

[4]Li Ying. Research on the Aesthetics and Application of Moon-shaped Fan in Qing Dynasty [D].Zhejiang Sci-Tech University, 2017.

[5]https://baijiahao.baidu.com/s?id=1784254840799375592&wfr=spider&for=pc

[6]Huang Keren.(2014). Inheritance and Innovation of Craft Group Fans. Ceramics Science & Art (01),36-38. doi:10.13212/j.cnki.csa.2014.01.014.

[7]https://en.wikipedia.org/wiki/Tuanshan

[8]Liu Tanmiao. The aesthetics of round fan under the feminist perspective[D].Jiangnan University, 2015.

[9]300 Chinese Ancient Love Poems Written by Li Po, Nalan Xingde etc. Translated by Moe Choi

[10] The Story of the Stone by David Hawkes

[11]300 Tang Poems Translated by Xu Yuanchong

传统技艺：团扇

引言

中国扇文化有着深厚的文化底蕴，是汉文化的一个组成部分，它与竹文化、儒文化有着密切关系，而团扇是中国扇文化的重要组成部分，作为中国传统的工艺品及艺术品，具有重要的实用价值、美学价值、文学价值。

简介

团扇，又称宫扇、纨扇、合欢扇，是是一种圆形有柄的扇子。它以细薄丝织品制成，色泽洁白，扇面的形似圆月，扇柄居中夹持，左右对称，象征着团圆,有着“团扇如意，和睦吉祥”的美好寓意。[2][7]

发展

• 1.起源

扇子最早出现在商代，用五光十色的野鸡毛制成，称之为“障扇”。当时，扇子不是用来扇风取凉，而是作为帝王外出巡视时遮阳挡风避沙之用。而团扇的起源可以追溯到西汉时期。[2]

• 2.古代发展

西汉以后，扇子开始用来取凉；团扇在唐朝发展壮大，这时期上至宫廷妇女下至豪门富庶人家中对团扇都有大量需求，团扇也被称为宫扇；在宋朝，受到宫廷皇室的影响，书画团扇盛行，且扇面绘画的创作水平达到了登峰造极的程度；但由于更便于携带的折扇渐渐流行，元代起在团扇上作画作书已有衰退的趋势，而这种趋势到了明清就更甚，扇面书画的主流也让位于折扇了。（李颖, 2017）

• 3.近代发展

民国期间是与西方思想杂糅汇合的时期，此时的扇子大多是粗制滥造=，已失去原有古色古香的中国韵味；战争期间政治经济上的严重衰败，直接导致了团扇的衰落；解放后文化大革命的“破四旧”，以及国民对异域文化的渴求，日本扇的介入，使得本土的团扇遭受了重大损失。（李颖, 2017）

• 4.海外发展

日本团扇在日本奈良时代由唐朝传入，最初只在宫廷中使用，有时也是一种身份的象征。一直到平安时代，团扇才被允许为普通百姓使用；江户时代后期，随着日本夏季祭祀、盂兰盆节的兴盛，团扇大为普及。[2]

就团扇形状而言，日本团扇保留了唐代团扇以圆形为主的特点。但是在功能上，传入日本的团扇发生了很大变化。在日本，团扇不仅是扇风取凉的工具，还代表着一种宗教文化信仰。结构上日本团扇扇骨为放射状支撑扇面，但是扇框材质、形状较单一，去较注重在扇面图画上的装饰。(刘琛淼, 2014)

艺术特点

• 1.外形特征

A.形状

随着时间的推移，团扇的结构逐渐丰富多样化，除了最普遍的是正圆、长圆、长方形、腰圆形、六角形，还有以花卉的花瓣为造型的，如葵花形、梅花形、百合花形等。异形的扇子有桃形扇等各式各样、精妙绝伦的形态。不过，团扇始终保持着其圆润的线条、轻盈的质地以及左右对称的“雅正”之美。（周萌, 2021）

B.材质

古代扇面的材质只能用当地颜色绚丽的野鸡毛制成，随着材质工艺的更加完善进步，材质也越来越丰富，多为丝、绢、绫罗之类的纺织品，以便点缀绣画。

扇柄有用湘妃竹、象牙、黄杨木等材质，雅而不俗。还有扇坠、流苏、玉器作为配饰。（周萌, 2021）

C.扇面图样

团扇可以刺绣绘画，作诗题字，有各种图样，如山水花鸟、祥云瑞兽、仕女图等，加上诗词歌赋等，款式争奇斗艳。中国的绘画、诗词、书法、刺绣等艺术，在其中体现得淋漓尽致。小小的扇子，方寸间可包罗大千世界。

• 2.美学价值

团扇整体上制作精良，古色古香，极具观赏性。团扇整体设计强调对称美，圆扇左右对称的外形如同明月，在视觉上具有平衡、和谐的美感。扇柄作为扇面的中轴，让整体更加统一和谐，且扇柄材质和花纹各异，与扇面搭配赏心悦目；最重要的是扇面，其纹样和图案更是数不胜数。在扇面、扇形、扇柄的搭配中，团扇各有特色，形成了独特的团扇文化。

文化价值

• 1.文学作品

A.团扇诗

在文学领域，团扇的身影频繁呈现在各种诗词古文之中，逐渐蕴含着或喜或悲的感情色彩，如借团扇抒发孤独凄苦或怀才不遇之情的典型是唐代著名诗人刘禹锡，他一生宦海沉浮，晚年壮志未酬，怀着强烈的愤恨与无奈之情，创作了《团扇歌》一诗，通过描绘一把破败不堪的团扇，生动鲜明地比喻出后宫佳丽容颜衰老后遭遗弃的不幸遭遇，同时含蓄巧妙地表现了对于自身仕途不畅的不满与失落。最早的团扇诗是班婕妤创作的《团扇诗》。西汉成帝当政之时，对贵妃赵飞燕宠爱有加，引发另外一位嫔妃班婕妤的嫉妒之心。为此，她创作了《团扇歌》以此寄托情感。在诗篇中，班婕妤借团扇来自我比喻，哀叹自身如秋风中凋零的落叶般寂寞冷清，抒发了内心深处无法化解的忧愁思绪。(刘福格,庄一兵 & 邓汪程..2015, 108-109+112）

《团扇诗》

班婕妤

新裂齐纨素，皎洁如霜雪。

裁为合欢扇，团团似明月。

出入君怀袖，动摇微风发。

常恐秋节至，凉飙夺炎热。

弃捐箧笥中，恩情中道绝。

其他诗词节选：

银烛秋光冷画屏，轻罗小扇扑流萤。——杜牧《秋夕》

奉帚平明秋殿开，且将团扇共徘徊。——王昌龄《长信愁》

人生若只如初见，何事西风悲画扇。——纳兰容若《木兰花·拟古决绝词柬友》

B.《红楼梦》

《红楼梦》第二十七回“滴翠亭杨妃戏彩蝶，埋香冢飞燕泣残红”中，就描写了宝钗手持团扇扑蝶的场景。

原文节选：

⋯⋯刚要寻别的姊妹去，忽见前面一双玉色蝴蝶，大如团扇，一上一下迎风翩跹，十分有趣。宝钗意欲扑了来玩耍，遂向袖中取出扇子来，向草地下来扑。只见那一双蝴蝶忽起忽落，来来往往，穿花度柳，将欲过河去了。倒引的宝钗蹑手蹑脚的，一直跟到池中滴翠亭上，香汗淋漓，娇喘细细。

• 2.艺术作品

传世之作《簪花仕女图》、《唐人宫乐图》等绘画作品中以及敦煌壁画中都大量出现了手持团扇的仕女。在两宋时期，团扇在宋朝发展到了巅峰，比如在名画《清明上河图》中，手持团扇之人多达百余位，正显示了宋朝风调雨顺，繁荣昌盛的景象。

• 3.文化内涵

A.团圆和谐

在中国古代的哲学思想观念中，对世界万物的理解往往以“天圆地方”来概括，这种观念对各类艺术作品产生了深远的影响。因此，“圆”这个图案在中国传统美学中被视为圆满和谐的象征，包含了丰富的民族审美内涵，也充分反映出古代人民对于“和谐美满”思想的朴素信仰和执着追求。

B.女性文化

古代绘画和文学作品中的团扇大多与女性形象联系在一起。其中或是低眉侧目的仕女，大多带有一种“犹抱琵琶半遮面”似的朦胧含蓄，展现一种温柔可人的东方女性美；或是忧伤憔悴的怨妇，常常成为诗人幽怨的文字载体。

团扇中娇羞，服从的的女性形象，充分满足了传统中国传统男性对女性含蓄朦胧美的追求，是男性主导的审美的表现。同时，与团扇有关的悲情女性形象也体现了女性受到制度的压迫，如班婕妤，她被汉成帝冷落而心生哀怨，作《团扇诗》，却甘于屈从命运并且愿意退居长信宫守孝道，只能以团扇自喻来顾影自怜。(刘琛淼, 2014，16）

反思

随着近年汉服文化的兴起，作为重要的配饰品的团扇也在兴起，由于其美观实用，价格实惠。团扇的兴起，是对传统文化的保护，也需要引发思考，该如何传承保护这一精美技艺。

从技艺的传承角度来看，传统团扇虽然精美，却工序复杂，即使现在有很多能工巧匠，在传承上也多是一家之技。现在团扇的发展可以借助新材料新技术，省去许多繁琐的步骤。同时可以通过媒体将团扇文化和团扇记忆进行推广宣传。举办各式实践活动，比如让团扇制作走进校园，激发学生的兴趣、乐趣，真正有上手经验，真切感受到团扇的魅力。

从文化传承的角度看，不难发现，团扇的文化价值在流失，许多人只是把它当做纳凉的扇子，且批量生产的扇子造型一致，质量参差不齐，失去了从前团扇独特的韵味和美感。对此，可以在图案上推陈出新，将传统图案与当代审美相结合，设计出年轻人喜闻乐见的图案。同时，举办有关团扇背后故事或文化的讲座和宣传视频，把团扇背后的深厚文化底蕴带向世界。

问题

1.第一首团扇诗是什么创作的？

2.团扇在什么时候第一次引入日本？

3.团扇形状最重要的特征是什么？

4.团扇的扇面有什么主题？

参考文献

[1]刘福格,庄一兵 & 邓汪程.(2015).团扇的起源与发展. 学园(31),108-109+112.

[2]https://baike.baidu.com/item/团扇/9814083?fromModule=search-result_lemma-recommend

[3]周萌.(2021).浅谈团扇艺术形式的演变. 美与时代(上)(10),40-42. doi:10.16129/j.cnki.mysds.2021.10.014.

[4]李颖. 中国清代团扇的审美特征与应用研究[D].浙江理工大学,2017.

[5]https://baijiahao.baidu.com/s?id=1784254840799375592&wfr=spider&for=pc

[6]黄可人.(2014).工艺团扇的传承与创新. 陶瓷科学与艺术(01),36-38. doi:10.13212/j.cnki.csa.2014.01.014.

[7]https://en.wikipedia.org/wiki/Tuanshan

[8]刘琛淼. 从女性视角看中国古代团扇设计之美[D].江南大学,2015.

[9]《英译中国古典情诗三百首》（崔小萌译本）

[10]《红楼梦》(霍克斯译本）

[11]《唐诗三百首》（许渊冲译本）

Yi Qifang | Minority cultures：Miao Silver Ornaments Culture

Introduction

The mountains rise in layers, full of vitality and beauty; the clear and pleasant sound of silver ornaments rings out. In the southwest of our motherland, there is a nation with a long history and ancient traditions, who have created a dazzling culture of Miao silver ornaments with their diligence and wisdom. As an art that is always with them, silver ornaments convey the unique aesthetic and values of the Miao people, revealing an indomitable spirit and love for life. Although this nation does not have its own written language, it has entrusted its unique and beautiful customs and culture to its clothing and silver ornaments, which shine and sparkle.

The Origin of "Silver"

There is a saying in the Miao folklore, "The crow has no tree stump, the Miao have no hometown."（老鸦无树桩，苗族无故乡） The Miao people have historically been a nation that has suffered many disasters. The Miao originated from the upper and middle reaches of the four rivers, known as the "Jiu Li"（九黎） and "San Miao"（三苗） areas. Throughout thousands of years of history, due to the invasion and oppression of foreign tribes, they have experienced five large-scale migrations. As they migrated, they learned and absorbed the more mature technologies of various places, participating in and creating a more complete metal smelting model, which became the forerunner of Miao silver ornament forging technology. Moreover, the areas where the ancestors of the Miao lived and their surroundings have always been the main production areas for gold and silver ore, such as the Xinzhou silver mine in Jiangxi and the Xuanzhou silver mine in Anhui, which laid a solid material foundation for the origin and development of Miao silver ornaments. From prosperity to decline, from the lush Central Plains to the wilderness, the smelting technology of the Miao people has been continuously developing. Silver ornaments have accompanied the ancestors of the Miao through many hardships and long wanderings, achieving "people go home with them." Through these hardships, they did not forget their origins, and they knew where to return, and there is still a distance to go. The long journey has left an indelible mark in the life of the Miao people who have settled and prospered for many years, and through the oral culture passed down from generation to generation, the descendants of the Miao people still remember the thousands of hardships of their ancestors' migrations and battles, recalling the scenery and people on the way of migration, and admiring the bravery and tenacity of their ancestors.

The Beauty of "Silver"

Compared with other ornaments, the biggest artistic feature of Miao silver ornaments is that they are large, numerous, and heavy, all showing a complex temperament. The beauty of being large is an obvious feature of Miao silver. The large silver horn of the Miao is almost half the height of the wearer. The beauty of being heavy, with a clear and pleasant sound, is another feature of Miao silver. When the Miao from Xiangxi get married, the silver ornaments on the whole body can be as much as twenty or thirty pounds, and the dragonflies and butterflies on the headwear keep making a clear collision sound. The beauty of being numerous is an important artistic feature of the silver ornaments, with earrings stacked to the shoulders, necklaces covering the neck and forehead, and the abdomen and waist decorations are all worn. The silver ornaments combine the Miao people's longing for a better life, and the pursuit of balance and harmony in the silver ornaments is the eternal pursuit of the Miao girls. Miao silver integrates the concrete and the abstract, the real and the imagination. The patterns adopt the principle of symmetry, emphasizing the treatment of a sense of order, adding a sense of mystery. The collocation adopts the principle of overall unity, and the silver ornaments complement the clothing in different occasions, and are cleverly combined with the Miao's cloth and embroidery, showing a more elegant beauty.

The Connotation of "Silver"

The connotation of Miao silver ornaments is rich, including totem worship, reproductive worship, and ancestor worship. The Miao people place the spirit of the group in the totem, maintaining the most sincere enthusiasm and desire for life, reflecting a proud sense of national identity. Taking the butterfly pattern as an example, this is the legend of the Miao "Butterfly Mother": the butterfly laid 12 eggs in the maple tree, and one of them hatched the ancestor of the Miao, Jiang Yang.（姜央） As the "Miao Ancient Song" sings: "There is a maple tree trunk, there is a maple tree heart, the trunk gives birth to Mei Bang, the heart gives birth to Mei Liu, the old mother of ancient times.（还有枫树干，还有枫树心，树干生妹榜，树心生妹留，古时老妈妈。）" It means that the maple tree trunk and heart hatched "Mei Bang Mei Liu（妹榜妹留）" (i.e., "Butterfly Mother"). The mother is the main role in social life, especially in the migration, bearing the heavy responsibilities of reproduction and household management, so the "Butterfly Mother" pattern in Miao silver shows the symbiosis of man and nature, with a distinct matriarchal totem worship symbol. Miao silver ornaments are supported by the profound cultural connotation of their own nation, and through the skillful hands of Miao silversmiths, they not only pursue the lifelike visual effect but also show a deeper cultural heritage and aesthetic connotation.

The Use of "Silver"

Every piece of Miao silver ornament is forged in the sound of the metal knocking, and then, accompanied by another sound of the collision of the ornaments, it goes through life. Miao children are the hope of their parents and family, and their silver headwear, bracelets, and anklets are all made from newly bought silver, in order to seek "longevity, wealth, and to drive away evil spirits." From the youth to the middle-aged Miao people, they all wear a moderate amount of silver bracelets on their hands, feet, and ears. In the love and marriage life of the Miao people, the function of silver ornaments is more prominent. When the man and woman make a promise, the man has to give the woman silver bracelets, earrings, etc., as a token, and when they get married, if the man does not give enough silver, they cannot get married. The newlyweds of the Huaniao wear silver-wrapped cow horns, and the women wear silver ornaments and fresh flowers to worship the hall, expressing good wishes and avoiding bad luck. The elders are the spiritual pillars of the family, and when the Miao people celebrate the birthday of the elderly, they cannot do without silver ornaments. Silver represents auspiciousness and longevity, expressing a beautiful expectation for health and a bright future. When the elderly are buried, people often wear some pure silver ornaments or bury silver flakes with the deceased, so that he can avoid ghosts and demons in the underworld and use it as silver coins. The Miao people believe that silver can be used to detect poison, so the tradition of silver ornaments to prevent and treat diseases has been passed down from ancient times. The Miao people, regardless of men, women, old and young, always wear silver necklaces, bracelets, locks, earrings and other silver ornaments to protect their lifeblood, to ensure their healthy growth and longevity.

The Forging of "Silver"

All Miao silver ornaments are forged by Miao silversmiths in the form of family workshops, and after thousands of years of inheritance and accumulation, the forging skills of Miao silver ornaments have become a unique silver ornament making skill of the Miao people. On May 20, 2006, the forging skills of Miao silver ornaments were approved by the State Council and included in the first batch of national intangible cultural heritage lists. The forging skills of Miao silver ornaments, with silver as the raw material, the style and structure of the silver ornaments have been carefully designed by the craftsmen, from drawing to carving and making, there are 30 processes, including casting, blowing, forging, welding, weaving, inlaying, scrubbing, and polishing, which are a precious treasure in the history of Chinese forging culture. In terms of modeling design, Miao silversmiths are also unique. On the one hand, they draw creative inspiration from the embroidery and batik patterns of women, and on the other hand, they constantly innovate in the portrayal of details according to their own traditional customs and aesthetic tastes. The beauty of strength and complexity comes from the unyielding struggle and the desire for survival; the beauty of simplicity and delicacy comes from the simple heart and beautiful pursuit. Although silver is cold, it is filled with the cultural temperature and full emotions of the Miao people. Feeling it and thinking about it, it has a hard tenderness, just like the Miao people's desire for the greatness of life, without losing the national character and temperament of restraint, patience, fantasy, romance, kindness, and firmness. Miao silver ornaments are a unique business card of the Miao people, expressing the cultural style of the Miao people for thousands of years to China and the world, showing a unique and colorful connotation.

Terms and Expressions

• Miao Silver Ornaments Culture 苗族银饰文化

• the Xinzhou silver mine in Jiangxi and the Xuanzhou silver mine in Anhui江西信州银矿、安徽宣州银矿

• Butterfly Mother蝴蝶妈妈的传说

• totem图腾

• Token信物

• in the underworld 在阴间

• national intangible cultural heritage lists国家级非物质文化遗产名录

• the embroidery and batik patterns 刺绣及蜡染纹样

References

[1] 陈凡,何天娇.湘西传统苗族银饰的文化价值[J].化纤与纺织技术,2021,50(08):39-40.

[2] 戴荭.苗族银饰“蝴蝶妈妈”的文化记忆[J].包装工程, 2017,38(10):246-250.DOI:10.19554/j.cnki.1001-3563.2017.10.056.

[3] 焦成根,常龙珠,陈剑.苗族银饰的文化渊源及美学意蕴[J].贵州大学学报

(艺术版),2014,28(05):112-118.DOI:10.15958/j.cnki.gdxbysb.2014.05.046.

[4] 陈剑,焦成根,唐慧,刘雯.德榜苗族银饰锻制技艺的现状调查[J].内蒙古大学艺术学院学报,2012,9(04):23-34.

[5] 王荣菊,王克松.苗族银饰源流考[J].黔南民族师范学院学报,2005(05):67-70.

[6] 王维其.苗族与银饰[J].贵州民族研究,1998(03):103-105.

Questions

1. What role does the Miao silver ornament culture play in Miao history, and how does it help the Miao people express their aesthetic views and values?

2. How is the development of Miao silver forging technology related to the historical migrations of the Miao people? Please briefly describe the origin and development of Miao silver forging technology.

3. What are the prominent artistic characteristics of Miao silver ornaments? Please list and explain these features.

4. What aspects does the connotation of Miao silver ornaments include? Please combine the content of the document to illustrate how Miao silver ornaments reflect totem worship, fertility worship, and ancestor worship.

5. The Miao silver forging technique has been listed as a national intangible cultural heritage, and its importance is reflected in which aspects? Please discuss the inheritance and cultural value of the Miao silver forging technique in conjunction with the content of the document.

苗族银饰文化

层峦耸翠，钟灵毓秀；叮当美声，清新悦耳。在祖国的西南方，有一个蕴藏着悠久历史和古老传统的民族，用勤劳和智慧，创造出流光溢彩的苗族银饰文化。银饰作为“身边的艺术”，传达着苗族人民独特的审美观与价值观，流露出一股不曾磨灭的自立与坚强，以及对生活的热爱。这个民族虽然没有文字，却将自己独特而美好的风情文化，寄托在服装和银饰中，流光溢彩，熠熠生辉。

“银”之源

苗族民间谚语有言，“老鸦无树桩，苗族无故乡” ，苗族历史上是一个多灾多难的民族。苗民发源于四水流域的中上游地区，即所谓“九黎”、“三苗”地区，在长达数千年的历史里，由于外族的侵略和压迫历经了五次大规模迁徙运动。随迁随学随用，苗民不断吸收各地相对成熟的技术，参与、创造了更加完备的金属冶炼模式，成为苗族银饰锻造技术的先声。并且，苗族先民聚居地及其周边，历来为金银矿石的主要产区，如江西信州银矿、安徽宣州银矿等，为苗族银饰的起源和发展铺设了较为坚实的物质基础。从兴盛到衰落，从水草丰茂的中原逐渐转向荒野，苗族的冶炼技术不断发展，银饰陪伴着苗族的祖先经历重重苦难和漫长流浪，做到了“人走家随”。经此苦难，不忘来路，始知归处，尚有远方。漫长的征程在已定居乐业多年的苗族生活中烙下不可磨灭的印记，在口传文化的代代相承下，苗人子孙依然铭记着祖先迁徙和征战的千难万险，回忆着迁徙途中的风物人情，崇拜着祖先的勇敢顽强。

“银”之美

相较于其他饰品，苗族银饰最大的艺术特点就是以大、多、重为美，均以繁复的气质示众。以大为美是苗银不言而喻的特征。苗族的大银角几乎为佩戴者身高的一半。以重为美，叮当悦耳，乃苗银又一特色。湘西苗族嫁女时，全身的银饰多则二三十斤，头饰上的蜻蜓、蝴蝶不断发出清脆的碰撞声。以多为美是银饰的重要艺术特征，耳环叠至垂肩，项圈没颈掩额，腑饰、腰饰倾其所有，悉数佩戴。银饰结合了苗民对美好生活的憧憬，对银饰均衡、和谐之美的向往更是苗族姑娘永恒的追求。苗银融具象与抽象、真实与想象于一体。纹样采取对称的原则，强调秩序感的处理，更增添一份神秘感。搭配采取整体统一的原则，银饰与不同场合下的服装相得益彰，并与苗族土布、刺绣巧妙结合，更显优雅之美。

“银”之涵

苗族银饰的内涵丰富，包括图腾崇拜、生殖崇拜、祖先崇拜。苗民把族群精神寄托在图腾中，保持着对生命、生活最真挚的热情与渴望，体现出自豪的民族认同感。以蝴蝶图样为例，这是关于苗族“蝴蝶妈妈”的传说：蝴蝶在枫树中产下了12颗卵，其中孵出了苗族的祖先姜央。正如《苗族古歌》所唱：“还有枫树干，还有枫树心，树干生妹榜，树心生妹留，古时老妈妈。”意思是枫树干和枫树心孵育了“妹榜妹留”（即“蝴蝶妈妈”）。母亲是社会生活的主要角色，尤其在迁徙中承担了繁殖、持家等重任，因此，苗银中的“蝴蝶妈妈”纹饰体现出了人与自然的共生，具有鲜明的母系图腾崇拜符号的意义。苗族银饰以自身民族所拥有的深厚文化内涵作为支撑，通过苗族银匠的一双双巧手，在追求惟妙惟肖的视觉效果的同时，也展现出更深厚的文化底蕴与审美意蕴。

“银”之用

每一件苗族银饰，都在这叮叮当当的金属敲击声中锻制而生，然后，陪伴着另一种环佩叮当的碰撞声走过一生。苗家孩童是父母家庭的希望所在，其银饰的头帽、手镯、脚钏等，都是由新买的银子做成，以求“长命富贵，驱鬼避邪”。苗人从少年至中年，在手、脚、耳等处均系上适量的祀保银钏。在苗族人的婚恋生活中，银饰功能表现得更为突出。男女定情之时，男方要送女方银镯、耳环等作信物，而在正式出嫁时如男方送不足一定银两则不能成婚。花苗新婚男戴银包牛角，妇佩银饰戴鲜花拜堂，以表达美好祝愿、趋吉避凶。长者是家庭的精神支柱，苗族在给老年人祝寿时离不开银饰，银子代表了吉祥、长寿，表达出对身体健康与光明未来的美好期盼。在给老人送葬时，人们常给逝者佩戴一些纯银饰品或用银屑随葬，使他在阴间能避免鬼魔和当作银币之用。苗族人民认为银可以用来测毒，于是银饰可以预防和治疗疾病的传统从古时候就流传了下来。苗族不论男女老幼，总是佩戴银项圈、银手镯、银锁、银耳环等银饰，以护命脉，保其健康成长和长寿。

“银”之锻

苗银所有饰件都是苗族银匠以家庭作坊的形式手工锻制而成，经千百年传承积淀，苗族银饰锻制技艺成为苗族特有的银制饰品制作技艺，在2006年5月20日经国务院批准，苗族银饰锻制技艺列入第一批国家级非物质文化遗产名录。苗族银饰锻制技艺，以银为原料，银饰的式样和构造经过了匠人的精心设计，由绘图到雕刻和制作有30道工序，包含铸炼、吹烧、锻打、焊接、编结、镶嵌、擦洗和抛光等多个环节，是中国锻造历史文化中的宝贵财富。在造型设计上，苗族银匠也独具匠心。一方面从妇女的刺绣及蜡染纹样中汲取创作灵感，一方面根据本系的传统习惯、审美情趣，在细节的刻画上不断推陈出新。力量与繁复之美，来自于不屈的抗争和生存的渴望；稚拙与精细之美，来自素朴的内心与美好追求。银虽冰冷，但却灌注着苗族人的文化体温和充盈情感。感之念之，它便有了坚硬的温柔，一如苗族人既渴望生命的伟力，又不失内敛、忍耐、幻想、浪漫、善良、坚定的民族个性与气质。苗族银饰是苗族特有的名片，它向中国乃至世界表达苗族千百年来的文化风格，展现出独一无二的多彩意蕴。

问题

1.苗族银饰文化在苗族历史中扮演着怎样的角色，又是如何帮助苗族人民表达他们的审美观点和价值观的？

2.苗族银锻造工艺的发展与苗族的历史迁徙有何关系？请简要描述苗族银锻造工艺的起源和发展。

3.苗族银饰有哪些突出的艺术特点？请列举并解释这些特点。

4.苗族银饰的内涵包括哪些方面？请结合文件内容说明苗族银饰是如何体现图腾崇拜、生殖崇拜、祖先崇拜的。

5.苗族银锻制技艺已被列入国家级非物质文化遗产名录，其重要意义体现在哪些方面？请结合文件内容，谈谈苗族银锻制技艺的传承与文化价值。

参考文献

[1] 陈凡,何天娇.湘西传统苗族银饰的文化价值[J].化纤与纺织技术,2021,50(08):39-40.

[2] 戴荭.苗族银饰“蝴蝶妈妈”的文化记忆[J].包装工程, 2017,38(10):246-250.DOI:10.19554/j.cnki.1001-3563.2017.10.056.

[3] 焦成根,常龙珠,陈剑.苗族银饰的文化渊源及美学意蕴[J].贵州大学学报

(艺术版),2014,28(05):112-118.DOI:10.15958/j.cnki.gdxbysb.2014.05.046.

[4] 陈剑,焦成根,唐慧,刘雯.德榜苗族银饰锻制技艺的现状调查[J].内蒙古大学艺术学院学报,2012,9(04):23-34.

[5] 王荣菊,王克松.苗族银饰源流考[J].黔南民族师范学院学报,2005(05):67-70.

[6] 王维其.苗族与银饰[J].贵州民族研究,1998(03):103-105.

Zhao Mengjiao | Mysterious culture：Facial Physiognomy

Facial physiognomy, as a branch discipline derived from Zhouyi, originated from ancient Chinese traditional culture. As a wonderful flower of traditional culture, facial physiognomy also has profound cultural heritage and long history.

The development of facial physiognomy

At present, there is no accurate conclusion on the time of the emergence of facial physiognomy, according to the "Da Dai Li Ji"records, ""Yao admitted people by appearance;Shun admitted people by look;Tang selected people by voice;Wen Wang chose people by degree." It can be seen that early emperors selected talents by observing people's looks, demeanor, etc., which can be regarded as the bud of facial physiognomy in ancient times.（郑亮，2012，p4）

The Spring and Autumn period and the Warring States period is an important stage for Chinese facial physiognomy to mature from the bud. Through the observation and analysis of a large number of people, the physiognomists summed up some basic principles and methods of facial physiognomy, for example, by observing the complexion and facial features to predict fate.Facial physiognomy began to establish a preliminary theoretical foundation and gradually formed different schools. Meanwhile, they also absorbed Confucianism, Taoism and other thoughts of the same period, so that the theory of physiognomy is more philosophical. The trend of predicting fate by observing faces gradually spread to the people and formed a folk custom.

During The Three Kingdoms period, physiognomy developed further. During this period, facial physiognomy was not only better in theory, but also more widely used in practice. For example, the History of the Three Kingdoms records many stories of physiognomists, who used physiognomy to predict people's destinies. Among them, Zhu Jianping was very famous. He was good at judging people's fate and character by observing their looks and voices.

Facial physiognomy is not a unique culture in China. In the West, the history of facial physiognomy can be traced back to the ancient Greek period, and it is very popular in both the folk and the intellectual class.(Christophe Chandezon, Véronique Dasen, Jérôme Wilgaux,2013)

Facial division in facial physiognomy

Wu Guan

The so-called "Wu Guan" refers to five facial organs such as "ears, eyebrows, eyes, nose and mouth". And in facial physiognomy, they are given specific meanings:

(1) Ear: named "listening officer"（采听官）

(2) Eyebrow: named "longevity officer"（保寿官）

(3) Eye: named "inspector"（监察官）

(4) Nose: named "examiner"（审辨官）

(5) Mouth: named "out-put and in-put officer"（出纳官）

Through the analysis of Wu Guan, we can do some basic analysis of facial physiognomy for a person, and then judge a person's fortune. Eyebrows are usually associated with health and status; Eyes are related to a person's will power and good heart; The nose is related to a man's wealth and health; The mouth is related to a person's happiness, food and fortune; Ears are the key to a person's longevity. People often say, "long and beautiful eyes, will be close to the king", slender eyes are usually considered to be a symbol of wealth; High and beautiful eyebrows often indicate power, authority and wealth.（邱婧，2020,p74）

San Ting

In addition to the above division of Wu Guan, there are also the division of San Ting.

(1)Shang Ting: from the forehead hairline to the eyebrow part is called "Shang Ting", which is in charge of the youth's fate and the fortune between the ages of 15 and 30.

(2)Zhong Ting: from the eyebrow to the nose is called "Zhong Ting",which is in charge of middle age and the fortune between the ages of 31 and 50.

(3)Xia Ting: from the nose to the chin part is called "Xia Ting",which is in charge of the life of the old age and the fortune after 51 years old.

Basically, if Shang Ting is high, long and full, and square and broad, the person’s social status will be high;if Zhong Ting is long and full, the person will be rich and longevous;and if Xia Ting is round and decent, the person’s life is blessed.

Zodiac signs

(1) Ming Zodiac: located between the two eyebrows, affecting a person's basic fortune.

(2) Caibo Zodiac: located at the head of the nose, in charge of people's financial resources.

(3) Xiongdi Zodiac: The eyebrows are Xiongdi Gong, representing the number of brothers and sisters, but also symbolizing the closeness of the relationship.

(4)Fuqi Zodiac: located at the tail of the eyes, related to the relationship between husband and wife.

(5)Zinv Zodiac: located in the raised part of the lower eyelid, representing all aspects of the children;the left one represents the fate of sons and the right one represents daughters’, cooperating with each other.

(6) Ji’e Zodiac: located in the mountain root between the eyes, representing the state of health.

(7) Qianyi Zodiac: located at both ends of the upper forehead, related to the good and bad luck of migration and going out.

(8) Nupu Zodiac: located at the lower part of the cheek, in charge of the person's old age fortune and interpersonal relations.

(9) Guanlu Zodiac: located in the middle of the forehead, related to the success or failure of the career and the good and bad luck of the life of official.

(10) Tianzhai Zodiac: located in the eyelid between the eyebrows and the eyes, related to the number of assets in the family and family status.

(11) Fude Zodiac: located in the outer position above the eyebrow, related to people's good fortune and virtue.

(12) Fumu Zodiac: The “father” is located in the middle of the left forehead and the “mother” is located in the middle of the right forehead, representing the parents' health and the success or failure of career.

Facial physiognomy and Chinese traditional culture

Facial physiognomy and ancient Chinese politics

Facial physiognomy had a significant influence on ancient politics. The ancients often believed that a person's face could reflect his inner qualities and future fortunes. For example, ancient emperors sometimes referred to facial features when selecting important officials.

In addition, in some special political ceremonies or occasions, the concept of facial physiognomy was also integrated into it. For example, when choosing a sacrificial candidate, there may be a tendency to choose a person whose face was considered auspicious and blessed. It has been recorded in history that some dynasties would select suitable participants in important sacrificial activities based on facial appearance, believing that this would ensure the smooth ceremony and good fortune of the country. In short, facial physiognomy influenced ancient politics in many ways and became a unique part of ancient political culture.

Facial physiognomy and ancient Chinese philosophy

There is a close relationship between facial physiognomy and ancient philosophy. In ancient philosophy, emphasis was placed on the connection between the intrinsic nature of things and their external manifestations.

There are many explanations on facial features in the "Ma Yi Xiang Fa", which reflects the ancient people's attempts to interpret a person's fate and character through facial features. For example, the ancients believed that people with full “Tian Ting” are fortunate, and people with square and round “Di Ge” are light-hearted. This concept echoes the ancient philosophical thinking on the relationship between the God and human beings. Taking Lao Zi's Taoist philosophy as an example, he emphasized conformity to nature. In facial physiognomy, it is also believed that human facial features are some kind of hint given by nature. For example, people with clear and bright eyes are considered to be pure in heart, which is in line with the natural state pursued by Taoism. It is recorded in history that some Taoist scholars would observe the faces of others to help judge the degree of practice and the nature of the mind. Confucius also emphasized that you can understand a person's heart by looking into his eyes.

Terms and Expressions

Da Dai Li Ji大戴礼记

The History of the Three Kingdoms 三国志

Wu Guan 五官

San Ting 三停，停是中国古代的一个量词，表示长度

Shang Ting 上停

Zhong Ting 中停

Xia Ting 下停

Zodiac signs 十二宫，原为天文术语，用来标明每年太阳和月亮沿黄道运行会合十二次的位置。相学家套用这一术语，指颜面的十二个部位

Ming Zodiac 命宫

Caibo Zodiac 财帛宫

Xiongdi Zodiac 兄弟宫

Fuqi Zodiac 夫妻宫

Zinv Zodiac 子女宫

Ji’e Zodiac 疾厄宫

Qianyi Zodiac 迁移宫

Nupu Zodiac 奴仆宫

Guanlu Zodiac 官禄宫

Tianzhai Zodiac 田宅宫

Fude Zodiac 福德宫

Fumu Zodiac 父母宫

Ma Yi Xiang Fa 麻衣相法

Tian Ting 天庭

Di Ge 地阁

References

Zheng Liang郑亮.(2012)中国传统面相在当代肖像雕塑中的运用研究 [Application of Chinese traditional physiognomy of the contemporary portrait sculpture studies].Master Dissertation of Southwest University 西南大学硕士学位论文

Qiu Jing邱婧.(2020) 探析中国古代面相学与传统人物画论的内在联系及其表现 [Analysis of the inner relation between ancient Chinese physiognomy and traditional figure painting theory and the manifestation].Popular literature and art publishing house 大众文艺出版社

Christophe Chandezon, Véronique Dasen, Jérôme Wilgaux.(2013) 解梦，相貌，身体占卜[Dream Interpretation, Physiognomy, Body Divination]

Questions

1.When was the first written record of facial physiognomy in China?

2.How many facial divisions are there in facial physiognomy? What are they?

相面术

相面术作为周易派生出的一门旁支学科，源自中国古代传统文化，作为传统文化的一朵奇葩，相术同样有着深厚的文化底蕴与悠久历史。

一、相面术的发展脉络

相面术产生的时间，目前还没有一个准确的结论，据《大戴礼记》记载“昔尧取人以状，舜取人以色，汤取人以声，文王取人以度”。由此可见早期的君王已经通过观察人的相貌，风度等来选拔人才，这可以视为远古时期相面术的萌芽。

春秋战国时期是中国相面术从萌芽走向成熟的重要阶段。相士们通过对大量人物的观察和分析，总结出了一些相面的基本原则和方法，例如气色相法、五官相法等。相面术开始建立起初步的理论基础并逐渐形成了不同的流派。同时，他们还吸收了同时期的儒家、道家等思想，使相术理论更具哲理性。相命之风逐渐蔓延到民间，形成一种民俗。

三国时期，相术有了进一步的发展。这一时期的相术不仅在理论上更加完善，而且在实践中也得到了更广泛的应用。例如，《三国志》中记载了许多相术家的故事，他们通过相术为人们预测命运。其中，朱建平是三国时期著名的相术家，他擅长通过观察人的相貌和声音来判断其命运和性格。

相面术并不是中国独有的文化，在西方，面相学的历史最早可以追溯到古希腊时期，不论在民间还是在知识阶层都非常流行。

二、相面术的面部划分

五官

所谓的“五官”，指的就是“耳、眉、眼、鼻、口”等五种面部器官。而且在面相学上，分别被赋予特定的含义：

（1）耳：名为“采听官”

（2）眉：名为“保寿官”

（3）眼：名为“监察官”

（4）鼻：名为“审辨官”

（5）口：名为“出纳官”

透过五官的分析，能对一个人做一些面相学的基本分析，进而判断一个人的运势吉凶。通常眉毛关系到健康、地位；眼睛关系一个人的意志力、心地良善；鼻子关系到一个人的财富与健康；嘴巴关系一个人的幸福、食禄与贵人运；耳朵关系到一个人的长寿与否。民间常有这样的说法，“目秀而长，必近君王”，细长的眼型通常被认为是富贵的象征；高耸秀丽的眉毛则往往预示着权力威严和财富丰厚。

三停

面相除了上述的五官之外，还有三停之分。

（1）上停：由额上发际到眉毛部位叫“上停”，主管少年运程，执掌15岁～30岁之间的运势。

（2）中停：由眉毛到鼻准头部位叫“中停”。主管中年运程，执掌31岁～50岁之间的运势。

（3）下停：由鼻下到下巴部位叫“下停”。主管晚年运程，执掌51岁以后的运势。

基本上，上停高、长而丰隆，方而广阔的话，主社会地位高；而中停隆而有肉的话，主富而寿；而下停圆满、端正而厚重的话，一生有福气。

十二宫

（1）命宫：位于两眉之间“印堂”的部位，影响一个人的基本运势。

（2）财帛宫：位于鼻头的部位，主管人的财源。

（3）兄弟宫：眉毛是兄弟宫，代表兄弟姐妹的多少，也象征着关系的亲近程度。

（4）夫妻宫：位于眼尾部位，关系夫妻关系的好坏。

（5）子女宫：位于下眼皮隆起的部位，代表着子女的方方面面，左主男右主女，相互配合而论。

（6）疾厄宫：位于两眼之间山根的部位，代表人的健康状态。

（7）迁移宫：位于上额两端眉际部位，关系迁徙与出门在外的吉凶。

（8）奴仆宫：位于面颊下端部位，主管人的晚年运势以及人际关系。

（9）官禄宫：位于额头正中部位，关系事业成败，一生官运好坏。

（10）田宅宫：位于眉与眼中间的眼皮部位，关系家中资产多少，家族地位。

（11）福德宫：位于眉上方偏外部位，关系人的福气德行。

（12）父母宫：父位于左额中间偏上、母位于右额中间偏上，代表父母的健康与事业的成败。

三、相面术与中国传统文化

相面术与中国古代政治

在古代政治中，相面术有着颇为显著的影响。古人常认为，一个人的面相能反映其内在品质与未来运势。例如，古代帝王在选拔重要官员时，有时会参考面相。

此外，在一些特殊的政治仪式或场合中，面相学的观念也会融入其中。如在选择祭祀人选时，可能会倾向于挑选面相被认为吉祥有福之人。历史上曾有记载，某些朝代在重要祭祀活动中，会根据面相来挑选合适的参与者，认为这样能确保仪式的顺利和国家的祥瑞。总之，面相术在古代政治中以多种方式产生着影响，成为古代政治文化中独特的一部分。

相面术与中国古代哲学

面相术与古代哲学之间存在着紧密的联系。在古代哲学中，强调对事物内在本质与外在表现的关联探究。

《麻衣相法》中就对面相有着诸多阐述，这体现了古人试图通过面部特征来解读一个人的命运和性格。例如，古人认为天庭饱满者多有福气，地阁方圆者晚景无忧。这种观念与古代哲学中对天人关系的思考相互呼应。以老子的道家哲学为例，他强调顺应自然。在面相术中，也认为人的面相特征是自然赋予的某种暗示。比如，眼睛清澈明亮之人，被认为内心纯净，与道家追求的自然本真状态相契合。历史上有记载，某些道家学者会通过观察他人面相来辅助判断其修行程度和心性。孔子也曾强调通过观察人的眼睛可以了解其内心。

Liu Chunxiu | Games：Chinese Chess

Chinese chess is a kind of chess game originated in China, belonging to a kind of two-player confrontational game, and ranks among the world's three major chess sports together with chess and Go. In China, the mass base of Chinese chess (Xiangqi) far exceeds that of Go (Weiqi) , and it is the most widely popular chess game, which has been spread to more than ten countries and regions. 2008 June 7, Chinese chess was approved by the State Council to be included in the "Second Batch of National Intangible Cultural Heritage List".

Context

During the Spring and Autumn, Warring States and even the Qin and Han Dynasties in China, the country was in a state of war, and Xiangqi came into being against this background. There are many similarities between military wars and sports competitions. For example, both have the ultimate goal of obtaining victory, and the confrontation process is performed through techniques and tactics. There are both strategic thrusts and tactical plans. Compared with other sports, Xiangqi has the most direct intrinsic connection with the ancient military, and its strategic thinking and tactical characteristics have been influenced by ancient military thinking. （Guo，2014,6）

Chess Set

Chess board

The place where the pieces move is called the "chessboard". It consists of nine parallel vertical lines and ten parallel horizontal lines intersecting each other on a square plane, with a total of ninety intersections on which the pieces are placed. The middle part of the board, that is, the empty space between the fifth and sixth horizontal lines without vertical lines, is called the boundary. The middle of the two ends, that is, the square between the fourth and sixth vertical lines at each end, where the diagonal cross lines form a "Mi" (米) square, is called the "Nine Palaces" (it has exactly nine crossing points). The whole board is divided into two equal parts by the boundary. For the sake of game records and the convenience of learning the game, the current rules state that the nine vertical lines are represented from right to left by the Chinese numerals one to nine for each vertical line on the red side, and the Arabic numerals "1"~"9" for each vertical line on the black side. Before the game begins, both the red and black sides should place their pieces in the required positions. For each move of any disc, it is written "in" for advance, "back" for retreat, or "flat" if it is moved horizontally like a rook.

• Straight lines

The longer, parallel sides of the board are called straight lines, and there are 9 of them, 7 of which are separated by river boundaries. The straight lines on the red side are represented by the Chinese numerals I, II, III, IV, V, VI, VII, VIII, and IX from right to left; the straight lines on the black side are also represented by the Arabic numerals 1, 2, 3, 4, 5, 6, 7, 8, and 9 from right to left on the opposite side of the red side.

• Horizontal Lines

The shorter, parallel sides of the board are called horizontal lines. There are a total of 10 horizontal lines. The horizontal lines on the side with the red discs are counted from the bottom line of the red square, and are represented by the Chinese numerals 1-10 in order from bottom to top; the horizontal lines on the side with the black discs start from the bottom line of the black square, and are represented by the Arabic numerals 1-10 in order from bottom to top.

• Intersection

The places where straight lines meet horizontal lines are called "intersection points". There are a total of 90 intersections on the board, and the pieces are placed and move at these intersections.

• River Boundary

The area in the centre of the board where no straight lines are drawn is called the "river boundary". It represents the line of demarcation between the two sides, defining their respective territories.

• Nine Palaces

The areas at each end of the board where diagonal crossings are drawn are known as the "Nine Palaces". The generals can only move on the nine intersections of their respective "Nine Palaces". (Tu，Yang，2009,3)

Chess Piece

There are thirty-two pieces, divided into red and black, each with sixteen pieces and seven types, the names and numbers are as follows:

Red pieces: one king, two rooks, two knights, two cannons, two bishops, two mandarins, and five pawns.

Black pieces: one general, two rooks, two knights, two cannons, two bishops, two mandarins, and five pawns.

• King/General (Shuai/Jiang)

Red is the "Shuai" and Black is the "Jiang". The Shuai and the Jiang are the heads of the game, and are the targets for which both sides are striving. They can only move within the nine squares, either up or down, left or right, and can only move one square per move on a vertical or horizontal line. The Shuai and the Jiang cannot be directly opposite on the same straight line, otherwise the walking side will be judged negative.

• Mandarins

Red is "Shi" (仕) and Black is "Shi" (士), which also can only walk in the nine squares. Their paths can only be diagonal lines in the nine squares, and the mandarins can only move one diagonal at a time.

• Bishops

The red side is the "Xiang" (相) and the black side is the "Xiang" (象). The bishop is walking along the diagonal line of a four-square form, commonly known as "Xiang zou tian" (象走田). The range of motion of the Bishop is limited to its own position within the "river boundary", so it cannot cross the river. If there is a piece in the center of the "tian", then it cannot move. This is commonly known as "stuffing the elephant's eye".

• Rooks (jū)

The rook is the most powerful in chess, which can travel on both horizontal and vertical lines, as long as there are no pieces in the way, and the number of moves is not limited. It is commonly known as "rook traveling straight".

• Cannons

When a cannon does not eat a disc, it moves in exactly the same way as a rook, but when a cannon eats a disc, it must jump over a disc, both ours and the enemy's, commonly known as "cannon hitting a spacer".

• Knights

The knight is walking along the diagonal line of an upright two-square form, commonly known as "Ma zou ri" (马走日). The knight can go to eight points at a time, so it is said to be "Eight Men Out". If there are other pieces in the way, the knight will not be able to move past them, commonly known as "crapping the horse's leg".

• Pawns

Red is the "Bing" and Black is the "Zu". The pawns can only move forward, not backward, and cannot move sideways before crossing the river. After crossing the river, they can move left and right, but only one step at a time. Even so, the power of the pawns is greatly enhanced, so there is a saying that "a small pawn crossing a river is as powerful as a large rook".

Value of A Chess Piece

During the game, both players have to exchange discs unavoidably [Shuai (Jiang) is the only irredeemable piece, and the values of the following discs are as follows (for example, 9 points for rooks, except for Shuai (Jiang)].

Rooks - 9 points

Rooks are the most powerful pieces in combat, the first of the main combatants, and the pieces with the largest score. In the opening phase, you should try to play rooks as much as possible. "If you don't play rooks in three moves, you are bound to lose the game".

Knights - 4 points

Knights are able to do curvilinear maneuvers, have planar control, and are mid-range combatants.

Cannons - 4.5 points

They are long-distance combat pawns with better mobility and surprise. Cannons are more flexible than the knights in the opening, and should be deterred from a distance and not fired in vain. In the endgame, the cannons should return home.

Bishops, Mandarins - 2 points

They are defensive pieces that protect the general and assist in certain situations. "The bishop tries to link up in the center, and the formation is neat."

Pawns

• Uncrossed River Pawn (only forward) - 1 point
• Crossed River Pawn (can move forward and left and right) - 2 points
• Pawns to the bottom line (since they can only move left and right) - 1 point

The center pawns are especially important as a barrier in the middle. The three and seven pawns play an important role in keeping the knight alive.

King/General

The king (general) is the center of the whole game, the symbol of victory or defeat. Except in the endgame, they generally do not have the ability to fight, in the overall situation should be "static" as the principle.

Description

1.The bishops and mandarins are defensive pieces; the bishop is the piece that protects its position, and the mandarin protects the king (general), so the pieces are of equal value;

2.Cannons maneuver like rooks, outclassing knights in the opening phase, and in the endgame phase cannons don't have racks, so they're worse than knights;

3.Knights are not as good as cannons in the opening because they are limited by crappy legs, but they are stronger than cannons in the endgame phase because they are extremely limited.

Competition Rules

Chinese chess simulates ancient wars, linear wars, land wars and plane wars, using a square checkered board with 32 round pieces and 16 pieces in each of the two colors, red and black, placed and moving at intersecting points. After the start of the game, the side playing the red chess goes first, and the two sides take turns to make one move each until the winner and the draw are separated, and the game is ended. In chess battles, people can improve their thinking skills from the changes in complex relationships such as attack and defense, virtual and real, whole and local.

Rules of Play

1.Before the start of the game, both players place their pieces on the board as required.

2.In a game, the player with the red disc moves first, and both players take turns making a move.

3.When it is the turn of a player to move a piece from one intersection to another, or to capture an intersection by capturing an opponent's piece, this counts as a move.

4.A move by each side is called a turn.

5.When making a move, if there is an opponent's piece in a square to which your own piece can move, you can capture that square by taking the opponent's piece.

6.In Chinese chess, when one player's piece attacks the opponent's king (or general) and is ready to capture it in the next move, it is called "check". The player being checked must immediately "respond" with their own move to resolve the "check" state. If they cannot respond, they are "checkmated".

Winning Rules

Victory or Defeat

If one of the following occurs during the game, the player loses and the opponent wins:

1.Your king (general) is killed or captured by an opponent's piece;

2.Your side has no pawns to move (trapped death);

3.A "long general" or "long capture" by one's side against the other;

4.Your side sends a request to concede;

5.If there is a move requirement, your side moves beyond the move limit;

6.If there is a time requirement, exceed the specified time;

7.Violation of the rules of the competition.

Draw Game

A draw is made when one of the following occurs:

1.A simple situation in which neither side is likely to win;

2.One party proposes peace and the other party agrees;

3.Both players' moves have been repeated three times, in accordance with the relevant provisions of the Chess Regulations, which stipulate that "no change is made for a draw";

4.Comply with the natural limit of turns, i.e. in 60 consecutive turns (or less, depending on the level of the tournament), neither player has taken a piece.

Internationalization of Chinese Chess

In recent decades, with the development of trade and cultural exchanges, Xiangqi has developed a lot of enthusiasts in countries such as England, the United States, France, Canada, Germany, etc. From its origin, Xiangqi is spreading through Asia to all corners of the world. Xiangqi is spreading from its origin, through Asia, to all corners of the world. The Asian Xiangqi Federation was founded in Malaysia in 1978, and the 1st World Cup Xiangqi Championship was held in Singapore in 1990. The international organization for chess is the World Xiangqi Federation, which was officially established in Beijing in 1993 and has 27 members. 2022 Xiangqi will be the sport of choice for the Asian Games in Hangzhou. (Chinese Olympic Committee, 2003, Chinese chess)

Terms

Second Batch of National Intangible Cultural Heritage List《第二批国家级非物质文化遗产名录》

strategic thrust战略推进

tactical plan战术手段

chess piece 棋子

diagonal对角线的；斜的

stuffing the elephant's eye塞象眼

Eight Men Out八面威风

crapping the horse's leg蹩马腿

curvilinear曲线的

square checkered board方形格状棋盘

draw game和棋

Questions

1.Is there a connection between Xiangqi and the ancient Chinese military?

2.How many and how many types of pieces on each side?

3.How does a bishop move in chess?

4.Why is the rook the most valuable piece?

5.What is known as a player being checkmated?

References

https://www.sport.gov.cn/n20001280/n20067662/n20067613/c23175359/content.html

https://www.ihchina.cn/project_details/13813/

Chinese Olympic Committee, 2003, Chinese chess http://www.olympic.cn/sports/other/2003/0917/24512.html

Tu Jingming, Yang Baiwei. Dictionary of Xiangqi, Shanghai. Shanghai Culture Press. 2009. https://baike.baidu.com/wikiui/Main/referencepic?lemmaTitle=%E8%B1%A1%E6%A3%8B&lemmaId=30665&uuid=go6uhzjn58&versionId=593717214

Guo Liping, Cultural Evolution of Xiangqi, Beijing Sport University, 2014 https://kns.cnki.net/reader/flowpdf?invoice=o6ebq87KyxegrOd60G%2FJtFgTGab0VQ5xvC7osERdgaymJkjAxr2CRX4Pc%2FVUjKzWiKVyvBJjmxmsPZw2a%2Frepnd6%2BYCoNnHu%2BkyAwrCRePOORtWLRj0SWbJf3GQfZP1mb9nqcmiJWy8kjuZBFRf60s9Dcz5e0aJ79LYoYTXRXA8%3D&platform=NZKPT&product=CMFD&filename=1015541023.nh&tablename=cmfd201501&type=DISSERTATION&scope=trial&cflag=overlay&dflag=&pages=&language=chs&trial=&nonce=B0FB66C1BC8A4EC3B3F86AC5EF24556B

https://www.wxf-xiangqi.org/index.php?option=com_content&view=article&id=275&Itemid=255&lang=cn

游戏：象棋

中国象棋是起源于中国的一种对弈棋类游戏，属于二人对抗性游戏的一种，与国际象棋及围棋并列世界三大棋类运动。中国象棋在中国的群众基础远远超过围棋，是普及最广的棋类项目，它已流传到十几个国家和地区。2008年6月7日，象棋经国务院批准列入《第二批国家级非物质文化遗产名录》。

产生背景

春秋战国乃至秦汉时期的中国，国家战乱纷扬，象棋就在这种背景下应运而生。军事战争与体育竞赛相比较，有很多相似之处。例如，都是以获得胜利为最终目的，对抗过程都是通过技战术进行表现。既有谋略主旨，又有战术手段。相比其他体育运动项目，象棋与古代军事有着最为直接的内在联系，其战略思想和战术特征受到了古代军事思想的影响。（郭，2014,6）

象棋棋具

棋盘

棋子活动的场所，叫作“棋盘”。在方形的平面上，由九条平行的竖线和十条平行的横线相交组成，共有九十个交叉点，棋子就摆在交叉点上。中间部分，也就是棋盘的第五，第六两横线之间未画竖线的空白地带称为“河界”。两端的中间，也就是两端第四条到第六条竖线之间的正方形部位，以斜交叉线构成“米”字方格的地方，叫作“九宫”（它恰好有九个交叉点）。整个棋盘以“河界”分为相等的两部分。为了比赛记录和学习棋谱方便起见，现行规则规定：按九条竖线从右至左用中文数字一至九来表示红方的每条竖线，用阿拉伯数字“1”~“9”来表示黑方的每条竖线。对弈开始之前，红黑双方应该把棋子摆放在规定的位置。任何棋子每走一步，进就写“进”，退就写“退”，如果像车一样横着走，就写“平”。

• 直线

棋盘上较长的平行排列的边称为直线，共有9条，其中7条被河界隔断。用红色棋子一方的直线从右往左依次用中文数字一、二、三、四、五、六、七、八、九表示;用黑色棋于一方的直线在红方对面也从右往左依次用阿拉伯数字1、2、3、4、5、6、7、8、9表示。

• 横线

棋盘上较短的平行排列的边称为横线。横线共有10条，用红色棋子一方的横线从红方底线算起，从下往上依次用中文数字一至十表示;用黑色棋子一方的横线则从黑方底线开始，依次用阿拉伯数字1-10表示。

• 交叉点

直线与横线相交的地方称为“交叉点”。整个棋盘共有90个交叉点，棋子就摆放和活动在这些交叉点上。

• 河界

棋盘中央没有画直线的地方称为“河界”。它代表弃战双方的分界线，确定了各自的地域。

• 九宫

棋盘两端各画有斜交叉线的地方称为“九宫”。将则只能在各自“九宫”的9个交叉点上活动。 (屠，杨，2009,3)

棋子

棋子共有三十二个，分为红、黑两组，每组共十六个，各分七种，其名称和数目如下：

红棋子：帅一个，车、马、炮、相、仕各两个，兵五个。

黑棋子：将一个，车、马、炮、象、士各两个，卒五个。

• 帅/将

红方为“帅”，黑方为“将”。帅和将是棋中的首脑，是双方竭力争夺的目标。只能在"九宫"之内活动，可上可下，可左可右，每次走动只能按竖线或横线走动一格。帅与将不能在同一直线上直接对面，否则走方判负。

• 仕/士

红方为“仕”，黑方为“士”。也只能在九宫内走动。行棋路径只能是九宫内的斜线。士一次只能走一个斜格。

• 象/相

红方为“相”，黑方为“象”。走法是沿着四方形的对角线走，俗称“象飞田”。相（象）的活动范围限于“河界”以内的本方阵地，不能过河，且如果它走的“田”字中央有一个棋子，就不能走，俗称“塞象眼”。

• 车（jū）

车在象棋中威力最大，无论横线、竖线均可行走，只要无子阻拦，步数不受限制。俗称“车行直路”。

• 炮

炮在不吃子的时候，走动与车完全相同，但炮在吃子时，必须跳过一个棋子，我方的和敌方的都可以，俗称“炮打隔子”。

• 马

马走动的方法是沿着直立的两方形的对角线走，俗称“马走日”。马一次可走的选择点可以达到四周的八个点，故有“八面威风”之说。如果在要去的方向有别的棋子挡住，马就无法走过去，俗称“蹩马腿”。

• 兵/卒

红方为“兵”，黑方为“卒”。兵（卒）只能向前走，不能后退，在未过河前，不能横走。过河以后还可左、右移动，但也只能一次一步，即使这样，兵（卒）的威力也大大增强，故有“小卒过河顶大车”之说。

棋子价值

在对弈时，双方都要进行不可避免的兑子【帅（将）是唯一不可兑换的棋子，下列子的价值如下（以车9分为例，帅（将）除外】

车——9分

车是战斗力最强大的棋子，是作战主力的第一位，也是分值最大的棋子。开局阶段应尽量出车，“三步不出车，必定要输棋 ”。

马——4分

马能够做曲线型的活动，具有面的控制力，属于中距离的作战兵种。

炮——4.5分

是远距离作战兵种，机动性和突击性较强，开局时炮比马灵活。炮应远慑，不可虚发，残局炮归家。

相（象）、仕（士）——2分

保卫将帅的防御性兵种，在一定情况下起助攻的作用。象尽量往中间连环，阵容工整。

兵（卒）

• 未过河兵（只能向前）——1分
• 已过河兵（可以向前及左右移动）——2分
• 到底线的兵（由于只能左右移动）——1分

中兵尤为重要，是中路的屏障，三、七兵对活马起重要作用。

帅（将）

帅（将）是全局的中心，胜负的标志。除在残局阶段，他们一般没有实战能力，在全局中应以“静”为原则。

说明

一、相和士是防守型的棋子，相是保护自己阵地的子，士是保护帅（将）的，所以棋子价值相当；

二、炮机动如车，在开局阶段比马厉害，在残局阶段炮没有架子，所以比马差；

三、马在开局因为受蹩腿限制，所以不如炮，但在残局阶段限制极少，所以比炮强；

比赛规则

中国象棋模拟了古代战争、直线战争、陆地战争和平面战争，使用方形格状棋盘，圆形棋子共有32个，红黑二色各有16个棋子，摆放和活动在交叉点上。比赛开始后，执红棋的一方先走，双方轮流各走一招，直至分出胜、负、和，对局即终了。在棋战中，人们可以从攻与防、虚与实、整体与局部等复杂关系的变化中提升思维能力。

行棋规定

一、对局开始前，双方按规定将棋子摆在棋盘上。

二、对局时，由执红棋的一方先走，双方轮流走一步。

三、轮到走棋的一方，将某个棋子从一个交叉点走到另一个交叉点，或者吃掉对方的棋子而占领其交叉点，都算走了一着。

四、双方各走一着，称为一个回合。

五、走一着棋时，如果己方棋子能够走到的位置有对方棋子存在，就可以把对方棋子吃掉而占领那个位置。

六、一方的棋子攻击对方的帅（将），并准备下一着要把它吃掉，称为“照将”。被“照将”的一方必须立即“应将”，即用自己的着法去化解被“将”的状态。如果被“照将”而无法“应将”，就算被“将死”。

胜负规则

胜负

对局中，出现下列情况之一，本方算输，对方赢：

一、己方的帅（将）被对方棋子将死或吃掉；

二、己方无子可走（被困毙）；

三、己方对对方“长将”或“长捉”；

四、己方发出认输请求；

五、有步时要求的，己方走棋超出步时限制；

六、有时间要求的，超过规定时间；

七、违反比赛规则。

和棋

出现下列情况之一，为和棋：

一、双方均无可能取胜的简单局势；

二、一方提议作和，另一方表示同意；

三、双方走棋出现循环反复三次，符合《棋例》中“不变作和”的有关规定；

四、符合自然限着的回合规定，即在连续60个回合中（也可根据比赛等级酌减），双方都没有吃过一个棋子。

中国象棋的国际化

近几十年来，随着贸易和文化交往的不断发展，象棋在英、美、法、加拿大、德国等国家也发展了不少的爱好者。象棋正从发源地，经过亚洲，传播到世界各个角落。1978年在马来西亚成立了“亚洲象棋联合会”。1990年，第1届世界杯象棋锦标赛在新加坡举行。象棋的国际组织为世界象棋联合会，于1993年在北京正式成立，有27个会员单位。2022年中国象棋成为杭州亚运会比赛项目。(中国奥委会，2003，中国象棋)

问题

一、象棋与中国古代军事有联系吗？

二、双方各有多少个和多少种棋子？

三、象棋中象（相）的走法是怎样的？

四、为什么车是分值最高的棋子？

五、什么叫做一方被“将军”？

参考资料

https://www.sport.gov.cn/n20001280/n20067662/n20067613/c23175359/content.html

https://www.ihchina.cn/project_details/13813/

中国奥委会，2003，中国象棋 http://www.olympic.cn/sports/other/2003/0917/24512.html

屠景明，杨柏伟．《象棋词典》．上海．上海文化出版社．2009． https://baike.baidu.com/wikiui/Main/referencepic?lemmaTitle=%E8%B1%A1%E6%A3%8B&lemmaId=30665&uuid=go6uhzjn58&versionId=593717214

郭莉萍，象棋运动的文化流变，北京体育大学，2014 https://kns.cnki.net/reader/flowpdf?invoice=o6ebq87KyxegrOd60G%2FJtFgTGab0VQ5xvC7osERdgaymJkjAxr2CRX4Pc%2FVUjKzWiKVyvBJjmxmsPZw2a%2Frepnd6%2BYCoNnHu%2BkyAwrCRePOORtWLRj0SWbJf3GQfZP1mb9nqcmiJWy8kjuZBFRf60s9Dcz5e0aJ79LYoYTXRXA8%3D&platform=NZKPT&product=CMFD&filename=1015541023.nh&tablename=cmfd201501&type=DISSERTATION&scope=trial&cflag=overlay&dflag=&pages=&language=chs&trial=&nonce=B0FB66C1BC8A4EC3B3F86AC5EF24556B

https://www.wxf-xiangqi.org/index.php?option=com_content&view=article&id=275&Itemid=255&lang=cn

Shi Yao | Music and instruments：Guqin

Brief Introduction

The guqin, also known as yaoqin, yuqin, or the seven-stringed zither, is a traditional Chinese plucked string instrument with a history spanning over three thousand years. It belongs to the silk category in the eight-tone classification system. The guqin has a broad range and a deep, resonant tone with lingering reverberations. The instrument embodies rich and profound cultural connotations and has been cherished by Chinese literati and scholars for centuries. Its special status endows qin music with a highly cultural attribute within the overall structure of Chinese music. "Harmony and elegance" and "clarity and simplicity" are the aesthetic pursuits of qin music, while "meaning beyond the flavor, charm beyond the sound, and notes beyond the strings" encapsulate the essence of its profound artistic conception. There are over 3,360 extant qin compositions, more than 130 qin notation collections, and 300 qin songs.

Construction

1.Styles The guqin typically measures about 112 cm in length, 20 cm in width, and 6.6 cm in thickness. The lower part of the qin body is flat, while the upper part is arched, symbolizing heaven and earth, respectively. The overall shape is modeled after the body of a phoenix, featuring a head, neck, shoulders, waist, tail, and feet. Common designs of the guqin include styles such as Fuxi, Zhongni, Lianzhu, Luoxia, Lingji, Jiaoye, and Shennong. These styles are named after people and objects. The main distinctions between these styles lie in the differences in the design of the qin body's top and waist. (Shanghai Museum, 2019)

2. Constructions

• Top Plate

The top plate of the guqin is typically made from softwood materials such as paulownia or fir to allow for maximum vibration. The surface is shaped into a curved arch like a tile and is glued to the bottom plate to form the instrument. Inside the top plate is a hollow cavity, with slight elevations called "dragon pool" and "phoenix pond" to enhance sound resonance. Usually, there are two sound posts (referred to as the "heaven post" and the "earth post") that connect the top and bottom plates, transmitting vibrations.

• Head

The upper part of the guqin head is called the "forehead," with a piece of hardwood embedded at the lower end to support the strings, known as the "yue mountain" or "linyue," which is the highest part of the instrument. About 8-10 cm from the right side of the forehead, a hardwood strip called "chenglu" is embedded horizontally. It has seven "string eyes" for threading the strings, beneath which there are seven tuning pegs called "qin zhen." On the side of the qin head, there are also the "phoenix eye" and "hu zhen." The head has two hidden grooves, the "tongue cavity" and the "sound pool."

• Peg Pool

The tuning pegs, made from durable and wear-resistant woods such as rosewood or zitan, are used to adjust the tension and length of the strings, thus altering the pitch. They have a through-hole at the center, with a slanted hole on the side connecting to the central hole. The flat recess on the bottom plate where the tuning pegs are stored is called the "peg pool." The protruding parts on the sides of the qin head, which protect the pegs from external impact, are known as the "peg guard."

• Tail

The section below the waist is called the "tail." The tail is fitted with a hardwood piece with shallow grooves called the "dragon’s gums" to support the strings. The edges on both sides of the dragon gums are called the "crown horns," also known as "scorched tail." There is usually a hidden groove at the tail, known as the "resonance pool."

• Bottom Plate

The bottom plate is often made from hardwoods like catalpa or cypress, serving to reflect the sound.

• Dragon Pool and Phoenix Pond

In the middle and at the tail of the bottom plate, there are rectangular or circular sound holes of varying sizes. The larger one in the middle is called the "dragon pool," and the smaller one at the tail is called the "phoenix pond." These features symbolize the harmony of heaven and earth. Each corresponds to a slight elevation on the inside of the top plate, known as the "sound receptacles."

• Goose Feet

Near the phoenix pond (around the ninth hui position on the top plate), there are two legs called "goose feet" that support the qin body and secure the strings. Since they need to bear weight, they are made from solid wood and symbolize the seven stars.

• String

The surface of the guqin is strung with seven strings, arranged from thick to thin from the outside inwards. Traditionally, guqin strings were made of silk, but today they are mostly made of steel. If the strings do not wind around the goose feet many times, additional sturdy lines are needed to ensure the stability of the strings.

• Hui

On the surface of the guqin, along the outer side of the first string, there are thirteen round position markers known as "hui." These markers are often made of mother-of-pearl, though more exquisite versions can be crafted from gold, silver, jade, or stone. The positions of the hui correspond to the harmonic nodes of the strings, naturally producing pure tones. The thirteen hui, which mark the tonal system, symbolize the twelve months, with the largest central marker representing the emperor and symbolizing the intercalary month. (Huangcheng, Yang mingzhu, 2022, 10)

Guqin Schools

A qin school is a group of players who share a common artistic style. The formation of different schools of guqin music is closely related to regional differences, customs, teacher-student transmission, and variations in music scores. Players in the same region often interact and learn from each other while also incorporating influences from local folk music, resulting in similar playing styles and giving the music distinctive regional characteristics. From the late Ming and early Qing dynasties to modern times, several famous schools of guqin have emerged in the history of the instrument. Besides the Zhe School, which already existed during the Song and Ming dynasties, there are also the Yushan School, Songjiang School, Guangling School, Jinling School, Wu School, Zhongzhou School, Min School, Lingnan School, Chuan School, Jiuyi School, Zhucheng School, Shaoxing School, and Meian School. The art of the guqin has thus developed a rich diversity of schools.

• Zhe School

The Zhe school was the most prominent guqin school during the transition from the Song to the Ming dynasty. It originated in the Northern Song, flourished in the Southern Song, and by the early Ming period, it was also known as the "Xu Family True Tradition," gaining considerable fame and influence. When the Southern Song established its capital in Lin'an (present-day Hangzhou), the city became the political and cultural center of the time, with unprecedented economic and cultural prosperity and natural beauty renowned throughout the country. A large number of royal family members, literati, and officials moved southward, and renowned masters from various regions gathered in Hangzhou. This formed the Southern Song Zhe school, represented by famous masters such as Guo Mian, Liu Zhifang, Mao Minzhong, and Yang Zan.

• Yushan School

The Yushan school emerged during the Jiajing and Wanli reigns of the Ming dynasty and became the most influential guqin school during the late Ming and early Qing periods. Its music style can be traced back to the early Tang dynasty's "Wusheng Qingwan" and the Zhe school's "Xu Family Tradition" from the Song to Ming transition, with further influences from Ming dynasty court qin music and folk music from the Wu region.

• Guangling School

In ancient times, Yangzhou was known as Guangling. During the prosperous reigns of Kangxi and Qianlong in the Qing dynasty, Yangzhou became a vital hub for grain transport and a cultural and artistic center. A new qin school, the Guangling school, formed in this period and became widely influential in the mid to late Qing dynasty.

• Chuan School

By the late Qing dynasty, the development of guqin in Sichuan made significant progress. The rise in prominence of Sichuan guqin in modern times is closely associated with the contributions of the late Qing qin master Zhang Kongyin.

• Lingnan School

As early as the Ming dynasty, several influential qin players emerged in the Lingnan region, such as Kuang Lu (Hai Xue), Chen Zisheng (Qiu Tao), Chen Zizhuang, Chen Gongyin, and Liang Peilan.

• Min School

Also known as the Pucheng school, the Min school emerged in the late Qing period in Pucheng, Fujian. Its style is characterized by tranquility and serenity, and its founder was Zhu Fengjie and others.

• Zhucheng School

Zhucheng, located in the southeastern part of the Shandong Peninsula, has been known as a land of rites and music since ancient times. The Zhucheng school of guqin emerged in the early 19th century and has a history of nearly 200 years. The roots of Zhucheng guqin can be traced back to the Yushan and Guangling schools. The exact time when these two southern guqin schools spread to Shandong remains to be further studied. Early qin players of the Zhucheng school include Wang Puchang and Wang Yumeng (Leng Quan). During their teaching, two distinct transmission systems gradually formed.

• Meian School

The Meian school is the most recently established guqin school, with origins tracing back to the Qing dynasty. This school is characterized by a smooth, song-like style, ornate and sentimental, with significant use of vibrato. Representative figures include Wang Yanqing, Xu Lishun, Shao Dasu, Wu Zonghan, and Liu Jingxiao. (Wang jun, 2022)

Tablature and Notation

Guqin tablature is a notation system primarily characterized by recording and writing performance techniques. It mainly records the order of strings, positions of the hui, and techniques of both hands and each finger when playing music. The so-called wenzi pu (literally "written notation") and jianzi pu (literally "reduced notation") are specialized notation methods for the guqin.

• Wenzi Tablature

Wenzi tablature for the guqin appeared around 1400 years ago. Because printing technology did not yet exist at that time, early qin scores were only handwritten scroll manuscripts. Wenzi tablature is a method of notation that uses text to describe the fingerings, string order, and positions of the notes played on the guqin. "Jieshi Diao You Lan" is the only surviving qin score written in text tablature. As guqin music evolved, Wenzi's tablature gradually became inadequate for the demands of the times and eventually faded from the historical stage. Another form of guqin notation, "jianzi tablature," emerged in response.

• Jianzi Tablature

In the early Tang Dynasty, qin players still used the old notation method. By the middle Tang Dynasty, the famous qin player Cao Rou created a more concise and clear form of qin tablature based on text tablature, known as jianzi tablature. The method of writing is to first record the tuning (ding xian) under the title of the piece, and then use larger characters for the main text and smaller characters for annotations to explain it. Ancient jianzi tablature has over 1000 symbols for various fingering techniques, providing detailed records of playing positions and techniques. This notation method is more concise and accurate than text tablature and has been continuously used from the Tang Dynasty through the Song, Yuan, Ming, and Qing Dynasties to the present day, spanning over a thousand years. (Wang jun, 2022,10)

Performance

The guqin has seven strings and thirteen marked pitch positions. By attaching the strings in ten different ways, players can obtain a range of four octaves. The three basic playing techniques are known as san (open string), an (stopped string) and fan (harmonics). San is played with the right hand and involves plucking open strings individually or in groups to produce strong and clear sounds for important notes. To play fan, the fingers of the left hand touch the string lightly at positions determined by the inlaid markers, and the right hand plucks, producing a light floating overtone. An is also played with both hands: while the right hand plucks, a left-hand finger presses the string firmly and may slide to other notes or create a variety of ornaments and vibratos. (UNESCO,2008)

Guqin performers pluck strings with their right hands and press strings using left hands for performing. Guqin performance is characterized by its flexibility, which render plenty of freedom for musicians to choose a wide selection of playing techniques to perform the same piece of music. In particular, the usage of vibrato and portamento is central among all playing techniques to carry the representative traits of individual music pieces and musicians. The pentatonic scale forms the main construction of guqin music. While other altered chromatic tones and microtones can be included, the pentatonic scale retains the central position in guqin compositions. The pentatonic scale can be transformed into 5 different modes, each of which has a different order of notes according to its initial degree： mode Gong (宮); mode Shang (商); mode Jue (角); mode Zhi (徵); mode Yu (羽). (Yu-Fen Huang,2020)

Terms

Yaoqin 瑶琴

Yuqin 玉琴

Fuxi 伏羲式

Zhongni 仲尼式

Lianzhu 连珠式

Luoxia 落霞式

Lingji 灵机式

Jiaoye 蕉叶式

Shennong 神农式

Linyue 临岳

Chenglu 承露

Top Plate 琴面

Peg Pool 轸池

Tail 琴尾

Dragon Pool and Phoenix Pond 龙池和凤沼

Hui 徽

Wenzi pu 文字谱

Jianzi pu 减字谱

Jieshi Diao You Lan 《碣石幽兰》

Gong 宫

Shang 商

Jue 角

Zhi 徵

Yu 羽

Questions

1. What is the only surviving qin score written in Wenzi tablature?

2. What are the Guqin schools?

3. How many Qin songs are there?

References

[1]《70件文物里的中国》，上海博物馆，2019,09,1

[2]《中国古代物质文化丛书：髹饰录》，黄成，2022,10,1

[3] 《中国古琴》，王峻，2022,10,1

[4] [1]

[5] JOINT ANALYSIS OF MODE AND PLAYING TECHNIQUE IN GUQIN PERFORMANCE WITH MACHINE LEARNING, Yu-Fen Huang1 Jeng-I Liang, I-Chieh Wei1 Li Su, Institute of Information Science, Academia Sinica, Taiwan, Department of Traditional Music, Taipei National University of the Arts, Taiwan [2]

简介

古琴，又称瑶琴、玉琴、七弦琴，是中国传统拨弦乐器，有三千年以上历史，属于八音中的丝。古琴音域宽广，音色深沉，余音悠远。

琴曲存世3360多首，琴谱130多部，琴歌300首。

结构

1.风格

古琴一般长约三尺六寸五（约120—125厘米），宽约六寸（20厘米左右），厚约二寸（6厘米左右）。琴体下部扁平，上部呈弧形凸起，分别象征天和地。整体形状依凤身形而制成，有头、颈、肩、腰、尾、足。古琴造型常见的为伏羲式、仲尼式、连珠式、落霞式、灵机式、蕉叶式、神农式等,样式根据人名和物象命名。主要是依琴体的项、腰形制的不同而有所区分。

2.结构

琴面

为能充分振动，面板一般多用桐木、杉木等松质木料制成。向内外侧呈瓦弧形，与底板胶合而成琴。琴面内腹制成膛腔，在龙池、凤沼处留有微微隆起的纳音。一般常见设有两根音柱(天柱、地柱)连接着面板底板，传导振动。

琴头

“琴头”上部称为额，额下端镶有用以架弦的硬木，称为“岳山”，又称“临岳”，是琴的最高部分。在琴面右侧头部8－10厘米处横嵌的一条用硬制木制成。岳山边靠额一侧镶有一条硬木条，称为“承露”，上有七个“弦眼”，用以穿系琴弦，其下有七个用以调弦的“琴轸”，琴头的侧端，又有“凤眼”和“护轸”。琴头部有两个暗槽，一名“舌穴”，一名“音池”。

轸池

轸子系绒扣调节琴弦松紧长度、改变音高之用。多用红木紫檀等坚韧耐磨的木料制成。中心头尾穿通，颈部旁侧有一斜孔与中心孔相通，侧孔斜向顶端。底板上储放轸子的浅平凹巢，称为轸池。底板琴头两侧向下垂凸的部位称为护轸，保护轸子免受外力碰击。

琴尾

自腰以下，称为“琴尾”。琴尾镶有刻有浅槽的硬木“龙龈”，用以架弦。龙龈两侧的边饰称为“冠角”，又称“焦尾”。琴尾部一般也有一个暗槽，称为“韵沼”。

琴底

常见多用梓木、塞木等硬质木料制成，起反射音响的作用。

龙池、凤沼

底板的中部和尾部，各有一个大小不一的长方形或圆形的洞孔，中部大的称龙池，尾部小的称凤沼。龙池凤沼，谓之上山下泽，象征天地万象。与龙池、凤沼相对应处，往往各有一个“纳音”。

雁足

在龙池与凤沼之间近风沼(约琴面的九徽)处，有两只支撑琴体和系缚琴弦的脚，称为雁足象征七星。因须承重力，雁足都用坚实木料制成

琴派

琴派是具有共同艺术风格的琴人所形成的流派。古琴音乐流派的形成，与地域、习俗、师承、传谱的各异有着密切的关系。同一地区的琴人，经常彼此交流，相互学习，同时又吸收当地民间音乐的影响，从而形成相近的演奏风格，使琴曲亦有特殊的地方色彩。 从明末清初至近代，琴史上出现的著名琴派，除了宋明之际已有的浙派之外，尚有虞山派、松江派、广陵派、金陵派、吴派、中州派、闽派、岭南派、川派、九嶷派、诸城派、绍兴派、梅庵派等。古琴艺术呈现流派纷呈的局面。

浙派： 浙派是宋明之际的最主要的古琴流派。它源于北宋，盛于南宋，至明初又有“徐门正传”之称，一时声名卓著，颇具影响。南宋建都临安，临安成为当时的政治、文化中心，经济文化空前繁荣，又兼有“山水之美名天下”的天然条件，大批皇室贵族、文人士大夫纷纷南渡。与此同时，各地著名琴师也相继荟萃杭州，形成了以郭沔、刘志方、毛敏仲、杨瓒等古琴名家为代表的南宋浙派。

虞山派： 形成于明代嘉靖、万历年间的虞山琴派，是明清之际最有影响的古琴流派。其琴学传承，渊源有序。它的琴曲风格，远可追溯至唐初的“吴声清婉”，近可循声至宋明之际“浙派徐门”的琴学传统，其间又受明代宫廷琴谱和吴地民间音乐与民间琴家的影响。

广陵派： 扬州古时称为广陵，到了清代康乾盛世，扬州成为漕运的要道，南北交通的枢纽，从而也导致扬州文化艺术的繁盛。于是一个新的琴派——广陵派在此形成，成为清代中期以后有着广泛影响的琴派。

川派： 至清代后期四川古琴的发展有了较大的突破，而蜀地古琴在近代之所以声名大振，离不开清末琴家张孔

岭南派： 早在明代，岭南琴坛已出现了几位有影响的琴家，如邝露（海雪）、陈子升（秋涛）、陈子壮、陈恭尹、梁佩兰等人。

闽派： 闽派又称浦城派，是清代后期兴起于福建浦城的一个古琴流派，其风格特点以恬逸幽静见长，创始人为祝凤喈等，

诸城派： 诸城位于山东半岛东南部，自古为礼乐之邦。诸城琴派兴起于19世纪初期，至今已有近200年的历史。诸城古琴的祖系出于虞山、广陵两派，至于这两个长江下游南岸的古琴流派何时传来山东，有待进一步研究。诸城派较早的琴家有王溥长、王雩门（冷泉）两人。在诸城派的这两个古琴家的教学过程中，逐渐形成了两个不同的传授系统。

梅庵派： 梅庵派是最新崛起的一个流派，起源可追溯到清代。 该琴派的主要特点是流畅如歌，绮丽缠绵，吟猱幅度较大；代表人物有王燕卿、徐立荪、邵大苏、吴宗汉、刘景韶等

琴谱

古琴谱是以记写演奏技法为基本特征的手法谱。它记录的主要是演奏乐曲时的弦次、徽位和两手各指的技法。所谓的“文字谱”和“减字谱”，即为古琴专用的记谱法。

文字谱： 古琴的文字谱约出现在1400年前。因为当时还没有印刷技术，早期的琴曲谱只有手写的卷子本。文字谱是用文字记述古琴弹奏指法、弦序和音位的一种记谱方法。《碣石调·幽兰》是现存唯一用文字谱记写的琴谱。随着琴曲艺术的发展，文字谱因越来越不能适应时代的要求，最终退出了历史舞台。另一种古琴记谱法“减字谱”应运而生。

减字谱： 初唐时期，琴家仍沿用旧有的记谱方式。到了中唐，著名琴家曹柔在文字谱的基础上，创制了一种较文字谱更为简洁清晰的琴谱，称减字谱。其记写方法是先在曲名下记明琴调（定弦），然后将谱字用大字作为正文，用小字作为旁注，分别记出。古代减字谱的各种指法符号有1000多个，记录弹奏音位、手法非常详尽。这种记谱法由于比文字谱更为简明、准确，因而由唐经宋元明清一直沿用至今，已逾千年。

Ding Xinyi | Music and instruments： The Spring Snow

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

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

Introduction

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

Origin

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

King Xiang of Chu asked Song Yu, “Do you have any hidden virtues? Why don't the public praise you?” Song Yu said, “There was a singer who came to Ying, Chu, and at first he sang Lower Class (Xialibaren), and thousands of people in the country sang along with him. When the singer sang Yanga Allium dew(Yangaxielu), there were only a few hundred people in the country. When the singer sang The Spring Snow, there were only a few dozen people in the country. When the singer added some more difficult techniques to the song, i.e., ‘Yin Shang Ke Yu, Za Yi Liu Zheng’, there were only a few people in the country.” Song Yu concludes, “The songs are more difficult to sing, but the harmonies are fewer in number.” The more elegant and complex the songs such as The Spring Snow became, the fewer and fewer people were able to harmonize with them, i.e., songs of a highbrow type will find very few people to join in the chorus. (Wáng Fānɡrónɡ 2021, 80)

Composition

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

• Rising: The seventeen-beat-long “eight-panel head” variant Monopolize the Turtle Head appears at the beginning of the piece, and it is reproduced cyclically at the beginning of the next three parts. The melody of the original Eight Panels is embellished with techniques such as the “spacer” and the “added flower”, and the use of the “half-wheel”, the “pinch”, and the “push”. Using techniques such as “half-wheel”, “pinch play” and “push and pull”, the sound effect is unique and interesting, making the melody of the flower clusters full of vitality.
• Falling: Wind Swinging Lotus Flower and A Round of Bright Moon are two variations of the Eight Panels. After reproducing the Eight Panels Head in a loop on the head, the melody rises twice and moves up in the treble clef, showing a more enthusiastic mood.
• Turning: The Jade Plate Zen, the Sound of the Tieze Pan, and the Sound of the Zither in the Taoist Courtyard, several unfolding elements appear in these three passages. Firstly, the structure of the piece is divided and inverted, and new beats and strong syncopated rhythms appear. The second is the use of fingerings such as “Picking up”, “plate”, and “overtones”, which make the music light and smooth at times, and powerful at others. Especially in “The Sound of the Zither in the Taoist Courtyard”, the whole section highlights the overtones, just as “When mingling loud and soft notes were together played, You heard orioles warble in a flowery land.”, crystalline and full of vitality.
• Merging: Donggao Crane Song is a dynamic reproduction of this section, expanded at the end, taking a sudden slow and then gradually faster speed treatment, using powerful sweeping techniques, the music atmosphere is exceptionally warm. (Wáng Fānɡrónɡ 2021, 80)

Comments

The pipa is very important in traditional Chinese plucked musical instruments. After more than 1000 years of spread and development, the pipa has become more and more perfect in form and repertoire, rich in techniques, distinctive personality, unique charm, and varied timbre. At the same time, the artistic expression of its unique charm increases the appeal of music, enriches the band's color, and makes it an indispensable plucking instrument in the band.

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

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

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

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

Terms

The Spring Snow 《阳春白雪》

Magical Secret Sheet 《神奇秘谱》

Eight Panels 《八板》

Yanga Allium dew(Yangaxielu) 阳阿薤露

Highbrow 曲高和寡

Spacer 隔凡

Added flower 加花

half-wheel 半轮

pinch play 夹弹

push and pull 推拉

Picking up 摭分

Plate 板

Overtones 泛音

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

Questions

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

References

1. https://baike.baidu.com/item/%E9%98%B3%E6%98%A5%E7%99%BD%E9%9B%AA/9881526
2. https://sou-yun.cn/QueryAllusion.aspx
3. https://www.kuwo.cn/play_detail/4272110
4. https://tv.cctv.com/2011/02/10/VIDERCjB80UYnM0O8em9G5Lk110210.shtml
5. Wang Peiguo.Appreciation of Chinese Classical Songs The Spring Snow.CNKI,2008
6. Wang Yan.Yangchunbaixue and Xialibaren.VIP,2015
7. Wáng Fānɡrónɡ.Performance Analysis of the Ancient Pipa Piece The Spring Snow.Theatre House,2021,(29),80-81
8. Cong Zheng.Analysis Role of Abstract Thinking in Pipa Performance.Advances in Computer Science Research, volume 83.Atlantis Press.911-915

音乐和乐器：《阳春白雪》

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

简介

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

典故

“阳春白雪”的典故来自《楚辞》中的《宋玉答楚王问》一文。

楚襄王问宋玉，先生有什么隐藏的德行么？为何士民众庶不怎么称誉你啊？宋玉说，有歌者客于楚国郢中，起初吟唱“下里巴人”，国中和者有数千人。当歌者唱“阳阿薤露”时，国中和者只有数百人。当歌者唱“阳春白雪”时，国中和者不过数十人。当歌曲再增加一些高难度的技巧，即“引商刻羽，杂以流徵”的时候，国中和者不过三数人而已。宋玉的结论是，“是其曲弥高，其和弥寡。”、“阳春白雪”等歌曲越高雅、越复杂，能唱和的人自然越来越少，即曲高和寡。（王芳蓉 2021，80）

编曲

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

• 起部：《独占鳌头》曲首出现长达十七拍的“八板头”变体，它在以后三个部分的部首循环再现。原《八板》的旋律以“隔凡”和“加花”等技法加以润饰，运用“半轮”、“夹弹”、“推拉”等演奏技巧，音响效果独特有趣，使花簇的旋律充满活力。
• 承部：《风摆荷花》、《一轮明月》这两个《八板》变体，在头上循环再现《八板头》之后，旋律两次上扬，在高音区上活动，表现情绪较为热烈。
• 转部：《玉版参禅》、《铁策板声》、《道院琴声》在这三个段落中出现了不少展开性的因素。首先是乐曲结构的分割和倒装，并出现新的节拍和强烈的切分节奏。其二是运用“摭分”、“板”和“泛音”等演奏指法，使音乐时而轻盈流畅，时而铿锵有力。特别是《道院琴声》，整段突出泛音，恰如“大珠小珠落玉盘”，晶莹四射，充满生命活力。
• 合部：《东皋鹤鸣》是本部的动力性再现，在尾部作了扩大，采取突慢后渐快的速度处理，采用强劲有力的扫弦技巧，音乐气氛异常热烈。（王芳蓉 2021，80）

评价

琵琶在中国传统弹拨乐器中占有非常重要的地位。经过一千多年的流传和发展，琵琶在形式和曲目上日趋完善，技法丰富，个性鲜明，魅力独特，音色多变。同时，其独具魅力的艺术表现，增加了音乐的吸引力，丰富了乐队演奏的色彩，成为乐队演奏中不可缺少的弹拨乐器。 《阳春白雪》全曲以春天的生机盎然和冬雪的纯净无暇为基调，通过琵琶独特的演奏技法和丰富多变的音色表现，营造出一幅生动而富有诗意的画面。乐曲结构精巧，节奏流畅，既有春日温暖明媚的欢快旋律，又有如雪花般轻盈飘洒的悠扬片段，两者相辅相成，展现出和谐统一又层次丰富的音乐内涵。 该曲在艺术表现上深得中国传统审美情趣之精髓，运用了琵琶的各种技巧如轮指、滚拂、泛音等，既体现出细腻的情感表达，也展示了高超的演奏技艺。《阳春白雪》在音乐构造上具有极高的抽象性和象征性，借景抒怀，寓情于物，达到了人与自然、音乐与情感的高度交融。 同时，《阳春白雪》作为中国古典音乐文化的重要组成部分，见证了琵琶艺术从古至今的发展脉络，体现了中华民族深厚的文化底蕴和卓越的艺术创造力。它不仅被众多琵琶演奏家奉为必修的经典教材，而且在现代舞台上依然保持着鲜活的生命力，不断吸引着新的听众群体，引领他们步入那如诗如画的音乐世界。 《阳春白雪》以其深远的艺术影响和不朽的音乐价值，在传承和发展中华优秀传统文化方面起到了不可替代的作用，是中国琵琶艺术乃至整个民族音乐史上的一座丰碑。

问题

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

参考

1. https://baike.baidu.com/item/%E9%98%B3%E6%98%A5%E7%99%BD%E9%9B%AA/9881526
2. https://sou-yun.cn/QueryAllusion.aspx
3. https://www.kuwo.cn/play_detail/4272110
4. https://tv.cctv.com/2011/02/10/VIDERCjB80UYnM0O8em9G5Lk110210.shtml
5. 王培国.中国古典名曲赏析《阳春白雪》篇．《CNKI》，2008
6. 王燕.“阳春白雪”与“下里巴人”．《vip》，2015
7. 王芳蓉.琵琶古曲《阳春白雪》的演奏分析.《戏剧之家》，2021，（29），80-81
8. Cong Zheng.Analysis Role of Abstract Thinking in Pipa Performance.Advances in Computer Science Research, volume 83.Atlantis Press.911-915

Xiao Loujun | Aesthetic ideals and social customs：The "Four Gentlemen": Plum, Orchid, Bamboo, and Chrysanthemum

The "Four Gentlemen"：Plum，Orchid Bamboo，Chrysanthemum

Introduction

Dive into the rich tapestry of Chinese culture, and you'll find that flowers and plants are not just natural elements but also cultural symbols loaded with meaning and history.Among the many flowers and plants, the most famous one is the plum blossom, orchid, bamboo, and chrysanthemum.In the Ming Dynasty, Huang Fengchi compiled The Four Spectra of Plum Blossom, Orchid, Bamboo and Chrysanthemum(《梅竹兰菊四谱》).Since then, plum blossom, orchid, bamboo and chrysanthemum are called "four gentlemen". People often use "four gentlemen" to imply the noble virtues of the saints.Since ancient times, these four plants have been the subjects of countless poems and paintings, deeply loved and respected by the Chinese people.

Symbolic Meanings of the "Four Gentlemen"

Plum blossom

Plum has a cultivation history of more than 3000 years in China. It blooms in winter and spring that blooms before the leaves, with a strong fragrance. Due to its blooming in the cold winter, plum blossoms "Blooming uniquely before the world's spring". As a symbol of spring, it has been regarded as an auspicious thing by the Chinese people from ancient times to the present. In traditional Chinese culture, The plum bloom (Mei), with its noble, strong, and humble character, gives people the motivation to strive for excellence. In the severe cold, the plum blossoms bloom before the hundred flowers, and the world is alone in spring. The Plum Blossom, as a symbol of performance and resilience, blooms studied in the hard winter, showcasing its quality.

Orchid

The orchid in traditional Chinese famous flowers only refers to several terrestrial orchids distributed in the orchid genus in China, such as Spring Orchid, Hui Orchid, Jian Orchid, Mo Orchid, and Han Orchid, which are commonly referred to as "Chinese Orchid". This type of orchid is very different from tropical orchids with large and colorful flowers. It does not have eye-catching beauty or large flowers or leaves, but has a simple and elegant temperament, which is very in line with the aesthetic standards of Easterners. There is a cultivation history of over a thousand years in China.Since ancient times, the Chinese people have had a deep emotional attachment to orchids. They love, nurture, sing, and paint orchids, and even praised the saying "observing leaves is better than observing flowers.". People particularly appreciate the resolute temperament of orchids, which are associated with plants and trees, not competing with the fragrance of the crowd, not afraid of frost and snow bullying, and persevering.

Bamboo

The origin of bamboo is China, and it has been widely cultivated in China. The growth cycle of bamboo is relatively short. In nature, the process from seedling to mature is magical and rapid, and it can grow to over ten meters or even higher in just a few months. This rapid growth ability is often seen as a symbol of a vigorous and enterprising attitude towards life. Bamboo is evergreen all year round, with tall and slender branches. Even in the cold winter, it can remain green and proud in snow and frost. Therefore, in ancient times, it was often used to describe upright and unyielding individuals. Bamboo is hollow and straight, symbolizing a humble, courteous, and open-minded gentleman's personality. Bamboo, during its growth period, is not afraid of extreme cold and heat, and is not afraid of wind, frost, and snow. This tenacious spirit has won widespread love from people.

Chrysanthemum

Chrysanthemum originated in China. During the Tang and Song dynasties, it was transmitted to Japan through Korea, to Europe in the 17th century, and then to America. Chrysanthemum varieties have great diversity, with 300-400 varieties recorded in the "Guang qun fang Pu" （《广群芳谱》）of the Qing Dynasty. Chrysanthemums have strong adaptability, prefer coolness, and are relatively cold resistant. As they mostly bloom in the late autumn, most of the flowers wither, they are considered to have the character that Stand proud against snow and frost,transcending the secular world. Chrysanthemums often bloom in September, In Chinese, the number nine and The word "Jiu" in the word "Chang jiu"（which means “permanently”）are pronounced the same. Therefore, auspicious longevity is also one of the meanings of chrysanthemums, expressing a hope for long-term longevity.

The “Four Gentlemen” in Chinese Culture and Art

The "Four Gentlemen" in Poetry and Songs

In ancient Chinese poetry and prose, the "Four Gentlemen" became a favorite theme among literati . They express their emotions and ideals by depicting the natural beauty of the "Four Gentlemen".

In modern times, the most famous poem on plum blossoms is none other than Chairman Mao Zedong's To the Tune of Bu Suan Zi：Ode to Plum Blossoms."Wind and rain bid farewell to spring.Flurries of snow extend a welcome.Icicles dangle on the sheer cliffs.Yet plum blossoms appear on the icy boughs.Still, they do not out-bloom spring；They are no more than its harbingers."(风雨送春归，飞雪迎春到。已是悬崖百丈冰，犹有花枝俏。俏也不争春，只把春来报。待到山花烂漫时，她在丛中笑。)Although Chairman Mao's poems are intended to eulogize the revolutionary feelings of the CPC, they are very vivid in shaping the beautiful and indomitable image of plum blossom.Also,in the Popular Collection of Traditional Chinese Wise Sayings(《增广贤文》), there is a famous saying: "The sharpness of a sword comes from sharpening, and the fragrance of plum blossoms comes from enduring the cold winter."（“宝剑锋从磨砺出，梅花香自苦寒来”） This sentence aims to explain that in order to gain Precious qualities or outstanding talents, one must go through unremitting efforts, careful cultivation, and overcoming numerous difficulties through experience. It is not difficult to find that the ancient people associated the fragrance of plum blossoms with cold resistance because plum blossoms possessed excellent qualities of patience and perseverance in their hearts. This resilient and pure spiritual trait has long been admired by the Chinese people, making the plum blossom an eternal symbol of perseverance and strength.

As the ancients said, "The orchid grows in the depths of the forest, yet it does not lose its fragrance for being unseen by others."(“芝兰生于深林，不以无人而不芳”), which is a symbol of the nobility and elegance of orchids.In literary works. Scholars often write about this imagery. For example, Qu Yuan felt extremely sad and angry because he was neglected by his monarch and framed by villains. In his "Li Sao" to express his aspirations and emotions, he wrote:"Adorned with the flowers of Jiangli and Pizhi, I sewed autumn orchids to wear as ornaments."(“扈江离与辟芷兮，纫秋兰以为佩”). He used orchids as his accessories to illustrate his noble character, just like orchids.Also，“I lead my horse to the orchid-fringed bank, and gallop to the spicy hill where I take my rest.”（“步余马于兰皋兮，驰椒丘且焉止息。” ）Qu Yuan wrote that he used the place where orchids grew as his resting place, showcasing the beauty and tranquility of the place where orchids grew.These depictions reflect the Chinese people's pursuit and longing for noble qualities, but also showcase the unique charm of orchids due to their elegant and noble qualities.

Referring to the British scholar Joseph Needham said: East Asian civilization is a "bamboo civilization". Chinese literati endowed bamboo's hollow, straight and green growth characteristics with personalized spiritual and cultural symbols of elegance, purity, modesty and integrity.These virtues are vividly reflected in the poem "Bamboo and Stone": "The plant roots grip the green hill tightly; they grow in the broken rocks. After thousands of abrasions and impacts, they are still sturdy, no matter how the wind blows from all directions."(“咬定青山不放松，立根原在破岩中。千磨万击还坚劲，任尔东西南北风。”)This poem fully expresses the tenacious vitality and resolute character of Jinzhu, who can withstand the trials and tests of living in harsh objective environments.

When it comes to chrysanthemums, we immediately think of the person Tao Yuanming. the chrysanthemum, mentioned frequently in Tao Yuanming's works, embodies simplicity and detachment from worldly desires. Tao Yuanming's famous line,” Picking chrysanthemums under the eastern fence, leisurely seeing the southern mountains, I leisurely gaze upon the southern mountains”(“采菊东篱下，悠然见南山。”) captures the flower's association with a simple, contemplative life. These works not only showcase the image beauty of the "Four Gentlemen", but also delve deeper into the cultural connotations and aesthetic values they contain.

The "Four Gentlemen" in Chinese flower-and-bird paintings Chinese flower-and-bird painting showcases the "four gentlemen" of plum, orchid, bamboo, and chrysanthemum in a unique artistic form. Unlike the abstract expression in poetry, flower and bird paintings vividly depict the charm of these four plants through delicate brushstrokes. In this process, the painter integrated personal emotions and ideals, making flower and bird painting not only a simple depiction of nature, but also a true portrayal of the painter's inner world. This deep emotional investment constitutes the main feature of Chinese flower and bird painting.

Throughout history, Chinese literati throughout history have also used the theme of "Four Gentlemen" to express their emotions and aspirations, showcasing the unique "aesthetic empathy" in Chinese culture. For example, in Wang Mian's ink paintings of the Yuan Dynasty, we can clearly see this unique artistic expression. Painters use their bare hands to paint, rendering with ink and wash, showcasing a unique artistic charm.

Zhao Mengjian, a painter from the Southern Song Dynasty, pioneered the use of ink to depict orchids. The brushstrokes were powerful and graceful, creating a refreshing and elegant, soft and relaxed style. The fresh and elegant brushstrokes, with a soft yet strong tone, not only reflected the extraordinary and extraordinary qualities of orchids, but also fully expressed the painter's ideals and emotions. It can be said that the "Four Gentlemen" in Chinese flower and bird paintings are important carriers for painters to express their inner world and pursue their ideal realm.

Zheng Banqiao's ink bamboo is mostly freehand brushwork, at one go, life breath is very strong, a leaf, whether dry bamboo new bamboo, bamboo single branch, or bamboo in the wind, bamboo in the rain, are very changeable.His pole bamboo gives strong personal feelings. He heard the sufferings of the people from the sound of the rustling bamboo, looked at a leaf, and thought of the responsibility of being an official.

Chrysanthemum is also a frequent guest in literati paintings.Lu Pin's "Bamboo and Chrysanthemum Painting" depicts autumn chrysanthemums and bamboo in light ink, while heavy ink highlights the stem veins of bamboo leaves and the moss of mountains and rocks, making the chrysanthemums appear even lighter. Chrysanthemums and emerald bamboo branches and leaves are both in a messy state, just experiencing an attack of "thick clouds and heavy rain", but still thriving.

The "Four Gentlemen" and Social Customs

In Chinese social customs, you can also often see the figures of the "Four Gentlemen".The well-known ones are Nanjing Appreciation of Plum Blossoms and Chongyang Appreciation of Chrysanthemums.During the Han, Wei, Six Dynasties, Sui, and Tang dynasties, the appreciation of plums and plum blossoms began to rise. People began to focus on the flower tree image, flower color and fragrance, and the rhythmic characteristics of plum blossoms. Through flower appreciation, garden cultivation, and other techniques such as poetry, music, and painting, the beauty of plum blossoms was showcased. The history of flower appreciation in Nanjing is derived from this and a special "Plum Blossom Festival" is established, held every February and March.

Chrysanthemum is a natural flower, which blooms in a colorful and cold resistant manner. People began to appreciate chrysanthemums and thus formed a unique chrysanthemum culture. Since the Wei and Jin dynasties of the Three Kingdoms, it has become a fashion for people to drink alcohol, appreciate chrysanthemums, and compose poetry during the Double Ninth Festival gathering. Due to the fact that chrysanthemums are also known as the flower of longevity, appreciating chrysanthemums during the Double Ninth Festival also embodies people's beautiful wishes for longevity and longevity. Also, because the Double Ninth Festival is the golden autumn season of the year, when chrysanthemums are in full bloom, appreciating chrysanthemums has naturally become an indispensable traditional custom of the Double Ninth Festival.

Conclusion

As we embark on this journey of exploring culture and art, it's not hard to discover that the "Four Gentlemen" - plum blossom, orchid, bamboo, and chrysanthemum - are not just four plants in nature, but also cultural totems deep in the heart of the Chinese nation. In the poems, they dance gracefully, telling stories of perseverance and nobility; on the painter's canvas, they leap out, showing the charm and elegance of life.These plants are integrated into our social customs. Whether it's celebrating festivals or daily life, they appear in various forms in our field of vision, becoming a bridge connecting the past and the present, tradition, and modernity. The "Four Gentlemen" are not only symbols of traditional culture, but also our aspiration and pursuit of a better life. They have become an indelible spiritual imprint of the Chinese nation. With their natural attitude, they tell extraordinary stories and lead us to a better future.

References:

1.https://baike.baidu.com/item/%E6%A2%85/5615328?fromModule=lemma_sense-layer#viewPageContent 2.https://baike.baidu.com/item/%E5%85%B0%E8%8A%B1/15278221?fr=ge_ala 3.https://baike.baidu.com/item/%E7%AB%B9/2233570 4.https://baike.baidu.com/item/%E8%8F%8A%E8%8A%B1/29500?fromtitle=%E8%8F%8A&fromid=7744620#reference-21 5.https://baike.baidu.com/item/%E7%AB%B9%E7%9F%B3/276?fr=ge_ala

6.https://baike.baidu.com/item/%E4%B8%AD%E5%9B%BD%E5%8D%97%E4%BA%AC%E5%9B%BD%E9%99%85%E6%A2%85%E8%8A%B1%E8%8A%82/23124884?fr=ge_ala

7.孙津津.从“四君子”中窥视中国传统文化的意蕴.汉字文化. 2022(16):172-174

8.李晓松.中国花鸟画的审美移情——以梅兰竹菊绘画题材为例.文物鉴定与鉴赏. 2020(11):26-27

9.崔钊溯.关于临摹花鸟画的思考——以梅兰竹菊题材作品为例.美与时代(中). 2021(12):62-63

10.何鑫.探寻绘画中的诗意美学——以国画《梅兰竹菊》系列作品为例.当代文坛. 2023(04):14-15

11.https://journal.ubm.ac.id/index.php/bahasa-budaya-china/article/view/4253/2603

Questions:

1.Why does chrysanthemum have the meaning of longevity?

2.What did Qu Yuan write the sentences about orchids in "Li Sao" for？

3.When is the Plum Blossom Festival held?

Terms：

Plum blossom 梅花 Orchid兰花 Bamboo竹 Chrysanthemum菊花 Evergreen常绿植物 Tenacious 顽强的 Integrity正直;诚实 The Four Spectra of Plum Blossom, Orchid, Bamboo and Chrysanthemum《梅竹兰菊四谱》 Popular Collection of Traditional Chinese Wise Sayings《增广贤文》 Chinese flower-and-bird painting中国花鸟画 Plum Blossom Festival梅花节 The Double Ninth Festival重阳节

引言

深入探索丰富多彩的中国文化，你会发现花草不仅是自然元素，也是承载着意义和历史的文化符号。在众多的花草中，最著名的是梅花、兰花、竹子和菊花。明代黄凤池编著《梅兰竹菊四谱》，从此梅兰竹菊花并称“四君子”。人们经常用“四君子”来暗示圣人的高尚美德。自古以来，这四种植物就成为无数诗歌和绘画的主题，深受中国人民的喜爱和尊敬。

“四君子”的象征意义

梅花

梅花在中国有着三千多年的栽培历史。它在冬春之交开花，花开在叶前，香气浓郁。由于梅花在寒冷的冬季盛开，梅花“凌寒独自开”。作为春天的象征，梅花自古至今一直被视为吉祥之物。在中国传统文化中，梅花（梅）以其高尚、坚强、谦逊的品格，给人以追求卓越的动力。在严寒中，梅花“先天下而独春”。梅花作为坚韧不拔和卓越表现的象征，在寒冷的冬天里傲然绽放，展现出它的品质。

兰花

中国传统名花中的兰花仅指分布在中国兰属植物中的若干种地生兰，如春兰、惠兰、建兰、墨兰和寒兰等，即通常所指的“中国兰”。这一类兰花与花大色艳的热带兰花大不相同，没有醒目的艳态，没有硕大的花、叶，却具有质朴文静、淡雅高洁的气质，很符合东方人的审美标准。在中国有一千余年的栽培历史。自古以来，中国人对兰花有着深厚的感情。他们爱兰、养兰、唱兰、画兰，甚至赞美“观叶不如观花”这句话。人们特别欣赏兰花的刚毅气质，与草木为伍，不争群芳，不畏霜雪欺凌，锲而不舍。

竹子

竹子起源于中国，在中国被广泛种植。竹子的生长周期相对较短。在自然界中，从幼苗到成熟的过程是神奇而快速的，它可以在短短几个月内长到十几米甚至更高。这种快速成长的能力通常被视为对生活充满活力和进取心的象征。竹子一年四季常青，竹枝杆挺拔修长，四季青翠，傲雪凌霜，古代多用来形容正直、不屈的人物。竹子中空而笔直，象征着谦逊、礼貌、豁达的绅士个性。竹在生长期间不畏严寒酷暑，不畏风霜雪欺，得到了人们的广泛喜爱。

菊花

菊花原产于中国，唐宋时代，菊花经朝鲜传到日本，十七世纪传到欧洲，然后再传到美洲。菊花品种多样性强，清代《广群芳谱》记载有300-400个品种。菊花适应性强，喜凉，相对耐寒。由于它们大多在深秋盛开，大部分花朵枯萎，因此被认为具有傲视风霜、超越世俗的性格。菊花通常在九月开花，在汉语中，数字九和“长久”（意为“永久”）中的“久”字发音相同。因此，吉祥长寿也是菊花的含义之一，表达了对长寿的期盼。

中国文化艺术中的“四君子”

诗词中的“四君子”

在中国古代诗文中，“四君子”成为文人喜爱的主题。他们通过描绘“四君子”的自然美来表达自己的情感和理想。

在近代，最著名的咏梅诗莫过于毛泽东主席的《卜算子·咏梅》。“风雨送春归，飞雪迎春到。已是悬崖百丈冰，犹有花枝俏。俏也不争春，只把春来报。待到山花烂漫时，她在丛中笑。”毛泽东的诗词虽意在讴歌中国共产党的革命情怀，但在塑造梅花美丽、百折不挠的形象方面却十分生动。此外，在《增广贤文》中，也有一句耳熟能详的名言：“宝剑锋从磨砺出，梅花香自苦寒来。”这句话旨在说明，要想获得宝贵的品质或杰出的人才，必须经过不懈的努力，精心的培养，通过经验克服重重困难。不难发现，古人将梅花的芳香视为其忍受严寒的结果，这正是因为梅花所展现出的坚忍和毅力的优秀品质。这种坚韧而纯净的精神品质长期以来一直受到中国人民的钦佩，从而使得梅花成为了毅力和力量的永恒象征。

正如古人所说：“芝兰生于深林，不以无人而不芳”（意为“兰花生长在深林之中，即便无人欣赏也依然芬芳”），这象征着兰花的高贵与优雅。在文学作品中，学者们经常描绘这种意象。例如，屈原因被君主忽视和奸臣陷害而感到极度悲伤和愤怒。在他的《离骚》中，为了表达他的抱负和情感，他写道：“扈江离与辟芷兮，纫秋兰以为佩”（意为“我披着江蓠和辟芷，把秋天的兰花缝成佩饰”）。他用兰花作为自己的配饰，以展示他如兰花般的高贵品质。此外，他还写道：“步余马于兰皋兮，驰椒丘且焉止息”（意为“我牵着我的马走向长满兰草的岸边，奔驰在长着椒树的山岗上稍作休息”）。屈原写到他用兰花生长的地方作为休息之所，展现了兰花生长之地的美丽与宁静。这些描绘反映了中国人民对高尚品质的追求和向往，同时也展示了兰花因其优雅和高贵的品质而展现的独特魅力。

提及英国学者李约瑟说：东亚文明乃是“竹子文明”。中国文人墨客把竹子空心、挺直、四季青等生长特征赋予人格化的高雅、纯洁、虚心、有节、刚直等精神文化象征。这些美好品质在《竹石》这首诗中得到了生动的体现：“咬定青山不放松，立根原在破岩中。千磨万击还坚劲，任尔东西南北风。”（意思是“紧紧咬住青山毫不放松，竹根原本深深扎在岩石的缝隙中。经历成千上万次的磨难和打击依然坚韧不拔，任凭你四面八方刮起狂风。”）这首诗充分表达了金竹（一种竹子）顽强的生命力和坚定的性格，它能经受住生活在严酷客观环境中的考验。

而一提到菊花，人们就会立刻想到陶渊明。菊花在陶渊明的作品中频繁出现，体现了淡泊名利、超脱世俗的品质。陶渊明的名句“采菊东篱下，悠然见南山”便捕捉到了菊花与简单、闲适生活之间的关联。

这些作品不仅展现了“四君子”的形象美，还深入挖掘了它们所蕴含的文化内涵和审美价值。

中国花鸟画中的“四君子”

中国花鸟画以独特的艺术形式展现了梅、兰、竹、菊这“四君子”。与诗歌中的抽象表达不同，花鸟画通过细腻的笔触生动地描绘了这四种植物的魅力。在这个过程中，画家融入了个人情感和理想，使花鸟画不仅是对自然的简单描绘，更是对画家内心世界的真实写照。这种深厚的情感投入构成了中国花鸟画的主要特征。

纵观历史，中国历代的文人也以“四君子”为主题，来表达他们的情感和抱负，展现中国文化中特有的“审美移情”。元代王冕的水墨画《墨梅》中，我们可以清晰地看到这种独特的艺术表达。画家们用他们的双手作画，以墨渲染，挥洒肆意，展现出一种独特的艺术魅力。

南宋画家赵孟坚首创墨兰，用墨写兰，笔调劲力且舒展，营造出一种清新、优雅、柔和、轻松的风格。清新优雅的笔触，柔和而有力的色调，不仅反映了兰花的非凡的品质，也充分表达了画家的理想和情感。可以说，中国花鸟画中的“四绅士”是画家表达内心世界、追求理想境界的重要载体体现着个人的品格追求。

郑板桥的墨竹大多一气呵成，运笔自由，生命力极强，无论是干枯的老竹还是鲜嫩的新竹，无论是单独的竹枝，还是风雨中的竹子，都极富变化。他的竹画充满了强烈的个人情感。他从竹叶沙沙作响的声音中听到了人民的疾苦，看到一片竹叶，就想到身为官员的责任。

菊花也是文人画中常见的题材。陆俨少的《竹菊图》以淡墨描绘秋天的菊花和竹子，而浓墨则突出竹叶的叶脉和山石上的苔藓，使得菊花显得更加轻盈。菊花和翠绿的竹枝竹叶都处于一种凌乱的状态，刚刚经历过一场“浓云密雨”的袭击，但仍然生机勃勃。

“四君子”与社会习俗

在中国社会习俗中，也常能看到“四君子”的身影。其中著名的有南京赏梅和重阳赏菊。在汉、魏、六朝、隋、唐时期，赏梅和梅花欣赏开始兴起。人们开始关注花树的形象、花色和花香，以及梅花的节奏特性。通过赏花、园艺栽培以及诗歌、音乐、绘画等技术手段，展示了梅花的美。南京的赏花历史由此而来，并设立了一个特别的“梅花节”，每年二三月举行。

菊花是一种自然花卉，以色彩斑斓和傲雪凌霜闻名。人们开始欣赏菊花，从而形成了独特的菊花文化。自三国时期的魏晋时期起，人们在重阳节聚会时饮酒、赏菊、作诗已成为一种时尚。由于菊花也被称为长寿之花，重阳节赏菊也体现了人们对长寿和福寿的美好愿望。此外，菊花盛开的之际正是一年中的金秋时节，重阳节也在那时，赏菊自然成为重阳节不可或缺的传统习俗。

总结

在我们踏上这趟探索文化与艺术之旅时，不难发现“四君子”——梅花、兰花、竹子和菊花，它们不仅仅是大自然中的四种植物，更是深植于中华民族心中的文化图腾。在诗歌中，它们翩翩起舞，诉说着坚韧与高贵的故事；在画家的画布上，它们跃然而出，展示着生命的魅力和优雅。这些植物已融入我们的社会习俗中，无论是庆祝节日还是日常生活，它们都以各种形式出现在我们的视野中，成为连接过去与现在、传统与现代的桥梁。“四君子”不仅是传统文化的象征，更是我们对美好生活的向往和追求。它们已成为中华民族不可磨灭的精神印记。以自然之姿，讲述非凡故事，引领我们走向更加美好的未来。

问题：

1.为什么菊花有长寿的意义？

2.屈原在《离骚》中写关于兰花的句子是为了什么？

3.梅花节是什么时候举行？

Wang Chen | Traditional festivals：The Flower Fairy Festival

Introduction

The Flower Fairy Festival, to celebrate the birthday of flowers, also known as "the Flower God Festival", "the Flowers’ Birthday", "the Flower God birthday", "the Vegetable Festival", is a traditional festival of the Han nationality, popular in northeast China, North China, East China, central and other places, generally held on February 2, February 12 or February 15, February 25. In the Qing Dynasty, the time was gradually determined, and the north generally took February 15 as the festival, while the south took February 12. The Flower Festival once flourished in ancient times, but it declined rapidly after the Republic of China, and has been revived in recent years.

Origin

There are two earliest flower gods in ancient books. One is a woman good at cultivating flowers, and the other is in charge of the life of all things in the world. Since ancient China was an agriculture civilization, abundant grain production is very important to the people of the world, which made the worship of the God standing for flourishing and childbearing, and the Flower Fairy Festival is the consequence of this culture.

Originally from the lower part of the Yangtze basin, where the spring is the most endearing of the country, the ritual of the “Flower Fairies Festival” dates to the Spring and Autumn period (770–476 BCE). As the political and military advisor to the King of Yue (in today’s Zhejiang Province) Fan Li (536–448 BCE) noted, “the rainless twelfth day in the second month when all flowers are blossoming is the birthday of flowers.” (Book of Tao Zhu Gong ).

In the Jin Dynasty, some articles mentioned “Flower Fairy”. Although that mentioned here has not yet formed a large-scale festival celebration, it can be seen that the early form of the Flower Fairy Festival has been formed at this time. After that, "Flower Fairy" was mentioned in many ancient books, and the word "The Flower Fairy Festival" was clearly used as the name of the festival in the Ming Dynasty.

As early as the Tang and Song Dynasties, the Flower Fairy Festival has become a very important festival in ancient China. The Tang Dynasty is the development period of the Flower Festival, which is on February 15, and more and more people began to celebrate the festival, gradually enjoying the beauty of this festival.

Although the Song Dynasty did not continue the national splendor of the Tang Dynasty, it reached a peak in humanities and art, and the influence of the festival culture went deep into every aspect of people's lives. At that time, the time of the festival has been clearly recorded, compared with the Tang Dynasty, was advanced to February 12 or February 2.

By the Qing Dynasty, the regional division was relatively obvious, with February 15 as the festival in the north and February 12 in the south. In the Ming and Qing Dynasties, the Flower Fairy Festival and flower God culture had entered a mature period.

Custom

The customs of the Flower Festival are different from dynasty to generation.

1, Worshiping the flower temple and worshiping the flower god

On the day of the festival, the most important thing is to worship the flower God in the flower temple, in order to pray for the blessing of the flower God, the Ming and Qing dynasties, worship the flower God habit is reached the peak. During this period, the temple of flowers was constantly burning with numerous visitors.

2,Outing, planting flowers, catching butterflies, and picking vegetables

During the festival, people go out of their homes to play and enjoy the beautiful scenery, and also hold corresponding activities, such as catching butterflies. People also go to the field to collect edible wild vegetables and weeds to taste the fresh vegetables. It is said that the palace also added some edible wild grasses and vegetables to the food of the day. February 2 is also known as the Flower Fairy Festival and the Vegetable Festival.

3, Hanging red cloth strips, and pinning flowers on hair

During the Flower Fairy Festival, families will hang colorful paper or cloth strips on flower branches or tree branches, which is used to express respect for the god of flowers and pray for the prosperity of flowers and trees, and people's health and longevity. Women will pinning flowers on their hair to celebrate the festival and show their beauty.

4, Flower cake and flower wine

Since ancient times, food is the priority of the people. As such an important festival, the Flower Festival has its own traditional food. Hundred-flower cake and hundred-flower wine are among them. Flower cake is made of petals and flour, sweet taste, more famous osmanthus cake, peony cake and so on. Flower wine belongs to the Yellow rice wine system. It is brewed with 100 kinds of wild flowers and glutinous rice. The taste is clear and sweet. In the late Qing Dynasty, this wine was used as a tribute to the royal family.

Current Situation

After the Opium War in modern times, China was forced to open its doors, and the invasion of new cultural trends impacted the whole country. From the general environment, the Flower Fairy Festival depends on the social environment of the peaceful times, and the peace before the Ming and Qing Dynasties made the Flower Fairy Festival culture prosperous. This cultural phenomenon is accompanied by the prosperity of the nation. At that time, with the decline of modern national power and the intensification of national crisis, the thought and practice of saving the nation are most needed by the Chinese people, and the Flower Fairy Festival, which are accompanied by the peaceful and prosperous times, have become a luxury, so the decline of flower God culture is inevitable. Today, the Chinese nation is recovering, and the peaceful, stable and rich life has provided the material basis for the return of the flower God culture. People have the responsibility to contribute to the excavation and preservation of this culture.

Terms

The Flower Fairy Festival 花朝节

The Vegetable Festival 挑菜节

the Spring and Autumn period 春秋时期

the King of Yue 越国

Book of Tao Zhu Gong 陶朱公书

The flower temple 花神庙

Hanging red cloth strips 挂红

Pinning flowers 簪花

flower cake 百花糕

flower wine 百花酒

Questions

1.When can the ritual of the Flower Fairy Festival date back to?

2.What things would people do on the Flower Fairy Festival?

3.What can we do for the Flower Fairy Festival nowadays?

References

1.https://www.chinesestreetmarket.com/foodculture/flower-fairies-festival

2.https://epaper.chinadaily.com.cn/a/202404/19/WS6621b673a310df4030f50fa5.html

3.https://www.facebook.com/PeoplesDaily/posts/604821745022454/?_rdr

4.Gao Ya. The Legend and Research of the Flower Dynasty Festival and the Twelve Flower Gods [D]. Central Academy of Fine Arts,2019.

5.Chen Luxin. "The Evolution of the Ancient Chinese Flower Festival and the Culture of Festival Customs" [J]. Masterpieces Review, 2013 (Issue 36): 149-152.

6. Zhang Chouping. Perspective on the farming culture of the Festivals and Customs of the Ancient Flower Dynasty [J]. Art Hundred Schools,2012,28(06):249-250.

7.Xu Zhenbao. Flower Dynasty Festival on the 15th day of February [J]. Garden Architecture,2001(03):42-43.

8.https://baike.baidu.com/item/%E8%8A%B1%E6%9C%9D%E8%8A%82/557736

花朝节

引言

花朝节，为庆祝百花的生日而立，也称“花神节”、“百花生日”、“花神生日”、“挑菜节”，是汉族传统节日，流行于东北、华北、华东、中南等地，一般于农历二月初二、二月十二或二月十五、二月二十五举行。到清代时间逐渐确定，一般北方以二月十五为花朝节，而南方则以二月十二为花朝节。花朝节在古时曾盛极一时，但在民国之后迅速衰败下来，近年则有所复兴。

起源

古籍记载里面最早的花神有两个，一个善于培养花卉，一个掌管世间万物的生息。鉴于中国古代是农耕文明，丰富的粮食产量对天下百姓非常重要，使得人们对于象征繁荣与多子的神明非常崇拜，而花朝节就是这种文化的产物。

“花朝节”的仪式起源于长江下游地区，那里是中国最宜人的季节。春秋时期（公元前 770-476 年）就有这种仪式。越国（今浙江省）的政治和军事顾问范蠡（公元前 536-448 年）写道：“二月十二日，百花齐放，百雨无雨，花生也。”（ 《陶朱公书》）

晋代已经有许多文章提及“花朝”一词，这里所提到的“花朝”虽然还没有形成大规模的节日庆典，但是可以看出这时花朝节的雏形已经形成了。之后，“花朝”陆陆续续被许多古籍提及，而花朝一词被明确用作节日名称，则在明朝的时候。

早在唐宋时期，花朝节便已经成为古代中国一个很重要的节日。唐朝为花朝节的发展时期，日期为二月十五日，一到日子，越来越多的人开始庆祝节日，都逐渐领略到这个节日的美好。

宋时期虽然没有延续盛唐时期的国力风采，但是在人文艺术方面却到达了一个顶峰，花朝节文化的影响更是深入到了人们生活中的各个方面。在当时，节日的时间己经有了明确的记载，较唐相比，被提前到二月十二或二月初二。

到清代，地域划分就相对明显起来，北方是以二月十五为节日，而南方则是定在二月十二。明清时期，花朝节和花神文化步入了成熟期。

习俗

花朝节的风俗习惯，各朝各代都不一样。 1、拜花神庙、祭祀花神

在节日的当天，最重要的事情便是去花神庙里祭拜花神，以祈求花神保佑，明清时期，祭祀花神的习惯更是到达了顶峰。这一时期花神庙香火不断，香客众多。

2、踏青、种花、扑蝶、挑菜

节日期间，人们纷纷走出家门，来到山野之间游玩嬉戏，欣赏美景，还会举办相应的活动，例如捕捉蝴蝶。还有人们到野外采集可以食用的野菜野草，品尝时鲜。据说宫廷之中也要在当日的食物里加上若干可供食用的野草野菜。二月二日又称花朝节、挑菜节

3、挂红、赏红、簪花

花朝节期间，各户人家会在花枝或树枝上挂上彩色的纸条或布条，用来表达对花神的尊敬，祈祷花草树木繁盛，人们健康长寿的意思。而女子们会将鲜花插在自己的头发上，用来庆祝节日，也展示她们的美丽。

4、百花糕、百花酒

自古以来民以食为天，花朝节作为如此重要的节日，有着属于它自己的传统食物。百花糕和百花酒就是其中。百花糕是由花瓣加上面粉制作而成，味道香甜，比较出名的有桂花糕、牡丹糕等。百花酒属于黄酒系，是用百种野花和糯米酿制而成，味道清澈甘美。在清末时期，此酒被用作皇族贡品。

现状

在近代鸦片战争之后，中国被迫打开了国门，新的文化思潮的涌入冲击着整个国家。从大环境来看，花朝节依存于太平盛世的社会环境，明清之前国事强盛，所以花神文化繁荣。这种文化现象是与民族的兴盛相伴生的。随着近代国势衰落民族危亡加剧，国人最需要的救亡图存思想和实践，而与太平盛世相伴的花神和花朝节已经变成了一种奢侈，所以花神文化的衰落有其必然性。而今天，中华民族正在复兴，和平稳定富足的生活，为花神文化的回归提供了物质基础。人们有责任为这种文化的挖掘和保护做出贡献。

问题

1.花朝节的仪式可以追溯到什么时候？

2.在花朝节，人们会做些什么事情？

3.现在我们能为花朝节做些什么？

参考

1.https://www.chinesestreetmarket.com/foodculture/flower-fairies-festival

2.https://epaper.chinadaily.com.cn/a/202404/19/WS6621b673a310df4030f50fa5.html

3.https://www.facebook.com/PeoplesDaily/posts/604821745022454/?_rdr

4.[1]高雅. 花朝节及十二花神的传说与研究[D].中央美术学院,2019.

5.[1]陈矞欣.中国古代花朝节流变及节俗文化探微[J].名作欣赏,2013(36):149-152.

6.[1]张丑平.古代花朝节俗的农耕文化透视[J].艺术百家,2012,28(06):249-250.

7.[1]徐振保.二月十五花朝节[J].园林,2001(03):42-43.

8.https://baike.baidu.com/item/%E8%8A%B1%E6%9C%9D%E8%8A%82/557736

Xu Shuopei | Architecture：Shigu Academy

Brief introduction

Shigu Academy is one of the four major academies in China during the Song Dynasty, with a history of more than 1,200 years, it is an important birthplace of “Hunan culture” and is now a national “AAA” humanities tourist attraction. It is located in the north of the city of Hengyang City, Zheng, Xiang, Lei three water convergence of the Shigu Mountain. The location is unique, far from the mountains but not secluded, near the city but not clamor. Shiku Mountain is 69 meters above sea level, with an area of 4,000 square meters. The name of the stone drum, far from being auditable, said differently. One said: “stone drum on all sides with the virtual, its shape like a drum”. Such as Scripture of Hydrology and Geography by Li Daoyuan said: “the mountain green and round, just like its drum, the mountain body pure stone without soil, so the shape of the name”. Secondly, it is said that “the stone drum is surrounded by water on three sides, and the sound of the water waves hitting the stone is like a drum”.

Mountain green trees, beautiful scenery, pavilions, pavilions, eaves and corners complement each other. The river is full of sails and the fishermen sing in the evening, and since ancient times, it has been known as “Shiku River and Mountain Fairview China”. For thousands of years, writers and artists have been coming here, reciting poems and making gifts, singing songs over wine, with endless flavors. According to the principle of repairing the old as the old, the restored Shiku Academy restores the three major functions of the ancient Chinese academies, namely, “lecturing”, “book collection” and “worship”. The entire antique building complex is based on white walls, diaphanous tiles and dark-colored columns, which makes the whole building look solemn, simple and elegant.

History

Shigu Academy was founded at the end of the Tang Dynasty, but it was formed and flourished as an educational institution during the two Song dynasties. In the third year of the Northern Song Dynasty (997 A.D.), Li Shizhen, a citizen of the county of Henzhou, requested the county magistrate to create the Shiku Academy at the former site of Li Kuan's study to teach students. After more than ten years of operation, the rules and regulations of Shigu Academy are becoming more and more complete. According to the record of Records Hengzhou Prefecture: Shigu Academy, because of the emperor's commendation, Shigu Academy was ranked among the four major academies of the Northern Song Dynasty, together with Suiyang (Yingtianfu) Academy, White Deer Hollow Academy, and Yuelu Academy. During the Yuan Dynasty, although the school still had a good reputation, due to the 62-year-long dispute over the school fields, the school was only able to hold on to its business with great difficulty, and it still did not escape the fire of war at the end of the Yuan Dynasty. In the early Ming Dynasty, the rulers did not encourage education in the academy, and the academy was not repaired in time. Until the eleventh year of the Ming Yongle, Shigu Academy was initially restored, to Hongzhi 14 years before the official resumption of lectures, and the development of science in the Ming Dynasty, the schools of thought have to use the power of the Academy, which gave Shigu Academy brought new vitality, so that Shigu Academy can regain the glory, but at the end of the Ming Dynasty was once again destroyed by the war.

In Qing Dynasty, the influence of the Shigu Academy is declining, because it is located in the region of Hengyang is not among the provincial cities, Shiku Academy can not enjoy the generous treatment of the provincial academies, unable to compete with the provincial academies, but as a government-level academy of Hengzhou Prefecture, in the area of Hengzhou Prefecture is quite prestigious. In the Guangxu period, the same in the city of Chuanshan Academy rose to prominence, a “Learning in Chuanshan Academy” reputation. Accumulated habits along the Shigu Academy is unable to compete with the flourishing Chuanshan Academy, in the Hengzhou area is declining, silent. Guangxu twenty-eight years, that is, in 1902 AD, Shiku Academy was changed into a middle school. In 1904, Shigu Academy was renamed South Road Normal School. During the Republic of China, Shigu Academy was changed into a vocational school for girls.(Ling,2011,133)

Main Buildings

Mountain Gate

The first thing you see when you walk into Shiku Seowon is the mountain gate. On both sides of the gate hangs a couplet, “Cultivate the name of a thousand Buddhas, and savor the five sutras,” which means to warn all beings that in order to cultivate their thoughts to a high level, they must familiarize themselves with the Four Books and Five Sutras. The word “to” means from the beginning to the end, which can also be interpreted as “intoxication”. It also tells the world that the students of the Stone Drum Academy have no distractions and read only the sacred books.

Stone Drum

When you enter the gate, you can see a 2.8-meter-high, 1.6-meter-diameter stone drum, which is the symbol of Shigu Academy. The place where the big stone drum is located is called the Stone Drum Mountain, and there are two kinds of legends in the folklore: one of them is that the Stone Drum Mountain has the shape of a drum on all sides. Li Daoyuan, “water Jingji” records, “the mountain is green and round, just like its drum, the mountain pure stone without soil,” so the shape of the name. Secondly, because the mountain is surrounded by water on three sides, the water waves hit the stone, the sound is like a drum, so it is named after the sound.

Wuhou Ancestral Hall

Ancient Chinese academies had three main functions: “lecturing, book collection, and rituals”. Continuing along the steps next to the stone drums, you will see the Wuhou Ancestral Hall, which has the function of rituals. According to “a unified record”: Zhuge Liang to military division of the identity of the general stationed in the army Lin steam (Lin steam is the end of the Han Dynasty Hengyang County name), supervise Changsha, Zuoling, Guiyang three counties of the army, at that time, lived in the stone drum hill. In order to commemorate Zhuge Liang's spirit of “bowing to the utmost, and dying only after death”, and to express respect and remembrance for his high moral character, the descendants built the “Wuhou Temple” on the south side of Shigu Mountain, which was later renamed as “Wuhou Ancestral Temple Later, it was renamed as “Wuhou Temple”.

Da Guan Lou

The first thing that catches your eye is the statue of Confucius, the great educator and Confucian saint in ancient China. Confucius has always been honored as “Master” and “Sage”, and in ancient times, students had to worship in front of the statue of Confucius before attending classes to express their respect for the sage. Behind the statue is the magnificent Daguan Tower. Daguanlou was built at the end of the Wanli reign of the Ming Dynasty (1573-1620), and the name “Daguan” implies that one can climb up the building to see the beautiful scenery and carry the world in one's heart. Daguanlou is an important building and the center of the academy, occupying the two major functions of the academy, upstairs bookstore under the lecture hall.

Lecture Hall

Since the Song Dynasty, there has been a “Lecture Hall” in the Shiku Academy, which was called “Lecture Hall” in the Ming Dynasty, and it was a place for ancient people to give lectures. In the Qing Dynasty, the lecture hall of Shigu Academy was located on the first floor of Yanggao Building, called “Jingye Hall”. On the first floor of Da Guan Lou, there is a partial set of the lecture hall and the Seven Sages woodcut statue. The Seven Sages refer to the seven sages who have made outstanding contributions to the history and culture of Shigu Seowon, namely: Li Kuan, Han Yu, Li Shizhen, Zhou Dunyi, Zhu Xi, Zhang (bark), and Huang Yu.

Hejiang Pavilion

Behind the Daguan Tower is the Hejiang Pavilion, with couplets on both sides of the pavilion: “Shigu Shuangjiang water, Changli a poem”. The “Shigu Shuangjiang Water” refers to the Xiangjiang River and the Steam Water, while the “A Poem” refers to the poem “Question on the Hejiang Pavilion to the Assassin Zou Jun” written by Han Yu, the head of the Eight Great Poets of the Tang and Song dynasties. The whole poem is in one rhyme, in one breath, with a resounding tone and a majestic atmosphere. In particular, the opening line “Red pavilion pillow Xiangjiang River, steam water will be on its left, overlooking the gazes of the empty space, green and clean can not be spit” is the most wonderful, Hejiang Pavilion was also known as “green and clean Pavilion”.

The Eight Scenes of Shigu Academy

The Eight Scenes of Shigu Academy: “The dawn of the East Rock, the night toad of the West Rock, the steaming wind of the Green Pure, the snow of the Pit Bottle, the sound of the book in the River Pavilion, the evening singing of the Fishing Harmony, the withered vines of the Trestle Trail, the frozen blue of the River Harmony.”

1. East Rock Dawn White. Shiku Mountain east and west cliffs, the Tang Dynasty Yuwen Xian sub-title “East Rock”, “West Valley”. East rock cliffs, when the sun rises, the cut wall Mu daylight was golden yellow, especially from a distance, so depicting this scene for the “east rock dawn white”.

2. Night Toad in the West Creek. West of late at night, there will be toads appear, and “East Rock dawn white” in stark contrast.

3. Green Pavilion Steaming Wind. Hejiang Pavilion is located in the north end of the drum hill, also known as the green net Pavilion. Hejiang Pavilion, deep pool, there is a stone ping, about ten feet wide, rumored to be the immortal Weng Maundy place, the stone on the trace of the immortal vaguely defensible. In the Ming Dynasty, a pavilion was built on the stone, called Maundy Pavilion. Nowadays, the rain water agitation stone, pavilion site are abolished.

4. Puddle Zun Hidden Snow. Drum Hill has a strange stone, outside the real hollow, Hengye County elegant people in the stone carved “Puddle Zun” two words (“Zun” with “bottle”, ancient wine utensils). After the winter snow, Shikushan up and down, the snow are melting without trace, only the Zun within the snow through the winter does not melt, to the spring began to melt, for the Shikushan the first wonders.

5. The Sound of Books in the River Pavilion. Drum is the academy, reading sound sound into the ear, from the attic among the transmission, but also for a scene.

6. Fishing and Singing in the Evening. The drum is located in the Xiangshui and steam water, night time, the angler sitting on the bow, the boat moves slowly with the waves, fishing song recalled, breaking the twilight tranquility.

7. Dead Vines on the Trestle. The mountain Han Yu chanting “green net can not spit” of the river pavilion right down, there is a deep pool, east can be connected to the ocean, north can be up to the Nanyue Waterfall Cave. There are ancient vines on the mountain that have grown for hundreds of years, crawling along the bottom of the river and leading from the west bank to the east bank. Legend has it that during the Ming Wanli years, there were fishermen diving to the bottom of the water also saw. The years are long, I do not know whether the lone vine, perhaps still lying at the bottom of the river, may have been transformed into a dragon to fly away.

8. Jasper-like Rivers Meeting. Shiku Mountain is located in the steam water and Xiangshui after the intersection, the clear river flows slowly, as far as the eye can see, such as a piece of jasper.

The Spiritual Value of Shigu Academy

As one of the famous academies in China and the earliest academy in Chinese history, Shigu Academy is undoubtedly a cultural symbol of Hengyang and has always been a place of education, and now, as a cultural attraction, it still has a very high spiritual value, and has made great contributions to the formation and development of Hunan culture.

As a cultural symbol of Hengyang, the value of Shigu Academy is mainly reflected in its influence on Hunan culture and the common spiritual qualities inherited by Shigu Academy and Hunan culture. First of all, Shigu Academy contributed to the rise of Hunan culture and the development of Song and Ming philosophy. At all times, Shigu Academy played a leading role in the group of academies in Hengyang, and centered on it, it formed the group of academies in Hengyang, such as Wending, Ganquan, Yehou, Baisha, Jixian, Nanxuan, Lianxi, and Funashan. Zhou Dunyi, the origin of Hunan culture and a famous rationalist of the Southern Song Dynasty, studied in Xihu Academy, Hu Anguo and his son created Nanxuan Academy after completing their studies, and Wang Fuzhi, the mastermind of Hunan culture, grew up in the Hengyang academy group. It is because of the prosperity of Shigu Academy that Hunan culture was able to flourish. The spirit of openness, liberalism, democracy, and integration inherited from Shigu Academy and Hunan culture has gradually become the fine tradition of China's academy culture for thousands of years, and is still influencing us today. As a symbol of culture, Shigu Academy not only contributes to the formation and development of Hunan culture, but also inherits the spirit of our country which has remained unchanged for thousands of years together with Hunan culture.

At the same time, Shigu Academy also had a great impact on education. Firstly, it changed the shortcomings of the governmental education, which was “only teaching but not teaching”, with a high degree of freedom, which was in line with the conditions of spreading the ideas of the Song and Ming philosophers, and promoted the development of the Song and Ming philosophies. Secondly, it changed the traditional Confucian dogma of Confucianism, took the world as its own responsibility, trained a large number of excellent thinkers and politicians, and promoted the development of Hunan culture to the heyday. Finally, it carried out book-carving activities, laying the foundation for the inheritance of Hengyang culture. It can be said that the education of Shigu Academy contains the characteristics of Hunan education. Nowadays, Shigu Academy exists more as a cultural landmark, although it has lost its historical background, the cultural heritage still exists.(Liu,2019, 111)

Reference

[1]Ling F F. Examination of the Rise and Fall of the Shigu Academy in Hunan Province [J]. Education Review,2011,(04):133-135. [2]Liu R. On Value of Stone Drum Academy in Building a Civilized City of Hengyang [J]. Journal of Hengyang Normal University,2019,40(02):108-111.

Terms

Scripture of Hydrology and Geography 《水经注》 Zheng, Xiang, Lei 蒸，湘，耒（三条河流） Records Hengzhou Prefecture: Shigu Academy 《衡州府志·石鼓书院》 Mountain Gate 山门 Stone Drum 大石鼓 Wuhou Ancestral Hall 武侯寺 Da Guan Lou 大观楼 Lecture Hall 会讲堂 Hejiang Pavilion 合江亭 East Rock Dawn White 东岩晓白 Night Toad in the West Creek西豀夜蟾 Green Pavilion Steaming Wind绿阁蒸风 Puddle Zun Hidden Snow 洼尊藏雪 The Sound of Books in the River Pavilion 江阁书声 Fishing and Singing in the Evening 钓合晚唱 Dead Vines on the Trestle 栈道枯藤 Jasper-like Rivers Meeting 合江凝碧

Questions

1. What are the Eight Scenes of Shigu Academy? 2. What are the main buildings of Shigu Academy? 3. When was the Shigu Academy founded?

建筑：石鼓书院

简介

石鼓书院是我国宋代四大书院之一，迄今已有1200多年的历史，是“湖湘文化”的一个重要发源地，现在是国家级“AAA”人文旅游景区。它坐落于衡阳市城北蒸、湘、耒三水汇集的石鼓山上。地理位置独特，远山而不僻，近市而不嚣。 石鼓山海拔69米，面积为4000平方米。石鼓之名，远不可稽，说法不一。一曰：“石鼓四面凭虚，其形如鼓”。如郦道元《水经注》所载：“山势青圆，正类其鼓，山体纯石无土，故以状得名”。二曰：“石鼓三面环水，水浪击石，其声如鼓”。 山上绿树成荫，风光秀美，亭台楼阁，飞檐翘角相得益彰。江面帆影点点，渔歌唱晚，自古就有“石鼓江山锦绣华”之美誉。千百年来，历代文人墨客纷至沓来，吟诗作赋，对酒当歌，韵味无穷。重修后的石鼓书院按照修旧如旧的原则，恢复了中国古书院 “讲学”、“ 藏书”、 “祭祀”三大功能。整个仿古建筑群以白墙、黛瓦、深色柱为基调，总体显得庄重、古朴、典雅。

历史

石鼓书院创建于唐朝末年，但作为一种教育机构形成和兴盛则在两宋期间。北宋至道三年，即公元997年，衡州郡民李士真向郡守请求，在李宽读书旧址创建石鼓书院授徒讲学。经过十余年的经营，石鼓书院规制日趋完备。据《衡州府志·石鼓书院》记载，因为皇帝的嘉奖，石鼓书院遂与睢阳 (应天府) 书院、白鹿洞书院、岳麓书院跻身于北宋四大书院。元朝, 石鼓书院虽仍有声誉, 但由于长达62年的学田之争, 石鼓书院只能够艰难守业, 并且仍没有逃过元末的战火。明代前期, 统治者并不鼓励书院教育, 石鼓书院没有能够及时修葺。直至明永乐十一年, 石鼓书院才得以初步恢复, 至弘治十四年才正式恢复讲学, 而明代理学的发展, 各学派纷纷借助书院的力量, 这给石鼓书院带来了新的活力, 使得石鼓书院能再现辉煌, 但明末再次被毁于战火。 清朝，石鼓书院影响力呈日渐下降态势，因为地处衡阳之域不在省城之列，石鼓书院无从享受省城书院的优厚待遇，无力与省城书院并驾齐驱，但作为衡州府的府级书院，在衡州地区颇负名望。光绪年间，同在衡阳城的船山书院异军突起，一时有“学在船山”之誉。积习相沿的石鼓书院无力与蒸蒸日上的船山书院相抗衡，在衡州地区日渐衰微、沉寂。光绪二十八年，即公元1902年，石鼓书院改为中学堂。光绪三十一年 (1904年) ，石鼓书院改称南路师范学堂。民国期间，石鼓书院改为女子职业学校。

主要建筑

山门 走进石鼓书院，首先看到的是山门。门两侧悬挂一幅门联“修名千佛上，至味五经中”，意思是告诫众生，要想把思想修炼达到很高的境界，必须熟读《四书五经》。“至”即自始至终的意思，也可以理解为“沉醉”。同时也告诉世人，石鼓书院的学生心无旁骛，一心只读圣贤书。

大石鼓 进入山门即可看见石鼓书院的标识——一面高2.8米、直径1.6米的大石鼓。大石鼓所在地叫石鼓山，民间有两种传说：其一，石鼓山四面凭虚，其形如鼓。郦道元《水经注》记载，“山势青圆，正类其鼓，山体纯石无土”，故以状得名。其二，因石鼓山三面环水，水浪击石，其声如鼓，故以声得名。

武侯祠 中国古代书院有三大功能：“讲学、藏书、祭祀”，沿石鼓旁的台阶继续前行，看到的就是具备祭祀功能的武侯祠。据《一统志》载：诸葛亮以军师中郎将的身份驻军临蒸（临蒸是汉末衡阳县名），督办长沙、零陵、桂阳三郡军赋，当时就住在石鼓山上。为纪念诸葛亮“鞠躬尽瘁，死而后已”的精神，并对他的高风亮节表达敬重与追怀，后人在石鼓山的南面建“武侯庙”，后改名为“武侯祠”。

大观楼 沿山拾级而上，首先映入眼帘的是我国古代大教育家、儒家圣人孔子的塑像。孔子历来被尊为“先师”、“圣人”，古代学生上课之前先要到孔子像前祭拜，然后再上课，表达对圣人的尊重。塑像后方是气势磅礴的大观楼。大观楼始建于明万历（1573—1620）年末，“大观”寓意登楼揽胜，心载天下。大观楼是书院的重要建筑和中心建筑，占据了书院的两大功能，楼上藏书楼下讲学。

会讲堂 自宋代起，石鼓书院就建有“会讲堂”，明代时称为“讲堂”，是古人讲学的场所。到了清代，石鼓书院的讲堂设在仰高楼一楼，称为“敬业堂”。在大观楼一楼，设有讲堂局部布景和七贤木刻像。七贤是指对石鼓书院历史文化作出过卓越贡献的七位先贤，他们是：李宽、韩愈、李士真、周敦颐、朱熹、张栻、黄斡。

合江亭 大观楼后方就是合江亭，亭两侧有楹联：“石鼓双江水，昌黎一首诗”。“石鼓双江水”指的就是湘江和蒸水，“一首诗”则指的是唐宋八大家之首韩愈所作《题合江亭寄刺史邹君》。全诗一韵到底，一气呵成，音调铿锵，气势磅礴。特别是开篇“红亭枕湘江，蒸水会其左，瞰临眇空阔，绿净不可唾”最为精彩，合江亭也曾一时被人们称为“绿净阁”。

书院八景

石鼓书院八景：“东岩晓日，西豀夜蟾，绿净蒸风，洼樽残雪，江阁书声，钓合晚唱，栈道枯藤，合江凝碧。” 一曰东岩晓白。石鼓山东西峭壁上，唐太守宇文炫分题“东岩”、“西谷”。东岩悬崖壁立，当太阳初升之时，削壁沐日光呈金黄色，远望尤甚，故描绘此景为“东岩晓白”。 二曰西豀夜蟾。西豀夜深人静之时，便有蟾出现，与“东岩晓白”形成鲜明对照。 三曰绿阁蒸风。合江亭位于石鼓山北端，亦称绿净阁。合江亭下，深潭之上，有一石坪，宽约丈余，相传为仙翁濯足处，石上仙迹依稀可辩。明朝时曾在石上修筑一亭，名为濯足亭。现今雨水激石，亭址俱废。 四曰洼尊藏雪。石鼓山下有怪石，外实中空，衡郡风雅之士在石上刻“洼尊”二字(“尊”同“樽”，古代盛酒器具)。冬日雪后，石鼓山上上下下，积雪皆消融无迹，唯独尊内积雪经冬不化，至春始融，为石鼓山第一奇景。 五曰江阁书声。石鼓乃为书院，读书声声声入耳，从阁楼当中传出，亦为一景也。 六曰钓合晚唱。石鼓地处湘水和蒸水，夜幕之时，垂钓者倚坐船头，小船随波缓缓移动，渔歌想起，打破暮色宁静。 七曰栈道枯藤。山上韩愈吟咏“绿净不可唾”的合江亭右下，有一深潭，东可通汪洋大海，北可达南岳水帘洞。山上有古藤经数百年成长，沿江底爬行，由西岸牵至东岸。相传明万历年间，曾有渔人潜至水底还见过。岁月悠悠，孤藤不知存否，也许仍静卧江底，也许已化龙飞去。 八曰合江凝碧。石鼓山地处蒸水和湘水交合之后，清澈的江水缓缓流淌，放眼望去，如一块碧玉。

石鼓书院的精神价值

石鼓书院作为中国著名书院之一, 同时也是中国历史上建立最早的书院, 它无疑是衡阳的文化象征和一直以来的教育阵地, 现在作为一种文化景点, 仍具有极高的精神价值, 对湖湘文化的形成与发展有着巨大的贡献。 作为衡阳的文化象征, 石鼓书院的价值主要体现在它对湖湘文化的影响以及石鼓书院与湖湘文化所传承的共同的精神特质上。首先, 石鼓书院推动了湖湘文化的兴起, 促进了宋明理学的发展。任何时候, 石鼓书院在衡阳的书院群体中都发挥着领头羊的作用, 以石鼓书院为中心, 形成了文定、甘泉、邺候、白沙、集贤、南轩、濂溪、船山等衡阳书院群。而湖湘文化的起源、南宋著名理学家周敦颐曾就学于西湖书院, 湖湘文化的创始人胡安国父子学成后创南轩书院, 而集大成者王夫之则从小受衡阳书院群的熏陶。正因为石鼓书院的繁荣, 湖湘文化才能够得以兴盛。而石鼓书院与湖湘文化所传承的兼容并蓄, 博采众长的开放精神、自由民主, 融会贯通的人文精神则逐渐成为我国书院文化的优良传统流传千年，直到现在也影响着我们。石鼓书院作为文化的象征, 它不仅促成了湖湘文化的形成与发展, 并与湖湘文化一起共同传承着我国千百年来不变的精神。 同时石鼓书院对于教育也产生了巨大的影响。首先就是它改变了官学教育“只课不教”的弊端, 自由度高, 符合宋明理学家传播思想的条件, 促进了宋明理学的发展。其次, 变革了传统儒学的经学教条, 以天下为己任, 培养了大批优秀的思想家、政治家, 促进了湖湘文化向鼎盛发展。最后, 它开展了刻书活动, 为衡阳文化奠定了传承的基础。可以说, 石鼓书院的教育包含了湖湘教育的特色。而现在的石鼓书院更多的却是作为一种文化地标而存在, 尽管它失去了历史底蕴, 可文化底蕴犹存。

问题

1. 什么是石鼓书院八景？ 2. 石鼓书院的主要建筑有哪些？ 3. 石鼓书院创建于何时？

参考文献 [1]凌飞飞.湖南石鼓书院兴废考[J].教育评论,2011,(04):133-135. [2]刘蓉.石鼓书院在衡阳城市文明创建中的价值研究[J].衡阳师范学院学报,2019,40(02):108-111.

Huang Xinnuo | cuisine：Changde spicy salted duck

The origin of the sauce duck legend

During the reign of King Zhao of Chu, there was a chef named Shi Jiu in the court of Ying Du of Chu. He was a masterly cook. The dishes he cooked were exquisite and deeply loved by the king of Chu and his ministers and foreign guests.

Shi Jiu lives on the bank of the Man River in Yicheng City, where only his mother, who is more than sixty years old, lives alone. One day, Shi mother accidentally slipped into the river while washing clothes, thanks to a few duck people to save her; She fell ill after landing, and thanks to the care of the villagers, she got better; The villagers sent word to the palace, and told the stone. Shi Jiu is a filial son, after hearing the news, he hurriedly asked for leave and rushed home overnight to visit his mother. To save his mother's duck and take care of his mother's villagers, he came to the door and thanked them. For fear that his mother would have an accident again, Shi Jiu never dared to leave home again. While taking care of his mother, Shi Jiu planned to do something for the villagers. He saw that the villagers raised a lot of ducks, but the duck eggs and duck meat were not valuable, so he put his craft to use: he used the craft of sauced swan and poultry eggs in the palace to process into sauced duck and sauce eggs (the predecessor of the pine egg), who ate it well. They sell them at the market. They're popular. They fetch a good price. After Shi's return, the quality of cooking in the Chu Palace was not as good as before, and the king's appetite decreased. So the palace sent someone to search for Shi, found him, asked him to go back to the palace. In order to fulfill his filial piety and repay his villagers, Shi Jiu asked someone to help him quit his palace job, and also asked him to bring back some duck and eggs made by himself to the king of Chu. After tasting, the king of Chu greatly appreciated Shi's filial piety to his old mother and repayment of the love of the villagers. He ordered the sauce duck and sauce duck eggs to be named "tribute sauce duck" and "tribute sauce duck eggs", which were produced all year round and supplied to the Chu Palace. Shi Jiu led the villagers to become rich by producing tribute. This tribute sauce duck, sauce duck egg food and unique production technology, also passed to today.（baidu.com)

Braised duck in sauce

1.Selection of duck: The fatter the duck, the better, and those who have not laid eggs and not moulted are the best. 2.Pickle:Kill the duck, remove the hair,internal organs, kill the wing tips, duck feet, wash from the breast, and then hang dry water. Rub the salt. Dry the salt in a pan and add the fennel. Fry until the water evaporates. Remove and grind until fine.After that, the duck was weighed, 3/4 of the salt was loaded from the neck incision, and the salt was repeatedly turned and rubbed to ensure that the salt was evenly adhered to the abdominal cavity.The salt rubbed in the body should be mainly in the chest muscles, calf muscles and mouth.After the salt is rubbed, it is coded in the cylinder in turn, and taken out after 12 hours of salt, lift the hind wing, and open the anus, so that all the salt water in the cavity flows out, which is called buckle brine.Then it is stacked in the tank, and the second halogen is withheld after about 8 hours. 3.Pickle again After the second braising, mix peppercorns, five-spice powder, nitration and sugar evenly, spread on the duck body, and spread more on the thick part of the meat.Nanjing style should be covered with sweet flour sauce, Hunan style with chili powder, and then put in a jar to macerate for 10 hours, turn once in the middle, if the duck is large, marinating time is longer. 4.After the duck out of the tank, lift the dry salt water, dry the inside of the duck with hot gauze, and then use two sticks to form a cross-shaped support in the duck belly, press into a plate, dry water. 5.The duck is repeatedly smoked until golden brown. The other way to do this is to bake.（王2013，815）

The nutritional value of salted duck

The nutritional value of duck meat is very high, belongs to the cool nature, scientific consumption with nourishing the stomach, flat liver fire, health and beauty, nourishing blood, dehumidification to annoy, appetizing spleen, eye-catching calm, blood circulation and stasis, favored by people.The sauce duck can be enjoyed as a casual snack or served as a special dish on the dining table. Opening the bag allows you to savor its deliciousness as a cold delicacy, while heating it up brings out the traditional flavors of hot cuisine. It is an all-season health food that can be shared with guests and friends, offered as gifts when visiting relatives and friends, presented to those who are ill, or served to honor elders - truly an exquisite choice for fine dining.（杨2000，238）

Changde sauce duck

Changde sauce duck production process has a long history, unique taste, and widely spread Changde folk, especially in recent years began to enter the market, and outsiders are familiar with, love, often appear to buy out of the scene,the combination of rich natural resources and heavy historical accumulation has given birth to a series of popular Huxiang cuisine, and braised duck has become a high-quality local specialty in Changde. Changde is located in the northwest of Hunan, east Dongting, west Qianyu, Nantong Changsha, north Jingxiang, more than two-thirds of the Dongting Lake silting plain. Changde sauce duck can be praised by the world, and the local production of high-quality local duck has a close relationship. Wuling District, the main producing area, is located in the hinterland of the west bank of Dongting Lake, with mild climate, rivers and lakes, trenches and ports interwoven, vast waters, rich water plants, and rice fields are excellent places for duck grazing. It is a good place to sow a handful of seeds in spring and harvest a warehouse of grain in autumn, and has been known as the "Hometown of fish and rice in Dongting" since ancient times, and a fertile place for ducks and birds to grow and inhabit since ancient times. The main material for processing Changde sauce duck - local hemp duck, with water, social, habit of foraging in the wild as the main living characteristics, feed to rice, snail, fish and shrimp, earthworms and a variety of water grass, insects, in the 15℃-30℃ temperature environment to grow faster. Local duck adhere to the use of free-range or semi-free-range way for breeding, lively, robust, individual integrity, its meat fiber content, compact meat, less fat content, high protein content, rich in potassium, selenium and other trace elements and A, E vitamins, etc., is the main factors that can reflect the Changde sauce duck meat crispy bone, chewy and long characteristics. The unique landforms and natural climatic conditions of Wuling, Anxiang and other lakeside areas in Changde are ideal areas for breeding local maxi ducks. The wide lake surface, rice fields and numerous ditches, as well as excellent water and air quality, provide a good breeding environment for local maxi ducks, including fertile soil, vast rice fields and abundant biological resources such as fish, shrimp, mussels, aquatic grasses and insects. It provides abundant natural food for local duck. The combination of rich natural resources and rich historical accumulation gives birth to a series of popular Huxiang cuisine, Changde sauce duck is one of the representatives of local characteristics. Changde sauce duck is produced in a specific natural environment, using free-range or semi-free-range Dongting duck for more than a year as the main material, through 15 processes such as sauce, salting, roasting, halogen, and so on, plus the ancient brine formula technology inherited for thousands of years.（Maigoo百科） The development status and dilemma of Changde salted duck Changde sauce duck is very popular among people and tourists because of its spicy and crispy characteristics, and its unique effects of invigorating the spleen, appetizing and losing weight. However, due to the problems of packaging and marketing methods, its entry into the market is limited.

Dilemma

① Lack of brand cultural awareness, there is a homogenization of design phenomenon. From the perspective of packaging shape, it is basically packaged in rectangular plastic bags and paper boxes. From the perspective of packaging color, most of them are based on a single sauce red color, which seems gorgeous and colorful, giving people a sense of mediocrity and boredom, and it is difficult to stand out on the shelves of sales. The packaging design is too simple and rough, in addition to the picture and name of the product itself, it is unclear to distinguish the brand, and it is difficult to understand the product quality, and the expansion function of the packaging is not reflected. ②. Lack of regional cultural characteristics, personality characteristics are not obvious. Changde is a famous city with more than two thousand years of history and culture, but in its special food sauce duck packaging is not reflected at all, usually the duck image picture and pattern directly used in the packaging, too straightforward image picture but affect the visual effect of the packaging. Single color, not red is rhubarb, there is no local characteristic style, can not attract the attention of consumers. As a foreign tourist, there is nothing special with other types of goods purchased in ordinary supermarkets, and the local goods that do not reflect the strong regional characteristics of Changde do not have any purchase significance for tourists. ③. Single packaging specifications, not set light load. Changde sauce duck is basically a whole package, does not take into account people have different preferences for different parts of the duck psychology. After the whole sauce duck packaging is opened, it is easy to spoil after eating at one time, which has caused many tourists to buy after they can not taste the delicious concerns.（聂2017，777）

参考文献： https://wenda.so.com/

https://www.maigoo.com/

王建峰;王红华;王帆成;葛正广;周永昌 2013-12-25 期刊

聂作鹏 湖南工业大学 2017-06-03 硕士

杨红玲 吉林畜牧兽医 2000-04-25 期刊

https://gfsoso.99lb.net/scholar.html

酱板鸭传说的由来

【今译】楚昭王在位的时候，楚应都朝廷里有个叫石纠的厨师。他是一位技艺高超的厨师。他做的菜很精致，深受楚王和他的大臣和外宾的喜爱。

石纠住在宜城市满河畔，只有他六十多岁的母亲一个人住。一天，石母在洗衣服的时候不小心滑进了河里，幸亏有几个鸭子人救了她;她上岸后生病了，由于村民们的照顾，她好多了;村民们派人去王宫，告诉了石纠。

石纠是个孝顺的儿子，听到这个消息后，他急忙请假，连夜赶回家看望母亲。为了救妈妈的鸭子和照顾妈妈的村民，他来到门口感谢他们。石纠怕母亲再出意外，再也不敢出门。

在照顾母亲的同时，石纠打算为村民们做点什么。他看到村民养了很多鸭子，但鸭蛋鸭肉都不值钱，就把自己的手艺派上了用场:用宫中酱天鸭和家禽蛋的手艺，加工成酱鸭和酱蛋(松蛋的前身)，吃得很好。他们在市场上卖。他们很受欢迎。它们卖个好价钱。

石纠回家后，楚宫的饭菜质量大不如前，楚王的胃口也大不如前。于是宫中派人去寻找石纠，找到了他，让他回到宫中。为了尽孝，报答乡亲，石纠让人帮他辞去宫中的工作，并让他带些自己做的鸭蛋回来给楚王。楚王品尝后，非常欣赏施对老母的孝顺和对乡亲们的爱的报答。他下令将酱鸭和酱鸭蛋命名为“贡酱鸭”和“贡酱鸭蛋”，全年生产，供应楚宫。 石纠带领村民靠生产贡品致富。这种致敬酱鸭、酱鸭蛋的食品和独特的制作工艺，也流传到了今天。

酱板鸭

1.鸭的选择:鸭越肥越好，没有下过蛋、没有换过毛的最好。

2.腌法:将鸭宰去，去毛、内脏，去翅尖、鸭脚，将鸭胸洗净，然后挂干水。

擦盐。在锅里把盐擦干，加入茴香。煎至水分蒸发。取出并研磨至细。之后称鸭体重，从颈部切口处装上3/4的盐，反复翻盐、搓盐，确保盐均匀粘附腹腔。擦在身上的盐要以胸肌、小腿肌和口腔为主。搓盐后，依次在缸内编盐，12小时后取出盐，提起后翅，打开肛门，使腔内的盐水全部流出，称为扣卤。然后将其堆放在储罐中，约8小时后进行第二次扣卤。

3. 焖 第二次焖熟后，将花椒、五香粉、硝酸盐和糖均匀混合，涂在鸭身上，肉厚的部分多涂一点。南京式应淋上甜面酱，湖南式淋上辣椒粉，然后放入罐中浸泡10小时，中间翻一次，如果鸭子较大，腌制时间更长。

4. 鸭出槽后，提起干燥的盐水，用热纱布将鸭内部晾干，然后用两根木棍在鸭腹部形成十字形支撑物，压瘪，晾干水。

5. 鸭子被反复熏至金黄。另一种方法是烘烤。(王2013,815)

鸭肉的营养价值

鸭肉的营养价值很高，属凉性，科学食用具有养胃、平肝火、保健养颜、养血、除湿去烦、开胃健脾、抢眼安神、活血化瘀等功效，深受人们的青睐。酱鸭既可以作为休闲小吃，也可以作为餐桌上的一道特色菜。打开袋子，你可以品尝到它的美味，作为一个冷的美味，而加热它带来了传统的热菜的味道。它是一种四季皆宜的健康食品，可以与客人和朋友分享，可以作为走亲访友的礼物，可以送给生病的人，也可以用来敬老——确实是一种精致的餐饮选择。

常德酱板鸭

常德酱板鸭的制作工艺历史悠久，口味独特，常德民间流传甚广，尤其是近年来开始进入市场，并为外地人所熟悉、喜爱，经常出现买买买出的场景，丰富的自然资源和厚重的历史积淀相结合，催生了一系列广受欢迎的湖乡菜系，而红烧鸭也成为常德的一道优质土特产。

常德地处湖南西北部，东有洞庭，西有千榆，南通长沙，北有荆乡，占洞庭湖淤积平原的三分之二以上。常德酱鸭之所以能被世人称道，与当地出产的优质土鸭有着密切的关系。主要产区武陵区位于洞庭湖西岸腹地，气候温和，河湖、沟港交织，水域辽阔，水草丰富，稻田是放养鸭子的好地方。这里是春天播种一把种子，秋天收获一仓粮食的好地方，自古被誉为“洞庭鱼米之乡”，自古是鸭鸟生长栖息的沃土。

常德酱鸭的主要加工原料——当地麻鸭，以水、社会性、野外觅食习性为主要生活特点，以稻谷、蜗牛、鱼虾、蚯蚓及各种水草、昆虫为食，在15℃-30℃的温度环境中生长较快。地方鸭坚持采用散养或半散养的方式进行饲养，活泼、健壮、个性完整，其肉纤维含量高，肉质致密，脂肪含量少，蛋白质含量高，富含钾、硒等微量元素和维生素A、E等，是能体现常德酱鸭肉骨脆、嚼劲长等特点的主要因素。

常德武陵、安祥等湖滨地区独特的地貌和自然气候条件，是繁殖本地马西鸭的理想地区。广阔的湖面、稻田和众多的沟渠，以及优良的水质和空气质量，为当地马西鸭提供了良好的繁殖环境，土壤肥沃，稻田广阔，鱼类、虾类、贻贝、水草、昆虫等生物资源丰富。为当地的鸭子提供了丰富的天然食物。

丰富的自然资源与丰富的历史积淀相结合，催生了一系列深受人们喜爱的湖湘菜系，常德酱鸭就是地方特色的代表之一。常德酱鸭是在特定的自然环境下，以自由放养或半自由放养一年以上的洞庭鸭为主要原料，经过酱、盐、烤、卤素等15道工序，加上传承千年的古老卤水配方技术制作而成。(麦咕百科) 常德咸鸭的发展现状与困境 常德酱鸭因其辛辣酥脆的特点，以及其健脾、开胃、减肥的独特功效，深受人们和游客的喜爱。然而，由于包装和营销方式的问题，其进入市场受到限制。

困境

①缺乏品牌文化意识，存在设计同质化现象。从包装形状上看，基本上都是用长方形的塑料袋和纸盒包装。从包装色彩上看，大多以单一的酱红色为主色调，显得绚丽多彩，给人一种平庸无聊的感觉，在销售的货架上很难脱颖而出。包装设计过于简单粗糙，除了产品本身的图片和名称外，难以区分品牌，难以了解产品质量，包装的扩展功能没有体现。

②缺乏地域文化特色，个性特征不明显。

常德是一座有着两千多年历史文化的名城，但在其特色食品酱鸭的包装上却完全没有体现，通常将鸭的形象图片和图案直接用在包装上，过于直白的形象图片反而影响了包装的视觉效果。颜色单一，不红就是大黄，没有地方特色的款式，无法吸引消费者的注意。作为外国游客，在普通超市购买的商品与其他类型的商品没有什么特别之处，不体现常德强烈地域特色的当地商品对游客来说也没有任何购买意义。

③单一包装规格，不设置轻载。

常德酱鸭基本上是整包的，没有考虑到人们对鸭的不同部位有不同喜好的心理。整个酱鸭包装打开后，一次食用后容易变质，这就造成了不少游客购买后无法品尝到美味的担忧(聂2017,777)。

Liao Qiaoran | Beverages： Sexy Tea

Introduction

Sexy Tea(茶颜悦色）, belonging to Hunan Cha Yue Culture Industry Development Group Company, was registered in March 2015. It is the mainland’s first tea shop with a Chinese style, mainly focusing on tea drink and desserts, which adopts the concept of “new Chinese tea”, and emphasizes the creation of “new Chinese-style fresh tea.” In the design of the brand, Sexy Tea uses lots of Chinese traditional elements, such as products naming and packaging. And the logo of Sexy Tea is also a woman in ancient costume holding a fan, which is distinctive and memorable. In December 2013, Sexy Tea’s first shop opened in a space of less than 30 square metres in Changsha's Huang Xing Square, Hunan province, and the number of shops has increased to around 500 by October 2023, all of which are directly operated by the company. Focusing on the local market, Sexy Tea’s shops are mainly concentrated in Hunan, with about 300 shops, in addition to shops in Hubei, Chongqing and Jiangsu.(Aimee,2024)

Products’ features and innovations

The brand positioning of Sexy Tea is “healthy, fresh, and delicious” . It mainly targets the younger generation of consumers, emphasizes quality and taste, insists on using fresh milk instead of creamer, and brews tea with whole tea leaves. Each drink is layered into three tiers, offering a rich taste experience. Starting from the top, the first layer consists of various flavored toppings, followed by a layer of New Zealand light cream, and finally, the bottom layer features a tea base infused with Chinese characteristics. Its products are priced roughly between 13 to 20 yuan, including five series: Creamy Series, Frothy Series, Creative Whole Leaf Series, Trickle Hill Series, and Light Milk Cap Series. Among them, the Creamy Series uses a combination of nut crumbs or other small ingredients, light cream, milk foam, pure milk and tea, with a strong milk flavor; the Frothy Series uses a combination of wheat germ or matcha powder, milk foam, pure milk and tea, with a strong tea flavor. Desserts are also available for sale. In the early stages of Sexy Tea's establishment, its founder, Lv Liang, faced tremendous cost pressure but still chose Anchor light cream as the raw material for the drinks. Using such expensive ingredients in a street tea shop can be said to be pioneering in the industry. (Sexy Tea official website)

Distinctive Shop Types

Xiaoshenxian Tea House: Xiaoshenxian Tea House serves as the “laboratory” for Sexy Tea to explore various ways of enjoying tea. Unlike typical tea shops, it doesn't offer popular milk tea, but rather a selection of teas, alcoholic beverages, and snacks. Its menu has three main categories: Creative Whole Leaf Tea, Premium Whole Leaf Brewed Milk Tea, and Premium Hand-brewed Tea. Additionally, the shop provides a variety of snacks and desserts with different flavors. It is worth mentioning that Xiaoshenxian Tea House also features areas for young people to play tabletop games and independent booths. As of January 2024, Xiaoshenxian Tea House has opened 15 branches in Changsha and Wuhan, creating a vibrant space for exploring tea culture.

Amusement Park: Amusement Park serves as an extension of the Tea Yan brand, offering unique snacks and tea bags created by Tea Yan, along with various themed merchandise such as tea cups, postcards, notebooks, fridge magnets, umbrellas, fans, canvas bags, and badges. New products are frequently introduced, allowing customers to have a novel experience while enjoying their tea. Tea Leaf Emporium: The Tea Leaf Emporium specializes in tea leaves, tea bags, and small snacks. Popular products include “Habitual Tea,” Peach Oolong “Peach Blossom House,” and Grape Oolong “Daughter Red.” Additionally, the Tea Leaf Emporium offers a wide variety of tea bags with floral and fruity aromas, including black tea, green tea, yellow tea, and oolong teas. Customers can purchase tea bags to brew at home and experience different tea flavors.

Delivery Escort Station: Delivery Escort Agency stores specialize in delivery services. Some escort station stores are street shops that offer both delivery and dine-in options, providing versatile services. The station offers special Pu'er tea bases drinks and the light milk cap can also be separately packaged.

Concept Stores:Each Sexy Tea concept store has its own theme and serves as an art gallery full of creative ideas. Most concept stores are also branches of the Amusement Park, featuring innovative layouts, spacious areas, and plenty of seating. Customers can also purchase merchandise there.

Sub-brands

Yuan Yang Coffee: "Learning from the West while progressing in the East, Chinese-style coffee," Yuan Yang Coffee was established on August 10, 2022, dedicating to finding a more balanced taste between coffee bean flavors and tea flavors. Currently, Yuan Yang Coffee has more than 80 stores in Changsha.Yuan Yang Coffee categorizes its menu based on whether tea, milk, and light milk cap are added. The current product series include Pure Coffee, Chinese Latte, Triple Light Milk Cap, Not Quite Proper Dirty, Fruit Coffee, Liquor Coffee, and Night Liquor. In addition, more than ten stores in Changsha have had Chinese and Western-style breakfasts, including lotus root boxes, croissants, bagels, and other categories.

Good Mo Lemon: Established on September 19, 2023, "Good Mo Lemon" adheres to the concept of “not sticking to conventions, with tea as a leisurely journey in lemon.” It specializes in “New Chinese-style lemon tea” and is the second sub-brand under the Sexy Tea. Compared to the drinks of Sexy Tea, its beverages have a crisper taste, making them perfect for summer. Good Mo Lemon offers two menus: one for tea and one for alcohol. The tea menu includes a series such as Lemon Milk Tea. Products from the alcohol menu are available after 4:30 PM daily. Product names such as “Spring Slumber Unaware of Dawn,” “Busy with Endeavors,” “Sweetening Trivial Matters,” and “Hand in Hand” are inspired by classic works like the Book of Songs. In addition, elements of Chinese poetry and ink wash painting are integrated into the product's menu, cup sleeves, and artwork cards.

Day and Night Tavern: "Day and Night Poetry, Wine, and Tea, Artistic and Cultural Small Tavern." Established on April 15, 2024, this is another sub-brand launched by Sexy Tea after Yuan Yang Coffee and Good Mo Lemon. Positioned as a leisure-oriented tavern with art and poetry themes, Day and Night Tavern offers an extensive selection of 37 SKUs. They utilize various types of tea including black tea, green tea, oolong tea, and yellow tea. The current drinks are divided into three categories: tea cocktails, cocktails, and exclusive specials. The overall product design concept of Day and Night Tavern is to create distinctive tea-based drinks by combining tea with traditional Chinese spirits, Western-style base spirits, and milk bases. Unlike the traditional "daytime coffee, nighttime wine" or "daytime tea, nighttime wine" business models, Day and Night Tavern sells alcohol-containing beverages throughout the day. Moreover, they offer options for different alcohol concentrations, ranging from light, moderate, to full, allowing customers to further customize their preferences for a refreshing or rich taste. Whether one has a high or low alcohol tolerance, indulges in a light drink during the day, or enjoys a mild buzz at night, Day and Night Tavern caters to all preferences.(SOHU News,2024)

Service Philosophy

Sexy Tea adheres to the concept of "customer first" and considers customers very thoroughly. They promises customers a unique service: everyone has the “permanent right to claim a cup of fresh tea.” If they don't like the taste, they can ask for a remake anytime. In addition, caring services such as a small medicine box in the store and offering umbrellas on rainy days also demonstrate the warm brand image of Sexy Tea. To provide customers with the most suitable beverages and experiences, Sexy Tea has introduced seasonal limited edition drinks and corresponding tea menus based on factors like tea base and temperature. On Sexy Tea's public WeCha account, there are not only monthly self-inspection report—communicating openly with customers about issues, informing them of the results, and continuously improving—but also stories of genuine feelings and daily topics presented in comic form. Sexy Tea has successfully created a brand image with warmth and friendliness, while also enhancing user stickiness and loyalty.(Aimee,2024)

Terms and Expressions

Sexy Tea 茶颜悦色

Creamy Series 忌廉篇

Frothy Series 沫泡篇

Creative Whole Leaf Series 创意原叶篇

Trickle Hill Series 涓滴山丘篇

Light Milk Cap Series 清浅奶盖篇

Xiaoshenxian Tea House 小神闲茶馆

Amusement Park游园会

Tea Leaf Emporium茶叶子铺

Delivery Escort Station外卖镖局

Concept Stores概念店

Yuan Yang Coffee 鸳央咖啡

Good Mo Lemon古德墨柠

Day and Night Tavern昼夜酒馆

Questions

1. When was Sexy Tea registered?

2. Where is Sexy Tea’s first shop?

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

4. Who is Sexy Tea’s founder?

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

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

References

Aimee，FoodTalks(2024.1.22) What is Sexy Tea? It did not go out of Hunan for 7 years and made the milk tea shop into a national art museum https://www.foodtalks.cn/news/50865

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

SOHU News website https://www.sohu.com/a/774842812_286549

饮品：茶颜悦色

介绍

茶颜悦色是隶属于湖南茶悦文化产业发展集团有限公司的品牌，注册于2015年3月，是大陆首创以中国风为主题的奶茶店，专注于提供茶饮和甜品。其经营理念是“中茶新做”，专注于打造“新中式鲜茶”。在品牌设计上，茶颜悦色融入了许多中国古典元素，如产品的命名和包装，商标也是一位手持纨扇的古装女性，独具特色，令人印象深刻。2013年12月，在湖南长沙黄兴广场的一处不到30平方米的地方，茶颜悦色的第一家店开业。到了2023年10月，茶颜悦色的店铺数量增至约500家，且全部由公司直营。茶颜悦色注重本地市场，主要集中在湖南省，约有300家店铺，此外，在湖北、重庆和江苏也设有门店。

产品特色与创新

茶颜悦色的品牌定位是“健康、新鲜、美味”，主要针对年轻消费者群体，注重品质和口感，坚持用鲜奶而不是奶精，用原叶茶现泡现萃。每一杯饮品都分为三层，口感丰富。从上往下第一层为不同口味的配料，第二层是新西兰淡奶油，第三层是带有中国特色的茶底。其产品价格大致分布在13至20元，包括忌廉篇、沫泡篇、创意原叶篇、涓滴山丘篇和清浅奶盖篇五个系列，其中，忌廉篇采用的是“坚果碎或其他小料+淡奶油+奶沫+纯牛奶+茶”的组合，鲜奶味较浓；沫泡篇采用的是“小麦胚芽或抹茶粉+奶沫+纯牛奶+茶”，茶味较浓。同时有甜品出售。在茶颜悦色创立之初的产品研发阶段，其创始人吕良就顶住巨大的成本压力，选择安佳淡奶油作为饮品原料。一家街头茶饮店使用如此昂贵的原料，可以说是前所未有的。

特色店型

小神闲茶馆：小神闲茶馆是茶颜研究茶叶玩法的“实验室”，这里不提供在普通门店的热门奶茶，但有茶有酒有小食。它的菜单有三类，分别是创意原叶茶、精品原叶现萃奶茶和精品手冲茶。此外，店铺还有不同口味的零食和甜品可供选择。小神闲茶馆还设置了供年轻人玩桌游的区域以及独立包厢。截至2024年1月，小神闲茶馆已在长沙和武汉开设了15家分店，为茶文化的探索创造了一个富有活力的空间。

游园会：游园会是茶颜悦色的周边天地，有茶颜自创的小零食和茶包，各种特色周边比如茶杯、明信片、本子、冰箱贴、雨伞、扇子、帆布包、徽章等等，还会经常出新品，顾客在喝茶饮的同时也能买到相关的产品，给顾客带来新奇的体验。

茶叶子铺：茶叶子铺，这家店更专注于茶叶、茶包和小零食，深受欢迎的产品包括「习惯茶」、蜜桃乌龙「桃花坞」、葡萄乌龙「女儿红」等。此外，茶叶子铺还提供更多花香、鲜果香的茶包，包括红茶、绿茶、黄茶以及乌龙茶等多种口味。顾客们可以买茶包回家自己泡茶喝，感受不同茶的口感。

外卖镖局：外卖镖局店主打外卖。有些镖局店是临街的店铺，可外卖，也可堂食，一店多用。镖局有专供的普洱茶底饮品，奶油清浅奶盖也可以分装。

概念店：茶颜悦色概念店每家店都有自己的主题，每家都是承载着丰富创意的艺术馆，大部分概念店也是游园会门店，布局新颖，空间很大，座位多，顾客们也可以在那里买周边。

子品牌

鸳央咖啡

“西学东渐，咖啡中式”，成立于2022年8月10日的鸳央咖啡，致力于在咖啡豆风味和茶风味间，找到一种更平衡的口感。目前，鸳央咖啡已在长沙拥有80多家门店。鸳央咖啡在菜单上，会根据有没有加茶、加奶以及清浅奶盖来进行分类，现有纯咖篇、中式拿铁篇、三倍清浅奶盖篇、不太得体的dirty篇、果咖、酒咖还有夜酒等产品系列。此外，长沙还有十多家店铺上线了中式和西式早餐，包括藕盒、牛角面包、贝果等品类。

古德墨柠

“不墨守，茶作青柠逍遥游”，成立于2023年9月19日的古德墨柠，专注“新中式青柠茶”，是茶颜旗下的第二个子品牌。和茶颜悦色的饮品相比，它的饮品的口感会更加清爽，很适合夏天。古德墨柠设有茶肆和酒肆两个菜单，茶肆产品包括青柠乳茶等系列；酒肆菜单的产品每天16:30后上线。产品的名字诸如春眠不觉晓、碌碌有为、小事化甜、执子之手等，灵感皆取自诗经等经典作品，除此之外，产品的菜单、杯套、作品卡等小物料，都融入了中国诗词、水墨画元素。

昼夜酒馆

“昼夜诗酒茶·艺文小酒馆”，成立于2024年4月15日，这是茶颜悦色继鸳央咖啡、古德墨柠后，推出的又一子品牌，定位是艺文/诗歌为主题的休闲型兴趣小酒馆。据了解，昼夜诗酒茶的SKU多达37个，用到的茶有红茶、绿茶、乌龙茶和黄茶，目前的饮品分为鸡尾茶、鸡尾酒、大店特供三大类。昼夜诗酒茶的整体产品设计思路，是将茶与中国传统酒、西式基酒和奶基底搭配出特色茶酒。与传统的“昼咖夜酒”“昼茶夜酒”的经营模式不同，昼夜诗酒茶的含酒饮品是全时段售卖的。而且，在酒精浓度的选项中，昼夜诗酒茶做出了微、半、全酒的区分，顾客还可以在此基础上再选择清新或者浓郁的口感。酒量好与不好，白天小酌或夜晚微醺，昼夜诗酒茶都能满足。

服务理念

茶颜悦色坚持“顾客至上”的理念，为顾客考虑的很周全，向顾客承诺一项独特的服务：每个人都享有“一杯鲜茶的永久求偿权”，只要觉得不好喝，随时可以要求重做一杯。此外，店内小药箱、下雨天送伞等关怀服务，也展现出了茶颜悦色温馨的品牌形象。为了给顾客提供最合适的饮品和体验，茶颜悦色根据茶底、温度等不同，专门推出了冬季和夏季限定饮品和相应茶单。在茶颜悦色公众号，不仅有每个月的自查自纠报告——开诚布公地与顾客沟通问题、告知处理结果、不断改进，还有真情实感流露的故事分享、漫画形式呈现的日常话题等等。茶颜悦色成功打造出一个有温度、有亲切感的品牌形象，同时也增强了用户粘性和忠诚度。

问题 1.茶颜悦色是什么时候注册的？

2.茶颜悦色的第一家店开在哪里？

3.茶颜悦色的品牌定位是什么？

4.谁是茶颜悦色的创始人？

5.茶颜悦色有几种店型？分别是哪几种？

6.你认为茶颜悦色好喝吗？如果是的话，那你最喜欢的是哪款？

参考文献

Aimee, FoodTalks(2024.1.22) 《什么是茶颜悦色？曾7年不出湖南，把奶茶店做成国风艺术馆》 https://www.foodtalks.cn/news/50865

茶颜悦色官网

搜狐新闻网（2024.4.28）《茶颜连开7家“小酒馆”！茶酒新模式，产品逻辑我已经看懂了》 https://www.sohu.com/a/774842812_286549

Dai Zhen | Opera：Flower-drum Opera

Opera： Flower-drum Opera

Introduction

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

Origins and Historical Development

1.Early Beginnings

Flower-Drum Opera can trace its roots back to the Song Dynasty (960-1279 AD), but it gained significant popularity during the Ming (1368-1644) and Qing (1644-1912) Dynasties. Initially, it was a form of folk entertainment performed during festivals and agricultural celebrations. The opera's name derives from the flower-drum, a simple percussion instrument used by performers to set the rhythm and accompany their singing and dancing.(Zhang, 2008, p. 27)

2.Evolution Through Dynasties

Throughout the Ming and Qing Dynasties, Flower-Drum Opera underwent significant changes. It evolved from a purely vocal and dance performance into a more structured form of theater, incorporating elements of drama and storytelling. This period also saw the introduction of more sophisticated musical instruments and elaborate costumes, enhancing the overall performance quality(Wang, 2012, p. 52).

3.Regional Variations

Different regions in China developed their own unique styles of Flower-Drum Opera, reflecting local dialects, customs, and cultural influences. For instance, the Anhui Flower-Drum Opera is known for its humorous and lively performances, while the Hunan style is characterized by its emotional depth and intricate musical compositions. These regional variations enriched the art form, making it a diverse and vibrant component of Chinese cultural heritage(Sun, 2015, p. 48).

Cultural Significance

1.Reflection of Rural Life

Flower-Drum Opera has always been closely tied to the lives of rural communities. Its themes often revolve around agricultural activities, rural love stories, and social issues faced by villagers. Through its performances, the opera provides a glimpse into the everyday lives, struggles, and joys of rural China, preserving a valuable cultural narrative that might otherwise be lost in the rapidly modernizing society(China Daily, 2021).

2.Medium of Social Commentary

Beyond entertainment, Flower-Drum Opera has served as a medium for social commentary. Historically, it has been used to address social injustices, critique corrupt officials, and promote moral values. By presenting these themes in a relatable and engaging manner, the opera has played a crucial role in educating and influencing public opinion, particularly in rural areas where literacy rates were traditionally low(Sun, 2015, p. 53).

3.Preservation of Language and Tradition

The use of local dialects and traditional folk tunes in Flower-Drum Opera helps preserve linguistic diversity and cultural traditions. As China becomes more urbanized and standardized, these regional characteristics face the risk of fading away. Flower-Drum Opera acts as a cultural repository, keeping these elements alive for future generations (Zhang, 2008, p. 38).

Artistic Elements

1.Music and Instruments

The musical component of Flower-Drum Opera is integral to its appeal. Traditional instruments such as the flower-drum, erhu (a two-stringed fiddle), and dizi (a bamboo flute) create a distinctive soundscape. The melodies are often simple yet evocative, designed to complement the vocal performance and convey the emotional tone of the story(Wang, 2012, p. 64).

2.Dance and Movement Dance and movement are essential components of Flower-Drum Opera. The choreography is typically based on traditional folk dances, incorporating elements such as rhythmic footwork, expressive hand gestures, and coordinated group movements. These dances not only enhance the visual appeal of the performance but also help to tell the story and express the emotions of the characters(Sun, 2015, p. 51).

3.Costumes and Makeup

Costumes in Flower-Drum Opera are often colorful and elaborate, reflecting the characters' roles and social status. Traditional clothing styles, such as hanfu (ancient Chinese dress), are commonly used, with added embellishments to create a dramatic effect. Makeup is also an important aspect, with performers using bold colors and patterns to highlight their facial features and convey their characters' personalities(Wang, 2012, p. 58).

Modern Adaptations and Influence

1.Revival Efforts

In recent years, there have been concerted efforts to revive and promote Flower-Drum Opera. Cultural organizations and local governments have launched initiatives to document and preserve traditional performances, train new performers, and organize festivals and competitions. These efforts have helped to bring Flower-Drum Opera back into the public eye and ensure its continued relevance(China Daily, 2021).

2.Integration with Contemporary Arts

Flower-drum opera has also influenced contemporary performing arts in China. Elements of its music, dance, and storytelling techniques have been incorporated into modern theater, film, and television productions. This fusion of traditional and contemporary elements has created new artistic expressions and expanded the audience for Flower-Drum Opera(Asia Society, 2020).

3.Global Recognition

The cultural significance of the Flower-Drum Opera has been recognized globally, with performances staged in various countries and international cultural exchanges. This global exposure has not only introduced the art form to new audiences but also fostered cross-cultural understanding and appreciation of Chinese heritage(The New York Times, 2019).

Challenges and Future Prospects

1.Decline in Popularity

Despite the efforts to revive Flower-Drum Opera, it faces challenges in attracting younger audiences. The fast-paced, technology-driven lifestyle of modern society contrasts sharply with the slow, deliberate pace of traditional opera. As a result, younger generations may find it difficult to relate to or appreciate the art form(The Guardian, 2020).

2.Adaptation to Modern Tastes

To remain relevant, Flower-Drum Opera must adapt to contemporary tastes while preserving its core elements. This could involve incorporating modern themes, experimenting with new musical styles, or using multimedia technology to enhance performances. Balancing tradition with innovation will be key to the future success of Flower-Drum Opera(Asia Society, 2020).

3.Role of Education

Education plays a crucial role in preserving and promoting Flower-Drum Opera. Integrating the art form into school curriculums, offering workshops and training programs, and creating educational materials can help raise awareness and interest among young people. By fostering an appreciation for traditional arts from a young age, we can ensure that Flower-Drum Opera continues to thrive(Sun, 2015, p. 56).

Conclusion

Flower-Drum Opera is a testament to the rich cultural heritage of China. Its origins in rural communities, its evolution through centuries, and its role in reflecting and shaping social values highlight its significance as both an artistic and cultural phenomenon. While it faces challenges in the modern era, efforts to preserve and adapt Flower-Drum Opera offer hope for its continued relevance. By embracing both tradition and innovation, Flower-Drum Opera can continue to enchant audiences and preserve a vital piece of Chinese cultural history for future generations(Zhang, 2008, p. 45).

References

Zhang, X. (2008). Traditional Chinese Opera: History and Performance. Beijing: Foreign Language Press. (Zhang, 2008, pp. 27, 38, 42, 45)

Sun, J. (2015). The Role of Flower-Drum Opera in Rural Chinese Society. Journal of Chinese Cultural Studies, 22(3), 45-59. (Sun, 2015, pp. 48, 51, 53, 56)

Wang, H. (2012). The Evolution of Chinese Folk Music. University of California Press. (Wang, 2012, pp. 52, 58, 64)

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

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

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

The Guardian. (2020). Traditional Arts in Modern China: The Revival of Flower-drum

Questions

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

Terms and expressions

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

花鼓戏

介绍

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

起源与历史发展

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

文化意义

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

艺术元素

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

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

挑战与未来展望

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

结论

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

问题

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

Liu Xinyu | traditional festivals：Shangsi Festival

Brief Introduction

According to legend, March 3rd marks the birthday of Huang Emperor. In ancient China, there's a saying: "On the second day of the second lunar month, the dragon raises its head; on the third day of the third lunar month, Xuanyuan is born."

The Shangsi Festival, a Chinese traditional festival, is important in ancient times and is also called Sanyuesan(March 3rd), Girls' Day, Spring Bathing Festival and China's Valentine's Day. It can be traced back to the pre-Qin period, and the date was determined as the third day of the third lunar month during the Cao Wei period. The festival gradually became more entertaining during the Wei and Jin periods. During the Tang Dynasty, with its prosperous economy and flourishing culture, the Shangsi Festival reached its peak. However, it gradually declined after the Song Dynasty. Customs of the festival include "Fu Xi" (ritual cleansing to ward off disasters), “Qu Shui Liu Shang” (floating wine cups along winding streams), and going out to enjoy the spring scenery and so on.[1]

Custom

During the Shangsi festival, many activities are held to celebrate and express pretty wish. Here are the activities:

"Fu Xi"(祓禊)

"Fu" (祓) refers to eliminating illness and misfortune, while "Xi" (禊) refers to cleansing the body. Therefore, "Fu Xi" refers to the practice of washing the body to ward off disasters and illnesses, and to pray for blessings and well-being. In ancient times, people often went to the water's edge on this day for "Panyu" (畔浴). They would apply a mixture of fragrant plants, herbs, and dyes, similar to today's bath gels, to their bodies before washing it off with river water.[2]

Besides washing and cleansing, “Fu Xi” also refers to a ritual with elements of witchcraft. It can date back to the pre-Qin period and was led by specialized shamans during the Western Zhou period. In Han Dynasty, both royalty and commoners performed water rituals to cleanse themselves of bad luck and illness, praying for health and good fortune. In addition to the purification rituals, grand banquets were also held. Initially, these purification ceremonies had strong elements of witchcraft, but they gradually became more recreational over time.[3]

“Qu Shui Liu Shang”(曲水流觞）

People followed the custom since Wei and Jin, gathering around a little stream and floating a wine cup to drink and compose. （Yu.J）They would place wine cups in the water, allowing them to float downstream. Whoever had a cup stop in front of them was required to compose a poem on the spot; failure to do so resulted in a penalty of drinking a cup of wine. In Chinese, “Qu Shui”(曲水) means that little stream, “Liu”(流) means floating and “Shang”(觞) means that wine cup.[4]

Floating Dates and Eggs

During the celebration, people first boil chicken, duck, or goose eggs and dye them in various colors. These colorful eggs, along with dates, are then placed in the water to float downstream. People would station themselves at different spots along the stream, and whoever had the eggs or dates float near them would retrieve and eat them. This activity was known in ancient times as "Qu Shui Fu Su Luan" (曲水浮素卵) and "Qu Shui Fu Jiang Zao" (曲水浮绛枣).

In ancient China, eggs symbolized pregnancy, while dates ("zao" in Chinese) were a homophone for "early" ("zao"早). Thus, "floating eggs" and "floating dates" conveyed people's wishes for a happy marriage and the early birth of noble children.[2]

Spring Outings

Whenever the Shangsi Festival arrived, it marked an excellent time for spring outings. People went out, bathing and holding rites and ceremonies, playing with waters, appreciating beautiful flowers, and drinking around winding streams; Additionally, they engaged in physical activities such as swinging and jumping rope. So crowded with people and vehicles in such impressive parades was the whole city, and people were bathed in happiness and joy as such that they forgot to return home.[4]

During the Tang Dynasty, the outings of noblewomen on the Shangsi Festival were particularly distinctive. When they encountered famous flowers along their way, they would sit on the ground to enjoy them. A common pastime was "Dou Baicao" (斗百草), a competition fighting using the grass to see who could find the most resilient grass.[2]

Dating of Men and Women

The Shangsi Festival is also known as China's Valentine's Day because the purification and outing activities on this day provided opportunities for young men and women to meet. They would gather by the water, exchanging flowers and plants to express their love.

Sacrifices to Gao Mei(高禖)

In ancient times, sacrificial ceremonies often took place in suburb region, hence Gao Mei was also called Jiao Mei (郊禖) with "Mei" (禖) being synonymous with "matchmaker" (媒). Gao Mei is believed to be the deity in charge of fertility and reproduction. Initially depicted as a pregnant adult woman, people conducted sacrifices to Gao Mei to pray for offspring.

Eating Leaf Mustard

On the Shangsi Festival, people traditionally eat leaf mustard porridge and boiled eggs with leaf mustard. In Chinese, leaf mustard sound similar to "gathering wealth" (聚财) and "auspicious vegetables" (吉菜), implying abundant wealth and good fortune. This tradition is still remained in many places today.

Terms and Expressions

1. On the second day of the second lunar month, the dragon raises its head; on the third day of the third lunar month, Xuanyuan is born." 二月二，龙抬头；三月三，生轩辕 2. Girls' Day 女儿节 3. Spring Bathing Festival 春浴日 4. leaf mustard 芥菜

Questions

1. What are some alternative names for the Shangsi Festival? 2. What did participants have to do if a wine cup stopped in front of them during “Qu Shui Liu Shang”? 3. What activities were commonly undertaken during spring outings on the Shangsi Festival? 4. What did people pray for during sacrifices to Gao Mei?

References

[1]孙欢Sun Huan,韩宏韬Han Hongtao.唐代上巳节习俗考论[J].河南科技大学学报(社会科学版),2023,41(06):103-108.DOI:10.15926/j.cnki.hkdsk.2023.06.015. [2]三月三，上巳节 | 中国古代最浪漫的节日。．澎湃新闻．2021-04-14 [3]王玥Wangyue.广西“壮族三月三”生态审美研究[D].广西民族大学,2023.DOI:10.27035/d.cnki.ggxmc.2023.000008. [4]Yu, J. (2013, October). Research on the Customs of festival sports entertainment in Tang Dynasty from Angles of Poems and Proses. In International Academic Workshop on Social Science (IAW-SC-13) (pp. 587-591). Atlantis Press.

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

A brief introduction

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

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

Histor Headline textical Development

In the traditional era, the etiquette was strict. Many women were unwilling to be abused and were determined not to marry. They supported each other with their female companions until old age. Around the end of the Ming Dynasty and the beginning of the Qing Dynasty, the development of mulberry planting and silkworm breeding in Shunde, Guangdong Province was increasingly prosperous. Women gradually gained the economic ability to support themselves through mulberry planting, silkworm breeding, and silk reeling, which had never happened in the past society; and during this period, unmarried women would comb a long braid and hang it behind their backs, waiting for their mothers or female elders to tie it into a bun for them when they got married.

In the turbulent times, some of these women who were able to support themselves, in order to be able to control their own destiny and no longer become passive victims of blind marriage, they then used specific rituals to bun their hair up like married women to show that they would never marry and live alone until old age.

This custom of self-combing has also spread from Shunde to the Pearl River Delta.

Reasons why women comb themselves

1.Their thoughts

They regard marriage as a fearful path. In the past, it was not easy for a woman to be a daughter-in-law. She not only had to serve her parents-in-law, support her husband and raise children, but also do housework and farm work. She also had to be annoyed by her parents-in-law, husband, and sisters-in-law. They had heard and witnessed it since childhood, and they always shuddered. In addition, they are often influenced by single and self-reliant self-grooming girls. Therefore, many girls have been dating since they were teenagers.

2.The blind marriage and dumb marriage at that time

The husband had never met him before, and he had no idea of ​​his character and talents until he lifted the veil. This was like a gambling marriage, and many women at that time would rather comb themselves than marry rather than rush into marriage.

3.Traditional customs

In the past, there was a traditional concept in Shunde that "it is inconvenient to block the head, and it is unlucky to cross the head." At that time, the marriage time of brothers and sisters was strictly in the order of eldest and youngest. The so-called "blocking the head" means that the brother and sister cannot get married on time, causing the younger brother and sister to miss the wedding date; "crossing the head" means that the younger brother and sister marry before the older brother and sister. Both "blocking the head" and "crossing the head" were criticized at the time. Therefore, when the girls in the family grow up and do not want to get married or are not yet married, but do not want to affect the marriage of their younger siblings, they have no choice but to groom themselves. Because combing one's back is already regarded as a marriage, the marriage of the younger brother and sister does not count as "crossing the head."

4.Poor family

Parents need to leave their daughters to help with farm work and housework. Some girls, because their parents died early or were frail and sick, and their siblings were young, were persuaded by their relatives not to get married, but to stay and maintain everything at home.

5.Self-reasons

There are many girls who work in silk reeling factories day and night. They are busy reeling silk all day long and do not have much time to think about life-long events. When they come up with this idea, they find that they have entered the ranks of older youths, and they do not want to If you spend too much time talking about marriage, you might as well just pull your hair and comb it. Of course, there are also some ugly and physically disabled women who are not favored by anyone, so they have no choice but to groom themselves and not marry.

The process of self-combing:

Self-combing is related to a girl's life. Although this is the girl's own choice, her family regards it as a major family matter. Self-combing is an important ritual for a girl to enter another stage of her life. Therefore, both her family and the girl themselves pay great attention to the process and details of the ritual.

1.Before combing

After the girl told her parents and obtained their consent, the parents asked someone to choose an auspicious day to hold the self-combing ceremony. Before combing herself, after bathing in boiling water soaked in yellow leaves, the girl, accompanied by her close sisters, would go to the nunnery or invite nuns to come to her home to chant sutras and solve problems. Of course, brand-new clothes, shoes and socks, combs, mirrors, red headbands, live roosters, roasted pork, fruits, gold ingots, incense candles, etc. must be prepared in advance. Girls lay out their clothes, sacrifices, burn incense and candles in front of the gods or Guanyin, kneel three times and kowtow nine times, swearing not to marry and to stay together forever. Then the self-combed girl untied the girl's long black hair that she had kept since childhood. First, the girl herself used a comb to comb the hair on her forehead three times, silently praying to herself and her whole family to be safe and sound.

2.In combing

Then the self-combing girl combed her hair with a comb and put it into a bun while chanting: "One comb for blessing, two combs for longevity, three combs for freedom, four combs for innocence, five combs for a strong heart, six combs for no wear or rot. , Seven combs make everything go smoothly, Eight combs and golden orchid sisters fall in love, Nine combs and nine nines become one, Ten combs never marry." During the process of combing their hair, the girls closed their eyes and fell into meditation, letting the fragrance and whispers linger around their bodies and ears... From then on, they lived a life of "combing their own hair, cooking their own food, and enjoying their own joys and sorrows". , the life of a self-grooming girl, she can raise her own life by herself.

3.After combing

After combing her hair into a bun, the newly combed girl puts on the new clothes that were sacrificed to the Bodhisattva, thanks the gods for their grace, and then accepts the blessings from the sisters. On the evening of that day, wealthy families usually entertain guests and serve wine to congratulate them, just like marrying a daughter, which is very lively. For families that do not want to hold a banquet, the old aunt will deliver the sacrifices and distribute them to relatives and friends, like wedding candies, as a reminder.

Taboos of Chastity

Arranged marriages were popular in traditional Chinese society. Marriages arranged by parents often failed to make the women happy, but men could take concubines, and society was more tolerant of men having affairs. Women, however, had to be faithful to their husbands after marriage, and could not find another lover even if they had a bad relationship with their husbands. Traditionally, women could not continue to be wives and were often seen as losing money. Many women became victims of marriage transactions, especially in the lower classes of society. As a result, the practice of combing one's hair became popular in the Pearl River Delta. Once a woman combed her hair, her parents could not force her to marry. Therefore, most parents strongly opposed their daughters combing their hair. At the same time, they could not regret it and had to remain chaste. They were not allowed to fall in love with men or have sex, otherwise they would be beaten or even be lynched by villagers by being drowned in a pig cage.

Today

Since the Xinhai Revolution and the establishment of the Republic of China, free love has gradually been accepted by society. However, some areas with more conservative customs, including some rural areas in the Pearl River Delta, still practice arranged marriages, so the custom of combing one's hair has continued. Around the 1930s, the silk industry in mainland China collapsed. The combed women could no longer make a living by working in the silk industry, so they came to Hong Kong to work as "self-combed housemaids", or "majie". The Seven Sisters in the eastern part of North Point, Hong Kong today are also based on the combed women. After the founding of the People's Republic of China, the traditional arranged marriage system and customs were completely abolished, and the custom of self-combing disappeared. Some self-combed women chose to return to their hometowns to live and retire with their relatives.

Film and TV works related to the self-combed woman

Film：Intimates

"Intimates" is a drama film released by Beijing Chengtian Jiahe Film and Television Production Company on October 24, 1997. The film is directed by Zhang Zhiliang and starred by Carina Lau and Charlie Young. The film tells the story of the young Yihuan who chooses to comb her hair and never get married, but falls in love with Yuhuan by accident and is forced to be separated for fifty years in the war.

Documentary：Sonorous Collection: Self-Grooming Girl

It is a documentary directed by Leung Miu-ha in Hong Kong, China.

Terms

One comb for blessing 一梳福

two combs for longevity 二梳寿

hree combs for freedom 三梳自在

four combs for innocence 四梳清白

five combs for a strong heart 五梳坚心

six combs for no wear or rot 六梳无穿无烂

Seven combs make everything go smoothly 七梳一帆风顺

Eight combs and golden orchid sisters fall in love 八梳金兰姐妹相爱

Nine combs and nine nines become one 九梳九九归一

Ten combs never marry” 十梳终身不嫁

the Pearl River Delta 珠三角

blocking the head 阻头

crossing the head 跨头

kneel three times and kowtow nine times 三跪九叩

Taboos of Chastity 守贞禁忌

remain chaste 守贞

being drowned in a pig cage 浸猪笼

Questions

1.Where and when did the phenomenon of self-combing first originate?

2.What is the significance of self-combing in Chinese female culture?

3.Considering the increasing number of independent women in today's society and the decreasing birth rate, what do you think about women choosing not to get married?

4.If you were a girl, do you think this kind of thought needs to be promoted in today's world? If you were in the era of the self-combed girls, would you choose to do it yourself?

Reference

https://www.thepaper.cn/newsDetail_forward_15484459

https://zh.wikipedia.org/wiki/%E8%87%AA%E6%A2%B3

https://baike.baidu.com/item/%E8%87%AA%E6%A2%B3%E5%A5%B3/10548282

https://www.bilibili.com/video/BV19Y4y1X7Ge/?spm_id_from=333.788.recommend_more_video.7

Wang, L.J.: On the Study of the Self-Bunning Ladies. pp. 66–67 (2011)

李宁利.自梳女的"婚嫁"象征[J].民族研究, 2004(5):10.DOI:10.3969/j.issn.0256-1891.2004.05.005.

简介

自梳女，作为珠三角一种奇特的风俗和古老的现象，一直受到社会各界的高度关注。在自梳女的重要发源地--珠三角，她不仅是一种本地民俗的长期存在，更是近代中国女性寻求身心自由，独立自主的一种特殊表现形式。

在近代中国发展的历史过程中，她们几乎耗尽自己的青春、智慧、心血，用双手为家乡、为地区撑起一片天空。虽然梳起是告别对婚姻的束缚，用自由换取时代的换缪与制度的不公，但她们从没怨天尤人，反而自梳女的自尊、自重、自强、自立的品质一直影响其后人。

发展历史

20世纪30年代，珠江三角洲地区蚕丝业衰落，这一带的年轻女性听说到南洋打工收入丰厚，遂结伴前往。许多女性在南洋打工多年，也没有谈婚论嫁，到五六十岁时，拜祭天地成为自梳女，因而她们也是中国最后一批自梳女。

过去“自梳”具有特定的仪式，先由村中族人选择良辰吉日，待吉时一到，便请村里德高望重的婶母、伯娘主持祭祖，然后举行“梳髻”仪式，自梳女将自己的辫子挽成发髻，表示永不嫁人。仪式当日，还须摆上几桌酒席宴请亲朋，以示公众。

辛亥革命和中华民国成立，封建制度和习俗被彻底破除，自梳风俗已经式微。到了民国初年，整个中国的丝业崩溃，自梳女无以维生，部分人便去香港当“自梳住家女佣”，即妈姐；现香港北角东部的七姊妹，也是沿于自梳女。 

自梳原因

1.思想上

首先是视婚姻为畏途。昔日女子做人家媳妇十分不易，既要侍候公婆，相夫教子，又要操劳家务农活，更要受公婆、丈夫、妯娌姑嫂的气，她们从小耳闻目睹，每每不寒而慄。

2.盲婚哑嫁

丈夫素未谋面，也不知人品才学，直到揭开面纱才得一睹，这如同赌博的婚姻，令当时不少女子宁愿自梳不嫁也不敢贸然跨向婚姻。

3.传统风俗

昔日顺德一带有“阻头不便，跨头不祥”的传统观念。当时，兄弟姐妹结婚时间严格按照长幼顺序进行。所谓“阻头”，就是兄姐不能按时婚娶导致弟妹婚期廷误;“跨头”，就是弟妹嫁娶先于兄姐。“阻头”和“跨头”在当时都为人所诟。因此，家中女孩子成年后，不想出嫁或尚未婚配，但又不想影响弟妹婚事，只好自梳。因为梳起已被视作出嫁，弟妹结婚也就不算“跨头”。

4.家境贫寒

父母需留女儿帮助料理农活和家务。有一些女孩则因父母早丧或体弱多病，弟妹年幼，在亲人劝说下自梳不嫁，留下来维持家中一切。

5.自身原因

此外，还有不少日夜在缫丝厂工作的女孩，整天忙于缫丝，没有太多时间去考虑终身大事，待到萌动此念时，却发现自己已进入大龄青年行列，她们也就不想花太多时间去谈婚论嫁，干脆相与挽发自梳。当然，也有一些貌丑体残的女子，乏人青睐，也只好自梳不嫁。

自梳过程

1.自梳前

女孩告诉父母并征得他们同意后，家长便请人选择吉日举行自梳仪式。自梳前，用浸过黄皮叶的开水沐浴净身后，这女孩就在知心姊妹陪同下前往庵庙或请尼姑到家念经解难。当然早早准备好的簇新衣衫、鞋袜，梳镜、红头绳、活公鸡、烧猪肉、水果、元宝、香烛等须一应俱全。女孩在神灵或观音前摆开衣物、祭品、燃香点烛，三跪九叩，发誓终身不嫁，盟守不贰。然后由已梳起的自梳女解开这位少女从儿童时代一丝一缕留起的长长青丝，先是由女孩自己用梳子在前额头发上梳三下，暗暗默念保佑自己和全家大小安平无灾，发髻梳好后，新自梳女便换上祭过菩萨的新衣，叩谢神恩，然后接受姐妹们的祝福。当天晚上，殷实家庭一般会宴请宾客，摆酒祝贺，形同嫁女，十分热闹。不愿设宴的家庭，则由老姑婆代送祭品，分派亲友，如同喜糖，以作知照。

2.自梳

然后由自梳女一边用梳子梳着头发并盘起髻子，一边念念有词:“一梳福，二梳寿，三梳自在，四梳清白，五梳坚心，六梳无穿无烂，七梳一帆风顺，八梳金兰姐妹相爱，九梳九九归一，十梳终身不嫁。”。梳发过程中，女孩闭目入定，让袅袅香和喃喃细语在身上耳畔萦绕……从此，她们就过上“自己的头发自己梳，自己的饭自己煮，自己的苦乐自己享，自己的生活自己养”的自梳女生活。

3.自梳后

发髻梳好后，新自梳女便换上祭过菩萨的新衣，叩谢神恩，然后接受姐妹们的祝福。当天晚上，殷实家庭一般会宴请宾客，摆酒祝贺，形同嫁女，十分热闹。不愿设宴的家庭，则由老姑婆代送祭品，分派亲友，如同喜糖，以作知照。

守贞禁忌

中国传统社会中流行包办婚姻，由父母安排的婚事往往未能令其自身得到幸福，但男性可以纳妾，且社会对男性外遇较为宽容，女性婚后却要从一而终，即使与丈夫关系欠佳也不能另觅所爱，而女性传统上不能继后香灯，常被视为赔本货，不少女性沦为买卖婚姻的牺牲品，在社会低下层情况尤其严重。遂出现自梳这行为在珠江三角洲风行，女人一旦自梳后，其父母也不能强迫其出嫁，因此大部分父母都强烈反对女儿自梳；同时亦不能反悔，亦要守贞，不容许与男性恋爱或发生性行为，否则会遭毒打，甚至被乡亲以浸猪笼等私刑处死。

当今现状

自辛亥革命的发生和中华民国的建立，自由恋爱逐渐被社会接受，但仍有些民风较为保守的地区包括珠江三角洲一些农村地区仍然盛行包办婚姻，因此自梳习俗仍然持续。到了1930年代左右，整个中国大陆的丝业崩溃，自梳女无法再以从事丝绸业维生，便纷纷到港当“自梳住家女佣”，即妈姐。今日的香港北角东部的七姊妹，也是沿于自梳女。至中华人民共和国成立后，传统包办婚姻制度和习俗彻底破除，自梳这风俗才消失，部分自梳女选择回到家乡与亲戚共同居住和养老。

影视作品

电影：《自梳》

《自梳》是北京成天嘉禾影视制作公司于1997年10月24日上映的剧情片，该片由张志良执导，刘嘉玲、杨采妮主演，影片讲述的是自梳女子的青年逸欢选择终身不嫁，却意外爱上玉环，并在战乱中被迫相隔五十年的故事

纪录片：铿锵篇：自梳女

这是一部由梁妙霞导演的中国香港纪录片

术语

One comb for blessing 一梳福

two combs for longevity 二梳寿

hree combs for freedom 三梳自在

four combs for innocence 四梳清白

five combs for a strong heart 五梳坚心

six combs for no wear or rot 六梳无穿无烂

Seven combs make everything go smoothly 七梳一帆风顺

Eight combs and golden orchid sisters fall in love 八梳金兰姐妹相爱

Nine combs and nine nines become one 九梳九九归一

Ten combs never marry” 十梳终身不嫁

the Pearl River Delta 珠三角

blocking the head 阻头

crossing the head 跨头

kneel three times and kowtow nine times 三跪九叩

Taboos of Chastity 守贞禁忌

remain chaste 守贞

being drowned in a pig cage 浸猪笼

问题

1.自梳这一现象最早起源于哪里，什么时候？

2.在中国女性文化中，自梳这一现象在其中有什么重要意义？

3.结合当今社会越来越多的独立女性这一现象，以及越来越低的出生率，你对女性选择不结婚有什么看法？

4.如果你是女生，你认为当今世界需要宣传这类思想吗？当你处于自梳女的那个时代，你会选择自梳吗？

参考

https://www.thepaper.cn/newsDetail_forward_15484459

https://zh.wikipedia.org/wiki/%E8%87%AA%E6%A2%B3

https://baike.baidu.com/item/%E8%87%AA%E6%A2%B3%E5%A5%B3/10548282

https://www.bilibili.com/video/BV19Y4y1X7Ge/?spm_id_from=333.788.recommend_more_video.7

Wang, L.J.: On the Study of the Self-Bunning Ladies. pp. 66–67 (2011)

李宁利.自梳女的"婚嫁"象征[J].民族研究, 2004(5):10.DOI:10.3969/j.issn.0256-1891.2004.05.005.

Zhou Li | Cuisine：Dong'an chicken：The Premier Dish of Hunan Cuisine

Dong'an Chicken is a traditional dish from Hunan province. Originating from Dong'an County in Hunan, it was originally called Vinegar Chicken and has been listed as one of the national banquet dishes and is considered the foremost of the eight famous Hunan dishes. Authentic Dong'an Chicken features a bright color, tender meat, a tangy and spicy flavor, and a rich aroma. It is rich in nutrients and offers an exquisite blend of six flavors: fragrant, sweet, sour, spicy, tender, and crispy. The dish is appetizing without being greasy and remains delicious even after multiple servings.

A.The Origin and development of Dong’an Chicken

Dong'an Chicken evolved through three dynasties before becoming famous. During the Western Jin Dynasty, it was called "Mature Vinegar Chicken". In the first year of Yongxi (290 AD), the county magistrate of Yingyang County mistakenly added aged vinegar to chicken at a banquet, enhancing its flavor with pepper and ginger. This "Mature Vinegar Chicken" recipe spread among the people.

In the late Qing Dynasty, it was known as "Guanbao Chicken." Xi Baotian(席宝田), a Hunan Army general, was honored for his efforts in suppressing the Taiping Rebellion and the Miao uprising in Guizhou. During a visit by Zeng Guofan, Zuo Zongtang, and Liu Kunyi, Xi's chef added aged tofu juice to "Mature Vinegar Chicken," which was highly praised. Zeng Guofan suggested naming it "Guanbao Chicken," and the name became established in the imperial court.

During the Republic of China period, it was called "Dong'an Chicken." After the success of the Northern Expedition in 1926, Tang Shengzhi celebrated with a banquet in Nanjing, serving "Guanbao Chicken" prepared by his private chef from Wuji Bridge(伍家桥). His colleagues praised the dish, and Tang Shengzhi named it "Dong'an Chicken." The dish gained popularity through Tang Shengzhi's social connections.

In 1972, during U.S. President Nixon's visit to China, Chairman Mao hosted a banquet featuring Dong'an Chicken, which Nixon praised highly. The dish soon spread to Southeast Asia, North America, and other regions, becoming part of the state banquet menu and one of the top eight Hunan dishes.[1] Dong'an Chicken has left numerous marks in the long history of China's extensive culinary culture. Its survival and continued popularity over millennia are due to its inherent inclusiveness and continuous innovation. This adaptability has allowed it to avoid being lost in the tides of history.

B.The process of cooking Dong’an Chicken

Dong'an Chicken is known for its strict ingredient selection and precise cooking techniques, reflecting the meticulous nature of traditional Chinese cuisine. While there are slight regional variations in its preparation, the main steps remain consistent.

Ingredients: Hen, Dong'an Chicken white vinegar, oil, young ginger, red pepper, small chili pepper, Sichuan peppercorns, salt, green onions, MSG, cooking wine.

1)Slice the young ginger and red pepper into thin strips, and cut the small chili peppers into rings;

2)In a pot, add water and cooking wine. Bring to a boil, then add the whole chicken. Cook until it's 80% done (insert a chopstick into the thickest part of the chicken leg; it should come out with a hint of blood); 3)Remove the chicken and place it in cold water to cool. Once cooled, drain and cut the chicken into pieces. Skim off the foam from the cooking broth and set it aside;

4)Heat oil in a pan, then add ginger strips and Sichuan peppercorns, frying until fragrant. Add the chicken pieces and stir-fry over high heat;

5)Pour Dong'an Chicken white vinegar around the edge of the pan and stir-fry to incorporate the flavors. Then, add the reserved chicken broth, enough to cover the chicken;

6)Once the broth comes to a boil, add salt and MSG, stirring to mix. Cover the pan and simmer for 5 minutes;

7)Finally, add the red pepper strips, stir-fry until the sauce thickens, and sprinkle with chopped green onions.

The enabling Dong'an Chicken offers a rich and layered taste experience: the first bite is tangy, the second is spicy, and the third is numbing. It is tangy and spicy, with a complex texture: the spiciness of the ginger, the numbing sensation of the Sichuan pepper, and the tanginess of the white vinegar blend together, creating a fragrant and crispy dish.

C. Dong’an Chicken and health

1)The main ingredient of Dong'an Chicken is chicken meat, which is rich in protein and other nutrients, and is very easy to digest. It has certain health benefits and can help strengthen the body. Additionally, chicken meat contains other nutrients beneficial to the human body and can effectively improve symptoms such as malnutrition, cold hands and feet, susceptibility to cold, physical weakness, and anemia;

2)This dish primarily has a tangy and spicy flavor, thanks to the addition of chili peppers and Dong'an Chicken white vinegar. Dong'an Chicken white vinegar is a grain-based product that is highly nutritious, containing abundant vitamins, amino acids, and other nutrients beneficial to the human body. It is helpful in preventing cardiovascular and cerebrovascular diseases;

3)Although chili peppers are spicy, they have a stomachic and digestive function and are rich in vitamins. They help in preventing gallstones. Regular consumption of chili peppers can promote blood circulation and improve heart function.[2]

D.The delicious chicken in different areas

Chicken is often seen as a symbol of "luck" or "auspiciousness" and is closely associated with Chinese cuisine. It is typically a main dish in important occasions, and different regions have their unique ways of preparing it, such as Dezhou Braised Chicken, Kung Pao Chicken, and White Cut Chicken.[3]

1)Dezhou Braised Chicken, also known as Dezhou Five-Spice Boneless Chicken, is a classic dish of Shandong cuisine. Its origin dates back to the late Yuan and early Ming dynasties when "roast chicken" first appeared on the market, characterized by its reddish color and tender, flavorful meat. In ancient times, chicken was a precious commodity, and roast chicken was a delicacy for the nobility, serving as the prototype for Dezhou Braised Chicken. The dish underwent continuous improvements until the 31st year of the Kangxi reign (1692 AD), when a roast chicken vendor named Jia accidentally overcooked the chicken. Unable to waste it, he decided to sell it on the street. Surprisingly, the overcooked chicken, with its tender meat and flavorful, chewable bones, became highly popular. An old scholar named it "Five-Spice Boneless Chicken". During the Qianlong reign of the Qing dynasty, Dezhou Braised Chicken was served as a tribute delicacy to the imperial court. After the liberation, Song Qingling often gifted it to Chairman Mao as a sign of respect. Dezhou Braised Chicken gained fame both domestically and internationally, earning the title of "The Best Chicken in the World".

2)Kung Pao Chicken was created by Ding Baozhen, the governor of Shandong. Ding, who loved spicy food, modified the Shandong dish "Soy Sauce Chicken" into a spicy stir-fry during his tenure. Later, when he served as the governor of Sichuan, he promoted this dish, creating a delicious stir-fry of diced chicken, red chili peppers, and peanuts. The dish is characterized by its rich aroma, tender meat, and bright color without excessive spiciness. After being adapted to suit foreign tastes, Kung Pao Chicken became popular worldwide.

3)White Cut Chicken, also known as White Sliced Chicken, originated in the Qing dynasty and is one of the most classic dishes in Cantonese cuisine. It is prepared by boiling the chicken in plain water without any seasoning and slicing it just before serving. The best chickens for this dish are Sanhuang Chicken, Qingyuan Chicken, and Hainan Wenchang Chicken. The finished dish has a golden color, crispy skin, tender meat, and is juicy and flavorful. The chicken is cooked by immersing it in boiling water and then cooling it in ice water, which causes the skin to contract, resulting in a crispy exterior and tender, juicy meat.

4)Beggar's Chicken, also known as Changshu Beggar's Chicken, is a traditional dish from Changshu in Jiangsu cuisine. The preparation involves wrapping the chicken in lotus leaves and mud before baking it. According to legend, during a battle led by Zhu Yuanzhang, he encountered a beggar roasting a chicken by a campfire in the woods after a defeat. Hungry and exhausted, Zhu was invited to share the chicken, which he found delicious. After becoming emperor, Zhu often had this dish prepared and named it "Prosperity Chicken".[4]

Reference

[1]http://www.da.gov.cn/da/msfq/201605/456f58011ac24ad598108c5f398980d0.shtml

[2]https://k.sina.com.cn/article_6972519913_19f9835e900100lf6i.html

[3]李志娟.“鸡”的中西文化内涵及其相关词汇的英译[J].漯河职业技术学院学报,2018,17(01):93-95.

[4]https://www.sohu.com/a/530260175_120435520#:~:text=

Terms and Expressions

Mature Vinegar Chicken 陈醋鸡

Guanbao Chicken 官宝鸡

cardiovascular and cerebrovascular disease 心脑血管疾病

auspiciousness 吉祥

Dezhou Braised Chicken 德州扒鸡

Kung Pao Chicken 宫保鸡丁

Soy Sauce Chicken 酱爆鸡丁

White Cut Chicken/White Sliced Chicken 白切鸡

Beggar's Chicken 叫花鸡

Prosperity Chicken 富贵鸡

a spicy stir-fry 辣炒菜肴

Cantonese cuisine粤菜

Jiangsu cuisine 苏菜

Sanhuang Chicken三黄鸡

Qingyuan Chicken清远鸡

Hainan Wenchang Chicken海南文昌鸡

Question

1.What is the origin of Dong'an chicken?

2.What is the origin of "Chen vinegar chicken"?

3.What is the taste of Dong'an chicken like?

4.Besides Dong'an chicken, what other chicken dishes are mentioned in the text?

东安鸡：湘菜之首

东安鸡是湖南传统名菜。此菜源于湖南省东安县，原名醋鸡，被列为国宴菜谱之一、八大湘菜之首。正宗的东安鸡，色泽鲜艳，肉质鲜嫩，酸辣爽口，肥而不腻，食多不厌，香气四溢，营养丰富，香、甜、酸、辣、嫩、脆六味俱全，口味极佳。

东安鸡的起源与发展

从出生到出名，东安鸡经历了三个朝代的演变。西晋时叫“陈醋鸡”。西晋永熙元年（290年），应阳县县令在庆典宴席上误将陈醋放入鸡肉中，加了花椒、生姜调味，反而使得味道更佳，从此“陈醋鸡”在民间传开。

清末时称“官保鸡”。湘军将领席宝田因镇压太平天国和贵州苗族起义有功，晚年称病归里。一次，曾国藩、左宗棠等到席宝田家做客，家厨在“陈醋鸡”中加了些陈年乳豆腐汁，大家吃后赞不绝口。曾国藩提议称其为“官保鸡”，此菜名从此传入宫廷。

民国时叫“东安鸡”。1926年北伐胜利后，唐生智在南京设宴庆祝，来自伍家桥的私人厨师做了一道“官保鸡”，部下和同僚大赞其美味。唐生智称其为“东安鸡”。这道菜因唐生智广交朋友，逐渐流传开来。[1]

东安鸡这道美食在源远流长的中国饮食文化的历史长河中，留下了众多的脚印，它能够历经千年，一直流传至今，这都得益于其本身的兼容并包和不断创新，也正因此，它才没有在历史的长河中被淹没。

制作东安鸡的步骤

东安鸡选材严格、火候要求高，体现了中华烹饪的严谨。虽然各地做法略有不同，但主要步骤相似。

所需食材：母鸡、东安鸡白醋、油、仔姜、红椒、小米辣、花椒、盐、小葱、味精、料酒。 1. 将仔姜、红椒切丝，小米辣切圈； 2. 锅中加水和料酒，水开后放入整鸡，煮至八分熟（用筷子插入鸡腿最厚处，拔出筷子略带血丝）； 3. 捞出鸡，放入凉水中，冷却后沥干水，改刀切块。煮鸡汤撇去浮沫，备用； 4. 热锅放油，炒香姜丝和花椒，加入鸡肉大火翻炒； 5. 沿锅边倒入东安鸡白醋，翻炒入味后，倒入鸡汤，汤汁没过鸡肉即可； 6. 汤汁煮开后，加入盐和味精，搅拌均匀，盖锅焖煮5分钟； 7. 最后撒上红椒丝，翻炒收汁，撒上葱段，即可装盘。

这样制作的东安鸡肉质紧实，口感丰富。这样做出来的东安鸡，第一口是酸酸的，第二口是辣辣的，第三口是麻麻的。酸辣爽口，口感层次丰富：仔姜的辣味、花椒的麻味与白醋的酸味，多种口味交织在一起，又香又脆。

东安鸡与健康

（1）东安鸡最主要的食材就是鸡肉，其本身含有丰富的蛋白质等营养物质，而且非常易于消化，有一定的强身健体的功效。其次鸡肉中还含有其它对人体有益的营养物质，对于缺乏营养、手脚冰凉、怕冷、身体无力、以及贫血等症状都有很好的改善作用；

（2）这道美食口感以酸辣为主，得益于其中所添加的辣椒和东安鸡白醋。东安鸡白醋本身便是由粮食制造的产品，也是营养价值极为丰富的一种调味品，其本身含有丰富的维生素和氨基酸以及其它对人体有益的营养物质，有益于预防心脑血管疾病；

（3）辣椒本身吃起来虽然辣，但有一定的健胃消食的功效，同时其本身也含有丰富的维生素，有预防胆结石的作用。经常食用辣椒可以促进血液循环，改善心脏功能。[2]

不同地域的鸡肉美食

鸡很多时候被视为“吉”，即吉祥。与中华饮食有着紧密的关联，一些非常重要的场合，餐桌上基本会有鸡这道主菜。[3]而且不同的地方有不同的做法，比如德州扒鸡、宫保鸡丁、白切鸡等等。

德州扒鸡，又称德州五香脱骨扒鸡，是鲁菜经典名菜，起源于元末明初。当时市面上出现了“烧鸡”，色泽红润、香嫩可口，成为达官贵人的美食。经过不断改进，至康熙三十一年（1692年），一个姓贾的烧鸡老板因煮过头的鸡无法浪费，便尝试售卖，意外受欢迎。鸡肉软烂味鲜，骨头酥香，被一位老秀才命名为“五香脱骨扒鸡”。清乾隆年间，德州扒鸡成为贡品。解放后，宋庆龄曾多次赠送给毛泽东，德州扒鸡因此名扬海内外，被誉为“天下第一鸡”。

宫保鸡丁由山东巡抚丁宝桢所创。丁宝桢喜欢吃辣，在山东任职时，将鲁菜“酱爆鸡丁”改为辣炒，味道美味。后来丁宝桢任四川总督时，把此菜推广，创制出将鸡丁、红辣椒、花生米爆炒而成的美味佳肴，菜品红而不辣、香味浓郁、肉质嫩滑。在国外，宫保鸡丁经改良后，享誉全球。

白切鸡，又称白斩鸡，始于清代，是粤菜中最经典的做法。烹饪时不加调味料，以白水煮制，随吃随切。白切鸡选用三黄鸡、清远鸡、海南文昌鸡为佳，成品色泽金黄，皮脆肉嫩，鲜美多汁。白切鸡用开水浸熟后投入冰水冷却，使鸡皮收缩，口感外皮脆嫩、鸡肉鲜嫩多汁。

叫花鸡，又称常熟叫化鸡，是苏菜中常熟地区传统名菜。其做法是将鸡用荷叶和泥土包裹后烘烤。据说朱元璋领军打仗时，一次败仗后途经树林，见叫花子在篝火边烤鸡。朱元璋饥饿难耐，叫花子将烤鸡与他分享，朱元璋大赞美味。后来朱元璋当上皇帝，经常命人制作此鸡，并赐名“富贵鸡”。[4]

参考文献

[1]http://www.da.gov.cn/da/msfq/201605/456f58011ac24ad598108c5f398980d0.shtml

[2]https://k.sina.com.cn/article_6972519913_19f9835e900100lf6i.html

[3]李志娟.“鸡”的中西文化内涵及其相关词汇的英译[J].漯河职业技术学院学报,2018,17(01):93-95.

[4]https://www.sohu.com/a/530260175_120435520#:~:text=

问题

1.东安鸡的原产地在哪？

2.“陈醋鸡”的来源是什么？

3.东安鸡的口感怎么样？

4.文中除了东安鸡还提到了哪些鸡肉美食？

Jin Chuanyv | Ancient Chinese Women's Culture：Nüshu（Women's Script）

Introduction

Nüshu, also known as Jiangyong woman's script, is a unique Chinese writing system. It originated in Jiangyong County, Yongzhou, southern Hunan Province, China, and is generally used to write the Jiangyong Chengguan dialect, which belongs to the Yongquan section of the Xiang language. It is a Chinese dialect syllabic script specialized for Jiangyong Nüshu (Women's Script) in Hunan Province, and was popularly passed down in the early days among women in Jiangyong County and its adjoining Dao County, the Dajao Mountains of Jianghua Yao Autonomous County, and in some parts of Guangxi Province. The visual aspect of many Nüshu characters is related to women s weaving, embroidery, and paper cutting, thus reflecting the scripts social role, in which women who have gathered to do needlework sing Nüshu poem texts expressing their celebrations and sufferings. Due to the fact that it was severely damaged during the Cultural Revolution, coupled with the development of the times and the exodus of the population, it is now on the verge of being lost.(Zhao 1998, 129)

Nüshu works are written on refined cloth handwritten books (wedding gifts), fans, cloth handkerchiefs, and pieces of paper, which are called "Sanzhaoshu", "Geshan", "Pashu", and "Zhiwen". Some of them embroidered on handkerchiefs are called "Embroidered Characters". The women here have the habit of singing and often get together to sing and teach women's script while doing needlework. Their activities of singing and learning women's script are called "Duzhi", "Dushan" and "Dupa", forming a distinctive culture of women's script.

On September 20, 2004, Yang Huanyi, the last 100-year-old natural heir of the Women's Script (the person who was immersed in the culture of the women's script and used the script in daily life exchanges for her whole life), passed away, which marked the entry of the Women's Script into the "post-Women's Script era".

In 2002, the Women's Script was included in the Chinese Archives and Documentary Heritage List.

In 2003, Jiangyong County set up a Women's Script school to train the inheritors.

In 2005, Women's Script was included in the Guinness Book of World Records as "the most gender-specific writing in the world".

In 2006, the practice of Women's Script was included in the first batch of China's National Intangible Cultural Heritage List.

In May 2007, the local government established the "Jiangyong Women's Script Ecological Museum" on Puwei Island in Jiangyong County.

In 2015, a project to protect China's language resources was launched, attempting to pilot Jiangyong County, an area where Women's Script pass through, as one of China's first dialect and cultural eco-regions.

Form and content

Most of the works in the Women's Script are sung in seven-character poems, and their carriers are divided into four categories: paper, books, fans and scarves. The content of women's works can be categorized into the following types:

1. Joyful works, such as "Sanzhaoshu" and "Kujia Song";

2. Ritual works, including memorials to recently deceased relatives and prayers to the gods;

3. Communicative works, involving letters of engagement, thanks, condolences, scolding, etc;

4. Memory works, including diaries and biographies;

5. Educational and entertainment works, including ethical works, historical stories , legends, songs and riddles, etc.;

6. Songs, such as "Chinese Women's Script".

Characteristics of Women's Script

Nüshu is essentially a syllabary, with one character essentially recording one syllable. Nüshu is a textual miracle in the history of Chinese recording, and can be considered as the earliest Hanyu Pinyin that is simpler than antiphonetic.

The strokes Women's Script are rounded, smooth, and predominantly small and delicate.Its appearance is characterized by the rhomboid-shaped outline of the characters, the beautiful and delicate handwriting, and the unique shape of the characters, which is why they are also called "mosquitoes with long feet". Nearly 2,000 characters have been collected, but only about 600 characters are actually used, excluding variant characters and misspelled words. The words are recorded in the local dialect, which means that they are read aloud or sung in the local dialect. The Jiangyong dialect is very diverse, with four, five, six and seven different tones. In the town of Shangjiangxu, where Women's Script are popular, there are 6 tones, and in the county town, there are 7 tones. Because of the differences of the dialect, it is only popular in local villages, and the local official language introduced from Guangxi is also in use. The official language of the whole county of Jiangyong is very consistent, and the official language has only 4 tones.(Li 2024, 21-23)

The characters of the Women's Script come from some of the simpler Chinese characters and have been simplified and remodeled in many ways. The strokes are simplified into 3 types: dots, straight lines and arcs.

Origin

Women's Script exists mainly because of the old Chinese mentality that local women were not allowed to read and write: what they called "men's script", so local women invented Women's Script as a way of communication between sisters and sisters-in-law. Men, on the other hand, would disdain the Women's Script as an ordinary pattern. Women's writing has existed for more than hundreds of years.

There are roughly three views on whether Women's Script is self-originated or originated from others:

1)It originated from Chinese characters;

2)It originated from Xixiawen;

3)It is a unique female writing system of the Yao people.

There are also three views on the era of the creation of Women's Script: the prehistoric engraved symbols, not earlier than the Ming Dynasty, and the Ming and Qing dynasties.

The first viewpoint testifies the origin of Women's Script from the characteristics of its font structure, pronunciation and grammatical planning, and believes that Women's Script is a relic of the evolution of ancient people's writing of the Shang Dynasty in the pre-Qin period; the second viewpoint believes that Women's Script, as a system of writing that can record language in its entirety, was produced in the Middle Ages, or even before and after the Ming Dynasty; the third viewpoint, through the study of Women's Script in terms of its history, literature, relics, content and inheritance, proposes that it originated in the Ming and Qing dynasties. Although several views have been discussed and debated many times, they are inconclusive.

There are several local legends about the origins of Women's Script that are much the same.

1. The first type

According to women's legend around Shangjiang Xu, in ancient times, a girl named Hu Yüxiu (or Hu Xiuying) from Jingtian Village was so talented and beautiful that she was chosen to be an imperial concubine in the palace. Being neglected in the palace, she wanted to write letters to her families. Afraid of being find out, she created Women's Script. She wrote this character on a handkerchief, telling the sufferings to her mother and close sisters. She asked someone to bring the handkerchief back to her hometown and told her relatives the secret to read the letter : firstly they should read it diagonally, and then understand the meaning according to the pronunciation of the vernacular. From then on this kind of writing became popular among local women. In Jingtian Village, there is the ruins of the "Imperial House of Letters" with carved beams and painted pillars. It is said that there was a plaque written by the emperor himself, "Yuxianglou", which was still there until the early 1960s, and many people in the village remember it clearly.

2. The second type

Legend has it that a long time ago, a farmer's wife gave birth to a baby girl, weighing nine catties, so she was named nine catty girl. Nine catty girl was talented since childhood, and she could do all kinds of housework. She also whimsically created Women's Script.

3. The third type

According to an elderly woman in He Yuan village of Tong Shan Ling farm, the Women's Script was passed down from Dao County. It is said that a long time ago, there was a father and two daughters gathering herbs passed by , two daughters couldn’t walk and collapsed, and the old man died here of grief. Later, people came here to pray for the disasters and illnesses, and a temple was built for the father and his daughters. Women came here to make wishes and most of them came true.There were books written by Women's Script on the shrine. After burning incense and paper, you can take a book back to read it (called "paying for a book"), and after reading it, you can exchange it for another one. The earliest Shrine women's books were not written with a pen, but were embroidered with silk threads on rolls of silk. Girls, especially those aged 15 or 16, would take a copy of the women's book and learn to recognize, sing, and write it from older women. Later they could use the book to express their heart, quietly sent to the shrine shrine, so others could read and write.

These legends about Women's Script suggest that:

1)The Women's Script glyphs are related to the needlework patterns;

2)The Women's Script glyphs are related to the square Chinese characters and may have been mutated to hide them from view;

3)The Women's Script records the local Chinese dialect;

4)The creation of Women's Script is an urgent need for women to safeguard their own interests;

5)The contents of Women's Script works are mainly complaints and are used for emotional exchanges within women. The word-of-mouth legends of the masses provide important information and reference basis for examining the origin and creation of women's books.

Discovery and protection

1. Beginning

In 1954, Zhou Shuoyi, a cadre at the Cultural Center of Jiangyong County, met Hu Cizhu, a creator of Nüshu (women's script), in Geqin Village, Shangjiangxu Town. He obtained several original Nüshu works and named them "Mosquito Script," translating and including them in the mimeographed Ten-Year Chronicle of Jiangyong County's Liberation. This was the first documented Nüshu work.

In 1956, during a provincial literary and artistic performance in Changsha, Li Zhengguang, a photographer at the Hunan Provincial Museum, saw a Nüshu couplet at Zhou Shuoyi's residence and recognized its academic value. He reported this to his superiors.

In early 1957, Zhou Shuoyi accompanied Li Zhengguang to investigate Shangjiangxu in Jiangyong County, collecting several Nüshu originals. Zhou translated some into Chinese characters. Li Zhengguang wrote an article and named the script "Women's Script," submitting it to the Chinese Language Journal, but it was not published.

In 1958, a woman from Jiangyong went to Beijing to seek her relatives, using her local dialect and Nüshu to communicate. Since no one could understand her, she attracted the attention of the police, and her writing was sent to language experts, who also couldn't recognize it.

In 1968, the Public Security Department of Hunan Province found another Yao woman’s unrecognizable writing and took it to Beijing, seeking help from teachers at Department of Chinese, Central University for Nationalities, who also couldn't identify it.

In 1979, Zhou Shuoyi returned to work at the Jiangyong County Cultural Center and was tasked with compiling the Jiangyong County Cultural Relics Chronicle. He included and revised the "Mosquito Script" article, discussing the characteristics of Nüshu.

In 1982, Zhang Guoquan and Tang Shanjun, cadres from the Publicity Department of the Jiangyong County Committee, discovered Nüshu used by local women. Tang Shanjun wrote an article named Discovery of Women's Script in Jiangyong, which was published in the Hunan Daily.

In 1983, Professor Gong Zhebing of Wuhan University, while collecting folklore in Jianghua Yao Autonomous County, read the news and went to Jiangyong for research. With Zhou Shuoyi's help, he wrote Investigation Report on a Special Script that was published in Journal of South-Central Institute for Nationalities. That year, Gong also presented a paper, Analysis of the Script of the Pingdi Yao in Jiangyong, Hunan, at the 16th International Conference on Sino-Tibetan Languages and Linguistics, introducing Nüshu to the international academic community.

In October 1984, Digest Newspaper published reported the discovery of Nüshu. Hubei TV filmed and aired a news segment on Nüshu.

In June 1985, CCTV's evening news reported the discovery of Nüshu.

In September-October 1985, The South-Central Institute for Nationalities organized a research team led by Professor Peng Yingming to investigate Nüshu and the Qianjiadong area in Jiangyong, collecting many original Nüshu pieces.

In 1986, Professor Gong Zhebing published the world's first Nüshu research monograph -- Women's Script and the Yao People of Qianjiadong. In May, CCTV broadcasted a special program -- The Unique Women's Script. The Central Newsreel and Documentary Film Studio produced the Jiangyong Nüshu film, distributed domestically and internationally. Xinhua News Agency and China News Service reported on the discovery of Nüshu, causing a significant international impact.

2. Declining

During the Cultural Revolution, a large number of works in Women's Script were destroyed. On the one hand, the authors were worried that their secret of writing in women's script would be discovered; on the other hand, many Red Guards destroyed these mysterious writings on the basis of "Breaking the Four Olds". After the Cultural Revolution, only a few works of women's writing were preserved. On the other hand, after the Cultural Revolution, as the cultural level of women improved, women did not need to use women's script to communicate with each other, so few women learned women's script, and women's script began to be on the verge of extinction.

3. Protection

It was only through the efforts of a group of scholars at the end of the twentieth century that this rare female character came to be known and recognized by the world and aroused great interest and widespread concern at home and abroad. As a unique and rare cultural heritage, the Chinese government has also begun to pay attention to the protection of women's writing. The Chinese Women's Script Village, which combines a research base with tourism, was established in Jiangyong at the end of 2003.

On May 18, 2001, the symposium on Chinese Women's Script Culture Rescue Project and the National Academic Seminar on Women's Script held at the Central South University for Nationalities put forward the "Chinese Women's Script Culture Rescue Project".

Research significance

The Women's Script is a unique cultural fossil, which is of great value to the study of the origin of human writing and civilization, the origin of women's culture and nationality, and the development of civilization in various fields, such as anthropology, ethnology, sociology, linguistics, philology, folklore, archaeology, and so on.

Ways to preserve and pass on Nüshu in the digital age

1)Digital archiving is an important means to protect Nüshu. Through high-precision scanning and digital technology, Nüshu documents, works and other materials can be processed electronically to ensure that they are not affected by time and physical conditions. In addition, online databases or digital libraries can be established so that more people can easily access and learn Nüshu.

2)The use of modern information technologies can promote the study and use of Nüshu. The development of specialized educational software, combined with gamified learning, can attract the younger generation to learn Nüshu, thus achieving cross-generation dissemination.

3)The inheritance of Nüshu can also be achieved through art and creative industries.(Li 2024, 21-23)

Heirs

Gao Yinxian (deceased)

Yi Nianhua (deceased)

Yang Huan Yi (deceased)

He Yanxin

He Jinghua

Hu Mei Yue

Ouyang Hongyan

Pu Lijuan

Lin Ying (He Jinghua, Pu Lijuan, and Lin Ying are three generations of natural heirs of women's writing)

Publications

The Legend of Women's Script

Women's Script, the World's Only Female Script

Women's Script Passage - A Toolkit for Women's Script

The Chinese Women's Book Collection

Chinese women's book integration - a peculiar women's text data collection

Related Movies and Songs

Snow Flower and the Secret Fan

Terms and expressions

Syllabary 音节文字

Jianghua Yao Autonomous County 江华瑶族自治县

The Cultural Revolution 文化大革命

Refined cloth handwritten books 精制布面手写本

Needlework 女红

Sisters-in-law 妯娌

Imperial concubine 皇妃

Catty 斤（中国和一些东南亚国家使用的重量单位）

Four Olds 四旧

Question

1. When was women's script included in the Guinness Book of World Records as “the world's most gender-specific script”?

2. What is the essence of women's script?

3. What efforts have been made in China to preserve women's script?

References

ZHAO LIMING. "Nüshu: Chinese women’s characters" International Journal of the Sociology of Language, vol. 1998, no. 129, 1998, pp. 127-138.

Li X. Nüshu: Scripting Women's Empowerment and Cultural Legacy in Chinese Society[J]. Journal of Theory and Practice of Social Science, 2024, 4(03): 21-23.

https://doi.org/10.1515/ijsl.1998.129.127

https://zh.wikipedia.org/wiki/女书

https://baike.baidu.com/item/女书/608945

https://courier.unesco.org/en/articles/nushu-tears-sunshine

Huang Xiangmei, Chinese Nv Shu, NetMusic

http://www.jiangyong.gov.cn/jiangyong/sqwh/201511/7199cc776bfb438e84345f82d7601e7a.shtml

https://www.gmw.cn/01gmrb/2005-09/26/content_309677.htm

Yang Renli, A summary of studies on Nv Shu[J], Minzu Tribune,1998,Page 32

Nv Shu. xinhuanet．

CCTV 4 will broadcast“Nüshu”(photo) . Jiangyong news．

介绍

女书，又名江永女书，是一种独特的汉语书写系统。女书是一种专门由女性使用的文字，起源于中国湖南省南部永州的江永县，一般用于书写属于湘语永全片的江永城关方言，是湖南江永女书专用的汉语方言音节表音文字，早期在江永县及其毗邻的道县、江华瑶族自治县的大瑶山、以及广西部分地区的妇女之间流行、传承。许多女书字符的视觉方面与妇女的编织、刺绣和剪纸有关，从而反映了该文字的社会角色，在这些角色中，聚在一起做针线活的妇女唱着女书诗歌来表达她们的庆祝和痛苦。由于女书在文化大革命期间被严重破坏，再加上随着时代的发展及人口外流，现在女书正濒临失传。(Zhao 1998, 129)

女书作品书写在精制布面手写本（婚嫁礼物）、扇面、布帕、纸片上，分别叫作“三朝书”“歌扇”“帕书”“纸文”。有的绣在帕子上，叫“绣字”。 这里妇女有唱歌堂的习惯，常常聚在一起，一边做女红，一边唱读、传授女书。妇女们唱习女书的活动被称作“读纸”“读扇”“读帕”，形成一种别具特色的女书文化。

2004年9月20日，江永最后一个百岁女书自然传人（这里指浸润于女书文化，并一生在日常生活交流中运用女书的人）阳焕宜逝世，这标志着女书进入了“后女书时代”。

2002年，女书被列入中国档案文献遗产名录。

2003年，江永县开办女书学堂，培养传承人。

2005年，女书以“全世界最具性别特征文字”被收入《世界吉尼斯记录大全》。

2006年，女书习俗被列入第一批中国国家级非物质文化遗产名录。

2007年5月，当地政府在江永县的浦尾岛上，建立“江永女书生态博物馆”。

2015年，启动中国语言资源保护工程，尝试以女书通行的区域——江永县为试点，将其建设成为中国第一批方言文化生态区。

形式和内容

女书作品绝大部分为七言诗体唱本，其载体分纸、书、扇、巾四大类。

女书作品内容可以分成以下类型：

1．喜庆作品，例如《三朝书》《哭嫁歌》等；

2．祭祀作品，包括追悼刚刚去世的亲人和祈祷神灵；

3．交际作品，涉及交往、感谢、慰问、责骂等信件；

4．记忆作品，包括日记和传记；

5．教育娱乐作品，包括伦理作品、历史故事、传说故事、歌谣、谜语等；

6．歌曲作品，例如《中国女书》等。

文字特点

女书的本质上属于音节表音文字，一个字基本上记录一个音节。

女书的笔触圆润的、光滑的，小而精致。字的整体轮廓呈现长菱形，笔迹秀丽娟细，造型独特，所以也被叫作“长脚蚊”。搜集到的字将近2000个，但是去掉异体字和错别字，实际使用的字只有大约600个。记录的是当地方言的“土话”，也就是用“土话”朗读或者吟唱。江永土话又五花八门，从声调就有4个、5个、6个、7个的不同。女书流行的上江圩镇是6个声调，县城是7个声调。因为由于湘语永全片难懂，分歧大，只在局部乡村流行，当地还通行从广西引进的官话。江永全县的官话就非常一致，官话只有4个声调。(Li 2024, 21-23)

起源

女书的存在，主要是由于中国过去的旧思想使当地女性不可以读书识字：即她们所谓的“男书”，所以当地的女性发明了女书，以作为姊妹妯娌之间交流的通讯方式。而一般男子亦会把女书当成是普通的花纹而不屑一顾。女书的存在已经超过数百年。

女书究竟是自源，还是他源，大致有三种看法：即源自汉字说、源自西夏文说和独特的瑶族女性文字体系说。

女书的产生时代，也有三种看法：即史前刻划符号说、不早于明代说和明清时代说。

第一种观点从女书的字体结构、发音、语法规划等特点入手考证女书起源时代，认为女书是先秦时期商代古人文字的孑遗演变；第二种观点认为女书作为一套能完整记录语言的文字系统产生于中古以后，甚至是明代前后；第三种观点通过女书的史志文献、遗存及内容、传承等方面研究，提出女书起源于明清时期。几种观点虽经多次探讨争论，乃无定论。

关于女书的来历在当地有几种大同小异的传说。

第一种

据上江圩一带传说，古时候荆田村胡家姑娘叫胡玉秀（一说叫胡秀英），才貌出众，被选入宫中作皇妃。她在宫中受到冷遇，想给家人写信，又怕太监发现，便创造了女书字。她把这种字写在手帕上，向母亲和要好的姊妹诉说在宫中的苦楚。她托人把手帕带回家乡，并告诉亲人看信的秘诀：第一要斜着看，第二按土话读音去理解意思。从此这种文字便在家乡妇女中流传开来。荆田村有“御书楼”遗址，雕梁画柱。据说有皇帝亲笔书匾“育香楼”，直到六十年代初还在，村里许多人清楚地记得。

第二种

传说很久以前，上江圩一农妇生下一个女婴，体重九斤，故取名为九斤姑娘。九斤姑娘自幼天资聪敏，纺纱绩麻，织布绣花，无所不会，无所不精。她还异想天开地造出了写土话的女字。

第三种

据铜山岭农场河渊村的老年妇女讲，女书是从道县传过来的。据说很早以前，有一家父女三人采药路过此地，两个女儿走不动了，倒地不起，老人也因悲伤死在这儿。后来这里人杰地灵，来此地祈拜可消灾去病，人们便为他们父女起座庙。女人们来此许愿，大多都能实现。神台上有女书。烧过香，化过纸就可以拿一本回去看读（叫“花钱买书”），读过后可以拿来换。最早的神台女书不是用笔写的，而是用丝线绣在绸子上，一卷一卷的。特别是十五、六岁的女孩子，拿了女书回去要照抄一份，跟年纪大的妇女学认学唱学写。以后可以用女书把自己的心里话写出来，悄悄送到神台神龛上，让别人去读、去写。

这些关于女书的传说表明：

一、女书字形体与女红图案有关；

二、女书字形与方块汉字有关，可能是为遮人耳目而进行了变异；

三、女书记录的是当地汉语方言土语；

四、女书的创制是妇女维护自身利益的迫切需要；

五、女书作品内容主要是诉苦，用于女性内部的情感交流。群众的口碑传说为考察女书的起源、创制提供了重要信息和参考依据。

发现和保护

1.开端

1954年: 江永县文化馆干部周硕沂在上江圩镇葛覃村结识女书创作人胡慈珠，获得一批女书作品，并以《蚊形字》命名、翻译收入油印本《江永县解放十周年志》。这是载入史册的第一篇女书作品。

1956年冬: 湖南省在长沙举行全省文艺调演，省博物馆摄影干部李正光在周硕沂住处见到女书对联，意识到其学术价值，并向领导汇报。

1957年初: 周硕沂陪同李正光到江永县上江圩一带考察，搜集了一批女书原件，周硕沂将部分翻译成汉字。李正光整理文章并将女书命名为“妇女字”，投寄《中国语文》杂志，但未发表。

1958年: 一位江永妇女到北京寻亲，用土话和女书文字交流，因无人能识引起公安机关注意，将其所写文字送请文字专家辨认，亦无人能识。

1968年: 湖南省公安厅发现另一位瑶族妇女的文字无人识别，将这些文字带到北京，请中央民族学院语文系教师辨认，亦无人能识。

1979年: 周硕沂重新回到江永县文化馆工作，受委托编写《江永县文物志》，收录并修改《蝇形字》一文，初步谈及女书的特点。

1982年: 江永县委宣传部干部张国权、唐善军发现当地妇女使用女书字，唐善军写成新闻稿《江永发现妇女文字》在《湖南日报》发表。

1983年: 武汉大学宫哲兵教授在江华瑶族自治县采风，见报后赶往江永考察，在周硕沂的帮助下，写出《关于一种特殊文字的调查报告》，发表于《中南民族学院学报》。同年，宫哲兵在国际汉藏语言学会议上发表论文《湖南江永平地瑶文字辨析》。

1984年10月: 《文摘报》报道了女书的发现。湖北电视台拍摄并播出女书新闻片。

1985年6月: 中央电视台晚间新闻报道女书发现。

1985年9-10月: 中南民族学院组织调查队到江永调查女书和千家峒情况，收集到大量女书原件。

1986年: 宫哲兵教授出版全世界第一部女书研究著作——《妇女文字与瑶族千家峒》。5月，中央电视台播出专题片《奇特的女书》。中央新闻电影制片厂制作了《江永女书》影视专题片，在国内外发行。中国新闻社和新华社发布了“湖南发现女书”的新闻，国际反响强烈。多国学者到江永参观考察、研究女书。

2.低谷

在文化大革命期间，有大量女书作品被销毁。一方面，作者担心自己用女书书写的秘密会被识破；不少红卫兵基于“破四旧”的缘故，把这些神秘的文字当作“四旧”来破坏。文化大革命之后，只有少量女书作品得以保留下来。另一方面，文化大革命之后，由于女性的文化水平提高了，女性之间不需要使用女书亦可交流，很少有妇女学习女书，女书开始濒临灭亡。

3.保护

从20世纪末开始，通过一批学者努力，这种罕见的女性字符才被世界所了解和认识，并引起了海内外的浓厚兴趣和广泛关注。作为一种独特罕见的文化遗存，中国政府也开始重视保护女书。集研究基地与旅游于一体的“中国女书”村已于2003年底落户江永。

2001年5月18日在中南民族大学召开的"中国女书文化抢救工程"座谈会暨全国女书学术研讨会提出“中国女书文化抢救工程”。

研究意义

“女书”是一种独特的文化“化石”，对研究人类文字和文明的起源、女性文化和民族的起源以及文明的发展历程等方面，在人类学、民族学、社会学、语言学、文字学、民俗学、考古学等各个领域，都有重要价值。

数字时代女书的保存与传承途径

1）数字化存档是保护女书的重要手段，通过高精度扫描和数字化技术，可将女书文献、作品等资料进行电子化处理，确保其不受时间和物理条件的影响，并建立在线数据库或数字图书馆，让更多人能够轻松获取和学习女书。

2）利用现代信息技术，推动女书的学习和使用，开发专门的教育软件，结合游戏化学习，吸引年轻一代学习女书，实现跨代传播。

3）通过艺术和创意产业，也可以实现女书的传承。(Li 2024, 21-23) 

传人

高银仙（已去世）

义年华（已去世）

阳焕宜（已去世）

何艳新

何静华

胡美月

欧阳红艳

蒲丽娟

林莹（何静华、蒲丽娟、林莹是三代女书自然传人）

出版物

《女书传奇》

《世界唯一的女性文字——女书》

《女书通——女性文字工具书》

《中国女书合集》

《中国女书集成——一种奇特的女性文字资料总汇》

相关电影、歌曲

《雪花秘扇》

术语

Syllabary 音节文字

Jianghua Yao Autonomous County 江华瑶族自治县

The Cultural Revolution 文化大革命

Refined cloth handwritten books 精制布面手写本

Needlework 女红

Sisters-in-law 妯娌

Imperial concubine 皇妃

Catty 斤（中国和一些东南亚国家使用的重量单位）

Four Olds 四旧

问题

1.女书作为“全世界最具性别特征文字”被收入《世界吉尼斯记录大全》是哪一年？

2.女书本质上是什么文字？

3.为了保护女书，中国做出了哪些努力？

参考文献

赵黎明.《女书：中国女性性格》《国际语言社会学杂志》，第 1 卷. 1998 年，129.

李欣睿.《女书: 中国社会女性赋权与文化遗产的书写》《社会科学理论与实践》4.03(2024) : 21-23.

维基百科：女书 https://zh.wikipedia.org/wiki/女书

百度百科：女书 https://baike.baidu.com/item/女书/608945

女书：追逐阳光的“眼泪之书”https://courier.unesco.org/en/articles/nushu-tears-sunshine

黄香媚《中国女书》．网易云音乐

千古之谜--女书_三千文化_．永州市人民政府网

湖南东安发现珍贵碑刻女书．光明日报网

杨仁里.女书研究综述[J].民族论坛,1998(3):30-32, 第32页

女书．新华网．2005-4-20

央视四套将播出“神奇女书”节目（图）．江永新闻网．2014-05-12

Chen Sisi | Opera：Shaoxing opera

A.Overview Yue Opera, also known as Shaoxing Opera, is a traditional Chinese opera form that originated in the Shengzhou region of Zhejiang Province, China. It is one of the most prominent and influential opera genres in China, known for its melodious tunes, poetic lyrics, and predominantly female cast.

B.Origins: Yue Opera traces its roots back to the "Xiaodihu" form of storytelling and ballad singing in the late 19th century. It began as a male-dominated art form, with performers singing and acting out stories in local dialects. According to "Chinese Traditional Opera: An Introduction" by Li Ruru (2003), the transition to a female-dominated performance style occurred in the 1920s when female performers began to take over the roles, leading to the distinctive characteristics of Yue Opera today.

C.Development Over the decades, Yue Opera has evolved significantly, incorporating elements from other Chinese opera forms and modern theatrical techniques. The genre gained national prominence in the mid-20th century, with the establishment of professional troupes and the introduction of new plays. The development of Yue Opera was also influenced by political and cultural changes in China, such as the New Culture Movement and the establishment of the People's Republic of China. One of the key figures in the development of Yue Opera is Yuan雪芬 (Yuan Xuefen), who is credited with modernizing the genre and elevating its artistic standards. Her contributions are detailed in "Yue Opera: A New Stage for Chinese Opera" by Zhang Yingjin (2012).

Cangqiong style A notable subgenre of Yue Opera is the "Cangqiong" style, which is characterized by its grand scale, elaborate costumes, and epic storytelling. One of the most famous Cangqiong-style Yue Opera plays is "The Butterfly Lovers," a tragic love story that has become a classic in Chinese opera repertoire. The play's enduring popularity and its significance in the Yue Opera tradition are discussed in "The Butterfly Lovers: Yue Opera's Enduring Classic" by Chen Xiaomei (2009).

In conclusion, Yue Opera has a rich history and continues to be a vibrant part of Chinese cultural heritage. Its evolution from a local storytelling form to a nationally recognized art reflects the dynamic nature of Chinese opera and its ability to adapt and innovate.

References: - Li, R. (2003). Chinese Traditional Opera: An Introduction. Cambridge University Press. - Zhang, Y. (2012). Yue Opera: A New Stage for Chinese Opera. University of Michigan Press. - Chen, X. (2009). The Butterfly Lovers: Yue Opera's Enduring Classic. Peking University Press.

Gong Xingyue|Traditional Crafts:Jade Carving Art

introduction

Chinese people have been fond of jade since ancient times. The jade culture has a history of 8,000 years. The characteristics of jade, its beautiful color, and its toughness were discovered, then the ancestors stripped it from the stone-based material and made it into a specialized material to make specific utensils. Jade carving is developed from jade ware and is one of the oldest carving varieties in China. Jade ware is processed and carved into exquisite handicrafts, called jade carving. In the production process, according to the natural color and natural shape of different jade ware, the craftsman can carve the jade into exquisite handicrafts after careful design and repeated pondering. It is a unique skill in China.

Types and process of jade carving

Various types of jade are used in Jade carving, including Hetian jade, jadeite and agate. Lifelike characters, flowers, birds, beasts, unique jewelry, utensils, bonsai, and potted flowers. The jade carving techniques vary from subject to subject. Chinese jade carvings enjoy a high reputation in the world. The beauty of jade carving lies in the craftsmanship, and the beauty of craftsmanship lies in the design and production of jade carvers. Jade carving mainly includes material selection, peeling, design, rough carving, fine carving, trimming and polishing.

The eight skills of jade carving

Skilled craftsmen know how to create distinctive treasures based on the original shape, color, texture of the jade.

1. Line carving: "calligraphy" on jade

Thread carving, like "calligraphy" on jade, uses a single line to outline various patterns and words. This technique requires the jade carver's technique to be extremely precise and smooth, and every stroke must be just right to bring the lines to life.

2. Bo Yi （薄意）Carving: "Ink Painting" on Jade

Boyi carving, which is an art that is somewhere between painting and carving. It pursues the elegance and delicacy of the picture, like painting an ink painting on jade. This technique requires jade carvers not only to have exquisite carving skills, but also to have profound artistic accomplishments.

3. Round carving: "sculpture" on jade

Round carving, also known as three-dimensional carving, is a three-dimensional carving modeling. This technique requires the jade carver to carve the object from all angles, allowing the viewer to appreciate all sides of the object from different angles.

4. Relief: "Ukiyo-e" on jade

Embossing is the carving of a raised pattern or shape on a flat surface. According to the different degrees of stone shedding in the image modeling, the relief can be divided into bas-relief and high-relief. Whether it is a vessel, a bottle or a human ornament, it can show a unique artistic charm through relief.

5. Inner carving: the "microcosm" in jade

Internal carving is a technique of carving deep into the interior of jade. It requires jade carvers to carve two or more layers of scenery inside and outside on a piece of jade, a skill known as a "unique skill" in the jade carving industry.

6. Intaglio: "seal carving" on jade

Intaglio, as opposed to relief, is the carving of a concave pattern or shape on a flat surface. In this technique, patterns or words are presented on the surface of the jade in the form of depressions through the method of Yin carving.

7. Pretty color carving: "makeup" on jade

Pretty color carving is to use the natural color of jade to carve, just like a "makeup" for jade. This technique requires the jade carver to skillfully use the color of the jade to make the color of the work richer and more vivid.

8. Openwork: "Paper-cutting" on jade

Openwork is a further development of relief carving, also known as hollow carving. On the basis of bas-relief or deep relief, some parts equivalent to "ground" or background are hollowed out to make the outline of the image more distinct. Each of these carving techniques has its own unique charm and artistic value. They are not only carvings of jade, but also a kind of inheritance of culture and art. Each piece of jade carving embodies the wisdom and sweat of the jade carver, and is the best interpretation of the natural beauty of jade.

Culture value

Jade carving not only has aesthetic value. The exquisiteness of Chinese jade carving fully demonstrates the high degree of wisdom, outstanding skills and rich artistic creativity of the Chinese working people. The intellectuals have injected rich cultural connotations into jade. As the ancient Chinese saying goes, "A jade without polishing is useless." Only after polishing, can there be this exquisite jade carving, Only through trials, can a person grow and flourish.The character of “gentle as jade” has been deeply integrated into Chinese souls, constituting the splendid Chinese culture. "The love of jade can be said to be one of the characteristics of Chinese culture. For more than 3,000 years, the texture, shape, and color of jade have inspired sculptors, painters, and poets" (Joseph Needham). People associate jade with gentlemen, and since ancient times, people have described gentle and tolerant people as gentle as jade.

Terms and Expretions

玉雕jade carving 玉器jade ware 镂雕openwork 浮雕emboss 阴刻incise 线雕 Line carving 内雕 Intaglio carving 凹雕 Concave carving

references

Baidu Encyclopedia: Jade Carving Jade Carving_Baidu Encyclopedia (baidu.com) ZHANG Chunming,ZHANG Xiangyi. Chunming Jade Carving, 92.274.275. ZHANG Jiamian. Jade Carving, 2012.05, 01. [1]Contemporary Hetian jade carving collections became bestsellersin Hong Kong autumn auction[J].M2 Presswire,2016,

历史源流

中国人自古就喜欢玉石。玉器文化已有八千多年的历史。人们发现了玉的特性、美丽的颜色和坚韧的品质，被先人们从以石为主的材质中剥离出来，成为一种专门的材质做出特定的器具。玉雕是由玉器发展而来的，是中国最古老的雕刻品种之一。玉石经加工雕琢成为精美的工艺品，称为玉雕。工艺师在制作过程中，根据不同玉料的天然颜色和自然形状，经过精心设计、反复琢磨，才能把玉石雕制成精美的工艺品。玉雕是中国独有的技艺。

玉雕的品种和过程

玉雕的品种很多，主要有人物、器具、鸟兽、花卉等大件作品，也有别针、戒指、印章、饰物等小件作品。中国的玉雕作品在世界上享有很高的声誉。玉雕之美，在于工艺，工艺之美，在于玉雕师的设计制作。玉器雕琢主要包括选料、剥皮、设计、粗雕、细雕、修整和抛光等工序。

玉雕的八大技法

玉雕大师知道如何利用玉石的天然色泽和形状进行雕刻，从而充分表现玉石的美丽。

1. 线雕：玉上的“书法”

线雕，就像是在玉上进行的“书法”，用单线勾勒出各种图案和文字。这种技法要求玉雕师的手法要极其精准和流畅，每一笔每一划都要恰到好处，才能让线条栩栩如生。

2. 薄意雕：玉上的“水墨画”

薄意雕，这是一种介于绘画和雕刻之间的艺术。它追求的是画面的雅致与精致，就像是在玉上画了一幅水墨画。这种技法要求玉雕师不仅要有精湛的雕刻技艺，还要有深厚的艺术修养。

3. 圆雕：玉上的“雕塑”

圆雕，又称立体雕，是一种三维立体的雕刻造型。这种技法要求玉雕师从各个角度对物体进行全方位的雕刻，使观赏者可以从不同角度欣赏到物体的各个侧面。

4. 浮雕：玉上的“浮世绘”

浮雕，是在平面上雕刻出凸起的图案或造型。根据图像造型脱石深浅程度的不同，浮雕可分为浅浮雕和高浮雕。无论是器皿、炉瓶还是人物摆件，都能通过浮雕展现出独特的艺术魅力。

5.内雕：玉中的“微观世界”

内雕，是一种深入玉料内部进行雕刻的技法。它要求玉雕师在一块玉料上雕刻出里外两层或更多层的景物，这种技艺被誉为玉雕业中的“绝活”。

6. 凹雕：玉上的“篆刻”

凹雕，与浮雕相反，是在平面上雕出凹下的图案或造型。这种技法通过阴刻的方式，将图案或文字以凹陷的形式呈现在玉器表面。

7. 俏色雕：玉上的“彩妆”

俏色雕，是利用玉石的天然色泽进行雕刻，就像是给玉化了个“彩妆”。这种技法要求玉雕师巧妙地利用玉石的色泽，使作品的色彩更加丰富和生动。

8. 透雕：玉上的“剪纸”

透雕，是浮雕的进一步发展，又叫镂空雕。是在浅浮雕或深浮雕的基础上将某些相当于“地”或背景的部位镂空，使形象的景象轮廓更加鲜明。 这些雕刻技法，每一种都有其独特的魅力和艺术价值。它们不仅仅是对玉石的雕刻，更是对文化和艺术的一种传承。每一件玉雕作品，都凝聚了玉雕师的智慧和汗水，都是对玉石天然美感的最好诠释。

文化价值

在中国，玉雕艺术不仅仅是一种技艺，它更是一种文化的传承，一种对美的追求。中国玉雕的精美，充分显示了中国劳动人民高度的智慧、卓越的技艺和丰富的艺术创造力。俗话说“玉不琢，不成器；人不学，不知义”可见玉雕之中也蕴含着深刻的文化底蕴。 “对玉的爱好，可以说是中国文化特色之一。三千多年以来，玉的质地、形状和颜色一直启发着雕刻家、画家和诗人们的灵感”(李约瑟)。人们将玉与君子联系在一起，自古以来人们就以温润如玉来形容温和而包容的人。

术语

玉雕jade carving 玉器jade ware 镂雕openwork 浮雕emboss 阴刻incise 线雕 Line carving 内雕 Intaglio carving 凹雕 Concave carving

参考文献

百度百科：玉雕 玉雕_百度百科 (baidu.com) 张春明，张向祎. 《春明玉雕》，92.274.275. 张加勉. 《玉雕》，2012.05，01.

Wen Yining | Chinese snack：spicy gluten

Introduction

Spicy gluten, means latiao(辣条)，originated in Pingjiang of Hunan Province. It is one of the most popular snacks for young people in China. After continuous development and innovation, spicy gluten has now enjoyed a reputation at home and abroad, loved by people around the world. Spicy gluten is also called spicy bar or spicy strip. It is made by squeezing and curing wheat flour, water and salt, then seasoning. It is an agricultural product. It is also an unforgettable memory for young people with its spicy taste and cheap price.

Origin

The origin of spicy gluten can be traced back to a traditional Chinese food: dried sauces. This food was first appeared in the late Qing dynasty in Pingjiang county and later became common on the rural stalls. Pingjiang County in Hunan Province has a very long history of making dried sauce, spicy dried sauce, and spicy bean tendons, which is an important part of the industry in Pingjiang. In 1998, a huge flood disaster in Hunan Province led to serious losses of agricultural products, especially the soybean. The soybean was the main raw material of the dried sauce industry in Pingjiang County. It experienced a significant drop in production after the flood, which was directly devastating to the dried sauce industry. In order to support their families, farmers in Pingjiang County in urgent needed to find a new way out. In this case, three Pingjiang people rich in the spirit of innovation, Qiu Pingjiang, Li Mengneng and Zhong Qingyuan, replaced the soybean flour with wheat flour in their exploration. They improved the production process, adding chili, pepper, cumin, sugar, salt, vegetable oil and other condiments in the basis of dried sauces. As a result, they invented and innovated the spicy gluten. Local people called it mala for its spicy taste. Later, with the expansion of the industry, some factories producing spicy gluten moved to Henan, a place closer to the raw material wheat flour.

From junk food to leisure snack

Over time, the producing methods of spicy gluten have been improved and optimised, and some businesses have started to use better quality ingredients to improve the taste and quality of spicy gluten. The production process of spicy gluten has been improved. Some modern packaging designs have been used to make the packaging of spicy gluten more hygienic and convenient. Spicy gluten was gradually moving from the countryside to the wider world, becoming a popular snack. In the design of spicy gluten, the shape of it has developed form the stick shape to a variety of shapes such as slice, blocks, silk, noodles, granules and so on. In addition to the spicy flavour, spicy gluten has also been innovated with sweet, salty and sour flavours to satisfy the public's different tastes. Vegetarian beef tendon is long and chewy; spicy gluten represented by soya bean skin has a softer texture and a strong flavour. With the continuous improvement of living standards and the constant change of consumption habits, the demand for spicy gluten consumers is diversified. In the process of the development of spicy gluten, food hygiene and safety issues are following. The spicy gluten usually has a large number of food additives used to preserve and increase the flavour. A large number of spicy gluten manufacturing workshop was exposed to have food safety problems. However, with the development of society and the regulation of the spicy gluten industry continues to improve, many unqualified workshops have also been cracked down. The spicy gluten industry is also entering a brand new era for better regulation, safety, hygiene and scale. More attention is being paid to the consumer's taste and health. It is also working hard to change people's idea so that spicy gluten can really become a healthy leisure snack food.

The most popular snack food

In recent years, this snack no longer stays only in people's childhood memories, and it is starting to come out for a bigger market. From 2024 to 2032, the Spicy Gluten market displays a consistent and positive growth direction, indicating a favorable outlook for the industry. This growth is propelled by several key factors, including increasing consumer demand, advancements in technology, and shifting consumer preferences. According to data, China's spicy gluten market reached 51.7 billion yuan in 2022 and is expected to reach 92.7 billion yuan in 2026. With the improvement of international trade and the expanding spread of Chinese snacks around the world, the overseas market will become a major growth point for China's spicy gluten industry. Companies represented by Weilong are accelerating their overseas sales through e-commerce platforms, selling to Japan, Singapore, South Korea, the United States and other countries. A significant driver of the Spicy Gluten market is the growing consumer awareness of health and wellness. Childhood memories, eating habits, cheapness and deliciousness are also the main factors for consumers to buy spicy gluten. The unique flavour of spicy gluten meets the taste needs of consumers, and carries the taste of childhood. It is popular with the majority of snack lovers and becomes a popular leisure snack. The spicy flavour of spicy gluten brings a sense of excitement, which can be related to the young people's pursuit and attitude towards life. In addition, the price of spicy gluten is relatively affordable, adapting to the consumer psychology of economic independence and the pursuit of individuality. Spicy gluten can stir up the public's nostalgia for childhood, making people think back to the joy of sharing a packet of spicy gluten with good friends. Its popularity is also related to the development of Internet. With the rise of media, the discussion about spicy gluten has never stopped. The strong social properties of spicy gluten leaded to more young customers. At the same time, more bands of spicy gluten try to communicate with young people through various marketing methods, which is more conducive to the continuous penetration of spicy gluten consumption to the younger groups.

Spicy eating culture

The emergence and development of spicy gluten are closely related to China's specific food culture. Chilli has not been introduced into China for a long time from abroad, but it has been able to occupy an important position in Chinese condiments. It also promoted the formation of spicy dishes. Chilli shows its dietary value and development vitality as a spicy seasoning. Chilli has a high agricultural economic value, and its conditions required for planting and cultivation are more flexible. Even in the age of industrialisation, the Chinese people's longstanding preference for spicy flavours is still strong and resilient. As a representative of the spicy food culture, spicy gluten carries the Chinese people's love and pursuit of spicy food. It also reflects the inheritance and development of China's spicy eating culture With the improvement of people's living standards and the diversification of tastes, the culture of eating spicy food is also evolving and changing. As a popular snack, spicy gluten will also continue to meet people's demand for spicy food and continue to promote the heritage and innovation of spicy eating culture.

Terms and expressions

spicy gluten辣条

dried sauces酱干

spicy bean tendons麻辣豆筋

cumin孜然

hygiene卫生

Vegetarian beef tendon素食牛筋

granule颗粒

penetration渗透

Questions

1. What is spicy gluten made of?

2. How was spicy gluten made from dried sauce?

3. What problems did spicy gluten face in its development?

4. Why is spicy gluten popular with young people?

References

1.Zhang Kailang,Kong Zeming(2017). The Spread of Chilli in China and Its Influence on Food Culture in Ming and Qing Dynasty,(18):30-32.

2.Hou Yuhao,Jiang Shuge(2023). The Market Situation and Development Direction of spicy gluten,7(27):81-86.

3.https://www.linkedin.com/pulse/spicy-gluten-market-size-share-growth-report-hyt6f

4.https://www.iimedia.cn/c400/96641.html

5.https://www.jiemian.com/article/3175709.html

介绍

辣条，即 "辣条"，原产于湖南平江。它是中国最受年轻人喜爱的零食之一。经过不断发展和创新，辣条现已享誉海内外，深受世界各地人们的喜爱。辣条又叫辣棒、辣棍。它由小麦粉、水和盐挤压腌制，然后进行调味而成。它是一种农产品。辣条以其麻辣的味道和便宜的价格成为年轻人难忘的记忆。

起源

辣条的起源可以追溯到中国的一种传统食品：酱干。这种食品晚清时期在平江县就已出现，后来在农村的小摊上十分常见，而湖南平江县具有十分久远的酱干、麻辣酱干、麻辣豆筋制作历史，是平江产业的重要组成部分。1998年湖南发生特大洪水灾害，导致农产品损失严重，平江县酱干产业的主要原料大豆出现了大幅度的产量下降，直接对酱干产业造成了毁灭性打击。为了养家糊口，平江县农民迫切需要新的出路，在这样的情况下，平江县三市镇富有创新精神的平江人邱平江、李猛能、钟庆元在探索中用面粉代替豆粉，改进生产工艺，在原先的基础上加入辣椒、花椒、孜然、糖、盐、植物油等佐料，创新发明了辣条。平江人叫麻辣。后来随着产业扩大，生产辣条的工厂有的搬到了离面粉更近的产地河南。

从垃圾食品到休闲小吃

随着时间的推移，辣条的制作方法逐渐得到了改善和优化，一些商家开始使用更加优质的原料，提高辣条的口感和质量。辣条的生产工艺得到改进，开始使用一些现代化的包装设计使得辣条的包装更加卫生和方便。辣条也逐渐从农村走向更大的世界，成为一种受欢迎的零食。在辣条的设计上，除了棒状之外还发展出了片状，块状，丝状，面状，粒状等各种形状。在口味上，辣条除了麻辣的味道，还创新出了满足大众不同口味的甜辣味、咸辣味、酸辣味等。以素牛筋为主的辣条呈长条而有嚼劲；以豆皮为代表的辣条口感较为酥软，味道浓郁。随着生活水平不断提高和消费习惯持续转变，辣条消费者的需求也更趋多元化。 在辣条的发展过程中，随之而来的是食品卫生安全问题，由于辣条通常添加了大量食品添加剂用于保质和增加风味大量辣条制造作坊被爆出有食品安全问题。不过随着社会的发展和国家对辣条行业监管的不断完善，很多不达标的作坊也受到了严厉打击。辣条行业也正在进入规范、安全、卫生、规模性的全新时代。整个行业更加注重消费者的食品体验和健康，也正在努力的改变人们的想法，使辣条真正成为健康的休闲零食食品。

最受欢迎的零食

近年来，这种零食不再只停留在人们的童年回忆中，它开始走出来面向更多受众和更大的市场。根据数据显示，2022年中国辣条食品市场规模达517亿元，2026年有望达927亿元。随着国际贸易便利化的提升和中国零食在全球范围内的传播力不断扩大，海外市场将成为中国辣条产业的一大增长点，以卫龙为代表的辣条企业正通过电商平台加速出海，热销日本、新加坡、韩国、美国等国家。 童年味道、习惯爱好和便宜好吃是消费者购买辣条的主要因素。辣条特有的味道满足了消费者的口味需求，又承载着童年味道，深受广大零食爱好者的欢迎，正变成大众的休闲零食。辣条的香辣味给人带来刺激感，与年轻人追求刺激、张扬的生活态度相契合。此外，辣条的价格相对亲民，适应了年轻人经济独立、追求个性的消费心理。辣条可以激起大众对童年的怀旧情怀，让人回想到小时候好朋友分享一包辣条的快乐。它的流行也离不开当今互联网的发展，随着各种媒体的兴起，关于辣条的讨论从未停止。辣条极强的社交属性，决定了其受众偏向年轻化，与此同时，辣条品牌通过互动式营销方式跟年轻人交流，则更有利于辣条消费持续向年轻群体渗透。

吃辣文化

辣条的出现和发展与中国特定的饮食文化有着密切的关系。辣椒自国外传入国内的时间不长，却能占据中国调味品中的重要地位，推动辣味菜系的形成。辣椒展现出了强大的饮食价值和发展生机，辣椒作为辛香调料品具备的顽强竞争力和活力。辣椒有更高的农业经济价值，且种植培育所需的条件弹性较大，即使到了工业化的时代，中国人这种流传已久的对辣味偏好仍然有强大的韧性维持下去。辣条作为吃辣文化的一种代表，承载了中国人对于辣味食品的热爱和追求。辣条的发展历程也反映了中国吃辣文化的传承和发展。 随着人们生活水平的提高和口味的多样化，吃辣文化也在不断发展变化。辣条作为一种流行的零食，也会不断满足人们对于辣味食品的需求，继续推动吃辣文化的传承和创新。

问题

1.辣条是用什么做的？

2.辣条是怎么由酱干做成的？

3.辣条在它的发展过程中面临什么问题？

4.辣条为什么在年轻人中受欢迎？

参考文献

[1]侯宇豪,蒋书歌.辣条的市场现状及发展方向[J].现代食品,2017,(18):30-32.

[2]张恺烺,孔泽鸣.明清时期辣椒在中国的传播及饮食文化影响[J].文化创新比较研究,2023,7(27):81-86.

[3]https://www.linkedin.com/pulse/spicy-gluten-market-size-share-growth-report-hyt6f

[4]https://www.iimedia.cn/c400/96641.html

[5]https://www.jiemian.com/article/3175709.html

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

What kind of marriage are women looking for? Jane Austen would say it should be full of love as well as calm. It is well accepted by the youth nowadays that marriage is the product of love, a crowning event of later adulthood yet they, especially women, are being urged to get married in China.

Introduction: Youth Being Urged to Get Married

In China, there is a unique social phenomenon that a large number of people are being urged to get married by their parents and the whole society. When the young people worked for half a year or a year, most parents believe their work becomes stable, and then will show great concern over the issue, pushing them to get married harshly. The most common method parents use is The Blind Date, where one man and one woman never met each other before will be paired by an intermediary agent called the matchmaker. The two in The Blind Date have the right to refuse the other person but without the right to stop their parents’ push until they finally get married.

At the same time, the worried parents tend to brainwash their kids of the necessity and tremendous urgency of the marriage. For sons, there are words like “ You should marry someone to take care of you and have a baby quickly”, while for daughters, “You are becoming a leftover lady”, “ You will have little choice with age”, and the same words for both like, “it’s unfilial for you to not marry”. Such brainwash evolves into parents’ tearful complaints towards the unmarried, for example, “Others will think you are a monster if you do not get married. Shame on you!” or bursts into a heated argument, for instance, “ You must take your partner with you when you come home to celebrate the Spring Festival ( the important Chinese festival when all family members always gather), or we are not willing to see you.” “ OK, then I will not come back this year.”

Situation: From a Female Point of View

Worried parents and brainwash are ready for both male and female, yet female is more likely to be pushed more fiercely. From a female point of view, the whole society and her family expect her to be a good wife. A girl has been taught how to take care of her husband and kids from childhood. And oceanic news describes the single female as the gold digger or picky people while no male is blamed with such words. And if she remains unmarried she will be called as the leftover lady as if she is a terrible dish that is meaningless. While at the same time, the willingness to marry among women is significantly lower than that among men. In addition, Male older unmarried individuals focus mainly in the country and receive a lower education, with a lower salary, while for females, the main group in the city and a higher education, with a higher salary. It is interesting that such females who are always the top students in the school and available to survive on their own tend to still suffer much more pressure than the males.

Reasons: Why Women are Being Urged to Get Married

There are a few reasons why women are being urged to get married which can be classified as three parts, social pressure, parents’ pressure and female opposition. Social pressure comes first. In Chinese culture, family functions as the most important unit for an individual and it has formed a role assignment divided on sexuality that husband is a breadwinner and wife is a homemaker, so the single men are considered to work hard for his family in the future, while single women violating her expected social role. In order to let women become homemakers, the society highly praises of women who devotes herself to the family by saying she is such "a virtuous wife and loving mother", "assisting her husband and educating her children",and "being thrifty and hardworking in running the household" on the one hand, and on the other hand, stigmatizes the single woman as the leftover lady and indicates she is a monster.

Parents’ pressure is always the most powerful to women. Girls love their parents but they can not avoid the argument between them because of the huge Generation Conflict. In the era when parents married(before 1990s), the social status of women is low and the family can their stable life, so they hold a firm belief that it is necessary for their kids to marry. Moreover, Chinese highly value their respectability, fearing and ashamed of being derided by their relatives, friends, neighbors or anyone else. That is why parents will not push their daughters to marry after she has been married even if she gets divorced quickly.

Except for the pressure from others, women themselves are unwilling to enter into a marriage.

Firstly, thanks to the national policy and the feminism movement, more and more females have more chances to higher education and the well-paid job. They are economically and psychologically independent, available to consider whether to enter into the marriage. Their views on marriage also differs from their parents who think money comes first. Nowadays, most women prioritize love in marriage. When it comes to the educational background and income of their ideal partner, their requirement is matching their level. But in some cases, Chinese parents are likely to ask them to lower their standards and even belittle them to force them do so.

What’s more, a wife is expected to undertake more responsibilities for family life in Chinese culture, including doing the housework, taking care of husband’s parents, bringing up the children and so on, which takes a lot of time and energy. Some wives choose to be a full-time housewife and others choose to do all the things and also work at the same time, which sacrifices their time to rest. Being pregnant also means saying goodbye to their jobs because of long-term absence from work, unless you hold an official post (which prefers boys than girls for part of this reason). As women now have the ability to decide their marriage, many women would say goodbye to marriage and focus more on themselves.

Last but not least, the rising of the social media promotes the spread of feminism. Feminists draw a real picture of marriage life for unmarried girls so they can know more about it( in the past, the difficulties in marriage is always unknown to them for fear that they may fear marriage). Feminists also strive to build a new image of women through the social media, like programs on the topic of “She” such as Sisters Who Make Waves. They work to let people believe girls can be all kinds they like and all kinds of girl are perfect and can be excellent. In addition, the social media offers a wonderful platform for females to gather together and communicate, stimulating the spread of the feminism.

Solutions: How to Get Along With Parents

Although women can ignore the pressure from the society, they must be upset to have argument with their parents or even end the relationship. After all, there are only three ends to the matter: girls compromised and got married, or parents compromised and supported their daughter’s decision, or the neither side is willing to give in and the relationship ends. In order to achieve their ideal end, women should have more communications with their parents to narrow the gap between them. When communicating, they should ponder their parents’ words without a bias because mutual respect is a prerequisite for friendly communication. What’s more, the community can play a role in helping the family members communicate. The community can function as a mediator, reconciling differences between the two sides. But it requires that the family accept others to comment on their family affairs.

Terms

The Blind Date:相亲

matchmaker：媒婆

leftover lady：剩女

Spring Festival：春节

a virtuous wife and loving mother：贤妻良母

assisting her husband and educating her children：相夫教子

being thrifty and hardworking in running the household：勤俭持家

Generation Conflict：代沟

official post：编制

Sisters Who Make Waves：乘风破浪的姐姐

Questions

1.When do the parents begin to push the youth to get married?

2.What will a female be called if she stayed unmarried?

3.Why are women being urged to get married?

4.Why do parents believe it is necessary to get married?

5.What kind of image are feminists striving to build?

References

https://scholar.cnki.net/journal/index/SPQD17320747026Q

[1]Léi Mèngjié. Nǚxìng zhǔyì shì jiǎo xià dàlíng dānshēn nǚxìng yālì de zhì xìng yán jiū [D]. Nánjīng Dàxué, 2023. DOI: 10.27235/d.cnki.gnjiu.2021.002378.

[2]Lǐ Chūnlíng. “Nánhái wēijī”“shèngnǚ xiànxiàng” yǔ “nǚ dàxué shēng jiùyè nán”—— jiàoyù lǐngyù xìngbié bǐlì zhuǎn wǎn dài lái de shèhuì xìng tiǎozhàn [J]. Fùnǚ yánjiū lùn cóng, 2016, (02): 33-39.

[3]Luó Wén. Dàijì chuánbō shìyù xià de liǎng dài rén hūnyīn guān yánjiū —— duì “cuī hūn” yǔ “kǒng hūn” xiànxiàng de chuánbōxué sīkǎo [J]. Xīnwén chuánbō, 2022, (03): 20-22.

[4] Shù Wěiwěi. Nǚxìng zhǔyì shì jiǎo xià míngxīng zhēn rén xiù jié mù zhōng nǚxìng xíngxiàng de jiàn gòu [D]. Zhèjiāng Gōngshāng Dàxué, 2022. DOI: 10.27462/d.cnki.ghzhc.2021.000300.

[5]Zhāng Xuě. Dài jì chōng tū shì yù zhōng “cuī hūn jiā tíng” kùn jìng jí qí shè huì gōng zuò gān yù yán jiū [D]. Chóngqìng Dàxué, 2023. DOI: 10.27670/d.cnki.gcqdu.2021.003986.

婚姻:被催婚的女性

女人想要什么样的婚姻呢? 简·奥斯汀会说，婚姻应该是充满爱却又理智的。如今的年轻人普遍认为婚姻是爱情的产物，是成年后深思熟虑后才能决定的大事，但在中国，年轻人们，尤其是女性，却在被催婚。

导言:被催婚的年轻人

中国有一个独特的社会现象，很多人会被父母和社会催婚。当年轻人工作了半年后或一年后，大多数父母认为他们的工作已经稳定下来了，这些父母就会对婚姻问题表现出极大的关注，并开始夺命的催婚。父母们最常用的方法是“相亲”，即男女双方之前从未见过面，由媒人为其配对。“相亲”中的两个人有拒绝对方的权利，但没有权利阻止父母的催促，父母会一直催到他们结婚。

与此同时，忧心忡忡的父母会给孩子洗脑结婚的必要性和紧迫性。对于儿子来说，有这样的话:“你应该找个人来照顾你，并且应该快点生孩子”，而对于女孩来说，“你要变成剩女了”，“等你年纪大了就没得选了”，以及对两者都会说的，“你不结婚是不孝”。这种洗脑会演变成了父母对未婚子女的哭诉，例如:“你不结婚别人会认为你是怪物。真可耻啊!”或者爆发出一场激烈的争论，例如，“你回家过春节(这是中国所有家庭成员团聚的重要节日)时，必须带上你的伴侣，否则我们就不愿意见你了。”“好吧，那我今年不回来了。”

现状:从女性的角度

虽然男女都逃不开忧心忡忡的父母和其洗脑，但女性更有可能受到更猛烈的逼迫。从女性的角度来看，整个社会和家庭都希望她成为一个好妻子。一个女孩从小就被教导如何照顾她的丈夫和孩子。海量的新闻将单身女性描述为“拜金女”或“挑剔的人”，而男性却不会受到这样的指责。如果她一直未婚，她将被称为剩女，好像她是一道毫无意义的难吃的菜。而与此同时，女性的结婚意愿明显低于男性。此外，男性大龄未婚人群主要集中在农村，受教育程度较低，工资较低，而女性大龄未婚人群主要集中在城市，受教育程度较高，工资较高。有趣的是，这样的女性在学校里一直是最优秀的学生，可以独立生存，但仍然比男性承受更大的压力。

原因:为什么女孩们会被催婚

女孩被催婚的原因有几个，可以分为三部分，社会压力，父母的压力和女性的反对。

首先是社会压力。在中国文化中，家庭是个人最重要的单位，在性别角色分工上形成了丈夫挣钱养家，妻子操持家务的分配，因此单身男性会被当做是在为未来的家庭努力工作，而单身女性则违背了她所期望的社会角色。为了让女性成为家庭主妇，社会一方面高度赞扬那些全身心投入家庭的女性，说她们是“贤妻良母”、“相夫教子”、“勤俭持家”，另一方面又把单身女性污名化为剩女，说她是怪物。

父母的压力对女人来说永远是最强的。女孩爱她们的父母，但由于巨大的代沟，她们无法避免父母之间的争吵。在父母结婚的时代(90年代以前)，女性的社会地位低，家庭可以给他们提供稳定的生活，所以她们坚信孩子结婚也是必要的。此外，中国人非常重视面子，害怕被亲戚、朋友、邻居或其他人嘲笑。这就是为什么即使女儿结婚后很快离婚，她的父母也不会再催婚。 除了别人施加的压力外，女性自己也不愿意结婚。

首先，由于国家政策和女权运动，越来越多的女性有更多的机会接受高等教育和高薪工作。经济和心理上的独立使其能考虑自己是否要结婚。如今，她们对婚姻的看法也与她们的父母不同，不再把金钱放在首位，大多数女性认为在婚姻中爱情最重要。当谈到理想伴侣的教育背景和收入时，她们的要求是与自己的水平相等。但在某些情况下，中国父母可能会要求她们降低标准，甚至贬低她们以迫使她们这样降低标准。

更重要的是，在中国文化中，妻子被期望承担更多的家庭生活责任，包括做家务，照顾公婆，抚养孩子等等，这需要花费大量的时间和精力。一些妻子选择做全职家庭主妇，而另一些妻子选择在做所有事情的同时也工作，这牺牲了她们休息的时间。因为要长期缺勤，怀孕也意味着要和工作说再见，除非你有编制(有编制的岗位更偏向于男性，部分出于这个原因)。由于女性现在有能力决定自己的婚姻，许多女性将告别婚姻，更注重自己。

最后但并非最不重要的是，社交媒体的兴起促进了女权主义的传播。女权主义者为未婚女孩描绘了一幅真实的婚姻生活，让她们更多地了解婚姻生活(在过去，婚姻中的困难对她们来说总是未知的，因为害怕她们会害怕婚姻)。女权主义者还努力通过社交媒体塑造女性的新形象，比如以“她”为主题的节目，比如《乘风破浪的姐姐》。她们努力让人们相信女孩可以成为自己喜欢的所有样子，各种各样的女孩都是完美的，都可以很优秀。

此外，社交媒体为女性聚集和交流提供了一个很好的平台，促进了女权主义的传播。

解决方案:如何与父母相处

虽然女性可以忽视来自社会的压力，但她们一定会对于与父母争吵甚至断绝关系而难受。毕竟，催婚只有三种结局:女孩妥协并结婚，父母妥协并支持女儿的决定，双方都不愿意让步并断绝关系。

为了达到理想结局，女性应该多和父母交流，以缩小他们之间的代沟。在交流时，他们应该不带偏见地思考父母的话，因为相互尊重是友好交流的先决条件。更重要的是，社区可以在帮助家庭成员沟通方面发挥作用。社区可以发挥调解人的作用，调和双方的分歧。但它需要家庭成员接受别人评论他们的家庭事务。

Questions

1.父母什么时候开始催年轻人结婚？

2.如果一位女性始终未婚，她会被叫做什么？

3.女性为什么会被催婚？

4.父母为什么认为结婚是必要的？

5.女权主义者致力于构建什么样的女性形象？

References

https://scholar.cnki.net/journal/index/SPQD17320747026Q

[1]雷梦杰. 女性主义视角下大龄单身女性压力的质性研究[D].南京大学,2023.DOI:10.27235/d.cnki.gnjiu.2021.002378.

[2]李春玲.“男孩危机”“剩女现象”与“女大学生就业难”——教育领域性别比例逆转带来的社会性挑战[J].妇女研究论丛,2016,(02):33-39.

[3]罗文.代际传播视域下的两代人婚姻观研究——对“催婚”与“恐婚”现象的传播学思考[J].新闻传播,2022,(03):20-22.

[4]束苇苇. 女性主义视角下明星真人秀节目中女性形象的建构[D].浙江工商大学,2022.DOI:10.27462/d.cnki.ghzhc.2021.000300.

[5]张雪. 代际冲突视域中“催婚家庭”困境及其社会工作干预研究[D].重庆大学,2023.DOI:10.27670/d.cnki.gcqdu.2021.003986.

Luo Bin | Chinese mythology：Chinese Dragon Culture

What‘s the Chinese dragon

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

The source of the Chinese dragon and its symbolic significance

Historically, the Chinese dragon has ancient roots dating back thousands of years. Archeological evidence and ancient scriptures reveal that dragons were central to Chinese myths and legends long before the common era. The earliest depictions can be traced back to the Neolithic period, where dragon-like motifs were discovered on pottery and jade artifacts, like the relics found in Xishuipo site in Henan province and Chahai site in Liaoning province. (Qu Pu, 2024)

In Chinese mythology, dragons are often associated with water and weather phenomena. They are believed to have control over rain, rivers, lakes, and seas. This belief is vital to agrarian societies where timely rains are crucial for the prosperity of crops. Consequently, Chinese farmers would often conduct dragon dances and other rituals to invoke rain and ensure a bountiful harvest.

The Chinese dragon in ancient China

The Chinese dragon and imperial power

The cultural significance of the Chinese dragon extends beyond mythology into various aspects of daily life. The dragon is a potent symbol of imperial power and authority. Emperors of China were often regarded as the living incarnations of dragons, with their thrones referred to as “dragon thrones” and their robes adorned with dragon motifs. The dragon symbolizes the emperor's divine right to rule and his control over the natural world. The association with the emperor also extends to the concept of the “Mandate of Heaven,” where the emperor's virtuous rule is believed to be sanctioned by the heavens, often depicted as dragons. (Zhang, Daniela, 2022)

The Chinese dragon and Chinese festivals

In addition to its imperial connotations, the dragon is a symbol of wisdom, strength, and good luck. lt is believed to bring prosperity and protection, making it a popular motif during celebrations such as the Chinese New Year. The Dragon Dance performed during these festivities, is intended to scare away evil spirits and usher in good fortune for the coming year.

The Chinese dragon and Chinese art and literature

• The Chinese dragon in art

The dragon's prominence in Chinese culture is also vividly reflected in art and literature. Ancient Chinese art often features dragons in intricate carvings, paintings, and sculptures. One striking aspect of these relics is the attention to detail and craftsmanship. Artisans from various dynasties employed a range of materials and techniques to bring the Chinese dragons to life. For example, in bronze ware, dragons were cast with intricate designs, while in paintings, they were embroidered with fine threads of gold and silver. Besides, the Forbidden City in Beijing, the historical palace of the emperors, is adorned with numerous dragon motifs, symbolizing imperial power and protection.

• The Chinese dragon in literature

In literature, dragons are central characters in many Chinese legends and folktales. The classic novel Journey to the West features the Dragon King of the Eastern Sea and his family, playing significant roles in the narrative. Dragons are also frequent subjects in Chinese poetry, where they are used metaphorically to convey ideas of transcendence and mystical power.

These literary and artistic endeavors not only highlight the Chinese extraordinary achievement in art and literature but also reflect the predominance of the Chinese dragon in Chinese culture.

Chinese Dragon’s Modern Relevance

The Chinese dragon application in science

Today, the Chinese dragon is symbolic and conveys rich connotations. We have our icebreaker, Xuelong, or “Snow dragon”, carrying out groundbreaking scientific research in Antarctica. And Kunlong or “Water dragon” serving emergency rescue missions on land or at sea. Embedded in these “dragons” are our hopeful and pursuit of happiness, peace and prosperity for China as well as for the world.

The Chinese dragon in international stage

The Chinese dragon remains a vibrant part of Chinese cultural identity. lt is a symbol of national pride and unity, often used in various cultural and sporting events to represent China. Moreover, the dragon is also a popular symbol in Chinese diaspora communities around the world, serving as a link to their cultural heritage. Dragon boat racing, for instance, has gained international popularity, symbolizing teamwork, strength, and cultural pride. (Ma Junfang, 2022)

The Chinese dragon and Western dragon are different

The Chinese word “long” is usually translated into English as “dragon”. But on February 2nd 2024, the first day of the year of the Chinese dragon according to the Chinese Lunar Calendar, China put forward a new word ”loong” representing the Chinese dragon, claiming that Chinese dragon is totally different from Western dragon not only in appearance but also in cultural significance and connotations.

Differences in appearance

The loong has an elongated body and no wings. With horns on its head and scales on its body, it has a dragon’s beard and claws and looks like a huge snake, while the Western dragon is usually depicted as a huge and ferocious fire-breathing animal with a bulky body, fierce face, huge wings, sharp teeth and claws, and possibly scales on its body. (Hu Jialin, 2021)

Differences in cultural connotations

Culturally symbolic of power, good fortune and happiness, the loong is regarded as a symbol of Chinese culture and is widely used in the nation of China (elaborately mentioned above) While in Western culture, the dragon usually represents mysterious and evil forces and challenges especially in some literature. (Hu Jialin, 2021)

The reason why the Western dragon is so firmly defined as evil forces mainly is the influence of Christian culture and feudal society at that time. In fact, not all western dragons are evil. In the medieval knight culture in the west, especially in the Scandinavian culture, show a kind and brave image. For example, the dragon in Norse mythology is a giant with great power protecting the tree of the world, just like the dragons in How to Treat Your Dragon. Therefore, we should not hold the stereotype that all the Chinese dragons are auspicious and all the Western dragons are evil. (Taylor, Audrey, 2024)

Conclusion

The dragon in Chinese culture is a multifaceted symbol embodying power, wisdom, and good fortune. Its rich historical roots and enduring presence in art, literature, and daily life underscore its profound cultural significance. With the improvement of China’s comprehensive national strength, It creates the new word “loong” now to spread Chinese culture and create better Chinese national images in the international stage. The Chinese dragon or loong serves as a bridge connecting ancient traditions to contemporary cultural expressions encapsulating the enduring spirit of the Chinese people. As China continues to evolve, the dragon will undoubtedly remain a vital part of its cultural identity inspiring generations to come.

Terms

1.Xishuipo site 西水坡遗址

2.Chahai site 查海遗址

3.dragon throne 龙椅

4. Mandate of Heaven 天子

5. Neolithic period 新石器时代

6. loong 中国龙

7. The dragon dance 舞龙

8. Chinese Lunar Calendar 中国农历

9. Journey to the West 《西游记》

10. Dragon King of the Eastern Sea 东海龙王

11. the Forbidden City紫禁城

12. Xuelong, or “Snow dragon” 雪龙号

13. Kunlong or “Water dragon” 昆龙号

14. How to Treat Your Dragon《驯龙高手》

Question

1. How many animals the Chinese dragon is composed of？

2. When the source of the Chinese dragon can date back to？

3. What the Chinese dragon can symbolize in ancient China？

4. Why the new word “loong” is put forward by China?

5. what are the differences between the Chinese dragon and the western dragon?

Reference

[1]https://baike.so.com/doc/5416104-5654249.html

[2]Qu Pu屈谱 从神兽到神使：中国龙形象起源与嬗变新探[J].中华文化论坛,2024(02):160-170.

[3]Zhang, Daniela. (2022). THE IMAGE OF THE DRAGON AS A SYMBOL OF THE CHINESE EMPEROR, AND ITS DEPICTION IN THE BEIJING ANCIENT OBSERVATORY

[3]Ma Junfang 马君芳.中国龙文化的现代传承意义[J].汉字文化,2022(06):166-168.DOI:10.14014/j.cnki.cn11-2597/g2.2022.06.015.

[5]Hu Jialin胡嘉麟.中国龙与西方龙：两个世界的传说与艺术[J].上海文博论丛,2021(00):41-57+6.

[6]Taylor, Audrey. (2024). Review:The Dragon in the West: From Ancient Myth to Modern Legend. Imagining the Impossible: International Journal for the Fantastic in Contemporary Media. 10.7146/imaginingtheimpossible.137360.

中国龙是什么

中国龙是一种神兽，由鹿角、骆驼头、兔眼、蚌腹、鱼鳞、鹰爪、虎爪和牛耳九种动物的部分组成。龙的全身通常采用蜿蜒的曲线描绘，并涂以金色。传说中国龙能飞，有驭风调雨顺的神力，能从口中喷出水来，及时降雨，确保五谷丰登。在中国几千年的历史中，中国龙曾经是一种图腾，渐渐地，它演变成了代表中华民族精神的中国符号。[1]

中国龙的起源及其象征意义

从史上看，中国龙有着数千年的古老根源。考古证据和古代文献表明，早在公元前:龙就在中国神话和传说中占据重要地位。最早的龙形象可以追溯到新石器时代，当时在陶器和玉器上发现了类似龙的图案，比如河南省西水坡遗址以及辽宁省红山文化遗址中所发现的遗迹。（屈谱，2024年）

在中国神话中，龙通常与水和天气现象有关。人们相信它们能够控制雨水、河流、湖泊和海洋。这种信仰对农业社会至关重要，因为及时的降雨对作物的繁荣至关重要。因此，中国农民常常进行舞龙和其他仪式来祈求雨水，确保丰收。

中国古代的中国龙

• 中国龙与皇权

龙是皇权和权威的有力象征。中国的皇帝常被视为龙的化身，他们的宝座被称为“龙椅”，他们的袍子上装饰着龙的图案。龙象征着皇帝的神圣统治权和他对自然界的控制。与皇帝的联系还延伸到“天命”的概念，皇帝的仁政被认为是天命所归，天通常被描绘成龙。（Zhang, Daniela, 2022年）

• 中国龙与中国节日

除了其皇权的象征意义，龙还是智慧、力量和好运的象征。人们相信它能带来繁荣和保护，使其成为如春节等庆祝活动中的热门图案。舞龙表演就是在这些节庆中进行的，旨在驱除邪灵，为来年带来好运。

• 中国龙与中国艺术和文学

1.中国艺术中的中国龙

龙在中国文化中的重要性在艺术和文学中得到了生动的反映。古代中国艺术经常在精美的雕刻、绘画和雕塑中描绘龙。这些文物最引人注目的是对细节和工艺的关注。各个朝代的工匠使用各种材料和技术给中国龙赋予了生命。例如，在青铜器中，龙被浇铸成复杂的图案，而在丝绸上，它们被绣上了精美的金银线。此外，北京的故宫，这座历史上的皇帝宫殿，装饰着无数的龙图案，象征着皇权和保护。

2.文学中的中国龙

在文学中，龙是许多中国传说和民间故事中的核心角色。经典小说《西游记》中，东海龙王及其家人扮演了重要角色。龙也是中国诗歌中的常见主题，常用作隐喻来表达超凡和神秘的力量。 这些艺术和文学上的努力不仅突出了中国龙在中国艺术以及文学中的非凡成就，更反应出了中国龙在中国文化中的重要性。

中国龙在现代社会的延伸

• 中国龙在中国科学中的运用

今天，中国龙具有象征意义，传达着丰富的内涵，我们有破冰船雪龙或“雪龙”，在南极洲进行突破性的科学研究。昆龙为“水龙”在陆地或海上执行紧急救援任务。嵌入这些“龙” 的是我们对中国和世界幸福、和平与繁荣的希望与追求。

• 世界舞台上的中国龙

龙依然是中国文化认同的重要部分。它是民族自豪感和团结的象征，常在各种文化和体育活动中代表中国。此外，龙也是全球华人社区中受欢迎的象征，成为他们文化遗产的纽带。例如，龙舟竞赛现已在国际舞台上流行，象征着团队合作、力量和文化自豪感。（马君芳，2022年）

中国龙和西方龙是不同的

中国字“龙”通常翻译为英文单词dragon。但是在今年的2月2日，也就是中国龙年的第一天，中国提出了一个新词“loong”，用这个词来代表中国龙，表明了中国龙与西方龙是完全不同的，这不仅表现在外貌上，也体现在文化内涵上。

• 外貌上的不同

中国龙身躯细长，没有翅膀。头上有角，身上有鳞片，有着龙须和龙爪，看起来像一条巨大的蛇，而西方龙通常被描绘为一种巨大而凶猛的会喷火的动物，它有着笨重的身体、狰狞的面目、巨大的翅膀、锋利的牙齿和爪子，身上可能还有鳞片。（胡嘉麟，2021年）

• 文化内涵上的不同

中国龙在文化上代表着力量、好运以及幸福，人们通常把它看作是中化文化的象征（前文已详细论述）而在西方文化中，龙通常代表着神秘邪恶的力量以及挑战，尤其在一些文学作品中。（胡嘉麟，2021年） 西方龙被如此笃定地认为是邪恶力量的象征主要是收到了欧洲中世纪基督教文化以及封建社会的影响。但实际上，并不是所有的西方龙都是邪恶的。在西方中世纪的骑士文化，特别是斯坎迪亚文化中，龙展现出来善良勇敢的形象。比如挪威神话中，保护世界之树的便是龙这种生物，这种龙形象和《驯龙高手》中的龙形象类似。因此，我们不应该持有刻板印象，认为所有的中国龙都是祥瑞的，而所有的西方龙都是邪恶的。（Taylor, Audrey，2024年）

总结

在中国文化中，龙是一个多面的象征，体现了力量、智慧和好运。它深厚的历史根源以及在艺术、文学和日常生活中的持久存在凸显了其深远的文化意义。随着中国综合国力的提高，现在创造了“loong”这个新词来传播中国文化，并在国际舞台上塑造更好的中国国家形象。中国龙或“loong”充当了连接古代传统与当代文化表达的桥梁，凝聚了中国人民持久的精神。随着中国的不断发展，龙无疑将继续成为其文化身份的重要组成部分，激励着未来的一代又一代。

问题

1.中国龙由多少种动物组成？

2.中国龙的起源可以追溯到什么时候？

3.古代时，中国龙代表着什么？

4.为什么中国提出了“loong”这个新词？

5.中国龙和西方龙存在哪些不同？

Shi Muyu| Minority cultures: Laosicheng

Introduction

Laosicheng cultural site, embedded in the green mountains of Yongshun County, Xiangxi Tujia and Miao Autonomous Prefecture, is located in Lingxi Town, more than 20 kilometers east of Yongshun County. Laosicheng site is like a bright pearl, witnessing the glory and reform of the native chieftain system from the Southern Song Dynasty to the Qing Dynasty for more than 600 years. It was once the political, economic and cultural center of Peng's Chieftain in Yongshun, leaving a wealth of historical relics and cultural marks. From the magnificent palace area to the busy street layout, from the unique architectural style to the precious cultural relics, Laosicheng has shown us the prosperity and charm of an ancient city. As a living specimen of the development of the regional ethnic autonomy system in ancient China, Laosicheng not only has high historical value, but also is a treasure house that embodies the wisdom of the Tujia, Miao and other ethnic minorities.

Historical Background

The site of Laosicheng, whose autonym is Fushi City, has been the location of Yongshun Peng's chieftain since the fifth year of Shaoxing in the Southern Song Dynasty (1135). According to ancient books such as the History of Yuan Dynasty, Peng's chieftain rallied people's hearts with favors in Xizhou and was supported by the local people, thus inheriting the position of chieftain. In the fifth year of Shaoxing in the Southern Song Dynasty, Peng Fu Shi Peong (Peng Fu Shi Chong) served as the chieftain. In order to get rid of the constraints of the forces of Chenzhou, he moved the Stewards to Fushi County in Lingxi, and built a city here, that is, the old Chieftain. today. Under the rule of Peng's chieftain, Laosicheng quickly developed into the political, economic, military and cultural center of Xiangxi. The city is divided into inner Luo City and outer Luo City, forming a criss-crossing eight streets and ten alleys. Laosicheng is densely populated and prosperous in business. The historical books have records of "three thousand households in the city and eight hundred households outside the city", which shows its prosperity.(Yin Zhong 2019,12.01)

In the Yuan Dynasty, in order to strengthen the rule over the minority areas, the Central Dynasty implemented the chieftain system and allowed the minority areas to govern themselves. Laosicheng, as one of the largest chiefdoms in Southwest China, enjoyed a more stable position. However, with the change of history, the native chieftain system gradually declined, and Laosicheng was forced to move to Kesha Town in the second year of Yongzheng in the Qing Dynasty (1724). Its prosperous scene of more than 600 years came to an end and became a relic.(Qin Luhui 2009,08.01)

Geographical environment and natural environment

Laosicheng site is located in the eastern side of the Yunnan-Guizhou Plateau in the northwest Wuling mountain and western Hubei mountain border, belongs to the middle and low mountain area.The rocks in this area are mainly composed of carbonate rocks and sand shale, and some are sand conglomerate rocks and metamorphic rocks. The terrain is rich and diverse, with both high mountains, valleys and gentle platforms. Laosicheng site is located in Lingxi River, the terrain is easy to defend and difficult to attack, which provides a natural barrier for the military defense of Laosicheng.(Liu Meng 2018,01.01)

Laosicheng and its surrounding areas have a high vegetation coverage rate, the main vegetation types are cypress forest, evergreen broad-leaved forest, shrub, orange orchard, crop vegetation and so on. In addition, there are more than 10 species of key wild protected plants such as taxus chinensis and more than 100 ancient trees, which add a touch of ecological greenery to the site. Laosicheng village is distributed in the Niu Lu River basin of the Youshui tributary. Its upper section is named Lingxi River, the middle section is named Shi (Si) River, and the lower section is named Niulu River, which flows to the Liangsha River and Mengdong River main stream and infuses into the Youshui River. The area belongs to the subtropical humid monsoon climate, abundant rainfall, the air is humid all the year round, not hot in summer, little cold in winter, the vertical difference is great, three-dimensional climate characteristics are obvious. Such climate conditions provide superior natural environment for agricultural production and residents' life in Laosicheng.(Liu Xuemei 2016,01.01)(Liu Yuan 2013,05.01)

Layout and distribution

the overall layout

The overall layout of Laosicheng site is rigorous, and it has been carefully planned according to the terrain and functional requirements. The ruins of the city is divided according to the topography of the three steps, forming a unique layout of three areas, including residential areas, government offices and leaders' living areas. This layout not only reflects the hierarchy, but also fully considers the convenience of actual life.(Gu Chenxi 2015,07-01)

the street layout

The street layout of Laosicheng is "three vertical and five horizontal" checkerboard, criss-crossing streets constitute the skeleton of the city. Specifically, there are eight main streets: River Street, Left Street, Right Street, Zheng Street, Banpo Street, Wutun Street, Fish Stomach Street and Dongmen Street. These streets not only divide the functional areas of the city, but also facilitate the flow of traffic within the city.(He Hui 2019,11.05)

the diversion of functional areas

Palace area and Government Office area: It is located in the core area of the city, and is the place where the chieftain conducts political activities and administrative management. The architecture in these areas is magnificent, reflecting the authority and status of the chiefdom. Residential area: Distributed in every corner of the city, they were the places where the people under the chieftain lived. These areas were relatively simple, but well equipped, reflecting the living conditions of the people at that time. Religious area: There are temples and other religious buildings, which are important places for people to carry out spiritual sustenance and religious activities. Education area: It is dedicated to the training and education of talents, reflecting the importance of education. Workshop area and burial area: It is responsible for handicraft production and the tombs of the chiefdoms and important figures, and are an important part of the city's functions.

Architectural features and cultural heritage

Laosicheng site is divided into Inner Luo city and Outer Luo City, with eight streets and ten lanes crisscrossing, densely populated, and thriving city shops. The historical books have records of "three thousand households inside the city, eight hundred households outside the city","the great town of five rivers, the border city of ten thousand miles". Its architectural style is unique, integrating the architectural characteristics of the Tujia, Miao and other ethnic minorities, and it has extremely high historical and cultural value.(Shi Jinbo 2021,09.01)

As the materialized carrier of chieftain system, laosicheng site fully embodies the political, economic, military, cultural and other aspects of native chieftain system. The unearthed cultural relics are rich and diverse, including pottery, jade, bronze, iron and so on, many of which are treasures.These cultural relics not only provide a unique witness for the study of chieftain culture, but also provide important materials for us to understand the social life, economic development and cultural exchanges in ancient Xiangxi and provide a unique witness for the study of Tusi culture.

A large number of historical buildings, cultural sites and cultural relics have been preserved in Laosicheng, such as the Ancestral Hall, Guanyin Pavilion, and the Five Valley Temple. These buildings and sites not only reflect the religious beliefs and cultural life of the Tujia people, but also demonstrate the uniqueness and diversity of Tujia culture. In addition,Laosicheng also preserves a large number of historical documents and folklore, which record the history and culture of Tujia society and are important materials for the study of Tujia culture. The site of Laosicheng is distributed in the palace area, the government office area, the judicial area, the education area, the residential area, the religious area, the workshop area, the burial area and other functional areas, which together constitute the complete historical and cultural space of Laosicheng.

Social and cultural value

As a living specimen of the development of regional ethnic autonomy system in ancient China, the site of Laosicheng has important historical value. It has witnessed the rise and fall of the native chieftain system in Southwest China, reflecting the evolution of the relationship between the central dynasty and minority areas. At the same time, Laosicheng site is also an important carrier of Tujia, Miao and other minority cultures, providing precious materials for us to understand and study the history, culture and customs of these ethnic groups.

In addition, Laosicheng site also has important cultural value. Its unique architectural style, rich cultural relics and profound historical deposits make it an important research object in the fields of ancient Chinese urban history, architectural history and cultural history. At the same time, Laosicheng site also provides a window for contemporary people to understand ancient culture and feel the historical charm.(Zhang Min 2018,08.01)

Tourism development

With the development of tourism, Laosicheng have gradually become an important tourist destination. Since its official opening to the public as a scenic spot in May 2016, Laosicheng Scenic Spot has attracted many tourists to come for sightseeing its unique historical and cultural charm. In December 2016, Laosicheng Scenic Spot was listed as a national AAAA tourist attraction, further enhancing its popularity and influence.(Gao Wenxiang 2018,02.01)

In terms of tourism development, Laosicheng Site makes full use of its unique historical and cultural resources and launches a variety of tourism products. For example, visitors can visit the Laosicheng Site Museum to learn about the history and culture of Laosicheng; You can visit the old city walls, ancient streets and other scenic spots, feel the charm of the ancient city; You can also take part in the local folk culture activities and have a deep understanding of the cultural customs of the Tujia, Miao and other ethnic minorities.In response to the decline of ethnic minority cultures in the past four decades, the Chinese government implemented measures to introduce cultural content into school practices in order to preserve minority heritage. For example, Laosicheng Site also actively carries out research and tourism activities, providing a practical platform for primary and secondary school students to understand ancient culture and cultivate historical literacy.(Chen Yanli 2019,06.01)

Conclusion

Laosicheng is not only a relic of a city, but also a microcosm of the thousand-year-old civilization of the Chinese nation, and an immortal memory in the flow of time. Here, every brick, every wall, as if it is telling the past glory and vicissitudes. These silent narration, let us more deeply understand that cultural heritage is not only material retention, but also spiritual inheritance.

Terms and Expressions

Laosicheng Cultural Site 老司城文化遗址

Yongshun County, Xiangxi Tujia and Miao Autonomous Prefecture 湘西土家族苗族自治州永顺县

autonym 本名

Yongshun Peng's chieftain 永顺彭氏土司

chiefdom 土司（古代官署名）

Yunnan-Guizhou Plateau 云贵高原

Wuling Mountain 武陵山脉

Western Hubei Mountain 鄂西山

carbonate rock 碳酸盐岩

sand shale 页岩

sand conglomerate 砂砾岩

metamorphic rock 变质岩

cypress forest 柏木林

evergreen broad-leaved forest 常绿阔叶林

shrub grass 灌草丛

Taxus chinensis 红豆杉

subtropical humid monsoon climate 亚热带湿润季风气候

Inner Luo City 内罗城

Outer Luo City 外罗城

pottery 陶器

jade 玉器

bronze 铜器

Ancestral Hall 祖师殿

Guanyin Pavilion 观音阁

Five Valley Temple 五谷祠

Question

1.What are the ancient architectural sites and cultural relics preserved in Laosicheng?

2.As the political, economic, military and cultural center from the Southern Song Dynasty to the Yongzheng period of the Qing Dynasty, how did its historical position affect the local minority areas and the whole southern China?

3.What is the architectural layout of Laosicheng?

4.How does Laosicheng embody the characteristic culture of Tujia?

5.What are the social and cultural values of Laosicheng?

References

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Qin Luhui覃录辉(2009).广西忻城土司文化对发展地方旅游经济的意义[The significance of the chieftain culture in Xincheng, Guangxi to the development of local tourism economy].DOI:CNKI:SUN:ZYMD.0.2009-04-006.

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Liu Xuemei刘雪梅(2016).永顺老司城民间故事研究[The folk story study of laosicheng].DOI:10.7666/d.D01024390.

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He Hui何辉（2019）基于织补理论的长沙历史步道空间设计研究[Research on space design of Changsha historical footpath based on darning theory]

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引言

老司城文化遗址，镶嵌在湘西土家族苗族自治州永顺县的青葱山水之间，位于永顺县城东20余公里处的灵溪镇。老司城遗址如同一颗璀璨的明珠，见证了南宋至清代六百余年土司制度的辉煌与变革。这里曾是永顺彭氏土司的政治、经济、文化中心，留下了丰富的历史遗迹和文化印记。从宏伟的宫殿区到繁忙的街道布局，从独特的建筑风格到珍贵的文物遗存，老司城都为我们展现了一个古代城市的繁华与韵味。作为中国古代民族区域自治制度发展的活标本，老司城不仅具有极高的历史价值，更是一座凝聚了土家族、苗族等少数民族智慧的宝库。

历史背景

老司城遗址，本名福石城，自南宋绍兴五年（1135年）起，便成为永顺彭氏土司的司治所在。据《元史》等古籍记载，彭氏土司在溪州以恩惠凝聚人心，受到当地人民的拥戴，从而世袭土司之位。南宋绍兴五年，彭福石宠（彭福石冲）担任土司后，为摆脱辰州势力的约束，将司治迁到了灵溪的福石郡，并在此筑城，即今老司城。在彭氏土司的统治下，老司城迅速发展成为湘西地区的政治、经济、军事和文化中心。城内分内罗城、外罗城，形成了纵横交错的八街十巷，人口稠密，商业兴隆，史书有“城内三千户，城外八百家”的记载，足见其繁荣景象。（尹忠 2019，12.01）

元代，中央王朝为加强对少数民族地区的统治，实行了土司制度，允许少数民族地区自治自管。老司城作为西南地区最大的土司之一，其地位更加稳固。然而，随着历史的变迁，土司制度逐渐衰落，老司城也于清雍正二年（1724年）被迫迁至颗砂乡，其600余年的繁华景象就此结束，成为遗址。(覃录辉 2009,08.01）

地理环境与自然环境

老司城遗址位于云贵高原东侧武陵山西北与鄂西山地交界之处，属于山地中的中低山地区。该地区岩石组成以碳酸盐岩和砂页岩为主，部分为砂砾岩和变质岩，地形丰富多样，既有高山峡谷，也有平缓的台地。老司城遗址地处灵溪河畔，地势险要，易守难攻，为老司城的军事防御提供了天然屏障。（刘梦，2018 ,01.01）

老司城及其周边地区植被覆盖率高，主要植被类型有柏木林、常绿阔叶林、灌草丛、橘园、农作物植被等。此外，还有红豆杉等重点野生保护植物十余种，古树百余株，为遗址增添了一抹生态绿意。老司城村分布在酉水支流的牛路河流域，其上段名灵溪河，中段名施（司）河，下段名牛路河，流至两岔河与猛峒河干流相接并注入酉水。该地区属于亚热带湿润季风气候，雨量充沛，空气常年湿润，夏无酷暑，冬少严寒，垂直差异悬殊，立体气候特征明显。这样的气候条件为老司城的农业生产和居民生活提供了优越的自然环境。（刘雪梅 2016,01.01）(刘源 2013 ,05.01）

布局分布

一、整体布局

老司城遗址整体布局严谨，按照地形和功能需求进行了精心规划。城池遗址依三级台阶地形而分，形成了独特的三区布局，包括居民区、衙署区和首领生活区。这种布局既体现了等级制度，又充分考虑了实际生活的便利性。（顾晨曦 2015,07.01）

二、街道布局

老司城的街道布局呈“三纵五横”的棋盘式，纵横交错的街道构成了城市的骨架。具体来说，有八条主要街道：河街、左街、右街、正街、半坡街、五屯街、鱼肚街和东门街。这些街道不仅划分了城市的功能区域，也促进了城市内部的交通流动。（何辉 2019,11.05）

三、功能区域划分

宫殿区与衙署区：位于城市的核心地带，是土司进行政治活动和行政管理的场所。这些区域建筑宏伟，体现了土司的权威与地位。 居民区：分布在城市的各个角落，是土司辖下民众居住的地方。这些区域相对朴素，但生活设施完备，反映了当时民众的生活状态。 宗教区：设有寺庙等宗教建筑，是民众进行精神寄托和宗教活动的重要场所。 教育区：专门用于培养和教育人才，体现了土司对教育的重视。 作坊区和墓葬区：分别负责手工艺制作和土司家族及重要人物的墓葬，是城市功能的重要组成部分。

建筑特色与文化遗产

老司城遗址分内罗城、外罗城，有纵横交错的八街十巷，人户稠密，市店兴隆。史书有“城内三千户，城外八百家”，“五溪之巨镇，万里之边城”的记载。其建筑风格独特，融合了土家族、苗族等少数民族的建筑特色，具有极高的历史价值和文化价值。（史金波 2021,09.01）

作为土司制度的物化载体，老司城遗址完整地体现了土司制度的政治、经济、军事、文化等方面。其出土的文物丰富多样，包括陶器、玉器、铜器、铁器等，其中不乏珍品。这些文物不仅为研究土司文化提供了独特见证，也为我们了解古代湘西地区的社会生活、经济发展和文化交流提供了重要资料。老司城遗址出土了丰富的文物，包括陶器、玉器、铜器、铁器等，这些文物为研究土司文化提供了独特见证。

老司城内保存了大量的历史建筑、文化遗址和文物，如祖师殿、观音阁、五谷祠等。这些建筑和遗址不仅体现了土家族人的宗教信仰和文化生活，也展示了土家族文化的独特性和多样性。此外，老司城还保存了大量的历史文献和民间传说，这些文献和传说记录了土家族社会的历史和文化，是研究土家族文化的重要资料。老司城遗址分布着宫殿区、衙署区、司法区、教育区、居民区、宗教区、作坊区、墓葬区等功能区，这些区域共同构成了老司城完整的历史文化空间。

社会与文化价值

老司城遗址作为中国古代民族区域自治制度发展的活标本，具有重要的历史价值。它见证了土司制度在西南地区的兴衰历程，反映了中央王朝与少数民族地区的关系演变。同时，老司城遗址也是土家族、苗族等少数民族文化的重要载体，为我们了解和研究这些民族的历史、文化、风俗等提供了珍贵资料。

此外，老司城遗址还具有重要的文化价值。其独特的建筑风格、丰富的文物遗存以及深厚的历史底蕴，使其成为研究中国古代城市史、建筑史、文化史等领域的重要研究对象。同时，老司城遗址也为当代人提供了一个了解古代文化、感受历史韵味的窗口。（张敏 2018,01.01）

旅游开发

随着旅游业的发展，老司城遗址逐渐成为了一个重要的旅游目的地。自2016年5月作为风景区正式对外开放以来，老司城景区凭借其独特的历史文化魅力，吸引了众多游客前来观光游览。2016年12月，老司城景区又列为国家AAAA级旅游景区，进一步提升了其知名度和影响力。（高文香 2018,02.01）

在旅游开发方面，老司城遗址充分利用其独特的历史文化资源，推出了多种旅游产品。例如，游客可以参观老司城遗址博物馆，了解老司城的历史文化；可以游览老司城古城墙、古街道等景点，感受古代城市的韵味；还可以参加当地的民俗文化活动，深入了解土家族、苗族等少数民族的文化风情。为应对近四十年来少数民族文化的衰落,中国政府实施了将文化内容引入学校实践的措施,以保存少数民族遗产.例如，i老司城遗址还积极开展研学旅游活动，为中小学生提供了一个了解古代文化、培养历史素养的实践平台。（陈艳丽 2019,06.01）（王伟 2022）

老司城，不仅是一座城市的遗迹，更是中华民族千年文明的缩影，是时光流转中不朽的记忆。在这里，每一块砖石、每一道城墙，都仿佛在诉说着过往的辉煌与沧桑。这些无声的讲述，让我们更加深刻地理解到，文化遗产不仅仅是物质的留存，更是精神的传承。