20210601 culture3
Final Exam Paper Page. Please write now here and improve until grading on 2021 06 15
- Link to return to Course Homepage.
- Link to the other Final Exam paper pages: Final Exams 1 Bào Qìnwén 鲍沁雯 - Dù Xīnyǔ 杜心语; Final Exams 2 Guō Yàbō 郭亚波 - Huáng Zǐlóng 黄梓龙; Final Exams 3 Lǐ Yìhào 李艺浩 - Sū Xiāo 苏潇; Final Exams 4 Tāng Huì 汤惠 - Wáng Qìnyú 王沁瑜; Final Exams 5 Wáng Zǐhán 王子涵 - Zhào Kē 赵轲.
1. Every student should write a new English text on a phenomenon in Chinese culture as a new chapter in the text book. Please also make a comparisons to similar or different cultural phenomenons in Europe and/or the USA.
2. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until May 25. The author then finalizes (works in the suggestions) until the final deadline June 1! Please proof read a fellow students' paper by copying each paragraph and make your corrections in the paragraph. In a final step, the original author of the paper has to decide, what of the corrections he/she will accept and work into the paper. The final version submitted on the deadline should not carry any of the fellow student's paragraphs and comments.
- You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like "Longevity Noodles") or Text B ("Mooncakes"), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title ("Festival Meals") and arrange it accordingly.
- In the topic, please write the category, then the topic - your name and student no.
- For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17.
- Add a section at the end called "References". There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). 翻译基础 [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. 智库时代 Think Tank Times (40) 282-284.
- Please also add a list "Terms and Expressions".
- Please add a "Questions" section.
- Please add a "Answers" section.
This is the the first page with the final exam papers.
Please write another chapter of the textbook on any cultural phenomenon in China.
The Longevity Lock
Lǐ Yìhào 李艺浩 The Long-life Lock
The long-life lock is a popular traditional Chinese mascot, which is used to bless babies healthy and longevous and to drive away disasters and diseases.
A. The historical origin of the long-life lock
Zhu Suo,a colorful rope in the Han Dynasty, is the earliest form of the long-life locks. It is a portal decoration at Dragon Boat Festival in the Han Dynasty. The record in the History of the Later Han Dynasty is evidence of this statement, because it records that Zhu Suo was as a door decoration to stop evil. (Wang Haina,2010:59)(The History of the Later Han Dynasty)
In the Wei,Jin and Northern and Southern Dynasties, frequent wars, plague and famine is pervasive, so the vast number of people at that time strongly yearned for peace. So every Dragon Boat Festival, people used five silk ropes, five colors,to wove a colorful rope called Wu Se Sheng and then tied them to the arms of women and children so as to pray for exorcism, longevity and health. And this custom spread to Jing ,Chu and other places. (Gong Ting,2013：55)(Ying Zhao)(Zhou Chu)
In the Song Dynasty, this custom is not only popular with women and children, but also with the men. And in addition to that, it is also fashionable in the court. Before the Dragon Boat Festival, Emperors gave Wu Se Sheng to their intimate ministers so that they could ward off evil spirits and had good fortune. The record in the History of the Song Dynasty is evidence of this statement, because it records that emperors gave 100 officials Wu Se Sheng. In the Song Dynasty, there are so another colorful silk rope plaits called "Pearl Knot" and "Colored Thread Knot" . Their shapes and systems are more complicated. (Gong Ting,2013：55)(The History of Song Dynasty)
In the Ming Dynasty, this custom changing, adult male and female wears it less and usually the locks specifically used for children. And they are given children in children’s full one year of life and until the year of an adult. And also in this Dynasty, Wu Se Sheng had developed into the long-life lock and was popular. (Gong Ting,2013：55)
B. The materials and the shapes of the Long-life Lock
The long-life locks can be made of different materials such as gold, silver, copper, iron, wood, stone, jade, bone, tooth and horn. In the old days, gold, jade and tooth were commonly used in rich families, and silver, copper, stone and wood were generally used in poor families. Among them, with the development of Chinese silverware during the Ming and Qing Dynasties and during the Republic of China, the silver long-life locks became extremely popular in China. (Gong Ting,2013：57)(Wang Haina,2010:61)
The long-life locks are in different shapes, such as square, round, long, single or double.The long-life locks are often in conjunction with necklaces or necklace rings, or with silk ropes. The symbolic meaning of the long-life locks is main, so most of them cannot be opened with a key, but a few with a key. (Gong Ting,2013：56)
Rectangular long life locks mostly imitate the ancient copper locks which is simple and elegant, and they generally can open the lock with a key and suitable for enjoying. The long life locks in the shapes of cashew nut and gold ingot are unique, conveying the auspicious hidden meanings and its crafts are relatively complicated and brilliant. (Gong Ting,2013：56)
C. The pattern design of the Long-life Lock
The pattern designs of the long-life locks are mainly traditional auspicious patterns, such as folk auspicious words, flowers, birds, insects, animals and mythical characters. 1. Folk auspicious language This pattern has the words of Chang Ming Fu Gui，Chang Ming Bai Sui and Ji Xiang Ru Yi and so on. (Wang Haina,2010:61)(Gong Ting,2013：56)
2. Flowers, birds, insects and animals Animals, such as bats, butterflies, fish, deer, magpies, and mythical animals, such as dragons, phoenix, are often used. Flowers and plants, such as peonies, plum blossoms, lotus, pines and cypresses, are also commonly used.(Gong Ting,2013：56)(Wang Haina,2010:61)
3.Fairy tales Traditional mythical characters are always typical themes such as Kylin Sends Sons. The Kylin is a legendary mythical beast as one of "Four Spirits", symbolizing good fortune.(Wang Haina,2010:61)
D. The culture behind the Long-life Lock
In the past, many Chinese babies died of diseases because of human's limited ability to medical care. Therefore, there is a saying in folk that the King of Hell accepts babies. Therefore, adults were afraid that their babies died in infancy, and so adults worn a long-life lock for their children. They thought that the lock could lock their children so as not to let the evil spirits go into the body, not to be entangled by the evil spirits and not to be taken away their lives by the King of Hell, and to pray for the healthy and smooth growth of their children and pray for their long lives. Children are not allowed to pick their long-life lock until they became adults.
The differences in the long-life locks between Chinese and Western culture are obvious. Western people pursue liberty and do not like to be shackled, so they regard something like the long-life lock is a fetter. As a result, they do not have the long-life locks and this custom. However, this is an obviously different point when it comes to China. Because of its unique cultural environment bring its unique ideology, Chinese people create the long-life locks.
Terms
The History of the Later Han Dynasty 《后汉书》
Zhu Suo 朱索
Pearl Knot 珠儿结
Kylin 麒麟
The King of Hell 阎王
Four spirits 四大神兽
The History of the Song Dynasty 《宋史》
Jinchu place 荆楚之地
Chang Ming Fu Gui长命富贵
Chang Ming Bai Sui长命百岁
Ji Xiang Ru Yi 吉祥如意
Questions
1.What is the earliest form of the long-life lock？
2.When is it not only popular with women and children, but also with the men?
3.When is it usually specifically used for children?
4.During the Ming and Qing Dynasties and during the Republic of China, which material does the long-life locks become extremely popular in China?
5.Which pattern designs of the long-life locks are mainly used?
Answers
1. Zhu Suo,a colorful rope in the Han Dynasty, is the earliest form of the long-life lock.
2. In the Song Dynasty
3. In the Ming Dynasty
4. The silver long-life lock
5. Traditional auspicious patterns
References
- Gong Ting 宫婷, Longevitylock-Chinese Typical Amul, 长命锁_中国式护身符(2013)
- Wang Haina 王海娜,A Brief Study of Long-life Lock, 长命锁及其演变 (2011)
- The History of the Later Han Dynasty，《后汉书 ·礼仪志》:“五月五日, 朱索五色印为门户饰, 以难止恶气。”
- Ying Zhao应劭,《风俗演义·佚文》:“五月五日以五彩丝系臂,曰长命缕, 一名续命缕, 一名辟兵缯, 一名五色缕,一名朱索 。”
- Zhou Chu 周处,《风土记》,晋代:“荆楚人端午日以五彩系臂, 辟兵鬼气, 一名长命缕, 今百索也。”
- The History of the Later Han Dynasty，《宋史 ·礼志》:“ … …以一彩丝续命缕分赐百官 。”
--Li Yihao (talk) 12:11, 13 June 2021 (UTC)
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Liú Tíngyáng 刘廷阳 The Ethnic Minorities' Costumes
Terms
Questions
References
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Chinese Incense Culture - Liú Zhuōfán 刘卓凡 201930096025
Chinese incense culture has thousands of years of historical accumulation, and the world of incense is profound and colorful. Its concept and practice have also penetrated into all aspects of Chinese traditional culture. Incense culture is a rare cultural category with the body practice of olfactory senses as the core and it is indispensable to explore Chinese traditional culture. (Sun Liang, 2018:5)
A. Overview of Chinese incense culture
Chinese incense culture is a cultural practice and ideology of fragrant smell centering on the recognition, processing and usage of various spices developed by the Chinese people in the long process of civilization. Incense can not only be used to connect with God, but also to help people be sensible or reasonable. In the cultural life of Chinese people, all the systematic cultural practices based on the sense of smell to experience and recognize the fragrance can be regarded as the incense culture. Olfaction, perfume material, odour and smog are the four basic aspects of the study of incense culture. (Sun Liang, Zhang Duo, 2018:6)
Olfaction is not only a physiological issue but a cultural one. From the cultural point of view, different cultural groups have great differences in the perception and acceptance of olfaction. For example, the smell of stinky tofu in southern China is a scent that can induce appetite, but it is described as stinky. Indeed, many people do not think the smell of stinky tofu is fragrant. So there are great differences in the olfactory experience of certain odors in human cultures. (Sun Liang, Zhang Duo, 2018:6)
The smog produced by burning incense is also paid attention to. In the use of incense by Chinese people, burning is one of the most important ways, especially in religious field. The smog produced by burning incense is often a sign of the effectiveness of rituals. It is composed of visible particles, which gather and move in the air in large quantities, forming a visual sensation besides the smell of fragrance. Smog is the byproduct of burning incense, but it also has its own unique cultural meaning. For example, in ancient heaven worship ceremony, a column of smog is the medium connecting the heaven and human beings. (Sun Liang, Zhang Duo, 2018:6)
Perfume material is the basis of incense culture. Commonly used perfume materials can be roughly divided into three categories: plant, animal and auxiliary materials. Plant material accounts for the largest proportion, about 90%. Normally, it is divided its into six kinds: flower, leaf, fruit, root, stem, wood and lipid. Animal material refers to the aromatic substances obtained from the secretions of animals, mainly from the secretions or body surface attachments of animals such as sperm whale (ambergris), forest musk deer (musk), hemifusus tuba (Turbo cornutus Solander) and so on. Auxiliary materials such as carbon, Glauber's salt and honey normally do not give off a strong fragrant smell, but have special uses in producing incense. The production form of incense products can be divided into raw incense materials, string incense, stick incense, dish incense, tower incense, cone incense, pill, powder, cream, soup, sachet, pillow and other main categories. (Sun Liang, Zhang Duo, 2018:8-9)
B. Development
In ancient times, the ancestors of the Chinese nation began to burn woods to produce smog to pray to the heaven and the earth. This is the beginning of the sacrificial incense. Meanwhile, incense used in normal life can also be traced back to ancient times. (Liu Yuying, Hu Jianjun, Yi Xin 2018:82)
During the Han Dynasty, the development of incense culture in China began to take shape. Incense was popular among the upper classes represented by the nobles and princes. The introduction of incense into the etiquette of royal court was also an important sign of development. (Liu Yuying, Hu Jianjun, Yi Xin 2018:82)
In the Sui and Tang dynasties, incense had developed to the stage of refinement and systematization. The kinds of incense are more abundant, and the production and use of incense are more elaborate. (Liu Yuying, Hu Jianjun, Yi Xin 2018:82)
The Song Dynasty was another glorious period in the history of Chinese incense culture. At this time, the development of incense culture also entered a peak stage. Incense culture has penetrated into every aspect of society. Besides, incense was very popular among the literary people in the Song Dynasty. It also enriches the inner content and artistic quality of incense culture. (Liu Yuying, Hu Jianjun, Yi Xin 2018:83)
The incense culture of the Ming and Qing Dynasties inherited the prosperity of the Song and Yuan Dynasties and developed further. Incense is further popular in society. In particular, there are many depictions of incense in novels and operas of the Ming and Qing Dynasties such as A Dream in Red Mansions. The extensive depiction of incense in the book also reflects the wide use of incense. (Liu Yuying, Hu Jianjun, Yi Xin 2018:83)
Since the late Qing Dynasty, Chinese society has suffered an unprecedented impact. Consequently, the incense culture has also entered a difficult period. (Liu Yuying, Hu Jianjun, Yi Xin 2018:83)
C. Incense in folk custom
Incense can be found everywhere, from exorcism to pest prevention, from the expression of missing to the expression of love, from house cleaning to banquets and entertainment. The beauty culture derived from cosmetics with incense as the core is also a focus of folk custom study. (Sun Liang, Zhang Duo, 2018:14)
Chinese people use incense on many important festivals. Incense is used to worship ancestors during the Spring Festival. It is also used when sweeping tombs on the Tomb-Sweeping Day. The Dragon Boat Festival is full of incense. From the hanging of mugwort and calamus at the door to the wearing of sachets, these are the embodiments of incense culture. (Sun Liang, Zhang Duo, 2018:14)
Ancestor worship is the core value element in Chinese folk beliefs, and incense must be used to worship ancestors. Incense is not only a medium to communicate with ancestors, but also a symbol of family prosperity. (Sun Liang, Zhang Duo, 2018:14)
When expressing love, affection, blessing and missing, Chinese people often choose sachets as keepsake. Sachet embodies people's cherishing of beautiful feelings in family life. It symbolizes auspicious happiness and peace and can be used to dispel disease and evil. Also, it represents begging for sons and prolonging life. (Sun Liang, Zhang Duo, 2018:14)
D. Comparison between the east and the west
In the long process of the development of incense culture, China and the West have different characteristics in the way of using incense and different attitudes towards incense. Westerners refine various perfume materials into fragrant oils and essence, and mix them into perfumes, which are sprayed on the body, clothes or rooms. By contrast, China and the eastern countries affected by it, such as Korea and Japan, retain and develop burning incense, wearing incense products and other ways. They have formed the incense culture for thousands of years. (Guo Xue, 2015)
Terms
Olfaction 嗅觉
Odor 气味
Heaven worship ceremony 祭天仪式
Sperm whale (ambergris) 抹香鲸（龙涎香）
Forest musk deer (musk) 林麝（麝香）
Hemifusus tuba (Turbo cornutus Solander) 管角螺（甲香）
Glauber's salt 芒硝
Exorcism 驱邪
Mugwort and calamus 艾草和菖蒲
Fragrant oils 香油
Essence 香精
Perfume 香水
Questions
1.What are the basic aspects of the study of incense culture?
2.What is the basis of incense culture?
3.What categories can perfume materials be divided into?
4.When does Chinese incense culture develop best?
5.What are the functions of incense in Chinese folk custom?
6.What is the difference between west and east incense cultures?
Answers
1. Olfaction, perfume material, odour and smog are the four basic aspects of the study of incense culture.
2. Perfume material is the basis of incense culture.
3. Commonly used perfume materials can be roughly divided into three categories: plant, animal and auxiliary materials.
4. Song dynasty.
5. Incense can be found everywhere, from exorcism to pest prevention, from the expression of missing to the expression of love, from house cleaning to banquets and entertainment. It also can be found in cosmetics. Chinese people use incense on many important festivals. Incense must be used to worship ancestors. It can be used to express love, affection, blessing and missing.
6. Westerners refine various perfume materials into fragrant oils and essence, and mix them into perfumes. China and the eastern countries affected by it, such as Korea and Japan, retain and develop burning incense, wearing incense products and other ways.
References
- Guo Xue 郭雪, To probe into Chinese and western culture based on the difference of using incense, 从用香差异窥探中西方文化 (2015) http://art.people.com.cn/n/2015/0309/c206244-26660620.html
- Liu Yuying 刘玉莹, Hu Jianjun 胡建君, Yi Xin 一心, On the revival and development of Chinese incense culture, 浅谈中国香文化的复兴与发展 (2018)
- Sun Liang 孙亮, Zhang Duo 张多, The academic domain and contemporary revival of Chinese incense culture 中国香文化的学术论域与当代复兴 (2018)
--Liu Zhuofan (talk) 13:24, 23 May 2021 (UTC)
Péng Jiāyù 彭佳钰
I suggest to write my final exam paper about "Wu Zetian".ok
Shū Lín 舒琳 Tea-picking Opera
I suggest to write my final exam paper about "Tea-picking Opera ". Ok.
Terms
采茶戏，是为流行于江南地区和岭南一些省区的一种传统戏曲类别，产生年代大多是清代中期至清代末年，种类繁多，各地特色鲜明。 我再想想
Questions
References
Sū Xiāo 苏潇 The Cultural Connotation of Mount Tai
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