20220630 Culture 16

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• 20220630_Culture_1 papers 1-10: 1: 英语笔译 卞王倩 Bian Wangqian 202170081563 Europeanized Chinese and Cultural Factors Behind it, 2: 英语笔译 曹姣 Cao Jiao 202170081564 Research on court culture in the Tang Dynasty from the perspective of poem -- take Changhenge for example, 3 英语笔译 陈路瑶 Chen Luyao 202170081565, 4 英语笔译 崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译 邓阳林 Deng Yanglin 202170081567, 6 英语笔译 高智慧 Gao Zhihui 202170081568, 7 英语笔译 何丽娜 He Lina 202170081569, 8 英语笔译 胡良明 Hu Liangming 202170081570, 9 英语笔译 黄琼 Huang Qiong 202170081571, 10 英语笔译 邝雨琪 Kuang Yuqi 202170081572
• 20220630_Culture_2 papers 11-20: 11 英语笔译 黎溢佳 Li Yijia 202170081573, 12 英语笔译 李思敏 Li Simin 202170081574, 13 英语笔译 李思源 Li Siyuan 202170081575, 14 英语笔译 李婷 Li Ting 202170081576, 15 英语笔译 李欣 Li Xin 202170081577, 16 英语笔译 李颖 Li Ying 202170081578, 17 英语笔译 李媛 Li Yuan 202170081579, 18 英语笔译 李梓婕 Li Zijie 202170081580, 19 英语笔译 梁思婷 Liang Siting 202170081581, 20 英语笔译 廖诗韵 Liao Shiyun 202170081582
• 20220630_Culture_3 papers 21-30: 21 英语笔译 刘唱 Liu Chang 202170081583, 22 英语笔译 刘乐乐 Liu Lele 202170081584, 23 英语笔译 刘双英 Liu Shuangying 202170081585, 24 英语笔译 刘婷 Liu Ting 202170081586, 25 英语笔译 刘瑶 Liu Yao 202170081587, 26 英语笔译 刘珍 Liu Zhen 202170081588, 27 英语笔译 龙翰良 Long Hanliang 202170081589, 28 英语笔译 罗姚林 Luo Yaolin 202170081590, 29 英语笔译 马艳焕 Ma Yanhuan 202170081591, 30 英语笔译 聂薇 Nie Wei 202170081592
• 20220630_Culture_4 papers 31-40: 31 英语笔译 孙丽君 Sun Lijun 202170081593, 32 英语笔译 仝雨梦 Tong Yumeng 202170081594, 33 英语笔译 童略雅 Tong Lueya 202170081595, 34 英语笔译 庹树梅 Tuo Shumei 202170081596, 35 英语笔译 王思琪 Wang Siqi 202170081597, 36 英语笔译 王亚娟 Wang Yajuan 202170081598, 37 英语笔译 肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译 肖佳莉 Xiao Jiali 202170081600, 39 英语笔译 谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译 熊嘉玲 Xiong Jialing 202170081602
• 20220630_Culture_5 papers 41-50: 41 英语笔译 颜媛 Yan Yuan 202170081603, 42 英语笔译 杨心怡 Yang Xinyi 202170081604, 43 英语笔译 杨紫微 Yang Ziwei 202170081605, 44 英语笔译 张国浩 Zhang Guohao 202170081606, 45 英语笔译 张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译 张瑞 Zhang Rui 202170081608, 47 英语笔译 赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译 郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译 钟青 Zhong Qing 202170081611, 50 英语笔译 周皓熙 Zhou Haoxi 202170081612
• 20220630_Culture_6 papers 51-60: 51 英语笔译 周哲 Zhou Zhe 202170081613, 52 英语笔译 朱丽娟 Zhu Lijuan 202170081614, 53 英语口译 段小蝶 Duan Xiaodie 202170081615, 54 英语口译 方楚晗 Fang Chuhan 202170081616, 55 英语口译 胡雯雯 Hu Wenwen 202170081617, 56 英语口译 黄天琪 Huang Tianqi 202170081618, 57 英语口译 兰绮 Lan Qi 202170081619, 58 英语口译 李丹 Li Dan 202170081620, 59 英语口译 李立飞 Li Lifei 202170081621, 60 英语口译 莫雨婷 Mo Yuting 202170081622
• 20220630_Culture_7 papers 61-70: 61 英语口译 彭慧璇 Peng Huixuan 202170081623, 62 英语口译 时友洁 Shi Youjie 202170081624, 63 英语口译 伍佳惠 Wu Jiahui 202170081625, 64 英语口译 夏晶 Xia Jing 202170081626, 65 英语口译 向师琦 Xiang Shiqi 202170081627, 66 英语口译 向望 Xiang Wang 202170081628, 67 英语口译 徐舞 Xu Wu 202170081629, 68 英语口译 张静芝 Zhang Jingzhi 202170081630, 69 英语口译 张旻丰 Zhang Minfeng 202170081631, 70 日语笔译 曹梦然 Cao Mengran 202170081632
• 20220630_Culture_8 papers 71-80: 71 日语笔译 胡梦琪 Hu Mengqi 202170081633, 72 日语笔译 张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译 刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译 王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译 徐盖 Xu Gai 202170081638, 76 朝鲜语笔译 徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301

76 朝鲜语笔译 徐文慧 Xu Wenhui 202170081639

The “scholar's four jewels” Xu Wenhui

Introduction

The"scholar's four jewels"are unique calligraphy and painting tools in China, namely writing brush, ink, paper and inkstone. Brush, ink, paper, inkstone commonly known as the "scholar's four jewels", its name originated from the Northern and Southern Dynasties, since the Song Dynasty, it refers to xuan brush (Xuancheng, Anhui), Hui ink (She County, Anhui), xuan paper (Jing County, Xuancheng, Anhui), she inkstone (She County, Anhui) and so on. As the essence of Traditional Chinese culture, the scholar's four jewels have been accumulated and deposited for thousands of years, and their cultural connotation has been recognized by people more and more, and their value has far exceeded its own function. For example, When CAI Yong wrote‘Bi Fu' in the Eastern Han Dynasty, he endowed the "integrity" of the brush and the "roundness" of the brush with imago features beyond the function of the brush. Chinese calligraphy is a profound art with a long history. It has entered the door of the palace of art as early as the Qin and Han Dynasties, and has become an indispensable artistic treasure in Oriental history, and developed into a broad and profound knowledge. Calligraphy is not only an important part of Chinese culture, but also a symbol of the characteristic cultural spirit of the Chinese nation. "To do a good job, you must sharpen your tools." The unique artistic flavor of Chinese calligraphy is inseparable from the "scholar's four jewels" spread through the ages, and it is with brush, ink, paper and inkstone that the myriad forms of calligraphy can be depicted. Even a highly skilled calligrapher, sometimes encountered tools "do not go well", can only be overjoyed, frustrated. Today, brush, ink, paper and inkstone have been included in the national intangible cultural heritage list, jointly promoting the development of calligraphy art. (Zhao 2021:28)

Origin and history

The tools and materials of Chinese calligraphy are basically evolved from pen, ink, paper and inkstone. They are often referred to as the "four treasures of the study", roughly speaking, they are the four treasures necessary in a scholar's study.Because the ancient Chinese literati are basically able to write, or draw, or both can write and draw, is inseparable from brush, ink, paper and inkstone these four treasures. The name "wenfang(文房)" originated in the Southern and Northern Dynasties (420-589) in Chinese history. It specifically refers to the study of literati, and is known as the "four treasures of the study", with pen, ink, paper and inkstone used in the study. In addition to the four treasures, there are also pen holder, pen holder, ink bed, ink box, arm holder(臂搁), pen wash(笔洗), book town, water cheng(水丞), water spoon, inkstone box, inkstone box, printing mud, printing box, cutting knife, seal, roll and so on, which are also necessary in the study.（Chen Yunqin,2014,98）

Writing brush

Because the brush is the main tool for writing. It has been more than 3,000 years since the birth of Chinese characters. We all know that the oldest Chinese characters come from archaeological finds -- shards of oracle bones from the Shang and Zhou dynasties. At that time, there were two ways to engraved words on hard oracle bones: one was to use a knife directly connected with the deed; The other is to write the words in advance on the oracle-bone slice, and then cut it with a knife. The inscribed oracle-bone slices were written with a brush but the uninscribed oracle-bone slices but in fact the brush came into being much earlier than writing. Although the Xia dynasty before The Shang and Zhou dynasties is still a blank in terms of literature, we can find a large number of painted patterns on the painted pottery decorations of the Neolithic Age 10,000 to 4,000 years ago. The lines are smooth, clear and full, obviously drawn by soft brushes. From the painted pottery culture further back to 10,000 years ago or even more distant paleolithic rock paintings. Rock paintings all over the world are the oldest universal language of the Paleolithic age and the mark of human symbiosis thousands of years ago.The production of rock painting is divided into engraving and drawing two categories. Among them, the drawing class is divided into two kinds of lithographic painting and tool drawing. Researchers have yet to find any rock paintings that are clearly made with brush, but I imagine that particularly delicate areas must be done with bamboo or wood 'soft brushes(软笔)' wrapped in plant fibers or smashed into tiny shapes with the tips of sticks. This method is still used by some contemporary painters in pursuit of special effects in painting, which should be the earliest pen. Therefore, Cui Bao(崔豹), a member of the Jin Dynasty, said in his notes on "Ancient and Modern times(《古今注》)", "The ancient pen, whether made of bamboo or wood, can be dyed into characters, which is a pen." So we can be sure that the writing brush should have appeared in the Xia, Shang and Zhou dynasties, the word "yu(聿)" in the oracle bone script is the word "writing brush". In the Spring and Autumn period and the Warring States period, different countries called pens differently. "Shuo Wen Jie Zi(《说文解字》)" said: "Chu called it lut, Wu people not law, Yan people called fu, Qin called pen. In the Spring and Autumn period and the Warring States Period, the carrier of writing was mainly on bamboo slips except for a small amount of cloth. For writing on hard materials, the best invention was a pen bound with animal hair.(Fan Zunrong,2021,87) The two earliest writing brushes were unearthed from the Chu Tomb at Changtai Pass in Xinyang(信阳), Henan Province and the Chu tomb at Zuogong Mountain in Changsha(长沙), Hunan Province. The writing brush is different from the modern general writing brush. The hair is wrapped in one end of the pen holder with silk thread. The tip length is 2.5 cm. The writing brush unearthed from the Tomb of The Warring States and Qin Dynasties in Sleephudi, Yunmeng County, Hubei Province in 1975 has two shapes. One is to bind the brush on the outside of a bamboo pole and add lacquer to it. The other is to chisel a cavity at the end of the bamboo pole to hide the tip of the pen, which is similar to today's brush-making method. In 223 BC, The Qin Dynasty dispatched Meng Tian(蒙恬) to the Region of Zhongshan, now known as Pingshan and Lingshou in Hebei Province, and found that the local rabbit was very healthy, so meng Tian made a pen. CAI Yong(蔡邕) mentioned the "rabbit in Zhongshan(中山兔毫)" as a good pen in his "Pen Discussion(《笔论》)". However, according to the Biography of MAO Ying written by Tang Han Yu, when Meng Tian expedition from Chu to Xuancheng, Anhui province, he found that the local rabbit was very strong, so he made a writing brush, and improved the making method of writing brush by "quilt column method", thus greatly improving the performance of writing brush. Therefore, there is a beautiful reputation of "xuanbi(宣笔)" after the world. Here, we can confirm that the hereditary "Meng Tian Zhu bi", in fact, should be called "improved brush", its method has been inherited for more than 2300 years, as for the specific location can be ignored.

Ink

Ink also has a long history. Archaeological discoveries have found ink-drawn patterns of fish, deer and plants on pottery from the Neolithic Period. Inks and stone grinding sticks dating back more than 6,700 years have been found at the Jiangzhai site in Lintong, Shaanxi province. There are also calligraphic ink marks on the oracle bones of Yin shang. Ink was used for bamboo slips and wooden tablets used for recipes from the Spring and Autumn and Warring States periods, but natural graphite was used. In the Han Dynasty, artificial ink began to appear. Raw materials from pine tobacco plus glue, hand shape, or to mold pressing. "Han official discussion(《汉官议》)" contained: "Shang Shu to the servant cheng Lang, month to yu Mi big ink, small ink each." In the Song Dynasty, "Ink pills began to appear in the Wei and Jin dynasties. Since then, luozi ink pills have been left behind." Wei Dan(韦诞), a calligrapher who wrote the Book of Brush in The Three Kingdoms period, was also good at making ink. He used lacquer smoke and pine smoke to make ink, which was known as "The ink of Zhong General is like lacquer". Zhong started moo as a culture and entered history. During the Tang and Five Dynasties, there were famous ink workers Xi Chao and his son Tingxian, who made ink well and won the favor of the royal family of the Southern Tang Dynasty. They were given the surname Li, and it was said that "gold is easy to get, but ink is hard to get". Li ink was made in xi Prefecture during the Song Dynasty, so Hui ink became a famous title and became the center of ink making in China. In the Qing Dynasty, the ink-making technology reached its peak, and there were more and more famous ink-makers, among whom were hu Kaiwen, Cao Sugong, Wang Jinsheng and Wang Jiean. Their ingot has been entered into major museums as cultural relics. During the Reign of Emperor Guangxu, the brothers Xie Songdai and Xie Songliang created a kind of ink called "Yuntou Yan(云头艳)", which paved the way for the manufacture of modern ink. In 1915, China's hui ink won the gold medal at the Panama World's Fair.(Fan Zunrong,2021,88)

Paper

The invention of paper is China's great contribution to the development of world civilization. In 1933, a piece of plant fiber paper of the Western Han Dynasty was unearthed in Robnuer, Xinjiang. In May 1957, a kind of plant fiber paper was discovered in a Western Han Dynasty tomb in Baqiao, an eastern suburb of Xi 'an, and was named Baqiao paper(灞桥纸). In the early 1990s, nearly 1,000 pieces of ancient paper from the Western Han Dynasty were unearthed at dunhuang ancient Site in Gansu Province, mainly made of hemp fiber. Later, CAI Lun of the Eastern Han Dynasty improved the technology of papermaking, using cheaper and more readily available bark, rags, waste fishing nets as raw materials, to produce high-quality and inexpensive paper, and the rapid promotion of papermaking technology in Our country, CAI Lun's achievements will be recorded in history. After The death of CAI Lun, it is said that one of his apprentices, Kong Dan, came to southern Anhui to make paper with the green sandalwood bark, which was abundant in the local area, and finally achieved great success. This paper fiber is close and delicate, strong ink absorption, toughness and wear resistance, is the predecessor of rice paper. In the Tang dynasty, culture and art flourished before empty space. The huge demand for paper has led to higher and higher quality. According to the records of "New Book of Tang(《新唐书》)", "Six Books of Tang(《唐六典》)" and "Old Book of Tang(《旧唐书》)", in the second year of Tianbao (743 years), there were Anhui, Sichuan, Jiangxi and other places to pay tribute paper, among which the tribute paper of Xuancheng County in southern Anhui was the most exquisite. In fact, the main origin of rice paper is in Jing County, because in the Tang Dynasty, Jing County, Taiping, Ningguo, Guangde, Xuancheng and so on belong to Xuanzhou, so rice paper is still used today. The famous paper recorded in the history books before the Song Dynasty also includes Xue Taojian and water grain paper (also known as flower shade paper) in the Middle Tang Dynasty, Chengxintang paper made by Li Yu in the Southern Tang Dynasty, Xie Gong paper(谢公纸) and Jin Su Jian(金粟笺) in the Song Dynasty, all of which are processed alum paper.

Inkstone

Inkstone, also known as inkstone pool, inkstone sea, inkstone production since when, is still difficult to determine. In ancient times, it used to be clam shell. In the 1950s, grinding tools were found in the Yangshao Culture site in Banpo, Xi 'an. The concept of inkstone before the Tang Dynasty is different from that of today. At that time, the ink ingot was not directly ground on the inkstone, but another stone was needed to grind the ink on the inkstone until it was fine. Just as now you grind paint with a pestle and mortar. There are many kinds of inkstone materials since ancient times, including jade, copper, porcelain, pottery, tile, stone and other materials. Ink-stone was widely used since the Tang Dynasty. In the Five Dynasties, an ink-stone bureau was set up in the Southern Tang Dynasty to manage the ink-stone making. The technology of ink-stone making was developed and the status of ink-stone was greatly enhanced. From the Song Dynasty, the decorative pattern of inkstone is also gradually exquisite and fine, until the modern, with advanced stone carved into the inkstone, is not a simple party grinding ink tools, but to do the best carving handicraft, luxury goods. Inkstone was widely produced in song Dynasty, and the inkstone making industry was flourishing. Mi Fu(米芾)'s "Inkstone History(《砚史》)" recorded that inkstone was produced in Tangzhou, Wenzhou, Guizhou, Suzhou, Kuizhou, Qingzhou, Duanzhou, Xi, Tanzhou, Zizhou, Xinzhou, Guo, Jianxi, Lushan, Taohe and other places. Inkstone, as one of the four treasures of the study, has been among the elegant life circle of shilin. Since the Tang Dynasty, among numerous inkstones, "four famous inkstones" gradually came into being: Duan-inkstone(端砚), she inkstone(歙砚), Tao inkstone(洮砚) and Cheng-ni inkstone(澄泥砚). Or: Duan-inkstone, she inkstone, tao inkstone, red silk inkstone(红丝砚).(Shen Xipeng,2012,90)

Features

Writing brush

First of all, in terms of the size of the brush: the smallest brush should be used for bottle painting, the big one is less than ten hairs, the small one is only a few. And then a little bigger is the gui bi(圭笔), The bigger ones are as thick as a man's arm. Various kinds of pens are divided into a number of numbers for users to choose. Secondly, according to the hardness of the pen hair, it can be divided into three types: hard, soft and both. The characteristics of the hard hao pen are hard and tough, elastic, refreshing, so that the ink is fast, suitable for fast writing, work in one go. There are common bristle pens made of bristle, weasel tail hair made of Wolf pen, "zihao(紫毫)" is a small patch of purple black elastic hair on the back of the hare made purple hao pen, purple hao pen is the most expensive. There is also a mouse beard pen made with the whiskers of a mouse (or squirrel), which is also recorded in the "Dictionary Source"(《辞源》) and "Compendium of Materia Medica(《本草纲目》)" by Li Zizhen of the Ming Dynasty. It was written in the Han Dynasty and was popular in The Three Kingdoms, Jin and Southern and Northern Dynasties. Zhang Zhi, Zhong you and Wang Xi-zhi used it. According to legend, "Orchid Pavilion Preface" is written with a pen. Other hard pen and deer hair, leopard hair, etc. Recently, the great painter Zhang Daqian sent his staff to a farm in Brazil in the 1960s to buy the hair in the ear of a cow with a large sum of money and make dozens of cattle brushes and give them to his friends. Then, there are bamboo pens in Japan, which use hard objects to pound semi-tender bamboo into extremely tough bamboo pens.(Fan Zunrong,2021,87) Song Dynasty Mi Fu "brush history" also cloud: "Jin generals will check internal history Wang Xizhi" Running book post "authentic... It was written with a bamboo dry pen." It can be seen that the bamboo pen originated in China and was used in the Southern and Northern Dynasties.The raw materials of soft pen are sheep and chicken. Features are: soft edge, poor elasticity, the advantage of ink storage, ink slowly, writing strokes mellow and thick change. Both the sheep's and chicken's brush originated in the Southern Song Dynasty and prevailed in the Qing Dynasty. It is not easy for Ho Shao-kee in the Qing Dynasty to write with a chicken brush and Lin San-chee in the contemporary grass sage to write with a sheep's hand.

Ink

The varieties of ink are generally divided into three categories: lampblack, pine smoke and selected smoke. Lampblack ink includes lacquer lampblack ink, which is baked with tung oil, sesame oil, lard, rapeseed oil and lacquer, etc., and added with leather glue, musk, borneol and other spices. Soot ink is the best ink, fine texture, hard wear-resisting, black and purple light for the most by, called "purple jade light(紫玉光)". Followed by pure black, green black. It can be divided into four grades successively, namely, jade lacquer smoke, chaogong smoke(超贡烟), gong smoke and top smoke(顶烟), with jade lacquer smoke as the highest quality. Ready-made ink brands also have a lot of, Yi De Ge(一得阁), Cao Su Gong(曹素功) are time-honored. However, although some finished ink is convenient to use, it contains the iron Zhai Weng(铁斋翁) series painting and calligraphy sooty ink (belonging to hui ink) customized by Shanghai Ink Factory for Japan. The glue quantity is large, the viscosity is high, and the pen cannot be pulled. When using, it is necessary to add an appropriate amount of water to remix. Many painters and calligraphers prefer to grind their own ink because it is superior to the finished ink. Use clean water to grind ink. The ink solution grinded by oneself is rich in layers and the shade changes naturally, which is the first choice for painting and calligraphy creation. After grinding, the ink should be dried, put into the box, dry naturally, avoid exposure to the sun and cracking, degumming. Fresh ink is refreshing. If it is used after a day or two, it often presents the old ink separated by ink and wash.(Yan Min,2006,70) When used, it needs to add an appropriate amount of water to mix it.However, the grain is thick and cloudy, but the rice paper will show a special ink rhyme, there is a good.

Paper

According to the raw materials, the raw materials of modern rice paper are mainly sandalwood and straw. Such as "cotton" sandalwood content is 40%; "Clean skin" of sandalwood content is 60%; The content of sandalwood is 80%. The higher of leather the content of the paper tension, toughness, density, soft cotton is stronger, the more can reflect the rich ink level and ink effect. There are many varieties of rice paper, but in terms of use, there are three kinds: raw, cooked and semi-cooked.Health xuan water absorption, ink absorption is strong, ink rhyme changes, ink immediately Yin open; Cooked paper is not. Cooked paper is processed by alum on the basis of raw xuan, or it does not absorb water at all. It is generally used as gongbi painting, of course painting and calligraphy can also be used. Semi-cooked propaganda is between the two, so the dyeing degree is also different, the author feels that some semi-cooked publicity is very suitable for calligraphy creation. The "Daqian paper" made in Jiajiang County, Sichuan province is mainly made of bamboo. During the War of Resistance against Japanese aggression, Zhang Daqian and his cousin once jointly developed the paper. The quality and performance are similar to that of rice paper. Vellum is also a big category, there are many kinds of coarse, fine. Mulberry bark and hemp are the main raw materials, wenzhou paper is the most important in the market, and other provinces such as Yunnan and Guizhou also produce. The characteristics of vellum are: not as white as rice paper, long and thick fiber, strong tension, loose texture, but toughness is better than rice paper. It is worth mentioning that the vellum can especially withstand the brush repeatedly rub and not broken, repeated dot dye and no pen mark.(Zhao Yue,2019,29) Especially handmade yuanshu paper(元书纸), just like cotton cloth, is the first choice of those who learn calligraphy and painting, has the characteristics of vellum. By the way, the earliest authentic calligraphic work preserved in China today is Lu Ji's "Pingfu" of the Western Jin Dynasty in the Palace Museum in Beijing The paper was coarse and yellow, very similar to today's Yuanshu paper, 60 years earlier than Wang Xizhi's Orchid Pavilion Preface. So, regardless of the edge paper, yuan shu paper, as long as you have a good grasp, still can be a fine art, and the effect is clumsy, do not have interest. Xuan paper(宣纸) can be preserved all the year round because of its excellent quality, which has established its position in Chinese cultural history. Therefore, it has the reputation of "silk longevity is 800 years, paper longevity is 1,000 years". Ancient rice paper still exists today. If it is properly preserved, it often has no dryness, moderate ink spreading and dyeing, natural color, and suitable for calligraphy and painting. It is very refreshing, of course, expensive. Even before 1992, ordinary people could not afford to use it.

Inkstone

Pick inkstone, such as the end of the inkstone, knocking stuffy, is the top grade, tile sound second, metal sound again. She inkstone is on the contrary, the sound crisp is the best, the sound turbid is second. Inkstone for use, hair ink for the shape of the second. Especially beginners do not need to buy expensive inkstone. After a good inkstone to wash, inkstone pool into water to keep it. Many people like to use a common inkstone all the year round, with a cover, the ink pool raised about 0.8 cm in the middle, around the water can be stored, good sealing, ink liquid storage ten days dry, new grinding ink liquid can get two or three days fresh.(Ma Doucheng,2002,16)

The charm of The “scholar's four jewels”

For writers, the pen plays an important role in creating a good picture. CAI Yong once said, "If only the writing is soft, it is strange to be born." Because the pen is soft and flexible, the characters can be light or heavy, large or small, and the motions can change endlessly. The development of writing brush is also a process of gradual improvement. It was first invented by Meng Tian, a minister of the Qin Dynasty. He holloped a bamboo tube into a hair cavity, stuffed the rabbit into the cavity, and made a pen after reinforcement. To the Han Dynasty, inherited the Qin dynasty pen-making technology, and then improved. In the Tang Dynasty, Xuancheng, Anhui province, was famous for making hard stylus. At that time, people could only write by hanging their elbows on a low table, so most of the stylus was hard and short, which was convenient for writing. In the Song Dynasty, writing did not need to sit on the floor, there appeared a high table, elbow can be placed on the table, the pen tended to be soft. It was not until the Yuan Dynasty that the yanghao pen, which was abundant in Wuxing, Zhejiang Province, appeared and became popular. In addition to looking at the soft and hard of the brush, we should also consider the length of the brush edge. The long front pen is conducive to the rotation of the lines, and the short front pen is easy to use. Besides, pointiness, roundness, evenness and health are the four virtues of the pen. Writers can choose according to their writing style.The ancients mainly used ink blocks, and the grinding ink is not easy to stick, while modern people mostly use ink to save time and effort. Good ink needs to have black color, light, fine quality, light adhesive quality, anhui shexian hui ink is especially famous. Although black is simple, it can also be divided into different colors: dry, wet, thick, light and dry. In addition to choosing ink, we should also be good at using ink to create layered works and produce better artistic effects in the contrast between black and white.In the "four treasures of the Study", the status of paper can not be underestimated. Before the advent of paper, ancient people usually recorded their texts on animal bones, tortoise shells, bamboo and wood slices. After CAI Lun improved paper making, paper was widely used in life. Refined paper, namely xuan paper, anhui Xuancheng output is the most famous, white color, fine texture. Rice paper and raw, ripe points. Sheng Xuan ink absorption is strong, easy to penetrate, not easy to control. Cooked with alum will not absorb ink, but too cooked paper often does not eat ink. Therefore, most of the Chinese characters used are half-cooked paper.(Zhao Yue,2019,29) In today's order of "four treasures of the study", the inkstone is not in the leading position, but in the eyes of the ancients, the inkstone as a research of ink tools are very important. Nowadays, the inkstone seems to be less important for writing and more for collection. For daily writing, choose inkstone is not very exquisite, do not have to be valuable, but have to be practical.

Conclusions

The culture of the Four treasures of the Study has a long history. People create the four treasures of the study in the process of labor, and in turn serve people's life. In the aspect of cultural inheritance, the four Treasures of the study have made great contributions. In the aspect of writing, the four treasures of the study are like people's friends. Therefore, the literati also praised it in their literary works. The culture of the four treasures of the Study before tang Dynasty is the source of the culture of the four treasures of the study after tang Dynasty. The literature of the four treasures of the study before Tang Dynasty has laid a foundation for praising the literature of the four treasures of the study after tang Dynasty both in terms of ideological content and artistic techniques. In the poetry of tang and Song dynasties, the four treasures of Chinese room appeared more frequently. No matter the expression of literati's morality and talent or emotion, they could not be separated from such carriers as ink, paper and inkstone. In terms of ideological content, it was more extensive and in-depth than that of the tang Dynasty. There are also flexibility and diversity in the use of artistic techniques, such as the production materials and techniques of the Four treasures of the Study, the four treasures of the Study and the life and emotion of the literati, the four treasures of the Study and the political people's livelihood, the four treasures of the Study and the cultural inheritance and exchange, etc., and there are differences in the expression of styles due to different times and styles. The images of the four treasures of the study in tang and Song poetry, such as "calligraphy(翰墨)" and "jian(笺)", also placed the author's unique thoughts and feelings. In addition, the combination of the four treasures of the study and other images, not only assisted the creation of characters in the poetry, but also provided convenient conditions for the creation of aesthetic conception in the poetry. The four treasures of the Study appeared in a large number of poems during the Tang and Song dynasties, which was not only related to the unique cultural implication of the four treasures of the study, such as family training, morality, talent, practicality, obsession, embellishing, and kindness, but also closely related to the social features of the time, such as the implementation of cultural and educational policies, the enrichment of study culture, and the development of handicrafts.(Dong Xiuxiu,2018,60) With the popularity of Han culture, the "four treasures of the Study" has been introduced to more countries, which not only strengthens the cultural exchanges between China and other countries, but also helps calligraphy to go abroad and spread to all over the world, making calligraphy art more brilliant. Nowadays, we pay more attention to calligraphy, attach importance to cultural confidence, and constantly create a cultural world belonging to China. Writing good Chinese characters is a skill that each of us should master, and spreading calligraphy culture is also the responsibility of each person.

References

[1]Fan Zunrong 范遵荣,(2021).中国古代的文房四宝[The four treasures of the ancient Chinese study].文史长廊 Literature and history corridor, 87-92

[2]Zhao Yue 赵悦,(2021).在“文房四宝”中感受书法的魅力[Feel the charm of calligraphy in the "Four Treasures of the Study"].科学之友 Friends of the science,28-29

[3]Dong Xiuxiu 董秀秀,(2018).唐宋文房四宝文化与诗词创作研究[Study on the Four Treasures culture and Poetry creation in Tang and Song Dynasties].Nan Jing Normal University 南京师范大学

[4]Pan Jialai 潘嘉来,(2005).中国传统文房四宝[The four treasures of traditional Chinese study].People's Fine Arts Publishing House 人民美术出版社

[5]Ma Doucheng 马斗成,(2002).苏东坡与砚[Su Dongpo and inkstone].Chinese classics and Culture 中国典籍与文化

Terms and expressions

The"scholar's four jewels" 文房四宝

Writing brush, ink, paper and inkstone 笔、墨、纸、砚

the Neolithic Age 新石器时代

soft brushes 软笔

Rice paper 宣纸

New Book of Tang 《新唐书》

Six Books of Tang 《唐六典》

Old Book of Tang 《旧唐书》

Alum paper 矾纸类

Dictionary Source 《辞源》

Compendium of Materia Medica 《本草纲目》

Yi De Ge 一得阁

Cao Su Gong 曹素功

ink pool 墨池

the tip of a writing brush 笔锋

Arm resting pillow 臂搁

Writing-brush washer 笔洗

Paper weight 书镇

Ink well 水丞

Inkpad 印泥

Ink rest 墨床

Ink cartridge 墨盒

Questions

1. Chinese calligraphy is a profound art with a long history. When did it step into the door of the palace of art, become an indispensable artistic treasure in Oriental history, and develop into a broad and profound knowledge?

2. When did the name "wenfang" come from?

3. Where were the two earliest writing brushes unearthed at present?

4. When were traces of ink first found?

5. What are the four virtues of the pen?

Answer

1. Chinese calligraphy is a profound art with a long history. As early as the Qin and Han Dynasties, it has entered the door of the palace of art, become an indispensable artistic treasure in Eastern history, and developed into a broad and profound knowledge.

2. The name "Wenfang" originated in the Southern and Northern Dynasties (420-589 AD), specifically referring to the study of literati, with pen, ink, paper and inkstone as the use of the study, and is known as the "four treasures of the study".

3.The two earliest writing brushes were unearthed from the Chu Tomb in Changtai Pass, Xinyang city, Henan Province and the Chu tomb in Zuogong Mountain, Changsha City, Hunan Province. The writing brush is different from the modern general writing brush. The hair is wrapped in one end of the pen holder with silk thread. The tip length is 2.5 cm.

4. Archaeological discoveries Have found ink-drawn patterns of fish, deer and plants on pottery from the Neolithic Period. Inks and stone grinding sticks dating back more than 6,700 years were found at the Jiangzhai site in Lintong, Shaanxi Province.

5. Pointiness, roundness, evenness and health（尖、圆、齐、健） are the four virtues of the pen. Writers can choose according to their writing styles.

77 外国语言文学 Akira Jantarat 202121080009

The emergence of new linguistic forms in Chinese (neologisms) Akira Jantarat

Abstract

"Neologisms" are new words or phrases. that created and adapted for use in daily life, but has not officially recognized. As we can see, new linguistic forms in modern China such as “欧巴” (Oppa) are derived from Korean, and “GG” is not the meaning of brother (“哥哥” gege) but is “Good Game” etc. This study aims to study the emergence of factors of new linguistic forms in Chinese. The secondary data collection is both domestically and internationally, showing that there are many factors causing Neologisms in China, whether for cultural, social, or historical reasons or even influenced by the internet world. These results suggest that historical events and the Internet have an impact on language.

Key words

Chinese, New linguistic, Neologisms

Introduction

Language is important to humans because in addition to being a tool for communication It is also a tool for learning and developing human thinking. It is also a tool for transmitting culture and occupation as well as enhancing the unity of people who speak the same language. Language is a symbolic system that functions as a tool of social communication, consisting of sound, vocabulary, and grammar. "Vocabulary is the most important component of language" (Chen Yuan, 2000, p.209)

"Neologisms" are new words or phrases. It's a popular word that was created. or adapted for use in daily life but has not yet been officially recognized. Nevertheless, more the modern vocabulary, people are more interested. And "Neologisms" include not just new words, it also new constructional patterns, newly innovated in parts of speech (David Crystal, 1996, 73) Nowadays, technology plays a huge role in the daily life of people of all genders and ages. As a result, words or sentences spoken in Simplified Chinese become a dynamic vocabulary, and are constantly evolving into new words. The world situation where technology is the driving force of development has made a big change in the language industry. Much of the emergence of Neologism is due to the constant new ideas and creative language of people on the Internet, with different usage goals, such as daily news announcements who want to make the news more interesting or even game caster, its can inventing new words intentionally or unintentionally. No matter what language, when old words are not enough to satisfy the need for expression After something new is born, society or person will have an impulse to make words quickly, to be used in the memorization process, or the process of summarizing the main characteristics of things. And when a new word is accepted and widely used in society, that word will become an old word. And Neologism is the reason why languages are still alive.

Neologism in China has grown exponentially compared to the past. And that is to respond to the changing world of the superpower country of the Internet world. The change of the Chinese language and the emergence of Neologism in China not only affected the Chinese language but also affects Chinese culture as well. Therefore the important that we need to research and understand the influences that cause Neologism. Therefore, the objective of this study is to study the influences in various fields that resulted in the emergence of the Neologism form in Chinese or “Neologisms in Chinese”. The study of phenomena created by human society It is very important to Chinese linguistic researchers and social researchers. And also, a matter that should not be ignored, because we are about to enter a decade that has changed from the original.

Literature Review

Nowadays, the number of words that we use in our daily life is increasing. The research of new words is becoming more comprehensive and systematic as well. Researching new vocabulary by researchers has resulted in many new words being enriched and increasing awareness of the importance of language. At the same time, many linguistic researchers have taken into account and researched the factors and emergence of new words. This reflects the importance of research on the factors of lexical formation intensified. Here's a summary and an introduction to previous research.

Definition of a new word

Wang Tiekun, explains that although the current definition of the new term captures the characteristics of the new word from different angles, The nature of creating new words will consist of "Reconstruction, new borrowing, new meaning and new use" of new words. (Wang Tiekun, 1992) Lu Shuxiang, pointed out that some new words and new meanings might be new. But some words are not very new. But it's just an omission from the general dictionary. (Lu Shuxiang, 1984)

The birth of a new word in Chinese

In Liu Jin and Hongyin Tao's research titled Chinese language in a global context provided information that Language as a symbolic system is often determined by internal and external factors. Factors outside language such as social identity, culture, tradition, progress, creativity, technology, and conservation. and also said In the context of globalization, English is often seen as a hegemony language. English is growing in popularity to communicate over the Internet. This is one of the results that has enabled China to create a more modern economy, society, and culture and keep up with the evolution of the world. (Liu Jin & Hongyin Tao, 2016)

Theories

Humanistic theories

Humanistic theories consider people as having an agentive role in the social construction of language. Language is a primarily sociocultural phenomenon. The tradition emphasizes culture, nurture, creativity, and diversity.（Koster,2011) Rousseau's who advocated innatism, believed that people had created language in a step-by-step, this process for serving their psychological need to communicate with each other. Thus, language is thought of as a rational human invention.

Background

Definitions of Neologisms

A neologism is a relatively recent or isolated term, word, or phrase that may be in the process of entering common use, but that has not been fully accepted into mainstream language. (James M. 2006) Neologisms are often driven by changes in culture and technology. (McDonald, 2005) Neologisms are mostly spread through mass media exposure (Sayadi, 2011), such as Facebook, Twitter, WeChat, Television, etc. Generic brand name designations such as "可乐" for Coca-Cola or "五G" for 5G are spread through popular uses, which have been updated by the media. These terms also express the concept or a concept, that is used instead of explaining certain events or situations that are difficult to explain, to make it easier to understand, and show the culture, concepts, and values of present people.

Languages and Society Relationship

The connection between language and society is strong, if no one exists the other will be affected. Language is considered the primary tool for communication purposes and goals. This is what creates peace and order in our society. And at the same time, it can destroy society and relationships, if we use language inappropriately. However, our language is controlled by society, or to be correct, language has a preference for us everywhere, every country, every culture in the world, they all have their own point of view, causing acceptance and contempt for another language, but when we use a language with understanding the society or difference culture, we will gradually accept and understand it more.(Merlitomarciano, 2011)

Impact

Language and social structure are in a co-change state, which is a major change in society since the reform and opening of the country. Which makes new words grow, even more, no matter, that society and culture are constantly changing. Because human needs are endless, the change will be fast or slow depending on the factors involved. Whether it is the level of education of people in social communication and changes over time Language and society belong together. must always go together If society changes language, it changes. it is related This is due to the factors that cause change, such as discovery, conflict, competition, and social and cultural change. Can be summarized as follows.

language and society

The language change is not abrupt, but gradually, the change is caused by the presence in many aspects, one of which is the society in which the language existing profound changes in social life are manifested in aspects such as politics, economy, culture, education, health care. Science and technology, new things are constantly emerging, new ideas and new ideas. It continues to encourage new vocabulary. (Han Xiaoyu, 2011)

Liu Xiaohong (1998) and Liu Lanmin (2005) mention the motivation for word formation and factors affecting word formation which will be divided into 2 aspects. First, the "internal factors" of language, namely pronunciation, grammar, meaning, and word formation. And the second side is external factors of a language, such as the social and geographical environment including the purpose and motivation of word-formation.

Language is the most important human tool. The language used is one of the human conditions for building society. Comparing modern and ancient China, we can see that the vocabulary is richer and the forms of words and sentences are more diverse as well, the development of society will play a role as a historical witness of the language. Communication between different societies will promote language development as well. (Yan Dongmei, 2014) And of course, factors in the change in the semantic system of words. They are not all defined or rationalized by social development. But it is relevant to the main content or purpose of use too. When people's thoughts or culture change The expression and comprehension of words will change accordingly. As a result, the vocabulary system is affected and new words are created. And if we look back in history during the Tang or Song dynasty which is considered an era of economic and cultural prosperity, we can see that the vocabulary system has changed, because society changed ideas or higher social background, gave rise to the origin of New Chinese words related to the level of development of society.

-Reform and opening up in China-

In the time of reform and opening up in China, the development of the industry science and technology have become more diverse. The culture and society that is considered the basis that formed the havendation of life has also improved and realized more and more. Open attitude spirit of reformation, and China's enthusiasm for new things started to rise very high. At this time, China's exiting into the outside world, causing China to accelerate the rapid development of the economy and international strategy. China builds a global market economy development system with a more open attitude, and one of China's buildings and promote of international affairs is the presence of an Internet network that helps the development of international economies to be more flexible. Also, understanding communication is one of the important things. (Bai Didi, 2007)

During this period, foreign languages especially in the economy began to flow into China, affect the living conditions of the language until the adjustment process begins, and have a variety of formats. Therefore, during this period, people used foreign words widely. It can generally be divided as follows:

1. Use the original text directly (short name and abbreviations) such as: PHILIPS, CITIZEN, IBM, MTV, XO, which are mostly commercial products names, companies and technological name；

2. Transliteration, such as: "拜拜" baibai (bye-bye), "巴士" bashi (bus), "的士" dishi (taxi), "香波" xiangbo (shampoo), "托福" tuofu (TOEFL);

3. Translation, such as: 健美(bodybuilding), 代沟(generationgap), 热点(hotpoint), 信用卡(creditcard), 公共关系(publicrelations), 跳蚤市场(fleamarket)；

4. The combination of transliteration and translation, such as: "迷你裙" miniqun (miniskirt), "T恤衫" T-xushan (T-shirt), "耐克鞋" naikexie (Nike), "霹雳舞" piliwu (breakdance)；

5. Combination of Chinese characters and foreign letters, such as: "卡拉OK" kalaOK (karaoke), "T恤" T-xu (T-shirt)，"BP机" BPji (BP machine), "CT扫描" CT saomiao (CT scan）, "VCD影视机" VCD yingshiji (VCD video machine). (Dongshi, 2009, p.38) This is an emerging example of a new words in the "Reform and Opening up" in China compared to the In the "Cultural Revolution" we can find social and cultural changes in language development. However, the phenomenon of the new word not every word can stay forever, it depending on the time, some words may be temporary. some words may gain new meanings in the future, and this is the evolution of language.

- Modern social development-

Speech culture is what best reflects society. A child is born and faces a family society first. When entering a wider society, attitudes and habits have changed from the original. Same as the language that must be inversely proportional to society and the progress of the existing. When ideological changes or new ideas emerge, so does the frequency of emergence of new words. As we can see from different periods in history.In this period, addition to the 1978 'Reform and Opening up in China' there were also important events that occurred, such as: 1919 'Fourth Movement' and 1969 'Cultural Revolution’. These three events are historical events in China. That has a huge impact and importance on the development of China. It can be explained as follows.1919 'Fourth Movement'. During this period, new words began to replace traditional Chinese. Dialects are widely used in social communication. The terminology was invented by scholars in that period. And most of them are vocabulary words that access new social ideas such as “新文化运动” (New Culture Movement) and words derived from early Western culture such as "拜拜" (Bye bye), "沙发" (Sofa) and "咖啡" (Coffee) are constantly appearing as well. An example of a term that emerged during the 'Cultural Revolution'.

1969 'Cultural Revolution'

During the cultural revolution, the class struggle continues, international exchanges and cooperation are in a slow state, but the basis of vocabulary building has changed. The reason was due to social, military, and cultural factors, which resulted in the improved formation and progression of new words, positive response. Shen Yuanyuan has compiled and extracted words from the database statistics, 《人民日报》"People's Daily" contains 54 words that the meaning changes between "Cultural Revolution" and the 26 words that the meaning changed after "Cultural Revolution" (Shen Yuanyuan, 2017, p.43-44) gives an example Shen Yuanyuan has summed up.

During the "Cultural Revolution", there were 4 words that changed their meanings.

“香花” (Fragrant flowers), during the Cultural Revolution means ‘Useful works or things’

“毒草” (Poisonous weeds), during the Cultural Revolution means ‘Harmful works or things’

“清除废料” (Remove waste material), during the Cultural Revolution means 'Used as a metaphor to eliminate the rich and counter-revolutionary masses'

“解放干部” (Liberate cadres), during the Cultural Revolution means 'Refers to lifting the scrutiny and criticism or approval of cadres, and then re-appointing' etc.

After the "Cultural Revolution" ended, there were 9 words.

“拉练” (Camp and field training)

“专案组” (Inquiry team)

“专案人员” (Investigator)

“大讲特讲” (Talk volubly)

“安置办公室” (Office for resettlement)

“揭批” (To expose and criticize)

“天天读” (Read Mao Zedong's works) every day)

“革命干部” (Revolutionary cadre)

“保持晚节” (Maintain (or uphold) one's integrity in one's later years) etc.

Cultural surge

society and culture It is inseparable. It is like a coin with two sides. Each society has a different culture and language. The cultural exchange of society occurs only when communication and transmission are communicated through the use of mediums, it is the language, and at the same time, both culture and language support and develop each other. Language reflects the nature of the nation, not only contains the history country's culture but also the way of life and the way people think. The influx of foreign cultures into China whether western culture or cultures from neighboring countries all affect the existing traditional culture. Of course, that affects the language as well. and giving rise to new languages ​​in China Which will be divided into the following points:

-western culture-

China's great openness to the outside world began during the Yuan Dynasty. Openness brought the winds of Western science into China, and the westward journey of Genghis Khan and Kublai Khan has opened the door of western culture to China and has an effect on the present day. (Zhao Binning, 2007) And we cannot deny that Western culture is now a very popular culture in China or Asia, whether in sports, food, or even music. Therefore, the arrival of the West that used English for communication has resulted in some words in Chinese being developed in the form and writing style. However, when everyone realized and understood the meaning thus resulting in a common understanding, for example, New Chinese characters with homophones such as “克隆” pronounced kelong (Clone) , “台风” pronounced taifeng (typhoon) , "榴莲" pronounced liulian (durian) , "跑酷" pronounced paoku (Parkour). And the words that take from abbreviations and Pinyin characters written in characters and not Chinese characters, such as "五G手机" (5G Phone), "ATM", "HSK" (Simplified of Hanyu shuiping kaoshi, which means Chinese language standard test), etc., and include to the words that are used in everyday life such as "哈哈" (haha) , "AA制" (Algebraic Average), "巧克力"（Chocolate）, "比特币"（Bitcoin）, etc. English mania in Chinese educational institutions, combined with the rapid development of technology, is the driving force of the modernization of the world. This has resulted in an increase in English rates in China. Can we decide what country this word comes from? Yes, it is challenging, Because the cultures have been mixed until it becomes common for us to use English or words that are adapted from English in everyday life.

-Eastern culture- (Korea)

The Korean wave emerged from a globalized world with borderless communication. Through K-pop cultural products such as music, TV series, movies, novels, cartoons, and animation. The South Korean government has supported the policy of promoting the industry in the entertainment sector. As a result, the Korean trend quickly gained popularity. Due to the freshness that is the choice of the world market It also makes people around the world more interested in the story of the Korean nationality. The success of this K-pop Contributed to the popularity of Korean, especially among young people. As a result, the Korean language is accepted and taught widely and rapidly in many countries. In China, more young people watch Korean dramas. And use more of the Korean language in daily life such as（ “오빠” read oppa, Chinese “欧巴” ）mean brother 、（“습니다“ read seubnida, Chinese“思密达” ）mean I did, etc.

The Development and communication through technology

Since China's reform and opening up, the technology world has also developed. Currently, the forms of computer communication are more diverse. For example, Email SMS or “微信” Wechat, qq, ”微博” Weibo, which is the media most used by Chinese teenagers to communicate through a typed format on a computer or mobile phone.

According to Beijing Zhiyan Kexin Consulting's analysis of the size and usage rate of instant messaging users in China (2021). Indicate that at present instant messaging has impacted people's lives and jobs. And that message's influence will be extended in the future. Now, instant messaging has become the most popular. Internet applications among Chinese netizens，on June 2021, the instant messaging usage rate in China was 97.3%.

This means access to technology is a high proportion of the Chinese population. And the advancement of technology has spread to all people with mobile phones. This is not only now but also in the future and technology or social media affects the spread of new words that are added to everyday life. Several researchers have commented on this happening. “Media publishing and distribution play an important role in the cross-regional popularity of languages and words. And the advent of the Internet age has accelerated the spread of the new Internet term.”（Han Xiaoyun, 2011）

“The essence of the rapid growth of new words is the development of society and the advancement of time. Thousands of households are familiar with new words that are rapidly gaining popularity. and the modern media technology represented by the network is indispensable.” (Wang Shuai, 2011)

For example, the most common Chinese words "木有" muyou for "没有" meiyou means 'have not'， "神马" shenma for "什么" shenme means 'what', or "给力" geili. , the original meaning was 'give power', now usually ‘cool, awesome, exciting’. It also uses numbers or letters to communicate instead of words, such as "886" for "拜拜了" which mean ‘bye-bye‘， or even in mobile games that are popular trends in 2021 such as "YYDS" is the most popular word in 2021. The original meaning is "eternal god", which originated from the mouth of "Shan Niruo", the LOL anchor of League of Legends. one buzzword of the year. " (Pacific Ocean computer network, 2022)

There is also "Barbie Q" is “BBQ” Babecue, means ‘barbecue’. The top gaming master on Douyin was beaten to death by his opponent, after he spoke the “Barbie Q” word in the live broadcast, “Barbie Q” now has another unique meaning “apocalyptic”. Or even “GG” that is not the meaning of brother (“哥哥” gege) but is “Good Game”. When the losing side is over, "GG" congratulates the opponent using "GG", which means “Good Game”. However, as the word GG becomes more and more used in China, the winner has shifted from congratulation. There was a bit of mockery, so today's GG has another meaning like 'You are done', etc. This is an example of how the Internet affects the spread or evolution of new words. Live broadcast Affects the occurrence of increasing vocabulary in daily life. And this might be creative or it could be a language disaster.

China National Language

Language development is greatly affected by economic development. And areas with economic development in addition to financial growth new things and new ideas are also increasing. Sometimes, there don’t have enough languages ​​that can meet the needs of users. Therefore, it is necessary to borrow some existing words. in different regions as a shortcut to the formation of new words. For instance, Beijing, Guangdong, Shanghai, Hong Kong, and Taiwan, are considered political and cultural centers. including the economic city of the country, it’s not surprising that new neologisms have emerged in these regions and have influenced other regions of China. (Zhao Hongyan, 2011)

-Hong Kong, Macao and Taiwan-

After the reform and opening up, Hong Kong and Macao returned to China, and Taiwan that known as China's largest island, influenced by the economy from mainland of China Economic. Exchange and cooperation between Hong Kong, Macao and Taiwan, with China mainland has developed in a broader direction. Most of the dialect vocabulary is found in newspapers, online media, magazines and daily news on the Internet, as well as exchanging through interpersonal communication common words, For example, “派对” (Gathering), “股票” (Stocks), “楼市” (Real estate market), “双赢” (Win-win), “外卖” (Take-out), etc.

-Cantonese- (粤语)

Cantonese pop culture It is part of making people around the world know China. Especially at the beginning and reform and opening up in China. Guangdong popular culture was the first culture that came into play, and entertained people at that time. And from the point of view of geographical, Guangdong's location is very close to Hong Kong, and Hong Kong has always been the most developed place in Asia before the reform and opening up. People started to imitate the Hong Kong trend, and speaks Cantonese. The economy of Guangdong in that period, achieved a breakthrough in development. As a result, many Cantonese words spread throughout the country and became a trend in China.

Conclusion

The objective of this paper was to study The emergence of new linguistic forms in Chinese or 'Neologisms'.In summary, the reasons for the emergence of neologisms in China. New words are not created by chance, rather, it is the culture that China has created for keeping the language alive. Influencing factors such as social, military, cultural, and other factors create new concepts in language. The compilation of documents related to Chinese neologisms clearly shows that China's society has changed, whether it is the stability of the social infrastructure or even globalization, both of these have affected the vocabulary of the language, making the language improve and more relevant to that era. But it also raises the question of how the emergence of Chinese neologisms affects language culture. And however the answer questions about the factors causing Chinese neologisms can be observed or learned from Chinese daily communication together, and the documents with supported by various theories that bring challenges, fobringple, Humanistic theories.

References

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78 比较文学与跨文化研究 Mahzad 202021080004

Chinese Mythology and its impact on Chinese Cinema Mahzad Heydarian

Abstract China has a rich and complex mythology that ages back to approximately four thousand years ago. It could be said that through Chinese history, myth and reality have been very much entangled. We know that historical figures have been worshipped as gods, and ancient myths are sometimes treated as historical truths. Moreover, there has been a great source of inspiration on this issue too i.e., the three great religious traditions _ Confucianism, Daoism and Buddhism_ have certainly had an enormous influence in forming the mythology. The result of all these factors is an amusing collection of characters and tales, both real and fictional. Therefore, mythology has been one of the richest sources for Chinese artists and writers to get attracted to and use their source of inspiration over the times. Moreover, Chinese mythology has become a plentiful source of inspiration for film productions. Chinese mythology has always been a great influence on art including Chinese cinema through internationally known works of animations and movies.

Key words: Chinese History, Mythology, Ancient Chinese, Myth, Chinese Mythology, Historical Figures, Art, Cinema

Chinese mythology like most mythologies of different regions is a mythology that has been passed over from each generation to the next generations in oral form or recorded in literature in the geographic area now known as Greater China. However, by focusing more on Chinese mythology we could say that, it includes many varied myths from regional and cultural traditions. Much of the mythology involves exhilarating stories full of imaginary characters and existences, the use of enchanted powers, often taking place in a mysterious fairy-tale like place or period. Like many mythologies, Chinese mythology has in the past been believed to be, at least in part, a factual recording of history. End to end with Chinese folk tales, Chinese mythology forms a significant part of Chinese folk belief. like Many stories concerning people and events of the far away past have two purposes: first one offering a closer to historical narratives and second one stories closer to fairy tales and mythologies. “China can trace its historical roots in an unbroken line for more than four thousand years, and its mythological roots extend even farther back in time. From about 2000 to 1500 bce, a people known as the Xia dominated the northern regions of China. The Xia worshipped the snake, a creature that appears in some of the oldest Chinese myths. Eventually, the snake changed into the dragon, which became one of the most enduring symbols of Chinese culture and mythology. New Religious Ideas From about 1500 to 1066 bce, China was ruled by the Shang dynasty. The people at this time worshipped many deities, including natural forces and elements, such as rain, clouds, rivers, mountains, the sun, the moon, and the earth. Their greatest deity, Shang Di, remains an important god in the Chinese pantheon. When a new dynasty, the Zhou, came to power in China in 1066 bce, significant changes took place in religion. People still worshipped the old gods, but ancestor worship became increasingly important. Confucianism and Taoism appeared near the end of the Zhou dynasty. These two religious traditions had an enormous influence on the development of the most basic and lasting principles of Chinese culture.” (Encyclopedia of World Mythology)

What is “myth” “Myth, a symbolic narrative, usually of unknown origin and at least partly traditional, that ostensibly relates actual events and that is especially associated with religious belief. It is distinguished from symbolic behavior (cult, ritual) and symbolic places or objects (temples, icons). Myths are specific accounts of gods or superhuman beings involved in extraordinary events or circumstances in a time that is unspecified but which is understood as existing apart from ordinary human experience. The term mythology denotes both the study of myth and the body of myths belonging to a particular religious tradition.” (Encyclopedia Britannica) Moreover, we could look into more in-depth explanation of what myth is, such as: myth occupies a significant place among different fictional genres. Barthes views it as a signification mode, communication system, and message. Since myth is speech (parole), Barthes says, anything worthy of a narrative can become it, as “the universe is infinitely suggestive. Any object of the world can pass from a closed, mute existence to an oral, open state to be appropriated by society…” (Barthes 1957, p. 181). It is evident that Barthes’ interpretation extends the limits of mythological narrative beyond the borders of what is traditionally viewed as mythology. Barthes also emphasizes the dynamic of mythological narrative and its connection with the historical time: both in ancient times and today mythology can only have its foundations in history “because myth is speech (parole) chosen by history, it cannot arise from the ‘nature’ of things” (Ibid). A very good representative of myth is its relation to the actual world because it could be said that any kind of imaginary is based on realism which lead us to the fictional narratives. Every story has its own limits of departing from reality, outside which myth will no longer be regarded as good narrative. For the understanding of myth, it is also important to discuss the correlation of fiction and truth, fantasy and lies. When Walsh regards fictional discourse from the perspective of truthfulness, he indicates that the relevance of the message in it prevails over truthfulness because from the very start fictional discourse does not pretend to be truthful—it is based on indirect expression, inferences and needs to be interpreted (Walsh 2007, p. 30). This corresponds to Barthes’ opinion that myth does not hide anything—its function is to deform, but not conceal, and there is no need to resort to the unconscious to interpret myths (Barthes 1957, p. 181). Myth has existed in every society. Indeed, it would seem to be a basic constituent of human culture. Because the variety is so great, it is difficult to generalize about the nature of myths. But it is clear that in their general characteristics and in their details a people’s myths reflect, express, and explore the people’s self-image. The study of myth is thus of central importance in the study both of individual societies and of human culture as a whole. (Encyclopedia Britannica) Therefore, it is possible to assume that, unlike lies, myth does not aim to mislead or deceive. Fictional discourse is a game of sorts, which is understood both by the narrator and the audience. The tacit agreement that fiction is not a lie is accepted by the participants of discourse and is secured by cultural and communicative conventions. It can be argued that sometimes the narrators are convinced that they are telling the truth, i.e., when it relates to religion, prejudice, ideological convictions, etc. But it is important that in such cases they are not trying to deceive or manipulate the audience either. In connection with this Shilkov remarks that fiction belongs to creative genres, whereas lies don’t (Shilkov 2002). In many ways myth acts as a “fantasy liberator.” It extends the limits of our universe, creates new landscapes, inhabits them with unknown creatures, forms connections between them, and establishes new modes of behavior, extrapolating the rules of human social communication to the mythological world. (Leontovich 2015)

Chinese mythology Mythology exists as a corpus of texts united by intertextual connections. This is a whole world based on its own philosophy, ethics, rules, norms, and conventions. Chinese myths have reached us as a heterogeneous collection of archaic beliefs retained in the context of philosophical, literary and historical texts the authors of which often gave them their own interpretation. That is why they exist in a variety if versions (Encyclopedia of Mythological World 1999, p. 179). Chinese mythology is based on a unique religious and ethnic system in which the old worldview is supplemented by the organically coexisting ideas of Taoism, Confucianism, and Buddhism (Rodin 2004, p. 10). It constitutes a complex model of the world, with a detailed context of interaction and a dense network of connections between characters, reflecting the history of the most ancient civilization on the planet. It therefore gives scholars a unique opportunity to observe the dynamics of the human mind in general and Chinese mentality and values in particular. (Leontovich, 2015) Chinese mythology includes many varied myths from regional and cultural traditions. Much of the mythology involves exciting stories full of fantastic people and beings, the use of magical powers, often taking place in an exotic mythological place or time. Like many mythologies, Chinese mythology has in the past been believed to be, at least in part, a factual recording of history. Along with Chinese folklore, Chinese mythology forms an important part of Chinese folk religion (Yang, 2005). Many stories regarding characters and events of the distant past have a double tradition: ones which present a more historicized or euhemerized version and ones which present a more mythological version. Many myths involve the creation and cosmology of the universe and its deities and inhabitants. Some mythology involves creation myths, the origin of things, people and culture. Some involve the origin of the Chinese state. Some myths present a chronology of prehistoric times, many of these involve a culture hero who taught people how to build houses, or cook, or write, or was the ancestor of an ethnic group or dynastic family. Mythology is intimately related to ritual. Many myths are oral associations with ritual acts, such as dances, ceremonies, and sacrifices. (Ibid) There has been extensive interaction between Chinese mythology and Confucianism, Taoism, and Buddhism. Elements of pre-Han dynasty mythology such as those in Classic of Mountains and Seas were adapted into these belief systems as they developed (in the case of Taoism), or were assimilated into Chinese culture (in the case of Buddhism). Elements from the teachings and beliefs of these systems became incorporated into Chinese mythology. For example, the Taoist belief of a spiritual Paradise became incorporated into mythology as the place where immortals and deities used to dwell. Sometimes mythological and religious ideas have become widespread across China's many regions and diverse ethnic societies. In other cases, beliefs are more limited to certain social groups, for example, the veneration of white stones by the Qiang. One mythological theme that has a long history and many variations involves a shamanic world view, for example in the cases of Mongolian shamanism among the Mongols, Hmong shamanism among the Miao people, and the shamanic beliefs of the Qing dynasty from 1643 to 1912, derived from the Manchus. Politically, mythology was often used to legitimize the dynasties of China, with the founding house of a dynasty claiming a divine descent. (Wikipedia, Chinese Mythology)

Cultural symbols and Chinese art In Chinese mythological narratives are also very specific, which is proved by means of semiotic and stylistic analyses. We have already mentioned the systematization of the world through the use of different symbols (colors, time, space, etc.). The symbolic function is also performed by miraculous plants, the most significant of which is a peach—a symbol of immortality, beautiful woman and bride. God Shouxing was featured as an old man carrying a peach of longevity. The fruits of immortality grow on a magic peach tree. The peach is one of the fruits named in the five-part model of the world. Pine and pomegranate also belong to the highly valued plants. (Leontovich, 2015) Beauty and wealth are symbolized by precious stones. The palaces of mythological rulers are often decorated with jade, jasper, and pearl trees. Jade plays a special role as a Chinese cultural symbol and is used more frequently than others: Yu Di, the ruler of the world in Taoist mythology, is referred to as Jade Emperor; in the estates of divine characters, next to their celestial temples, there are jade terraces and ponds, as well as rich buildings made of jade and gold; the tender skin of people of heavenly beauty is compared to jade; the voice of a female spirit is melodic as the ring of jade pendants; the water flowing out of a jade rock on the island Yingzhou tastes like wine and gives people longevity; jade juice is added to the elixir of immortality; a goblet made of white jade shines at night and by sunrise is filled with sweet dew which prolongs the life of those who drink it. Jasper is used as a similar symbol: Jade Emperor is sometimes called Jasper ruler; myths speak about jasper tower, jasper pond, etc. Symbolism of numbers. Some of the symbolic meanings of numbers connected with Chinese mythology include:

   1—Dao (man’s way); Progenitor, supreme god Shangdi;
   2—Yin and Yang;
   4—sacred animals: Dragon, Phoenix, Qilin, Turtle;
   7—Seven Taoist skies;
   10—the earth and three islands of the immortal in the Eastern sea: Fangzhang, Yíngzhou and Penglai.
   12—twelve cyclic signs: Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Sheep/Goat, Monkey, Rooster, Dog, Pig;

The tendency towards accuracy in the use of numbers, as well as indication of concrete time and place, agrees with the opinion of scholars who believe that Chinese people tend to think in concrete and symbolic terms, unlike Europeans whose thinking is notional and abstract (Devjatov and Martirosjan 2002. Qtd. from: Plotnikova and Jujshina 2008, p. 63). Chinese symbols are numerous, their interpretation requires a high level of cultural and linguistic competence, and their in-depth meaning is often lost on modern readers, especially from foreign cultures. (Leontovich, 2015) Examples of Chinese Mythology Other mythological characters also appear in different aspects of art and culture. Pan Gu is usually portrayed as a little person clothed in a bearskin or leaves, holding a hammer and chisel or the egg of creation. Fu Xi and Nuwa are sometimes depicted in half-human, half-snake form; the two have appeared in several video games, including the popular Dynasty Warriors series. In modern times, Shang Di is one name given to God among Chinese Christians. As interest in Asian culture expands throughout the Western world, characters such as these—and the tales that accompany them, will with no doubt continue to grow in awareness and popularity. Maybe the top ten Chinese myths could be listed as: Journey to the West, Hou Yi, Chang'e, and the Rabbit of the Moon, Investiture of the Gods, Madam White Snake, The Eight Immortals Cross the Eastern Sea, Yu and the Great Flood, The Lotus Lantern, Pangu Creates the World, Nüwa Heals the World, The Three Sovereigns and the Five Emperors. Journey to the West a very important example Mythology has been one of the richest sources for Chinese artists and writers to draw upon over the centuries, journey to the West is considered to be one of the most important books in Chinese history, and traditional artwork commonly features legendary figures, such as the Five Emperors or the Eight Immortals. In modern times, even with the increasing presence of Western cultural traditions, Chinese mythology remains an integral part of life and art in China. Journey to the West has appeared in many forms and remains the best-known tale of Chinese mythology to those outside China. The Japanese television series Monkey (1978), which also aired in a translated version for British and Australian audiences, was based on the book, and the 2008 English-language film The Forbidden Kingdom, starring Chinese cinema legends Jackie Chan and Jet Li, was inspired by the same legendary characters. (U*X*L Encyclopedia of World Mythology) Questionably the most renowned internationally of the four, Journey to the West has since been transformed into numerous TV and film recreations. The face of one of the main characters, Sun Wukong also recognized as the Monkey King is known across China, inspiring timeless art movements, including Dragon Ball and Beijing Opera. The novel is abput the Monkey King as he joins a team of four on their mission to the West to save the ancient scrolls. Written in the 16th century and based on a true pilgrimage story, Journey to the West tells us fairy-tales of overthrow and power. The novel is divided to four sections spread across 1,800 pages that trace the Monkey King’s journey in several independent sections. New characters join the gang every few chapters to then be left behind and exchanged by ghosts and warriors that get in the way. To find out whether or not the gang, escorted by Bodhisattva, successfully makes their way to retrieve the scrolls. For a more completed esplanation we refer to Britanica that mentions: “Journey to the West, Chinese (Pinyin) Xiyouji or (Wade-Giles romanization) Hsi-yu chi, foremost Chinese comic novel, written by Wu Cheng’en, a novelist and poet of the Ming dynasty (1368–1644). The novel is based on the actual 7th-century pilgrimage of the Buddhist monk Xuanzang (602–664) to India in search of sacred texts. The story itself was already a part of Chinese folk and literary tradition in the form of colloquial stories, a poetic novelette, and a six-part drama when Wu Cheng’en formed it into his long and richly humorous novel. Composed of 100 chapters, the novel can be divided into three major sections. The first seven chapters deal with the birth of a monkey from a stone egg and its acquisition of magic powers. Five chapters relate the story of Xuanzang, known as Tripitaka, and the origin of his mission to the Western Paradise. The bulk of the novel recounts the 81 adventures that befall Tripitaka and his entourage of three animal spirits—the magically gifted Monkey, the slow-witted and clumsy Pigsy, and the fish spirit Sandy—on their journey to India and culminates in their attainment of the sacred scrolls.” (Encyclopedia Britannica, Journey to the West, 2022) Moreover, Journey to the West has strong roots in Chinese folk religion, Chinese mythology, Confucianist, Taoist, and Buddhist theology, and the pantheon of Taoist immortals and Buddhist bodhisattvas are still reflective of some Chinese religious attitudes today. Enduringly popular, the novel is at once a comic adventure story, a humorous satire of Chinese bureaucracy, a source of spiritual insight, and an extended allegory. (Jenner, 2016)

Mythology Representation and Film With the development of digital technology, films based on the adaptation from myths and stories may relate to the term “reshaping”. Examples such as Sun Wukong in the Monkey King: Hero is Back (2015) and Ne Zha in Ne Zha: I am the Destiny (2019) become popular, because the main characters are presented with radically different images. These films impress audiences with not only visual and special enjoyment, but also higher box offices in the market. As Li Xi argued in his work: “The narrative of the mythic text is broad and profound because the archetype and the area it covers are vast and extended. In other words, the mythical story is not a simple reading context, but a collection of mythological elements accumulated over thousands of years, which can activate the collective memory of a region or a nation” (Li, 2010: p. 80). From this point of view, the myths or mythical stories reflect ancient Chinese original understanding of the world, the nature, along with their social life. Such understanding could be powerfully influential and it will be passed down from generation to generation (Luo, 2012: p. 130). The power of the magic of these myths means that ancient people did not have the ability to scientifically interpret natural phenomena or situations, however, because they fantasied of God and their beliefs in God helped them solve lots of problems in reality. In China, a big number of animation films being taken from Chinese myths have triggered film producer to think about who shall be Chinese characters and what exactly is meant by these Chinese characters. The next section will focus on the analyses of how Chinese myths are used to create animations, so as to explore why Chinese mythology prompts cultural inheritance in China. (Tang & Gong, 2021) Chinese Cultural Elements in Animation Films As mentioned in the previous section, Chinese animated works are drawn from Chinese myths and legends, and the structure of the story is derived from Chinese classical themes, leaving a lasting impression on the audience. It is arguably to say that every step of the animation works reflect the greatness of Chinese culture. Take “Silk Roads” for example, it not only tells historical culture, but also shows exotic cultural features, inspiring the creators to make qualified films. In the storyline of a number of excellent Chinese native animations such as The Princess of Iron Fan (1941), The Monkey King (1964), Ne Zha Conquers the Dragon King (1979), and Nine Colored Deer (1981), they have transmitted the conception of ‘rebirth’; a term can also be read in ancient Greek mythologies. However, such re-birth is not literally expressed as similar as reborn, but is understood as the pursuit of the good, the true, and the beautiful to awaken people’s inner spirit (Jiang, 2016: p. 8). For instance, the image of Ne Zha attached with the lotus is a typical plot in Ne Zha Conquers the Dragon King. It expressed a unique relation between life and death. That is to say, the film told audience how the two terms twisted and transferred in the process of reaching one side to the other side. Such transmigration implies that the rebirth is the chance given to good people only. Likewise, Nine Colored Deer used Dunhuang murals to tell the audience how the deer was betrayed by the farmer she helped before, and how she decided to use her divine power to get rid of a risk from an evil. Such “punitive justice” can be obtained in view of Buddhist as well as theological thoughts. “nature” is an ideological-based cultural heritage that the Silk Roads have brought about in the world. In addition, the art of animation is one of the manifestations of visual culture. In the process of the development of Chinese animation films, filmmakers have made a lot of attempts in their visual expressions. (Tang & Gong, 2021) From the above analyses we can see that, Chinese mythology contains Chinese cultural roots, cultural characteristics and cultural values, affecting the creation of animated characters in Chinese animation films. The process of the effect can be divided into three layers of evolution in China’s animated history. Early Chinese animation is more likely to have conversations with children, for instance, Little Tadpole Looks for Mommy (1961) and Mu Di (1963) used simple storylines to tell children the importance of protecting animals as well as environment in daily life. In this sense, the making of the animation has a certain function for education. In addition, Chinese mythology has a certain sense of charm that audience see Chinese stories not only to be adapted into Chinese animations, but also into Disney style cartoons. For instance, hero-based images in Chinese narrative stories have been displayed in several American movies. Take Kung Fu Panda for example, although Bao in the film reveals a strong individualism advocated by American culture, the cartoon borrowed a series of Chinese cultural elements in the movie. Both Kung Fu and Panda can be seen as typical symbols of China: the former is probably an embodiment of Chinese heroes; the latter adopts what some might see as an enviable lifestyle among Chinese youngsters: eating and lying around all the time. While the character of Bao follows the Chinese-style moral code such as son should respect father and man should take responsibilities (Yan & He, 2014: p. 22), thus, Bao becomes a true and visible hero in the public eye. (Tang & Gong, 2021) works such as The Story of Any Lift (1979) was from Uighur folks, Shui Lu was adapted from a folklore of Taiwan (1985), and The Legend of the Water-splashing Festival (1988) depicted the life style of the Dai people. Stories from ethnic minorities have given Chinese animators the impetus to make more works, allowing audience to see that animations can take a variety of roles and possibilities. As Qin Xiaolin argued: Animations become an indispensable part in film industry. They are no longer made for children but for adults as well, as they bring about greater joy for sharing and imagination to life (Qin, 2019: p. 87). From 2010 to present, the technical level of Chinese domestic animation production has been established comprehensively, and 3D animation films have become the mainstream. However, as more and more foreign films (such as ones from Japan, Europe, and the United States) are being imported into China, Chinese animated works is left in the shadows of these animated foreign films. It was only with the release of 《西游记之大圣归来》Monkey King: Hero is Back in 2015, a computer animated film, that Chinese animated works took back the rein. The film was a huge hit and broke the record for Chinese domestic animated movies with CN¥956 million at China’s box office. After the success of Journey to the West, several other high-quality animated films were released, such as《大鱼海棠》 Big Fish and Begonia and 《白蛇缘起》 White Snake. Though none of these movies made headway in regards to the box office, they did make filmmakers more and more interested in animated works. This all changed with the breakthrough animated film,《哪吒之魔童降世》Ne Zha. Released in 2019, it became the second highest-grossing film of all time in China, the highest-grossing animated non-English film, and the highest-grossing animated film in a single territory. It was with this film that Chinese animated films, as a medium, finally broke the notion in China that domestic animated films are only for children. With Nezha, and a spinoff, Jiang Ziya, Chinese animation has now come to be known as a veritable source of entertainment for all ages. (Wikipedia, Chinese Cinema)

Conclusion The paper intended to show that Chinese mythological stories have been able to make a unique fictional world reflecting the uniqueness of Chinese mentality. Chinese mythology and reality could be said to be pretty much interwind trough the centuries and this has surely affected many artists including film makers. As we could see there are many examples of internationally well-known movies and cartoons such as: Journey to the West or animations based on Chinese myths and beliefs like Kung Fu Panda which are filled with Chinese symbols and cultural traditions. It of course does not mean that people in modern China use the ancient mythical observations and ideas in their understanding of the world; nevertheless, similar to other homelands in the different parts of the world, the metaphors of imaginary creations and worlds are preserved as a cultural background and a source of inspiration to make new and creative works of art trough the times. The effect of mythological thinking on the Chinese population is learning and respecting for the past, respect and worshiping ancestors, consideration to details, creativity, and the ability to form possible imaginary worlds. All these characteristics can be seen in the various forms of art such as Chinese cinema.

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         Chinese modern literature