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Tu Hairong:The Torch of Unity: Celebrating Torch Festival Among China's Ethnic Minorities

The Torch Festival, colloquially referred to as "huobajie" in Chinese, stands as a vibrant and pivotal cultural phenomenon. Chiefly celebrated by ethnic minorities such as the Yi, Bai, Naxi, Jino, Lahu, and Hani, it is typically observed during the summer season, with the specific dates varying according to the region and ethnic group. The festival is characterized by the illumination of torches, which serve as a pivotal symbol, embodying the victory of light over darkness. Additionally, it is laden with profound meanings, including purification, safeguarding against malevolent spirits, and the rejoicing of a bountiful harvest. (Huang, J.C.,2012,211-228)

Origins and Myths

The Torch Festival traces its origins to antiquity, intertwined with diverse regional myths. Among the prevalent legends is the story of An Nan, a valiant woman, documented in the "Kunming County Annals," who self-sacrificed on June 24th in defiance of a tyrannical ruler. Her heroic deed is honored annually during the festival. Additionally, a narrative from the Stone Forest region recounts the tale of Zha Ka, a shepherd who spearheaded a rebellion against an oppressive landlord, utilizing fire as a potent symbol of defiance and triumph. (Li, X.,2006,67-82)

Historical Evolution

The Torch Festival has undergone a transformation from its initial documentation in the Yuan Dynasty's "Yunnan Zhilue", where it was depicted as an all-night affair, employing torches to dispel malevolent spirits. Over the centuries, it has integrated diverse aspects, among which is the consumption of raw meat, referred to as "xiansui" or an offering to the year, as recorded in the "Kaifa Prefecture Record" during the Qing Dynasty. (Ding Yannan,2020,44-47)

Regional Variations

The Torch Festival is celebrated in distinct manners across various regions, embodying the uniqueness of each locale. Taking the Bai community in Dali as an example, they commemorate this festival through the consumption of a blend of raw pork and vegetables, a custom that encapsulates their cultural idiosyncrasies. Furthermore, the date of the festival differs among diverse ethnic groups, highlighting the rich diversity within this shared cultural heritage. (Ding Yannan,2020,44-47)

Connection to Ancient Agricultural Societies and Rituals

The Torch Festival, stemming from ancient agricultural civilizations, holds profound significance, wherein fire was venerated as a purifying agent and guardian of crops. This festival is postulated to have emerged as a ritual to repel pests and secure an abundant harvest. The employment of fire in these ceremonies underscores the Yi ethnicity and other cultural groups' reverence towards nature and their reliance on a productive agricultural season. (Ding Yannan,2020,44-47)

Traditional Customs and Practices

Firebrand Lighting: The festival is marked by the lighting of torches, symbolizing the triumph of light over darkness and serving as a ritual to ward off evil spirits and bring good fortune. (Mullaney, J.,2010, 140-163) Torch Parades: Villagers engage in torch parades, where they carry firebrands and walk through the village, contributing to the festive atmosphere and showcasing their cultural heritage. (Mullaney, J.,2010, 140-163) Left-Foot Dance: This traditional dance is performed around the bonfire, accompanied by music and song, and is a key element of the festival's celebration. Ritual Sacrifices: The Torch Festival includes sacrificial rituals to honor ancestors and deities, with offerings such as livestock and prayers for blessings and protection. Eating of Traditional Foods: Certain foods are associated with the festival, including specific dishes that are believed to bring health and prosperity. (Mullaney, J.,2010, 140-163)

Contemporary Celebrations

Expansion of Torch Parades: Modern celebrations have expanded the traditional torch parades, with larger and more elaborate displays of fire and light. (Litzinger, R.A., & Yang, G.,2003, 576-602) Cultural Performances: The festival now includes a variety of cultural performances, such as traditional music and dance, showcasing the rich ethnic culture of the Yi people and other minorities. Community Gatherings: The Torch Festival serves as a time for community gatherings, where people come together to celebrate their shared heritage and strengthen communal bonds. (Litzinger, R.A., & Yang, G.,2003, 576-602)

Cultural Impact

Preservation of Ethnic Identity: The Torch Festival plays a crucial role in reinforcing the ethnic identity of the Yi people. It provides a platform for the community to express and celebrate their unique cultural heritage, which includes traditional rituals, music, dance, and poetry. (Wu, D.,2015, 319-342) Cultural Exchange: The festival is an opportunity for cultural exchange, not only among the Yi people but also with other ethnic groups and foreign visitors. It showcases the Yi culture to a broader audience, fostering understanding and appreciation of China's ethnic diversity. (Wu, D.,2015, 319-342) Traditional Practices: The Torch Festival upholds traditional practices such as wrestling, bullfighting, and horse racing, which are integral to the Yi people's cultural legacy. These activities are a testament to the community's historical connection with nature and their pastoral lifestyle. (Litzinger, R.A., & Yang, G.,2003, 576-602) Religious and Spiritual Significance: The festival is deeply rooted in the natural worship of fire, reflecting the Yi people's reverence for natural elements and their belief in the god of fire. The sacrificial rituals and prayers for a good harvest are indicative of the spiritual connection between the community and their environment. (Litzinger, R.A., & Yang, G.,2003, 576-602)

Social Impact

Community Cohesion: The Torch Festival fosters community cohesion by bringing together people from different villages and backgrounds. The collective participation in the festival's activities strengthens social bonds and a sense of shared identity. (Wu, D.,2015, 319-342) Economic Development: The festival has become a significant contributor to the local economy, particularly in the tourism sector. It attracts both domestic and international tourists, leading to increased revenue and job opportunities in the region. (Zhou, X.,2006, 399-418) Cultural Education: The Torch Festival serves as an open-air classroom, educating the younger generations about their cultural roots and history. It imparts knowledge about traditional customs, values, and the importance of preserving cultural heritage. Tourism and Hospitality: The influx of visitors during the Torch Festival has led to the growth of the hospitality industry in the region. It has encouraged the development of infrastructure and services to accommodate tourists, enhancing the overall visitor experience. (Zhou, X.,2006, 399-418) Promotion of Social Harmony: The festival promotes social harmony by celebrating the common values and aspirations of the Yi people and other ethnic groups. It provides a space for inter-ethnic dialogue and mutual respect, contributing to a more harmonious society. (Ding Yannan,2020,44-47)

To summarize, the Torch Festival transcends its cultural origins, providing an invaluable resource for cultural enlightenment, societal integration, and economic growth. This festival serves as a beacon of cultural pluralism and community unity, embodying the enduring values and customs of the Yi people and other ethnic minorities in China.

Terms and Expressions

The Torch Festival火把节 Firebrand Lighting点火把 Torch Parades火把游行 Left-Foot Dance左脚舞

Questions

Which ethnic groups celebrate the Torch Festival?
Why do people celebrate the Torch Festival?
What are the traditional customs of the Torch Festival?
What do the torches in the Torch Festival represent?
What is the contemporary significance of the Torch Festival?

References

Huang, J. C. (2012). Ethnicity and Cultural Rights in Southwest China: The Case of the Yi Torch Festival. China Information, 26(2), 211-228.
Li, X. (2006). The Torch Festival: A Symbol of Ethnic Identity and Cultural Heritage. Ethnic Groups, 25(1), 67-82.
Litzinger, R. A., & Yang, G. (2003). The Torrent of Time: The Torch Festival and the Cultural Politics of the Yi in Southwest China. American Ethnologist, 30(4), 576-602.
Mullaney, J. (2010). Coming to Terms with the Torch Festival: National Integration and Ethnic Competition in the 2008 Beijing Olympics. Cross-Currents: East Asian History and Culture Review, 1, 140-163.
Zhou, X. (2006). The Torch Festival and Ethnic Tourism: A Case Study of the Yi People in Liangshan. Tourism Geographies, 8(4), 399-418.
Wu, D. (2015). Ethnic Festivals and the Politics of Recognition in China. Positions: East Asia Cultures Critique, 23(2), 319-342.
Ding Yannan, "Research on the Ideological and Political Education Function of Yunnan Yi Torch Festival Research", Journal of Honghe College, 2020,44-47)

Translation

团结的火炬——中国少数民族庆祝火把节

火把节，汉语俗称 "火把节"，是一个充满活力、举足轻重的文化现象。火把节主要由彝族、白族、纳西族、基诺族、拉祜族和哈尼族等少数民族庆祝，一般在夏季举行，具体日期因地区和民族而异。火把节的特点是点燃火把，火把是象征光明战胜黑暗的重要标志。此外，这个节日还蕴含着深刻的含义，包括净化、抵御恶灵和庆祝丰收。起源和神话火把节的起源可以追溯到古代，并与各种地方神话交织在一起。在这些流传甚广的传说中，《昆明县志》记载了一位英勇的妇女安楠在六月二十四日为反抗暴君而自我牺牲的故事。她的英雄事迹每年都会在节日期间受到表彰。此外，石林地区还流传着一个牧羊人扎卡的故事，他利用火作为反抗和胜利的有力象征，带头反抗压迫他的地主。(李旭，2006，67-82）历史演变元代《云南志略》对火把节的描述是通宵达旦，用火把驱散恶鬼。几个世纪以来，它融合了多种内容，其中包括清代《开化府志》中记载的食用生肉，被称为 "献岁"或祭年。(丁娅楠，2020，44-47）地区差异各地庆祝火把节的方式各不相同，体现了各地的独特性。以大理的白族为例，他们通过食用生猪肉和蔬菜来纪念这个节日，这一习俗体现了他们的文化特质。此外，不同民族的节日日期也不尽相同，凸显了这一共同文化遗产的丰富多样性。(丁娅楠，2020，44-47）与古代农业社会和仪式的联系火把节源于古代农业文明，具有深远的意义，火被尊崇为净化剂和农作物的守护神。据推测，火把节是作为一种驱除害虫、确保丰收的仪式而出现的。在这些仪式中使用火，凸显了彝族和其他文化群体对自然的敬畏和对农业丰收季节的依赖。(丁娅楠，2020，44-47）传统习俗和做法点燃火把：节日的标志是点燃火把，象征着光明战胜黑暗，也是一种驱邪纳福的仪式。(Mullaney, J., 2010, 140-163）火炬游行：村民们进行火炬游行，他们手持火带，在村子里穿行，既烘托了节日气氛，又展示了他们的文化遗产。(Mullaney, J., 2010, 140-163) 左脚舞：这种传统舞蹈在音乐和歌曲的伴奏下围绕着篝火表演，是节日庆祝活动的重要元素。祭祀仪式：火把节包括祭祀祖先和神灵的仪式，供奉牲畜等祭品，祈求保佑和保护。食用传统食物：某些食物与火把节有关，包括据说能带来健康和繁荣的特定菜肴。(Mullaney, J., 2010, 140-163）当代庆祝活动火炬游行的扩大：现代庆祝活动扩大了传统火炬游行的范围，火光和灯光的展示规模更大、更精致。(Litzinger, R.A., & Yang, G., 2003, 576-602) 文化表演：现在的节日包括各种文化表演，如传统音乐和舞蹈，展示彝族和其他少数民族丰富的民族文化。社区聚会：火把节是社区聚会的时间，人们聚集在一起庆祝共同的遗产，加强社区联系。(Litzinger, R.A., & Yang, G., 2003, 576-602) 文化影响保护民族身份：火把节在加强彝族人民的民族认同感方面发挥着至关重要的作用。它为社区提供了一个表达和庆祝其独特文化遗产的平台，其中包括传统仪式、音乐、舞蹈和诗歌。(Wu, D., 2015, 319-342) 文化交流：节日不仅是彝族人民之间的文化交流机会，也是与其他民族和外国游客进行文化交流的机会。它向更广泛的受众展示了彝族文化，促进了对中国民族多样性的理解和欣赏。(Wu, D., 2015, 319-342) 传统习俗：火把节保留了摔跤、斗牛和赛马等传统习俗，这些都是彝族文化遗产中不可或缺的一部分。这些活动证明了彝族与大自然的历史渊源以及他们的田园生活方式。(Litzinger, R.A., & Yang, G., 2003, 576-602) 宗教和精神意义：该节日深深植根于对火的自然崇拜，反映了彝族人民对自然元素的敬畏和对火神的信仰。祭祀仪式和对丰收的祈祷表明了社区与环境之间的精神联系。(Litzinger, R.A., & Yang, G., 2003, 576-602) 社会影响社区凝聚力：火把节将来自不同村庄和背景的人们聚集在一起，从而增强了社区凝聚力。对火把节活动的集体参与加强了社会纽带和共同认同感。(Wu, D., 2015, 319-342) 经济发展：艺术节已成为当地经济，尤其是旅游业的重要贡献者。它吸引了国内外游客，增加了该地区的收入和就业机会。(Zhou, X., 2006, 399-418) 文化教育：火把节是一个露天课堂，对年轻一代进行文化根源和历史教育。它传授有关传统习俗、价值观和保护文化遗产重要性的知识。旅游和接待：火把节期间大量游客的涌入促进了该地区接待业的发展。它鼓励了基础设施和服务的发展，以满足游客的需求，提升游客的整体体验。(Zhou, X., 2006, 399-418) 促进社会和谐：通过庆祝彝族和其他民族的共同价值观和愿望，彝族文化节促进了社会和谐。它为民族间对话和相互尊重提供了空间，有助于建立一个更加和谐的社会。(丁娅楠，2020，44-47）。总之，火把节超越了其文化渊源，为文化启蒙、社会融合和经济增长提供了宝贵的资源。火把节是文化多元化和社区团结的灯塔，体现了中国彝族和其他少数民族的永恒价值和习俗。

Terms and Expressions The Torch Festival火把节 Firebrand Lighting点火把 Torch Parades火把游行 Left-Foot Dance左脚舞

问题

哪些民族庆祝火把节？
人们为什么庆祝火把节？
火把节有哪些传统习俗？
火把节中的火把代表什么？
火把节的当代意义是什么？

Chen Zhuo |Chinese Painting: A Thousand Miles of Rivers and Mountains

Introduction

"A Thousand Miles of Rivers and Mountains" is a masterpiece by Wang Ximeng, a painter of the Northern Song Dynasty. This painting, known for its magnificent depiction of China’s natural landscapes, epitomizes the peak of traditional Chinese landscape painting, particularly in the genre of green landscape painting. The painting is not only a representative of green landscape painting but also a treasure of traditional Chinese painting art.

Wang Ximeng: The Prodigy Painter

Wang Ximeng (1096-?), a famous painter in the late Northern Song Dynasty, is renowned for his painting "A Thousand Miles of Rivers and Mountains." In his teens, he entered the palace ‘painting school’ as a student but was not initially outstanding. However, under the personal tutelage of Emperor Huizong, his skills flourished remarkably. Emperor Huizong, himself an accomplished artist and patron of the arts, saw great potential in Wang Ximeng and invested time in his education. By the age of eighteen, Wang had completed his magnum opus, "A Thousand Miles of Rivers and Mountains," a testament to both his natural talent and rigorous training. (from baidu)

The Historical Context of the Northern Song Dynasty

The Northern Song Dynasty (960-1127) was a period marked by significant cultural, economic, and technological advancements in China. Following the chaotic Five Dynasties and Ten Kingdoms period, the Northern Song era brought stability and prosperity, with remarkable developments in agriculture, commerce, and urbanization. The political structure, heavily influenced by Confucian ideals, promoted intellectual and artistic endeavors. During this golden age, the arts, including painting, literature, and calligraphy, reached new heights, with scholars and artists enjoying substantial support from the state. (from baidu)

Artistic Brilliance and Technical Mastery

"A Thousand Miles of Rivers and Mountains" exemplifies the sophisticated techniques and aesthetic principles of Song Dynasty landscape painting. Spanning over 11 meters in length, this handscroll painting captures an expansive and varied landscape with meticulous brushwork and a harmonious color palette. Wang Ximeng’s use of the blue-green landscape technique, employing mineral pigments like malachite and azurite, imbues the painting with a vibrant yet serene quality. The painting’s composition is both grand and intricate. The undulating mountains, rendered with fine brushstrokes and detailed texture, create a sense of depth and three-dimensionality. The depiction of water bodies, including rivers, waterfalls, and streams, adds a dynamic element to the landscape, reflecting the natural beauty of Jiangnan, a region known for its picturesque scenery. The architectural elements, such as pavilions and thatched cottages, are meticulously detailed, showcasing the architectural style of the time Wang Ximeng’s use of color is a defining feature of the painting. The blue-green technique, utilizing mineral pigments, gives the painting its distinctive and vibrant appearance. The use of these pigments, combined with careful layering and shading, creates a sense of depth and luminosity. The ochre background provides a warm contrast to the cooler tones of the landscape, enhancing the overall harmony of the composition. (Qin, Shuhai. Study of the Painting Techniques in "A Thousand Miles of Rivers and Mountains". 36-38.)

Detailed Analysis of Key Sections

To further appreciate the intricacies of "A Thousand Miles of Rivers and Mountains," it is essential to examine specific sections of the painting in greater detail. Each segment reveals Wang Ximeng’s exceptional skill and the painting’s profound cultural significance. The central section of the painting features towering mountains, their peaks shrouded in mist. Wang Ximeng’s use of varying brushstrokes and ink washes creates a sense of depth and texture, making the mountains appear both majestic and ethereal. The fine chapping technique used to depict the rock surfaces adds to the realism and complexity of the landscape. Water is a prominent element in the painting, depicted with a fluidity and grace that contrasts with the solidity of the mountains. The rivers and streams wind through the landscape, reflecting the light and adding movement to the scene. The waterfalls, with their cascading waters, are rendered with a dynamic energy, capturing the viewer’s attention and drawing the eye through the composition. Scattered throughout the landscape are various architectural structures, including pavilions, temples, and bridges. These buildings, though small, are rendered with meticulous detail, reflecting the architectural style and construction techniques of the Northern Song period. The placement of these structures within the landscape highlights the harmonious relationship between human habitation and the natural environment. The human figures in the painting, while small in scale, are depicted with individuality and character. Fishermen, scholars, and travelers are shown engaging in their daily activities, adding a narrative dimension to the landscape. These figures not only populate the scene but also serve to emphasize the scale and grandeur of the natural surroundings. (Feng, Haitao. Painting Style—Study of the Pictorial Language in "A Thousand Miles of Rivers and Mountains" (Part 1). 22-28, 38-39. )

Symbolism and Cultural Connotations

Beyond its visual splendor, "A Thousand Miles of Rivers and Mountains" is rich in cultural symbolism. The landscape, architecture, and figures within the painting reflect the ancient Chinese literati’s philosophy and aesthetics. The painting embodies the Daoist ideal of harmony between humans and nature, a central theme in Chinese culture. The serene and idyllic scenery represents a utopian vision, an escape from the political and social turmoil of the era. The figures in the painting, although small in scale, are portrayed with remarkable individuality. Fishermen, travelers, and hermits are depicted engaging in various activities, symbolizing different aspects of life and society. These figures not only add a narrative dimension to the painting but also emphasize the close relationship between people and their natural environment. The painting reflects the Daoist and Confucian ideals that were prevalent during the Northern Song Dynasty. The harmonious integration of human and natural elements embodies the Daoist concept of harmony with nature. At the same time, the depiction of scholars and hermits in the landscape reflects the Confucian value placed on intellectual and contemplative pursuits. (Lin, Shunyang & Xu, Hui. Aesthetic Ideas and Artistic Value of "A Thousand Miles of Rivers and Mountains". 12, 114-116.)

Impact and Legacy

Wang Ximeng’s "A Thousand Miles of Rivers and Mountains" is a milestone in the history of Chinese landscape painting. Its innovative techniques, grand composition, and rich colors influenced generations of artists. The painting set a new standard for green landscape painting, inspiring many subsequent artists to adopt and adapt its techniques and style. The painting’s influence extends beyond China. It is celebrated internationally as a masterpiece of Chinese art, showcasing the depth and sophistication of traditional Chinese culture. The painting’s ability to convey a sense of timeless beauty and tranquility has earned it a place among the most revered works of art in the world.

Conclusion

"A Thousand Miles of Rivers and Mountains" by Wang Ximeng is not merely a landscape painting; it is a profound expression of the Northern Song Dynasty’s cultural and artistic achievements. Through its exquisite details and grand vision, the painting encapsulates the harmony between nature and humanity, a core value of Chinese philosophy. Wang Ximeng’s masterpiece continues to inspire and captivate audiences, a testament to the enduring power of art to transcend time and space.

Terminology

A Thousand Miles of Rivers and Mountains 千里江山图 Wang Ximeng 王希孟 the Northern Song Dynasty 北宋朝 the palace ‘painting school 宫中“画学” tutelage 侍奉 Emperor Huizong 宋徽宗 magnum opus 杰作 Five Dynasties and Ten Kingdoms 五代十国 blue-green landscape 青绿山水 malachite 石青 azurite 石绿 Jiangnan 江南 thatched cottages 茅屋

Questions

1. What is the significance of Wang Ximeng's "A Thousand Miles of Rivers and Mountains"? 2. How did Emperor Huizong influence Wang Ximeng's artistic development? 3. What advancements in society and culture occurred during the Northern Song Dynasty? 4. What are the main elements depicted in "A Thousand Miles of Rivers and Mountains"? 5. How does the painting reflect the cultural and philosophical ideals of the Northern Song Dynasty? 6. What impact has "A Thousand Miles of Rivers and Mountains" had on subsequent generations of artists?

References

https://baike.baidu.com/item/%E5%8D%83%E9%87%8C%E6%B1%9F%E5%B1%B1%E5%9B%BE/386355
https://www.dpm.org.cn/collection/paint/228354.html
http://www.chinashj.com/sh-gdhh/10245.html
http://art.people.com.cn/n1/2017/0831/c226026-29507425.html
Lin, Shunyang & Xu, Hui. (2022). Aesthetic Ideas and Artistic Value of "A Thousand Miles of Rivers and Mountains". Beauty and Times (China), 12, 114-116.
Feng, Haitao. (2023). Painting Style—Study of the Pictorial Language in "A Thousand Miles of Rivers and Mountains" (Part 1). Art Research, (01), 22-28, 38-39.
Qin, Shuhai. (2023). Study of the Painting Techniques in "A Thousand Miles of Rivers and Mountains". Oriental Collection, (09), 36-38.
Xiao, Pengfei. (2023). On the Realm of Wang Ximeng’s "A Thousand Miles of Rivers and Mountains". Journal of Fuyang Vocational and Technical College, (02), 76-78.

简介

《千里江山图》是北宋画家王希孟的杰作。这幅画以其壮丽的中国自然景观描绘而闻名，堪称传统中国山水画的巅峰，特别是在青绿山水画领域。此画不仅是青绿山水画的代表作，也是传统中国绘画艺术的瑰宝。

天才画家王希孟

王希孟（1096-?），是北宋末年的著名画家，以其作品《千里江山图》闻名。在十几岁时，他进入宫中的“画学”学习，但起初并不出众。然而，在宋徽宗的亲自指导下，他的技艺得到了显著提升。宋徽宗本人是一个才华横溢的艺术家，也好支持别人搞艺术，他看到了王希孟的巨大潜力，投入了大量时间来培养他。在十八岁时，王希孟完成了他的杰作《千里江山图》，这不仅证明了他的天赋，也展示了他经过严格训练所取得的成果。

北宋时期的历史背景

北宋（960-1127）是中国文化、经济和技术显著进步的时期。在经历了混乱的五代十国时期之后，北宋带来了稳定和繁荣，在农业、商业和城市化方面取得了显著发展。以儒家思想为主导的政治结构促进了知识和艺术的发展。在这个黄金时代，绘画、文学和书法等艺术达到了新的高度，学者和艺术家得到了国家的极大支持。

精湛技术

《千里江山图》展示了宋代山水画的复杂技艺和美学原则。画卷长达11米以上，捕捉了广阔多样的景观，以细腻的笔触和和谐的色彩表现出来。王希孟采用了青绿山水技法，使用石青和石绿等矿物颜料，使这幅画充满了生机和宁静。画面的构图既宏大又复杂。起伏的群山通过细腻的笔触和细致的纹理描绘出深度和三维感。水体的描绘，包括河流、瀑布和溪流，为景观增添了动态元素，反映了以风景如画著称的江南的自然美。建筑元素如亭台和茅屋细致入微，展示了当时的建筑风格。

象征意义和文化内涵

《千里江山图》不仅在视觉上引人入胜，还充满了文化象征意义。画中的山水、建筑和人物反映了古代文人雅士的哲学和美学。这幅画体现了人与自然和谐的道家理想，这是中国文化的核心主题。宁静而田园的景色代表了一种乌托邦愿景，是对时代政治和社会动荡的逃避。

画中的人物虽然规模较小，但刻画得极具个性。渔夫、旅行者和隐士从事各种活动，象征着生活和社会的不同方面。这些人物不仅为画面增添了叙事维度，还强调了人与自然环境的紧密关系。

影响

王希孟的《千里江山图》是中国山水画史上的一座里程碑。其创新的技法、宏大的构图和丰富的色彩影响了几代艺术家。这幅画为青绿山水画设定了新的标准，激励了许多后来的艺术家采用和改编其技法和风格。

这幅画的影响不止于国内。它作为中国艺术的杰作在国际上备受赞誉，展示了传统中国文化的深度和复杂性。画作所传达的美和宁静感使其成为世界上最受尊敬的艺术作品之一。

结论

王希孟的《千里江山图》不仅仅是一幅山水画；它还是北宋文化和艺术成就的深刻表达。通过其精美的细节和宏大的视野，这幅画捕捉了自然与人类和谐的核心价值。《千里江山图》继续激发和吸引观众，证明了艺术跨越时间和空间的持久力量。

参考文献

https://baike.baidu.com/item/%E5%8D%83%E9%87%8C%E6%B1%9F%E5%B1%B1%E5%9B%BE/386355
https://www.dpm.org.cn/collection/paint/228354.html
http://www.chinashj.com/sh-gdhh/10245.html
http://art.people.com.cn/n1/2017/0831/c226026-29507425.html
林顺洋 & 徐辉.(2022).《千里江山图》的美学思想及艺术价值. 美与时代(中)(12),114-116.
冯海涛.(2023).画式——《千里江山图》卷中的绘画语言研究（上）. 美术研究(01),22-28+38-39.
秦树梅.(2023).《千里江山图》画法研究. 东方收藏(09),36-38.
肖鹏飞.(2023).论王希孟《千里江山图》之境. 阜阳职业技术学院学报(02),76-78.

问题

王希孟的《千里江山图》有何重要意义？
宋徽宗如何影响王希孟的艺术发展？
北宋时期社会和文化有哪些进步？
《千里江山图》描绘了哪些主要元素？
这幅画如何反映北宋的文化和哲学理想？
《千里江山图》对后世艺术家产生了怎样的影响？

Wu Liping | Festival：Qixi Festival

Introduction

Qixi Festival, also known as Qiqiao Festival, Qijie Festival, Daughter's Day, Qiqiao Festival, Qinianghui Festival, Qixi Festival, Ox and Bull Mother's Day, Qiaoxi Festival, etc., is a traditional Chinese folk festival. Qixi Festival evolved from the worship of stars. It is the birthday of the seventh sister in the traditional sense. Because the worship of the "seventh sister" was held on the night of July 7th, it was called "Qixi Festival". Worshiping the seventh sister, praying for blessings and wishing, begging for skillful art, sitting and watching Morning Glory Vega, praying for marriage, storing Qixi water, etc. are the traditional customs of Qixi Festival. After historical development, Qixi Festival has been given the beautiful love legend of "Cowherd and Weaver Girl", making it a festival symbolizing love. Therefore, it is regarded as the most romantic traditional festival in China, and has produced the cultural meaning of "Chinese Valentine's Day" in modern times.

Origin

1.The Legend of the Cowherd and the Weaver Girl Qixi Festival is one of the traditional festivals in China. "Xi" is the origin of the evening festival. Qixi Festival is the night on the seventh day of the seventh lunar month. Qixi Festival originated from the legend of the Cowherd and the Weaver Girl. The cowherd is a young herder, and the weaver girl is a fairy in the sky. The weaver girl felt that there was no freedom in the sky and came to the world. With the help of the old cow, the cowherd met the weaver girl and soon fell in love and got married, giving birth to a man and a woman. But one day, the Queen Mother took the Weaver Girl away. When the cowherd carried the two children to the sky to chase the weaver girl, the Queen Mother drew a galaxy with the jade hairpin on her head. The galaxy was long and wide, and the cowherd could not pass, so they were separated. The Queen Mother only allows the Cowherd and the Weaver Girl to meet once every year on the seventh day of July. Every night on the seventh day of the seventh month, groups of magpies fly to build a bridge for the Cowherd and the Weaver Girl and let them meet on the bridge. This is the origin of the Qixi Festival.

2.Worship of natural celestial phenomena

As early as ancient times, the ancients who pursued order not only planned the sky in an orderly manner, but also corresponded the stars to the ground area one by one. This correspondence is called "star division" in terms of astronomy and "division" in terms of the ground. . In short, the ancients corresponded each constellation in the sky to the physical geographical area on the ground one by one. The purpose of the ancient star division and division was mainly to cooperate with the astrology theory for celestial occupation. In the ancient star system, "Ox" consists of six stars, located on the east coast of the Milky Way, like two inverted triangles, one up and down, very characteristic, but the upper triangle is larger and brighter. The small triangle below is located on the ecliptic. These stars form a cow with two horns on its head but only three feet, so the ancients called it "the morning ox." The three stars of "Weaver Girl" are located in the north of the cow house. Among them, the "Weaver Girl One" star is the fifth bright star in the sky, so it is often directly called "Weaver Vega". People call "Oxus" and "Weaver Vega" together as "Cowherd and Weaver Girl". It is said that on the seventh day of July every year, the Cowherd and the Weaver Girl meet at the Magpie Bridge in the sky. Later, the folk gave further play to the story and gave the "Cowherd and Weaver Girl" a beautiful love legend. And in order to have the dexterity of the weaver girl, the girls work on that day, so that day is also called the Begging Festival.

3.Time digital worship "Chinese Valentine's Day" is the seventh day of the month and the seventh day. In ancient times, the ancients combined the sun and moon with the five planets of water, fire, wood, gold and earth as "Seven Yao." The seventh day of July is related to the ancients' worship of numbers and time. In ancient times, the "sevenfold" of the first month, February 2, March 3, May 5, June 6, July 7 and September 9 were listed as auspicious days. In ancient China, the "heavy day" was regarded as a day of "the communication between heaven and earth" and "the communication between heaven and man". Seven is the number of beads in each column of the abacus, which is romantic and rigorous, giving people a mysterious beauty. "Seven" and "Ji" are homophonic, and "Seven" also means double good luck, which is an auspicious day.

Activities on the day

Activities on the day 1.Couple dating Chinese Valentine's Day is commonly known as Valentine's Day in China, so couple dating is one of the most common ways to celebrate Chinese Valentine's Day. Couples may choose to have a romantic dinner on this day, enjoy the moon together, or participate in activities on the theme of Qixi Festival to express their love and care for each other 2.Xiangqiao Hui In Yixing, Jiangsu Province, there is a custom of Qixi Xiangqiao Festival. Every year on the Chinese Valentine's Day, people come to participate and build incense bridges. The so-called incense bridge is a bridge four or five meters long and about half a meter wide made of all kinds of thick and long wrapping incense (paper-wrapped thread incense). It is decorated with a railing made of five-color threads. At night, people sacrifice the double stars, beg for good fortune, and then burn the incense bridge, symbolizing that the double stars have crossed the incense bridge and met happily. This incense bridge is derived from the legendary legend of Magpie Bridge.

3.Take Dew In rural areas of Zhejiang, it is popular to use washbasins to receive dew. Legend has it that the dew on the Qixi Festival is the tears when the Cowherd and the Weaver Girl meet. If you wipe it on your eyes and hands, you can make your eyes clear and your hands fast.

4.Wear a needle and beg for cleverness Wearing needles, also known as "matching tricks", is women's competition to wear needles. They tie colored threads and wear seven-hole needles. The faster they wear, the more clever they wear, the more clever they are. Those who wear slowly are called "losing tricks". "People who lose cleverness" should give gifts prepared in advance to the clever. Xijing Miscellany said: "Han Cai girls often wear seven-hole needles in the open building on July 7th, and people get used to it”

Cultural significance and development of Qixi Festival

1.Inheritance of traditional culture: As a part of Chinese traditional culture, Qixi Festival has inherited ancient myths and beautiful blessings through generations. 2.Multicultural integration: In contemporary society, Qixi Festival integrates the customs of different regions and cultures, forming a variety of forms of celebration. 3. Changes in personal values: With the rapid development of society, people's concepts of love and marriage are also changing. As a symbol of love, Qixi Festival represents the change of values that people pursue in love.The cultural evolution of Qixi Festival not only retains traditional customs, but also blends with modern society, reflecting the diversity and vitality of Chinese culture. We look forward to the continuous evolution and development of Qixi Festival in the future and become a cultural feast of tradition and modernity.

Conclusion

As a traditional Chinese festival, Qixi Festival carries ancient myths and legends and beautiful blessings. With the progress of society and the evolution of culture, Qixi Festival has become more romantic and diversified in modern times. Traditional Qixi customs such as begging for tricks and enjoying the moon still exist, but modern society gives Qixi Festival more meaning and expression. To sum up, the Seven Festivals is not only a traditional festival, but also a festival with rich cultural significance and historical traditions. It embodies the Chinese nation's unremitting self-improvement, diligence and wisdom, creative courage, and the continuous pursuit of a happy life.

Terms and Expressions

the Cowboy and the Weaver Girl 牛郎织女：the Queen of Heaven 王母娘娘 magpie bridge 鹊桥 ecliptic 黄道： Seven Luminaries 七曜 Heavenly Palace 天宫 Altair 牵牛星 Vega 织女星 Miscellanies of Xijing 《西京杂记

Questions

1. What is other name of Qixi Festival? 2. What day does the Chinese Valentine's Day take place? 3. What are the origins of Qixi Festival? 4. What are the common Qixi Festival activities? 5.What is the impact of Qixi Festival on today's society?

References

1.邵静.我国大众媒介的“节日传播”——以“春节”与“情人节”为比较范本[J].东南传播,2007(9):58-59. 6.李定琼.传统节日“假日化”与法定假日“传统化”——两者的旅游文化学关系浅析[J].现代商业,2008(9):266-267 7.李晓霞.浅谈中国节庆文化的影响[J].理论界,2006(S2):113-114 8.韦柳芝.从西方节日中反思中国传统节日的保护与传承[J].长春教育学院学报,2014,30(7):15-16. 9.That is Mandarin The Story Behind Qixi Festival

Translation

节日：七夕节介绍：七夕节，又称七巧节、七姐节、女儿节、乞巧节、七娘会、七夕祭 [39-40]、牛公牛婆日、巧夕等，是中国民间的传统节日。七夕节由星宿崇拜演化而来，为传统意义上的七姐诞，因拜祭“七姐”活动在七月七晩上举行，故名“七夕”。拜七姐，祈福许愿、乞求巧艺、坐看牵牛织女星、祈祷姻缘、储七夕水等，是七夕的传统习俗。经历史发展，七夕被赋予了“牛郎织女”的美丽爱情传说，使其成为了象征爱情的节日，从而被认为是中国最具浪漫色彩的传统节日，在当代更是产生了“中国情人节”的文化含义。

起源： 1.牛郎织女的传说七夕节是中国传统节日之一，“夕”是夜晚的意思，“乞巧”是向织女乞求智巧的意思，七夕节指的就是农历七月初七的夜晚。七夕节起源于牛郎和织女的传说，牛郎是年轻的牧童，织女是天上的仙女，织女觉得自己在天上没有自由，就下凡来到人间，牛郎在老牛的帮助下认识了织女，不久便结为夫妻，生了一男一女两个孩子，但有一天王母娘娘把织女带回了天宫，牛郎带着两个孩子去天宫找织女，王母用头上的玉簪划了一道银河，银河又宽又长，牛郎无法过河，他们被隔开了，王母娘娘规定每年七月七日牛郎和织女只能相会一次，每到七月初七的夜晚，成群的喜鹊飞来为牛郎和织女搭起一座鹊桥，让牛郎和织女相会，这就是七夕节的由来。

2.崇拜自然的天体现象早在远古时代，追求秩序的古人们不仅将天空规划得井井有条，还将星宿与地面区域一一做了对应，这个对应关系就天文来说，称作“分星”，就地面来说，称作“分野”。简单来说，古人就是将天上每个星座都与地上的实体地理区域一一对应，古代分星与分野目的主要是为了配合占星理论进行天象占测。在古代星宿体系中，“牛宿”由6颗星组成，位于银河的东岸，像两个倒置的三角形，一上一下，很有特点，不过上面的那个三角形更大一些，亮一些。而下面的小三角形正好位于黄道上，这几颗星组成了一个头上有两角，却只有三只足的牛，因此古人称其为“牵牛”。“织女”3星位于牛宿的北部，其中的“织女一”星是全天第五亮星，因此又常直接称为“织女星”。人们将“牛宿星”与“织女星”合称为“牛郎织女”。相传每年七月初七，牛郎织女在天上的鹊桥相会，后来民间把故事进一步发挥，赋予了“牛郎织女”的美丽爱情传说。而姑娘们为了能有织女的心灵手巧，就在那天比针线活，于是那一天又称作乞巧节。

3.古人的数字崇拜 “七夕”月逢七、日逢七。在古代，古人把日、月与水、火、木、金、土五大行星合在一起叫“七曜”。“七月初七”与古人对数字和时间的崇拜有关。古代民间把正月正、二月二、三月三、五月五、六月六、七月七、九月九这“七重”列为吉庆日。“重日”在中国古代被认为是“天地交感”、“天人相通”的日子。“七”是算盘每列的珠数，浪漫而又严谨，给人以神秘的美感。“七”与“吉”谐音，“七七”又有双吉之意，是个吉利的日子。

节日活动： 1.情侣约会情侣约会：七夕节被普遍称为中国的情人节，因此情侣约会是七夕节最常见的庆祝方式之一。情侣们可能选择在这一天共进浪漫的晚餐，一起欣赏赏月，或是一起参加七夕主题的活动，表达对彼此的爱意和关怀。 2.香桥会在江苏宜兴，有七夕香桥会习俗。每年七夕，人们都赶来参与，搭制香桥。所谓香桥，是用各种粗长的裹头香（以纸包着的线香）搭成的长四五米、宽约半米的桥梁，装上栏杆，于栏杆上扎上五色线制成的花装饰。入夜，人们祭祀双星、乞求福祥，然后将香桥焚化，象征着双星已走过香桥，欢喜地相会。这香桥是由传说中的鹊桥传说衍化而来的。 3.接露水浙江农村，流行用脸盆接露水的习俗。传说七夕节时的露水是牛郎织女相会时的眼泪，如抹在眼上和手上，可使人眼明手快。浙江农村，流行用脸盆接露水的习俗。传说七夕节时的露水是牛郎织女相会时的眼泪，如抹在眼上和手上，可使人眼明手快。 4.穿针乞巧穿针乞巧，也叫“赛巧”，即女子比赛穿针，她们结彩线，穿七孔针，谁穿得越快，就意味着谁乞到的巧越多，穿得慢的称为“输巧”，“输巧”的人要将事先准备好的礼物送给得巧者。《西京杂记》说：“汉彩女常以七月七日穿七孔针于开襟楼，人具习之。”

七夕节的文化意义与发展 1.传统文化的传承：七夕节作为中国传统文化的一部分，通过世代相传，传承了古代神话故事和美好祝福。 2.多元文化的融合：在当代社会，七夕节融合了不同地区、不同文化的习俗，形成丰富多样的庆祝形式。 3.个人价值观的变迁：随着社会的快速发展，人们对于爱情和婚姻的观念也在发生变化，七夕节作为爱情的象征，代表着人们对爱情追求的价值观的转变。七夕节的文化演变既保留了传统习俗，又与现代社会相互交融，体现了中国文化的多元性和活力。我们期待着七夕节在未来继续演变和发展，成为传统与现代交融的文化盛宴。

总结：七夕节作为中国传统的节日，承载着古老神话传说和美好祝福。随着社会的进步和文化的演变，七夕节在现代变得更加浪漫而具有多元化的特点。传统的七夕习俗如乞巧活动和赏月仍然存在，但现代社会赋予了七夕节更多的意义和表达方式。综上所述，七节不仅是一个传统的节日，也是一个具有丰富文化意义和历史传统的节日。体现了中华民族不懈的自我完善、勤奋和智慧、创造的勇气，以及对幸福生活的持续追求。问题： 1.七夕节又名什么？ 2.七夕节发生在哪一天？ 3.七夕节有哪些起源？ 4.常见的七夕节活动有哪些？ 5.七夕节对当今社会有哪些影响？

参考文献： 1.邵静.我国大众媒介的“节日传播”——以“春节”与“情人节”为比较范本[J].东南传播,2007(9):58-59. 6.李定琼.传统节日“假日化”与法定假日“传统化”——两者的旅游文化学关系浅析[J].现代商业,2008(9):266-267 7.李晓霞.浅谈中国节庆文化的影响[J].理论界,2006(S2):113-114 8.韦柳芝.从西方节日中反思中国传统节日的保护与传承[J].长春教育学院学报,2014,30(7):15-16. 9.That is Mandarin The Story Behind Qixi Festival

Luo Jiayi | Music and instruments：Yuge（Fishing song）

Overview

Fishing song, also known as Yuge, is a unique Chinese folk song sung by fishermen in China's coastal areas, lakes and harbors. The most widely circulated one is the Tang Dynasty poet Zhang Zhihe's Fisherman's Song:

In front of western hills white egrets fly up and down

Over peach-mirrored stream, where perches are full grown.

In a broad-brimmed blue hat

And green straw cloak, I’d fain

Go fishing careless of the slanting wind and rain.

There are many types and quantities of fishing songs. When and where it originated, there is no way to know. But it is certain that in the Han Dynasty, there was a large number of documentary records of fishing songs. In 2014, the fishing songs (Dongting Fishing Songs and Shanwei Fishing Songs) were approved by the State Council to be included in the fourth batch of national intangible cultural heritage lists. In 2021, Fishing Songs (Shengsi Fishing Songs) were approved by the State Council to be included in the expanded list of representative items of national intangible cultural heritage.（https://baike.baidu.com/item/%E6%B8%94%E6%AD%8C/10945047）

Classification of fishing songs

Fishing songs can be classified by region. For example, the fishing songs popular in Shanwei, Guangdong Province are collectively referred to as Shanwei Fishing Songs, and there are also fishing songs in Huidong, Guangdong, which belong to the same kind in Shanwei; popular in Yueyang, Hunan Province, Dongting Lake, collectively known as Dongting Fishing Song. The fishing songs popular in Shengsi, Zhoushan, Zhejiang Province, are called Shengsi Fishing Song.

Fishing songs can also be divided into two categories: deep-sea fishing songs and shallow-sea fishing songs. The former is sung by fishermen working in the deep sea, similar to salty water songs. The latter is sung by the women of the fishermen by the sea. It usually refers mainly to shallow-sea fishing songs.（https://baike.baidu.com/item/%E6%B8%94%E6%AD%8C/10945047）

What is more, fishing songs can be classified according to their form, which are divided into three types: work songs, folk songs, and ditty.（https://zjnews.zjol.com.cn/zjxc/202306/t20230604_25818245.shtml）

Characteristics of fishing songs

The content of fishing songs is rich and colorful, involving all aspects of material production and daily life such as people's production habits, clothing, food, housing and transportation, and its cultural connotation is also extremely rich, mainly divided into five categories, namely labor, life, love, folk customs and sacrifices.(Li 2008, 50)The labor category, represented by The Boatman's Work Song, mostly describes the spontaneous organization of fishermen in production and life, such as fiber pulling, net collection, etc., with a sonorous rhythm and full of dynamics. In the life category, it mainly expresses the joys and sorrows in the hearts of fishermen, and its representative works include How can there be more tears in the river. Love, mostly men and women pour out their love for each other. Affected by the water, their marriage and love are in the boat, which gave birth to a large number of songs, such as Bachelor Marrying and so on. Folk customs, more reflect the survival skills of fishermen, and the cultivation of excellent moral qualities such as the education of children, and the representative works include My Thousands of Fishing Songs. Sacrificial category, the content is mainly for the fishermen to pray for the god of water and the dragon king to bless favourable conditions and the boat is safe, the representative works are Dongting Immortal and so on.（Xu Hao,Liu Jiwen 2020, 121）

The lyrics of fishing songs are generally in the format of seven-character sentences, two sentences are one paragraph, and there are also four or eight sentences in a paragraph. In the four sentences, there are also five-character sentences or three-character sentences as the starting sentence, and the last three words of the second or fourth sentence are often repeated with padding words, or the whole sentence is repeated.（https://baike.baidu.com/item/%E6%B8%94%E6%AD%8C/10945047）

The expression forms of fishing songs include humming, singing in unison, singing in unison with the lead singer, blowing, duet, singing and dancing, pure natural harmony singing, playing and singing, etc. The dragging and repetition in the singing are the most basic and significant characteristics that distinguish fishing songs from other folk songs.（https://baike.baidu.com/item/%E6%B8%94%E6%AD%8C%EF%BC%88%E6%B4%9E%E5%BA%AD%E6%B8%94%E6%AD%8C%EF%BC%89/53476230#reference-6）

The value of fishing songs

The fishing song itself has a high aesthetic value of musical art, which is mainly reflected in its unique style and rich forms of expression. It contains the cultural genes of traditional music, and provides a rich source of original materials and inspiration for music creation.(Wang 2009, 25)

In contemporary times, the more important thing about the fishing song is its historical, cultural and folk value. Fishermen living by the water's edge can learn about the humanistic history, folk customs, social outlook of their hometown, and the way of life, thoughts and feelings, spiritual pursuits, and values of fishermen through fishing songs, so as to gain a sense of identity of local cultural identity. In addition, this kind of value is also reflected in the true record and effective continuation of traditional fishing culture. Through fishing songs, people can understand the ocean, tide, meteorology, fishing flooding, fish, fishing, breeding, processing, trade and other fishery knowledge and inherit the fishing culture of the fishing area.(Chen 2023, 73/ Fang 2023, 24-25)

In addition, the fishing song also has scientific, economic and practical value. Only by transforming it from a folk art resource into a cultural productive force and bringing economic benefits can the reproduction of folk art producers be guaranteed, and correspondingly more funds will be invested in the protection and development of folk art.(Jin 2009, 91/ Jinling Li 2022, Volume 4.0, Issue 5.0)

Translation

概述

渔歌是一种特有的中国民歌，由中国沿海地区以及湖泊港湾渔民所唱。流传最广泛的当属唐代诗人张志和的《渔歌子》：西塞山前白鹭飞，桃花流水鳜鱼肥。青箬笠，绿蓑衣，斜风细雨不须归。渔歌种类繁多、数量庞大，到底起源于何时何地，已无从考究。但可以确定的是在汉代，渔歌已有大量的文献记载。2014年，渔歌（洞庭渔歌、汕尾渔歌）经国务院批准列入第四批国家级非物质文化遗产名录。2021年，渔歌（嵊泗渔歌）经国务院批准列入国家级非物质文化遗产代表性项目名录扩展项目名录。（https://baike.baidu.com/item/%E6%B8%94%E6%AD%8C/10945047）

渔歌的分类

渔歌可以按地域来分类。如流行于广东汕尾市的渔歌，统称为汕尾渔歌，而在广东的惠东也有渔歌，属于汕尾市同类；如流行于湖南省岳阳市岳阳楼区洞庭湖边的，则统称为洞庭渔歌；如流行于浙江省舟山市嵊泗县的渔歌，则称为嵊泗渔歌。

渔歌也可以分深海渔歌和浅海渔歌两类。前者是深海作业渔民所唱，近似咸水歌；后者是海边渔家妇女所唱。通常主要指浅海渔歌。（https://baike.baidu.com/item/%E6%B8%94%E6%AD%8C/10945047）

渔歌还可以按其按形式来分类，分为号子、山歌、小调三种类型。（https://zjnews.zjol.com.cn/zjxc/202306/t20230604_25818245.shtml）

渔歌的特征

渔歌的内容丰富多彩，涉及人们的生产习惯、衣食住行等物质生产与日常生活的各个方面, 其文化内涵也极为丰富，主要分为五大类，即劳动类、生活类、爱情类、民俗类和祭祀类。(Li 2008, 50)劳动类，以《船工号子》为代表，多形容渔民在生产生活中的自发组织劳动，如拉纤、收网等，节奏铿锵，富于动感；生活类，则主要表达渔民内心的喜怒哀乐，代表作有《河水哪有我的眼泪多》等；爱情类，多为男女之间互相倾诉爱慕之情，受水域影响，婚姻、恋爱均在船间，由此萌生出大量歌曲作品，如《光棍娶亲》等；风俗民俗类，更多反映渔民的生存技巧，及对子女的教育等优秀道德品质的培养，代表作有《我的渔歌万万千》等；祭祀类，内容主要为渔民祈求水神、龙王保佑风调雨顺、行船平安，代表作有《洞庭仙》等。（Xu Hao,Liu Jiwen 2020, 121）

渔歌的歌词格式一般为七字句，两句一首，间有四句或八句一首。四句中也有用五字句或三字句作起句的，第二句或第四句的最后三字常加上衬词重复，或整句重复。（https://baike.baidu.com/item/%E6%B8%94%E6%AD%8C/10945047）

渔歌的表现形式有哼唱、齐唱、领和式齐唱、吹奏、对唱、歌舞、纯自然和声演唱、弹唱等。而唱腔曲调上的“拖音”和“复沓”是渔歌有别于其他民歌品种最基本、最显著的特征。（https://baike.baidu.com/item/%E6%B8%94%E6%AD%8C%EF%BC%88%E6%B4%9E%E5%BA%AD%E6%B8%94%E6%AD%8C%EF%BC%89/53476230#reference-6）

渔歌的价值

渔歌本身具有很高的音乐艺术审美价值，主要体现在它独特的风格和丰富的表现形态上。它蕴含着传统音乐的文化基因，为音乐创作提供了丰富的原始素材和灵感源泉。(Wang 2009, 25)

在当代，渔歌更重要的是它的历史文化民俗价值。生活在水边的渔民，通过渔歌了解自己家乡的人文历史、民俗风情、社会面貌和渔民的生活方式、思想感情、精神追求、价值观念，从而获得本土文化身份的认同感。除此之外，它的这种价值还体现在对传统渔俗文化的真实记录和有效延续上，人们通过渔歌，可以了解海洋、潮汛、气象、渔汛、鱼类、捕捞、养殖、加工、贸易等渔业知识，传承渔区渔俗文化。(Chen 2023, 73/ Fang 2023, 24-25)

此外，渔歌也有科学经济实用价值。只有将其从民俗艺术资源转换为文化生产力,带来经济效益,才能保证民俗艺术生产者的再生产,相应地就会有更多的资金投入到民俗艺术的保护和发展上。(Jin 2009, 91/ Jinling Li 2022, Volume 4.0, Issue 5.0)

Terms and Expressions

Fishing songs 渔歌

Fisherman's Song 《渔歌子》

Dongting Fishing Songs 洞庭渔歌

Shanwei Fishing Songs 汕尾渔歌

Shengsi Fishing Songs 嵊泗渔歌

The fourth batch of national intangible cultural heritage list 第四批国家级非物质文化遗产名录

Expanded list of representative items of national intangible cultural heritage 国家级非物质文化遗产代表性项目名录扩展项目名录

Deep-sea fishing songs 深海渔歌

Shallow-sea fishing songs 浅海渔歌

Salty water songs 咸水歌

Work songs 号子

Folk songs 山歌

Ditty 小调

The Boatman's Work Song 《船工号子》

How can there be more tears in the river 《河水哪有我的眼泪多》

Bachelor Marrying 《光棍娶亲》

My Thousands of Fishing Songs 《我的渔歌万万千》

Dongting Immortal 《洞庭仙》

Padding words 衬词

Questions

（1）What are the types of fishing songs classified by region? Please name two.

（2）Are fishing songs an intangible cultural heritage?

（3）What is the value of fishing songs?

（1）渔歌按地域分类有哪几种？请举出两个。

（2）渔歌属于非物质文化遗产吗？

（3）当代的渔歌具有什么价值？

References

https://baike.baidu.com/item/%E6%B8%94%E6%AD%8C/10945047

https://zjnews.zjol.com.cn/zjxc/202306/t20230604_25818245.shtml

https://baike.baidu.com/item/%E6%B8%94%E6%AD%8C%EF%BC%88%E6%B4%9E%E5%BA%AD%E6%B8%94%E6%AD%8C%EF%BC%89/53476230#reference-6

李琳(Li Lin). 环洞庭湖民歌中的民俗及其文化内涵(Folklore and Its Cultural Connotation in Folk Songs Around Dongting Lake)[J]. 湖南农业大学学报(社会科学版)(Journal of Hunan Agricultural University (Social Science)),2008,(05):50-53.

许昊,柳集文(Xu Hao,Liu Jiwen). 传统音乐类非物质文化遗产的生存现状与整合传播——基于湖南岳阳洞庭渔歌的考察(The Survival Status and Integrated Dissemination of Traditional Music Intangible Cultural Heritage: An Investigation Based on Dongting Fishing Songs in Yueyang, Hunan Province)[J]. 新媒体研究(Journal of New Media Research),2020,6(07):121-124.

王晓淮(Wang Xiaohuai). 关于当代原生态民歌发展及意义的思考(Reflections on the Development and Significance of Contemporary Original Ecological Folk Songs)[J]. 歌海(Ge Hai),2009,(04):24-25.

陈辉(Chen Hui). 渔俗文化的历史记忆——浙东渔歌的功能与价值(Historical Memory of Fishing Culture: The Function and Value of Fishing Songs in Eastern Zhejiang)[J]. 浙江艺术职业学院学报(Journal of Zhejiang Vocational College of Art),2023,21(04):70-76.

金成辉(Jin Chenghui). 民俗艺术资源的价值要素探析(Analysis on the Value Factors of Folk Art Resources)[J]. 艺术探索(Art Exploration),2009,23(05):90-91.

方从戎(Fang Congrong). 湖南洞庭渔歌的文化内涵及其生存现状(The Cultural Connotation and Survival Status of Dongting Fishing Songs in Hunan Province)[J]. 中国民族博览(China Nationalities Expo),2023,(18):24-26.

Jinling Li. Research on the Development of Intangible Cultural Heritage Traditional Handicraft Education Inheritance and Socialization Inheritance(非物质文化遗产的发展研究传统手工艺教育传承与社会化传承)[J]. International Journal of Frontiers in Sociology(国际社会学前沿杂志), 2022, Volume 4.0 , Issue 5.0.

Xie Xianglin |Education:Chicken Child(Fired-up Child)

The Origin and Meaning

In recent years, with the popularity of the TV series ‘A Little Dilemma’, ‘education anxiety’ has become a hot topic nowadays, and the new word ‘chicken child’ has therefore come into the public eye.The drama is set in the context of primary school and reflects the current educational context where children's education is highly competitive.

Chicken child means a child who has been over-motivated and spurred on by their parents in terms of learning and forced to be fired up.Chicken child, in Chinese is ‘鸡娃’. Chicken, ‘鸡’ is homophonous with the character ‘激’which means motivating or stimulating, so Chicken Child has the meaning of a child who is motivated and spurred on.(Baidu Encyclopedia)

On the other hand,in China in the 1960s, there was a form of chicken blood therapy, in which fresh chicken blood was drawn and injected into a person's veins, which would leave them refreshed and free of any illness. It's pseudo-science, but the term chicken blood has been passed down and given the meaning of a person's sudden excitement about something.So ‘Chicken Child’ borrowed this meaning to denote a child who is forced by his parents to be excited about learning.Based on its meaning, the term has also been translated as Fired-up Child.（Ding Miaomiao. 2022，Imago Literature Creation）

Causes of the Chicken Child

The causes of the chicken child are complex and involve many aspects.

Education system

The National College Entrance Examination, as the only examination that determines university entrance, makes parents and students focus all their energy on exam-oriented education. In addition, two important exams, the Junior High School Entrance Examination and the High School Entrance Examination, largely determine how high or low a child's educational starting point will be. These examinations in China make children and their parents anxious, fearing that they will fall behind on any rung of the ladder. Although in recent years the policy of reducing the burden one after another, the effect of reducing the burden is not obvious. Even though the The Double Reduction Policy has alleviated parents‘ educational anxiety to a certain extent, the problem of parents’ educational anxiety will not be reduced as long as there is the existence of exam-oriented education and the selection system of the National College Entrance Examination according to the scores.(Fu Qiwen ,Ye Xiangxiang,Zou Simin ,Gong Xue. Secondary school students)

Ideological Tradition

China's ideological tradition of‘expecting a son to become a dragon and a daughter to become a phoenix’ is the most ardent hope of every Chinese parent for their children. Therefore, most parents will focus all their energy, financial and material resources on their children, so that they can have better conditions and resources to improve social status and change the fate of the family. Education, on the other hand, is the most effective and fair of all avenues. Some scholars have pointed out that the direct cause of parents’ educational anxiety is their educational expectations and requirements for their children. (Fu Qiwen ,Ye Xiangxiang,Zou Simin ,Gong Xue. Secondary school students)

Economic Factors

In Professor Fabrizio's eyes, chicken child is not the fault of parents, but the result of economic inequality. In addition to contributing to a shift in cultural values, the increase in economic inequality has also changed parental behaviour. In particular, parents increasingly believe that the basis of their children's success will depend on educational achievement. In a world where parents are tightly connected with their children in interests, parents will be more concerned about their children's place in the social hierarchy, and will therefore be motivated to invest more in pushing their children to adopt success-oriented behaviors. (Tencent News.2021)

Specific Manifestations in Society

Firstly, there is intense subject tuition. Children attend a variety of tuition classes after school and on weekends, covering a wide range of subjects such as Maths, English and Physics, with a view to improving their academic performance. Secondly, they enroll in a wide range of interest classes. Apart from subject tuition, parents would also arrange for their children to attend interest classes in music, dance, sports and so on, in the expectation that they could develop in an all-round way. Thirdly, strict time management. Children's schedules are so tight that they have little free time, and all their activities revolve around learning and skill enhancement. Fourthly, the high-pressure family environment, where parents have very high expectations and demands on their children's academic performance, leading to a tense family atmosphere and greater psychological pressure on the children.

Changsha, for example, has the four most prestigious high schools in Hunan: The First High School of Changsha, Changjun High School of Changsha, Yali Middle School, and The High School Attached to Hunan Normal University. In addition, other schools are divided into various echelons, and it is often rumored that ‘Entering XXX school is a step into the door of Universities listed in Project 985, 211’. For this reason, parents and students try to get into the best high school possible. According to the Chinese education system, children only start learning English in the third grade of primary school. But here, there are children who have been attending English interest classes since they were a few years old. Some even learn a second or third foreign language. In addition to the basic curriculum, children also have to learn programming, Olympiads, etc. to have as much competitive capital as possible. At the age of primary school and junior high school, age of nature of to play, it is difficult to say that there are children who love to take the initiative to learn, so all of the above mentioned can not ignore the role of the parents . This is the specific embodiment of the chicken child, rather than children play initiative to learn, it is the parents play initiative to let them learn.

The Double Reduction Policy

The implementation of the ‘Double Reduction’ policy is intended to alleviate the phenomenon of ‘chicken children’, reduce the academic burden on students and promote equity in education. The ‘Double Reduction’ policy is an important education reform measure introduced by the Chinese government in 2021. The Opinions on Further Reducing the Burden of Homework for Students in Compulsory Education and the Burden of Out-of-School Training, issued in July 2021, aims to reduce the burden of homework and out-of-school training for primary and secondary school students. The core elements of this policy include reducing the amount of homework, regulating the operation of out-of-school training organizations, and reducing the educational anxiety of students and parents. However, the policy has faced some challenges and backlash in its implementation, and the demand and competitive mentality of parents and students for educational resources still exists. Achieving the policy's goals will require concerted efforts by the government, schools, and families to enhance the equitable distribution of educational resources, improve the quality of public education, change parents' concepts of education, and promote the all-round development and physical and mental health of students. (Baidu Encyclopedia)

Similar phenomena abroad

As a matter of fact, there are similar educational anxieties abroad. Similar to the chicken child, there are ‘Helicopter Parents’ and ‘Tiger Parenting’ .

Helicopter parents refer to parents who are overly concerned about their children's behaviour, learning and development. They hover around their children like helicopters, always ready to intervene and interfere in their children's lives.

Tiger-Parenting is derived from the book ‘The Battle Hymn of the Tiger Mother’ by Amy Chua, a Chinese-American writer. Tiger-Parenting emphasizes rigour and high standards, and parents expect their children to achieve excellent results, often through coercion, threats and punishment, in order to motivate their children to learn and perform. And the term actually originated in China. The origin of the term, ‘Battle Hymn of the Tiger Mother’, is about how the author, a Chinese mother, fired up her children to become chicken child. Tiger-Parenting became a sensation in the education world and led to a great debate about the educational methods of China and the United States.(Woran Zhang. 2023.)

Summary

The essence of chicken children lies in parents' excessive concern about their children's studies and performance, as well as their excessive expectations of their children's future development. This phenomenon reflects the unequal distribution of educational resources and opportunities in society, as well as parents' anxiety and distrust of their children's future in a highly competitive social environment. Chicken-child behaviour is often accompanied by negative consequences such as excessive learning pressure, lack of autonomy and mental health problems, and may also lead to a waste of educational resources and a lack of educational equity.

Terms and Expressions

Chicken Child(Fired-up Child) 鸡娃

A Little Dilemma 《小别离》

chicken blood therapy 鸡血疗法

National College Entrance Examination 高考

exam-oriented education 应试教育

Junior High School Entrance Examination 小升初考试

High School Entrance Examination 中考

The Double Reduction Policy 双减政策

The First High School of Changsha 长沙市第一中学

Changjun High School of Changsha 长郡高级中学

Yali Middle School 雅礼中学

The High School Attached to Hunan Normal University 湖南师范大学附属中学

The Opinions on Further Reducing the Burden of Homework for Students in Compulsory Education and the Burden of Out-of-School Training 《关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见》

Helicopter Parents 直升机式家长

Tiger Parenting 虎妈式教育

The Battle Hymn of the Tiger Mother 《虎妈战歌》

Questions

How did the word ‘chickenshit’ come about?
What are the causes of the chicken child phenomenon?
What are the concrete manifestations of the chicken child in the society?
Why is it necessary to implement the ‘Double Reduction Policy’?
Where did the term ‘tiger mother education’ originate?

References

Ding Miaomiao. An analysis of the network buzzword ‘chicken child’. Journal of literature and creativity,2022,(29):111-113.
FU Qiwen, YE Xiangxiang, ZOU Simin, GONG Xue. A review of research on the current situation of parents' educational anxiety and countermeasures in the context of burden reduction. A review of parental education anxiety and countermeasures in the context of burden reduction.
Tencent News.2021.Economists tell you that chicken children are not your fault_Tencent News (qq.com)
General Office of the CPC Central Committee, General Office of the State Council . Opinions on Further Reducing the Burden of Homework on Students in Compulsory Education and the Burden of Out-of-School Training .
Baidu Encyclopedia. Opinions on Further Reducing the Burden of Homework for Students in Compulsory Education and the Burden of Off-Campus Training_Baidu Encyclopedia (baidu.com)
Woran Zhang.(2023).Tiger Parenting and its Influence on American High School Students.

(Translation)教育：鸡娃

鸡娃的由来及含义

近年来，随着电视剧《小别离》的热播，“教育焦虑 ”成为时下的热门话题，“鸡娃 ”这个新词也因此进入公众视野。这部电视剧以小学为背景，反映了当下儿童教育竞争激烈的教育背景。

鸡娃是指在学习方面被家长过度激励和鞭策，被迫发奋学习的孩子。“鸡” 与 “激”同音，“激” 的意思是激励或刺激，所以 ”鸡娃 "有激励和鞭策孩子的意思。(百度百科)

另一方面，在 20 世纪 60 年代的中国，有一种鸡血疗法，即抽取新鲜鸡血注入人的血管，使人神清气爽，百病不生。虽然是伪科学，但鸡血一词却流传了下来，并被赋予了一个人突然对某件事情感到兴奋的含义，所以 “鸡娃”借用了这一含义来表示被父母逼着对学习感到兴奋的孩子。(丁苗苗. 2022,今古文创)

鸡娃现象的成因

鸡娃现象的产生成因复杂，涉及许多方面。

教育体制

全国高考作为决定大学入学的唯一考试，使家长和学生把全部精力都放在应试教育上。此外，初中入学考试和高中入学考试这两次重要的考试在很大程度上决定了孩子教育起点的高低。在中国，这些考试让孩子和家长们焦虑不安，生怕自己在哪个阶梯上掉队。虽然近年来减负政策陆续出台，但减负效果并不明显。即使 “双减 ”政策在一定程度上缓解了家长的教育焦虑，但只要存在应试教育和高考唯分数论的选拔制度，家长的教育焦虑问题就不会减少。(付启文、叶湘湘、邹思敏、龚雪.中学生)

思想传统

望子成龙、望女成凤 "是中国的思想传统，也是每个中国家长对子女最殷切的期望。因此，大多数父母都会把所有的精力、财力、物力都集中在子女身上，让子女有更好的条件和资源来提高社会地位，改变家庭命运。而教育则是所有途径中最有效、最公平的途径。有学者指出，造成家长教育焦虑的直接原因是家长对子女的教育期望和要求。 (付启文、叶湘湘、邹思敏、龚雪.中学生）。

经济因素

在 Fabrizio 教授眼中，“鸡娃 ”不是父母的错，而是经济不平等的结果。除了导致文化价值观的转变，经济不平等的加剧也改变了父母的行为。尤其是，家长们越来越相信，子女成功的基础取决于教育成就。在父母与子女利益紧密相连的世界里，父母会更加关注子女在社会等级中的位置，因此会有动力投入更多，促使子女采取以成功为导向的行为。(腾讯新闻.2021）

鸡娃在社会中的具体显现

一是高强度的学科补习，孩子们在放学后和周末参加各种补习班，涵盖数学、英语、物理等多个学科，以期提高他们的学术成绩。二，报广泛的兴趣班。除了学科补习，家长还会安排孩子参加音乐、舞蹈、体育等兴趣班，期望他们能够全面发展。三是严格的时间管理，孩子们的日程安排得非常紧凑，几乎没有自由时间，所有的活动都围绕着学习和技能提升。四是高压的家庭环境，家长对孩子的学习成绩和表现有着非常高的期望和要求，导致家庭氛围紧张，孩子面临较大的心理压力。

就拿长沙举例，拥有湖南四大名校长沙市第一中学、长沙市长郡中学、长沙市雅礼中学、湖南师范大学附属中学。除此以外，其它学校还分出了各种梯队，常有流言说“上了xxx学校就是一脚迈进了985、211的门”。为此家长学生为了尽可能进入更好的高中挤破了头。按中国教育制度，孩子小学三年级才开始学英语。但是在这里，有的是从几岁开始就上英语兴趣班的娃娃。更有甚者，还学了第二门、第三门外语。除基本的课程外，孩子还要学编程，奥数等，尽可能有更多竞争的资本。在小学、初中的年纪，正是天性爱玩的时候，难说有孩子是热爱主动学习的，所以以上所说种种家长在其中的作用是不可忽略的。这正是鸡娃，与其说是孩子在发挥主动性学习，不如说是家长发挥主动性让他们学习。

双减政策

“双减”政策的实施意在缓解“鸡娃”现象，减轻学生的学业负担，促进教育公平。“双减”政策是中国政府在2021年推出的一项重要教育改革措施，2021年7月发布的《关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见》，旨在减轻中小学生的作业负担和校外培训负担。这一政策的核心内容包括减少家庭作业量、规范校外培训机构的运营、以及减轻学生和家长的教育焦虑。

然而，政策在实施过程中面临一些挑战和反弹，家长和学生对教育资源的需求和竞争心理依然存在。要实现政策目标，需政府、学校和家庭多方协同努力，加强教育资源的公平分配，提升公立教育质量，转变家长的教育观念，促进学生的全面发展和身心健康。(百度百科)

国外的相似现象

事实上，国外也有类似的教育焦虑存在。与鸡娃相似的，如“直升机式”家长和“虎妈式”教育。

直升机家长（Helicopter Parents）是指过度关注孩子的行为、学习和发展的家长，他们像直升机一样“盘旋”在孩子的周围，时刻准备介入和干预孩子的生活。

“虎妈式”教育（Tiger-Parenting）源自美国华裔作家蔡美儿（Amy Chua）的著作《虎妈战歌》。虎妈式教育强调严格要求和高标准，家长们期望孩子取得优异的成绩，通常通过强迫、威胁和惩罚来促使孩子学习和表现。而严格来说，这个词也起源于中国。因为个词的起源《虎妈战歌》正是讲的作者作为华裔妈妈如何“鸡娃”的。虎妈的教育方法轰动了教育界，并引起关于中美教育方法的大讨论。 (Woran Zhang.2023.World Journal of Educational Research）

总结

鸡娃的本质在于家长过度关注孩子的学习和成绩，以及对孩子未来发展的过度期待。这种现象反映了社会对教育资源和机会的不均等分配，以及家长对孩子未来竞争激烈的社会环境的焦虑和不信任。鸡娃行为常常伴随着过度的学习压力、缺乏自主性、心理健康问题等负面影响，同时也可能导致教育资源的浪费和教育公平的缺失。

术语：

Chicken Child(Fired-up Child) 鸡娃

A Little Dilemma 《小别离》

chicken blood therapy 鸡血疗法

National College Entrance Examination 高考

exam-oriented education 应试教育

Junior High School Entrance Examination 小升初考试

High School Entrance Examination 中考

The Double Reduction Policy 双减政策

The First High School of Changsha 长沙市第一中学

Changjun High School of Changsha 长郡高级中学

Yali Middle School 雅礼中学

The High School Attached to Hunan Normal University 湖南师范大学附属中学

The Opinions on Further Reducing the Burden of Homework for Students in Compulsory Education and the Burden of Out-of-School Training 《关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见》

Helicopter Parents 直升机式家长

Tiger Parenting 虎妈式教育

The Battle Hymn of the Tiger Mother 《虎妈战歌》

问题:

“鸡娃”这个词是如何而来？
鸡娃现象的成因有哪些方面？
鸡娃在社会中的具体体现有哪些？
为什么要实行“双减政策”？
虎妈教育这个词起源于哪？

参考文献：

丁苗苗. 网络流行语“鸡娃”探析. 今古文创,2022,(29):111-113.
付惜文 ,叶湘湘,邹思敏 ,龚雪.减负背景下家长教育焦虑现状及对策的研究综述.中学生
腾讯新闻.2021.经济学家告诉你，鸡娃不是你的错_腾讯新闻 (qq.com)
中共中央办公厅、国务院办公厅.《关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见》
百度百科。关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见_百度百科 (baidu.com)
Woran Zhang.(2023).Tiger Parenting and its Influence on American High School Students.World Journal of Educational Research(5)

Yang Zixuan | Chinese Science Fiction:The Three-Body Problem

Introduction

The Three-Body Problem is a series of long science fiction novels written by Liu Cixin, consisting of The Three-Body Problem, The Three-Body Problem II - The Dark Forest, and The Three-Body Problem III - Death Forever. The first installment was serialized since May 2006 in Science Fiction World magazine. The series of novels tells the story of the exchange of information between the human civilization on Earth and the three-body civilization, the life-and-death struggle, and the rise and fall of the two civilizations in the universe. The first installment was translated by Liu Yukun and won the 73rd Hugo Award for Best Long Story.

Liu Cixin, born in Beijing in June 1963, is originally from Luoshan County, Xinyang City, Henan Province, and a native of Yangquan, Shanxi Province. He graduated from the North China University of Water Conservancy and Hydropower and is a senior engineer as well as a science fiction writer. Liu Cixin is one of the representative writers of Chinese science fiction, and his works have been awarded the Galaxy Award for Chinese Science Fiction for the years 1999-2006, and he has won many other important awards at home and abroad, such as Zhao Shuli Literary Award and Chinese Science Fiction Nebula Award, etc. He is also a member of the Chinese Science Fiction Association.

Main Part

The Place and Influence of The Three Body Problem in Chinese Science Fiction Literature

The success of The Three-Body Problem series has greatly contributed to the popularization and prosperity of science fiction literature in China. More and more readers have begun to pay attention to and fall in love with science fiction literature and the quantity and quality of science fiction works have been significantly improved. With its unique scientific concepts, rich imagination and profound insight into human nature, society and civilization, The Three-Body Problem series has provided new ideas and directions for the creation of Chinese science fiction literature. More and more writers have begun to try to combine scientific theories with storylines, tap into human culture and historical connotations, and explore new ways of literary expression. The Three-Body Problem has also inspired the creative enthusiasm of Chinese science fiction writers, and more and more writers have begun to try their hand at science fiction literature, injecting new vitality into Chinese science fiction literature. Meanwhile, more writers are encouraged to pursue depth and breadth to enhance the overall level of Chinese science fiction literature.

The international success of The Three-Body Problem series has raised the status and influence of Chinese science fiction literature. Chinese science fiction literature has begun to receive attention and recognition from the international community, opening up a new way for the international dissemination of Chinese culture. The success of the "The Three-Body Problem" series has enhanced the cultural confidence of Chinese science fiction writers. They began to face international readers and judges with more confidence, showing the unique charm and depth of Chinese science fiction literature. At the same time, "The Three-Body Problem" also shows the world the creativity and thinking power of Chinese people, and wins more praise and respect for the international dissemination of Chinese culture.

The Three-Body Problem embodies Chinese cultural values

The belief that man can win

"For more than 5,000 years, the Chinese people, in the course of exploring nature and seeking survival, have honed the spiritual character of robustness, diligence and courage, positivity and perseverance. In the face of difficulties, we believe that man will prevail over God. Flooding, do not ask the prophet, their own dredging; disease epidemic, do not seek miracles, their own taste of all kinds of herbs; Houyi shoot the sun, Jingwei fill in the sea, Yugongyishan ...... these ancient myths are embedded in the Chinese people's philosophy of survival and spiritual strength.

In "The Three-Body Problem", there is a huge gap between the scientific and technological levels of human civilization and that of the three-body civilization. The Three-Body Problem sends out only two "Homo sapiens" to interfere with all the particle gas pedals on Earth, making it difficult for humans to take a further step forward in basic science. The three-body world also sends the most contemptuous message to human beings - "you are bugs". The gap between bugs and human beings is much larger than the gap between Earth and The Three-Body Problem, but human beings have not completely eliminated bugs by using all sorts of methods, and the three-body people seem to have forgotten one thing, that bugs have never been truly defeated. Even though human beings are as weak as ants in front of the three-body world, human beings have never given up the struggle, which is exactly the vivid embodiment of the spirit of resilience in the bones of the Chinese people.

Planning a profound legacy for future generations

The concept of the family has an important place in traditional Chinese culture. In the traditional Chinese political structure, the family and the state are isomorphic: the "family" is the small "state" and the "state" is the big "family". The "family" is the small "state" and the "state" is the big "family". The family-centered culture of Chinese society has given rise to a whole set of ways of thinking and living, and the heroes in "The Three-Body Problem" often have the traditional meaning of "father and ruler", they are cold and rational, and they are able to save the day when there is a crisis, and they act as the "head of the family". As the "head of the family" of human beings, they shoulder the heavy burden of resisting foreign enemies and continuing human civilization, and almost all of them end up sacrificing their lives for the survival of the whole human race. The spirit of family inheritance extends to the country and becomes the historical inheritance of the Chinese nation that has lasted for thousands of years. In "The Three-Body Problem", many of the plans designed by mankind to resist alien invasions lasted for dozens to hundreds of years, and only a nation with a civilized history of 5,000 years would be more inclined to design and imagine these plans that need to be passed down from one generation to the next, and the novel has an epic feel to it as a result. In the setting, the three-body fleet arrived on Earth after 400 years, accordingly, the human struggle with the three-body world strategy is also measured in hundreds of years, for example, the use of the "hibernation" technology of the Pacific Air Force to send talents to the future, the bunker program, the black field program, the development of curvature drive spaceships, and so on.

Chinese characters

There are also uniquely Chinese protagonists in The Three-Body Problem that readers remember, such as Wang Miao, Zhang Beihai, and Cheng Xin all of whom are characters that appear more frequently in Amazon reader book reviews.

Zhang Beihai is a very typical Chinese soldier, he is strong and intelligent, with a strong sense of justice, and comes from a military family. His father is a member of the future history school, who predicts that mankind will lose the battle of Armageddon, and he hints at the end of the battle with the cryptic words "think more". Inheriting his father's legacy, Beihai leaves behind a spark of hope for mankind in the midst of an inevitable war. One reader commented that Zhang Beihai "came up with a shocking and inhumane solution to save mankind at the most critical moment". Readers resonate with the human rationality of Zhang Beihai in the context of the book, and at the same time gain a new understanding of the Chinese people's heightened sense of mission, dedication, and spirit of sacrifice.

Cheng Xin has been described by readers in English-speaking areas as "the best protagonist in the series, she is the most memorable. Maybe not the best, but she's the character that is most likely to remain unique in your mind." Each of Ching-Hsin's choices does indeed implement the concept of "goodness" in the moral system that human society has constructed. Respecting human life, loving and caring for all people, Cheng Xin has practiced her concept of "humanity", which in Cheng Xin's context is of course the same as "goodness"! --In Cheng Xin's context, "humanity" is of course the same as "goodness" - rather, Cheng Xin redefines "humanity" through her choices, and in the end, it is this "humanity" that Cheng Xin truly protects, rather than humanity itself. For Cheng Xin, the loss of humanity is the loss of everything.

Conclusion

The Three-Body Problem series of novels is the undoubted masterpiece of Chinese science fiction writer Liu Cixin. With its unique scientific setting, rich characterisation and profound philosophical reflections, the series shows the struggles and choices of human civilisation in the face of invasion by an alien civilisation, and at the same time explores the grandeur of the universe and the insignificance of human beings. The Three-Body Problem is not a copy of foreign sci-fi works; it uses Chinese narrative methods to win wide acclaim from readers around the world, and has become the brightest star in contemporary Chinese sci-fi literature.

Terms and Expreesions

The Three-Body Problem 《三体》

The Three-Body Problem, The Three-Body Problem II - The Dark Forest, and The Three-Body Problem III - Death Forever 《三体》、《三体Ⅱ·黑暗森林》、《三体Ⅲ·死神永生》

Science Fiction World 《科幻世界》

the Galaxy Award for Chinese Science Fiction 中国科幻小说银河奖

Zhao Shuli Literary Award 赵树理文学奖

Chinese Science Fiction Nebula Award 华语科幻星云奖

"hibernation" technology 冬眠技术

the bunker program 掩体计划

the black field program 黑域计划

curvature drive spaceships 曲率驱动飞船

Questions

1. How does the international success of The Three-Body Problem affect Chinese science fiction literature?

2. How does The Three-Body Problem reflect Chinese cultural values?

3. Which character in Three Bodies do you appreciate most? Why?

1.《三体》在国际上的成功对中国科幻文学有何影响？

2.《三体》是如何体现中国文化价值观的？

3.你最欣赏《三体》中的哪个角色？为什么?

References

LI Jianfu 李建福, GAO Xuying 高序莹. Analyzing the Realism Thought and Chinese Narrative in Liu Cixin's The Three-Body Problem 浅析刘慈欣《三体》中的现实主义思想及中国叙事. Modern Communication现代交际,2023,(06):89-97+123-124.

Xie Zhonghui 解仲慧. "The Loss and Reinvention of the Hero--The Thought of Humanity in The Three-Body Problem “英雄”的失落与重塑——论《三体》中的人性之思. Masterpiece Appreciation 名作欣赏,2024(15):143-146.

Cui Bo 崔波, Chen Zixin 陈子馨. Research on the Overseas Diffusion Mechanism of Chinese Literary Works--An Examination Based on The Three-Body Problem 中国文学作品的海外扩散机制研究——基于《三体》的考察. Digital Publishing Research 数字出版研究,2024,3(01):104-112.

Translation

中国科幻小说：《三体》

简要介绍

《三体》是由刘慈欣创作的系列长篇科幻小说，由《三体》、《三体Ⅱ·黑暗森林》、《三体Ⅲ·死神永生》组成。第一部于2006年5月起在《科幻世界》杂志上连载。该系列小说讲述了地球人类文明和三体文明的信息交流、生死搏杀及两个文明在宇宙中的兴衰历程。其第一部经过刘宇昆翻译后获得了第73届雨果奖最佳长篇小说奖。

刘慈欣，1963年6月出生于北京市，祖籍河南省信阳市罗山县，山西阳泉人。他毕业于华北水利水电大学，是一名高级工程师，同时也是科幻作家。刘慈欣是中国科幻小说代表作家之一，作品蝉联1999年-2006年中国科幻小说银河奖，并多次获得其他国内外重要奖项，如赵树理文学奖、华语科幻星云奖等。

《三体》在中国科幻文学中的地位和影响

《三体》系列的成功极大地推动了中国科幻文学的普及和繁荣。越来越多的读者开始关注和喜爱科幻文学，科幻作品的数量和质量也得到了显著提升。《三体》系列以其独特的科学理念、丰富的想象力和对人性、社会、文明的深刻洞察，为中国科幻文学的创作提供了新的思路和方向。越来越多的作家开始尝试将科学理论与故事情节相结合，挖掘人类文化和历史内涵，探索新的文学表达方式。《三体》也激发了中国科幻作家的创作热情，越来越多的作家开始尝试科幻文学的创作，为中国科幻文学注入了新的活力。同时鼓励更多的作家追求深度和广度，提升中国科幻文学的整体水平。

《三体》系列在国际上的成功提升了中国科幻文学的地位和影响力。中国科幻文学开始受到国际社会的关注和认可，为中国文化的国际传播开辟了新的途径。《三体》系列的成功增强了中国科幻作家的文化自信。他们开始更加自信地面对国际读者和评委，展现中国科幻文学的独特魅力和深度。同时，《三体》也向世界展示了中国人的创造力和思考力，为中国文化的国际传播赢得了更多的赞誉和尊重。

《三体》体现中国文化价值观

人定胜天的信念

“天行健，君子以自强不息”，五千多年来，中华民族在探索自然、谋求生存的过程中历练出刚健有为、勤劳勇敢、积极向上、坚忍不拔的精神品格。在困难面前，我们相信人定胜天。洪水泛滥，不问先知，自己疏通河渠；疾病流行，不求神迹，自己尝遍百草；后羿射日、精卫填海、愚公移山……这些上古神话中蕴含着中国人的生存哲学和精神力量。

在《三体》中，人类文明和三体文明的科技水平差距巨大，三体仅派出两颗“智子”就能干扰地球所有的粒子加速器，使人类基础科学再难前进一步。三体世界还向人类发来最蔑视的信息——“你们是虫子”。虫子与人类的差距远大于地球与三体的差距，但是人类使用各种办法都没有彻底消灭虫子，三体人似乎忘了一件事，虫子从来就没有被真正战胜过。即使人类在三体世界面前如蝼蚁般弱小，但是人类从未放弃斗争，这恰恰是中国人骨子里坚韧精神的生动体现。

为子孙后代计深远的传承

家庭观念在中国传统文化中有着重要的地位。在中国传统的政治构造中，家国是同构的：“家”是小“国”，“国”是大“家”。中国社会以家庭为中心的文化衍生出一整套思维和生活方式，《三体》中的英雄形象往往都具有传统意义上“君父形象”的意味，他们冷峻理性，在危机时力挽狂澜，作为人类的“大家长”肩负着抵抗外敌、延续人类文明的重担，最后的结局也几乎都是舍生取义，为整个人类的生存牺牲自己。家族传承精神扩大到国家就变为中华民族绵延数千年的历史传承。《三体》中人类为抵御外星入侵设计的许多计划都延续几十到上百年，只有拥有五千年文明历史的民族才会更偏向于设计与想象出这些需要代代相传的计划，小说也因此具有一种史诗感。在设定上，三体舰队于400年后到达地球，相应的人类与三体世界的斗争策略也以百年计，比如太空军利用“冬眠”技术向未来输送人才，掩体计划、黑域计划、研制曲率驱动飞船，等等。

中国式角色

《三体》中也有独特的中国式主角被读者所牢记，如汪淼、章北海和程心都是亚马逊读者书评中出现频次较高的角色。

章北海是非常典型的中国军人形象，他坚强智慧，胸怀大义，出身军人世家。章北海的父亲是未来史学派成员，预判末日之战中人类必败，他用极为隐晦的话“要多想”向章北海暗示末日之战的结局。章北海继承父亲的遗志，在必败的战争中为人类留下希望的火种。有读者评论称章北海“在最危急的时刻想出一个令人震惊的、非人道的解决方案来拯救人类”，读者在结合书中背景后，对章北海身上的人类理性一面产生共鸣，同时也对中国人高度的使命感、奉献精神和牺牲精神产生新的认识。

而程心被英语地区读者称为“该系列中最好的主角，她是最令人难忘的。或许不是最好的，但她是最容易在你的脑海中保持独特的角色。”程心的每一次选择确实都贯彻了人类社会所构建的道德体系中的“善”这一理念。尊重人的生命，博爱、关怀所有人，程心切身践行了她理念中的“人性”，在程心的语境里，“人性”当然等同于“善”——毋宁说，程心通过她的选择重新定义了“人性”，程心最后真正保护了的，也就是这样的“人性”，而非人类本身。对于程心来说，失去人性，才是失去一切。

总结

《三体》系列小说是中国科幻作家刘慈欣毫无疑问的代表作。该系列作品以其独特的科学设定、丰富的人物塑造和深邃的哲学思考，展现了人类文明在面对外星文明入侵时的挣扎与抉择，同时探讨了宇宙的宏大和人类的渺小。《三体》不是对外国科幻作品的复制，它用中国叙事，赢得了全球读者的广泛赞誉，成为当代中国科幻文学中最璀璨的明星。

Chu Shoujuan |Ganshi in Xiangxi: The Cycle of Life and Death under Ancient Witchcraft

Introduction

Xiangxi, a mysterious land in the western part of China's Hunan Province, has been one of the cradles of witchcraft culture since ancient times. In this deep land of mountains and streams, there is an ancient and mysterious legend - Ganshi in Xiangxi. This is a strange ceremony to bring the bodies of people who died in a foreign land back to their hometown and bury them in the ground, and it is called "Three Evils of Xiangxi" with Gu Du and Luo Hua Dong Nv. (Baidu Baike Ganshi in Xiangxi)

Main Part

Origin

The origin of Ganshi in Xiangxi can be traced back to ancient times. According to folklore, thousands of years ago, Chi You led soldiers in fierce battles with rival tribes. And then the battlefield was littered with corpses and blood flowed like stream. After the war, Chi You could not bear his soldiers to die in a foreign land, so he asked his tactician to use magic to let the dead soldiers return home. The tactician dressed up as Chi You, silently reciting incantations and praying to the gods, and those who had originally fallen to the ground actually stood up, followed the guidance of the "Fu Jie" and walked south. This is the earliest legend of Ganshi in Xiangxi. (Wang Yanan 2018, 186)

Development

However, it was in the middle of the Qing Dynasty that Ganshi in Xiangxi really formed a profession and was widely spread among the people. At that time, people in Xiangxi took the bodies of their relatives who had died abroad back to their hometowns for burial as a show of filial piety. However, due to the long road, inconvenient transportation, coupled with the complex terrain of the Xiangxi area and the rugged mountain road, it was extremely difficult to transport the body. Therefore, some people who knew witchcraft would use the "Occult Arts" to "drive" the body back to their hometown. These people are called "Ganshi Jiang", they hold "Chen Zhou Fu", and the mouth mutters words, leading the body in the night forward. (Liang Xu 2014, 2)

The ritual of Ganshi in Xiangxi is full of mystery. The Ganshi Jiang usually sets out at night, dressed in Taoist robes and carrying a dementor bell, followed by a string of bodies strung together with straw ropes. Instead of using lanterns, they use bells in their hands and incantations in their mouths to find their way. As the body walks, it wears a tall felt hat, and a yellow paper with a mark on its forehead was draped over its face to conceal it. Such a scene, in the mountains of Xiangxi, appears particularly strange and mysterious. (Baidu Baike Ganshi in Xiangxi)

Ganshi in Xiangxi ritual although mysterious, but not without trace. According to relevant literature records, there is a saying of "Three Rush and Three not Rush" in Xiangxi. Those who have been beheaded, hanged, or killed in cages can be driven away, because these people are forced to die, die unconvinced, and miss both home and love ones. Those who die of illness, those who hang themselves voluntarily or throw themselves into a river, and those who are burned by lightning with incomplete limbs could not be driven away. This is because the person who die of illness has spent the rest of his life, and his soul has been hooked by the impermanent ghost to Yama. The souls of those who hang their necks or throw themselves into a river are "being replaced" and are being handed over. And those who die when lightning strikes fire are sinful and cannot be driven away. (Lu Qun 2007, 56-57)

Declassify

With the development of science and technology, people have gradually explored the mystery of Ganshi. Ganshi does not mean that the body will actually walk on its own, but that someone will carry it on his back. First, Ganshi Jiang removes the head and limbs from the deceased, and then coates them with embalming agents, so that for a period of time, it can not decompose. At the same time, in order to prevent excessive inquiry into their profession, they would choose to wear Taoist robes and carry a dementor bell and travel at night. When the body is delivered to the home of the deceased, people, out of awe and comforted at seeing the deceased, no longer doubt whether the body is intact or whether the removal of the body is a hoax. (Zhang Dawei 2016, 18-22)

Conclusion

Although Ganshi in Xiangxi is full of mystery and horror, it also reflects people's respect and nostalgia for the deceased. In the land of Xiangxi, driving dead bodies is not only a profession, but also a cultural inheritance and belief. Nowadays, with the progress of science and technology and the convenience of transportation, Ganshi has gradually fades out of people's vision. However, the legends and stories about Ganshi in Xiangxi are still spread among the mountains and rivers of Xiangxi, becoming an eternal legend in this land.

Terms and Expressions

Ganshi in Xiangxi 湘西赶尸
Three Evils of Xiangxi 湘西三邪
Gu Du 蛊毒
Luo Hua Dong Nv 落花洞女
Chi You 蚩尤
Fu Jie 符节
Occult Arts 秘术
Ganshi Jiang 赶尸匠
Chen Zhou Fu 辰州符
Taoist robes 道袍
Dementor bell 摄魂铃
Three Rush and Three not Rush 三赶三不赶
Yama 阎王

Questions

What are the "Three Evils of Xiangxi"?
Which legend does the "Ganshi" come from?
Why doesn't the body rot?

References

[1]Baidu Baike Ganshi in Xiangxi (Xiangxi regional culture of China) _ Baidu Baike (baidu.com)

[2]Wang Yanan. Ganshi in Xiangxi culture exploration [J]. computerite, 2018, (02): 186.

[3]Liang Xu. Declassify Ganshi in Xiangxi [C]// Guangdong Folk Culture Research Association. Proceedings of the Symposium on Folklore Intangible Cultural Heritage in July 2014. Publisher unknown, 2014: 2.

[4]Lu Qun. Mysterious Ganshi in Xiangxi [J]. Extensive literature and history, 2007, (05): 56-57.

[5]Zhang Dawei. On the Religious and Ethical Implications of Ganshi in Xiangxi----Concurrently Discuss Primitive Belief as a Way of Human Existence [J]. Journal of Qiannan Teachers College for Nationalities, 2016, 36 (04): 18-22.

Translation

湘西赶尸：古老巫术下的生死轮回

介绍

湘西，这片位于中国湖南省西部的神秘土地，自古便是巫文化的发源地之一。在这片崇山峻岭、溪流纵横的深邃之地，流传着一个古老而神秘的传说——湘西赶尸。这是一种将客死异乡之人的尸体带回家乡，让他们入土为安的奇特仪式，与蛊毒、落花洞女并称“湘西三邪”。（百度百科湘西赶尸）

主体部分

起源

湘西赶尸的起源，可追溯到遥远的古代。据民间传说，几千年前，蚩尤率兵与敌对部族激战，战场上尸横遍野，血流成河。战后，蚩尤不忍战士们客死他乡，便请军师施展法术，让战死的将士们魂归故里。军师装扮成蚩尤的模样，默念咒语，祷告神灵，那些原本倒在地上的尸体竟然站了起来，跟随“符节”的指引，向南而行。这便是湘西赶尸最早的传说。（王亚男 2018，186）

发展

然而，湘西赶尸真正形成一种职业，并在民间广为流传，则是在清朝中期。当时，湘西地区的人们将客死他乡的亲人尸体运回家乡安葬，以示孝道。但由于路途遥远，交通不便，加之湘西地区地形复杂，山路崎岖，运送尸体极为困难。于是，一些懂得巫术的人便利用“秘术”，将尸体“赶”回家乡。这些人被称为“赶尸匠”，他们手持“辰州符”，口中念念有词，引领着尸体在夜色中前行。（梁谞 2014，2）

湘西赶尸的仪式充满了神秘色彩。赶尸匠一般选择夜晚出发，身穿道袍，手持摄魂铃，身后跟着一串用草绳串联的尸体。他们不打灯笼，只靠手中的铃铛和口中的咒语辨别方向。尸体在行走时，头戴高筒毡帽，额上压着画着符的黄纸，垂在脸上，以遮盖面容。这样的场景，在湘西的深山中，显得尤为诡异和神秘。（百度百科湘西赶尸）

湘西赶尸的仪式虽然神秘，但并非无迹可寻。据有关文献记载，湘西赶尸有“三赶，三不赶”之说。凡是被砍头、受绞刑、站笼站死的尸体可以赶，因为这些人是被迫死的，死得不服气，既思念家乡又惦念亲人。而病死的、投河吊颈自愿而亡的、雷打火烧肢体不全的尸体则不能赶。这是因为病死的人已享尽天年，其魂魄已被无常鬼勾至阎罗王处；投河吊颈者的魂魄是“被替代”的，正在交接中；而雷打火烧而亡者则属罪孽深重之人，无法驱赶。（陆群 2007，56-57）

解密

随着科学技术的发展，人们逐渐探寻到了“赶尸”的奥秘。“赶尸”并不是尸体真的会自己走路，而是有人将它背着走。赶尸匠先将死者的头部和四肢截下来，然后涂上防腐药剂，这样就能保持一段时间不腐烂。同时，为了防止旁人对他们职业的过分探究，他们会选择身着道袍，手拿摄魂铃，晚上赶路。等到尸体送到死者家中时，人们出于对死者的敬畏和见到死者后的安慰,便不再去怀疑尸体是否完整，赶尸是否是个骗局了。（张达玮 2016，18-22）

结论

湘西赶尸虽然充满了神秘和恐怖色彩，但它也体现了人们对逝者的尊重和怀念之情。在湘西这片土地上，赶尸不仅是一种职业，更是一种文化传承和信仰体现。如今，随着科技的进步和交通的便利，湘西赶尸已经逐渐淡出了人们的视野。但那些关于湘西赶尸的传说和故事，却仍然流传在湘西的山水之间，成为这片土地上永恒的传说。

术语表达

Ganshi in Xiangxi 湘西赶尸
Three Evils of Xiangxi 湘西三邪
Gu Du 蛊毒
Luo Hua Dong Nv 落花洞女
Chi You 蚩尤
Fu Jie 符节
Occult Arts 秘术
Ganshi Jiang 赶尸匠
Chen Zhou Fu 辰州符
Taoist robes 道袍
Dementor bell 摄魂铃
Three Rush and Three not Rush 三赶三不赶
Yama 阎王

问题

“湘西三邪”是什么？
“赶尸”起源于哪个传说？
为什么尸体不会腐烂？

参考

[1]百度百科湘西赶尸（中国湘西地区地域文化）_百度百科 (baidu.com)

[2]王亚男. 湘西赶尸文化探秘 [J].电脑迷, 2018, (02): 186.

[3]梁谞. 解密湘西赶尸[C]// 广东省民俗文化研究会.2014年07月民俗非遗研讨会论文集.[出版者不详] ,2014: 2.

[4]陆群. 神秘的湘西赶尸[J]. 文史博览,2007, (05): 56-57.

[5]张达玮. 湘西赶尸的宗教与伦理意蕴——兼论原始信仰作为人的存在方式[J]. 黔南民族师范学院学报, 2016, 36 (04): 18-22.

Jiang Rui |Architecture: Chinese Memorial Archway (Paifang)

Overview of Paifang

A paifang, according to the fifth edition of the "The Contemporary Chinese Dictionary" compiled by the Chinese Academy of Social Sciences, is a structure shaped like an archway, traditionally used to honor individuals known for loyalty, filial piety, chastity, and righteousness.

In terms of appearance, a paifang typically consists of varying numbers of pillars and horizontal beams, constructed from materials such as stone, wood, and glazed tiles. Its grand and imposing appearance is often appreciated by people.

Functionally, paifang serves to demarcate an area, resembling a gate in appearance and function. Thus, it can be considered as a unique form of gateway.

Geographically, paifangs are predominantly found in five provinces and cities in China, including Beijing, Shanxi, Anhui, Zhejiang, and Shandong. Particularly in ancient Huizhou (southern Anhui), there were over a thousand paifangs originally, with over a hundred still standing, earning it the title "Home of Paifangs." Paifangs are also found widely overseas, such as the Friendship Archway in Sunset Park, Brooklyn, New York, in the United States.

Culturally, paifangs represent a distinctive traditional Chinese architectural style, serving as iconic structures in Chinese culture with profound historical and cultural significance. The evolution of paifangs shows the development of traditional Chinese architectural craftsmanship, holding significant value for the study of Chinese architectural art and social history and culture. (Baidu Encyclopedia)

The Origin of Paifang

It is generally believed that the origin of the paifang can be traced back to the Hengmen of the Han Dynasty, and it reached maturity and prosperity during the Ming and Qing Dynasties. The Hengmen, as the precursor to the paifang, had a simple and primitive design with two pillars supporting a horizontal beam. The earliest mention of this structure can be found in the "Chen Feng - Hengmen" of the Book of Songs: "Beneath the heng gate, one can rest and stay." Over time, paifang evolved into various forms with multiple pillars and compartments, eventually giving rise to the diverse and distinctive landscape seen today.

Initially, paifangs served a practical purpose, acting as "gates" to connect and separate different areas within the Lifang unit system. However, during the Ming and Qing Dynasties, the construction of paifangs shifted from private behaviors to official acts. Government involvement led paifangs to transition from practical structures to ones of honor. In the Ming and Qing Dynasties, the government used paifangs as a means to reward meritorious officials, talented individuals, virtuous women, filial sons, and others, turning them into societal role models to guide and educate the public. This served the purpose of fostering a positive social atmosphere, maintaining social order, and upholding feudal rule. Therefore, the construction of paifangs was not merely about praising individuals; it also encompassed objectives of moral education and social guidance.(Xi Yuyan 2023:79-81.)

The Significance of Paifang

Although paifang is originally conceived as a practical structure, it has long been utilized by authorities as tools for moral education. Therefore, it has been endowed with rich meanings, exerting profound influences.

On a social level, paifang, as a symbolic architectural representation of feudal ethics and morals, serves as vehicles for moral education. Through the erection of paifangs to honor heroes, righteous individuals, filial children, virtuous women, and other exemplary figures, the government sets moral role models to cultivate and educate the public about loyalty, integrity, filial piety, fidelity, benevolence, virtuous conduct, and adherence to feudal ethics and rites, such as the "Three Obediences and Four Virtues" and the "Three Cardinal Guides and Five Constant Virtues."

At a cultural level, paifangs function as tangible records that document history, convey emotions, show customs, and embody overarching social values.

They serve as monuments commemorating significant historical events, venerable predecessors, or revered individuals.

Paifangs encapsulate and express a range of complex emotions among people—be it nostalgia, admiration, sympathy, blessings, reverence, adoration, acclaim, admiration, mourning, or pride.

The erection of paifangs represents an important aspect of ancient Chinese social customs, with paifangs themselves being crucial carriers of these traditions. They reflect public beliefs, such as various folk beliefs in figures like the Jade Emperor, Guan Gong, and Mazu, among others. The animal and plant motifs on paifangs, like dragons, phoenixes, cranes, and turtles, embody vivid depictions of ancient Chinese customs and beliefs.

Paifangs serve as significant mediums through which individuals in feudal Chinese society express their life philosophies. Concepts like "Officialdom is the natural outlet for good scholars," "the pursuit of splendour and wealth," and "having successful official careers" are prominently displayed on paifangs, reflecting the values and aspirations of the feudal era.(Jin Qizhen 2003:73-77.)

It is noteworthy that among the various types of paifangs, the most controversial is the Chastity Arch.

Originally, the term "chastity" was not intended to praise women who remained faithful after their husbands' deaths but rather to honor great mothers who, after their husbands passed away, single-handedly maintained their households and raised their children. However, during the Southern Song Dynasty, proponents of Neo-Confucianism, led by Cheng Yi and Zhu Xi, began advocating for the suppression of normal physical desires and redefined chastity as a woman's loyalty to men. They further promoted the slogan "Better to starve than to lose virtue," urging women to prioritize chastity over life itself. The flourishing of Neo-Confucianism during the Ming and Qing Dynasties strengthened its influence on society, rapidly instilling the concept of female chastity into public consciousness, gaining widespread acceptance, and receiving government support.

The government used paifangs to honor women who remained celibate after their husbands' deaths, going as far as sacrificing their lives to be buried alongside their husbands. These paifangs were known as "Chastity Arches." According to some records of regulations of the daming Palace: "Widows who maintain their chastity before thirty and do not remarry before fifty will be exempt from some of their family's work duties and will be rewarded with a Chastity Arch."

The emphasis and promotion of the concept of chastity by the authorities led to the widespread adoption of Chastity Arches throughout the country. Chastity Arches represent a unique type of paifang during the Ming and Qing eras, being the most numerous and renowned.(Xi Yuyan 2023:79-81.)

The existence of Chastity Arches casts a shadow on the symbol of the paifang. These structures, born of a bygone era, epitomize the undesirable aspects of ancient Chinese feudal ethics: the oppression of women and the suppression of human nature.

Countless Chastity Arches have entombed numerous tragic female fates, serving as witnesses to a dark history; the questions they evoke remain thought-provoking even today.

Paifang Overseas

The the spread of paifangs overseas is closely related to the expansion of Chinatowns. Overseas Chinese built magnificent paifangs in their communities, viewing them as cultural symbols carrying nostalgia and homesickness. The construction of these archways also created opportunities for cultural exchange and fusion.

Take the example of the Friendship Archway in Sunset Park, Brooklyn, New York. This is the first paifang in New York City, constructed jointly by the governments of Beijing and New York. It symbolizes the bridge of friendship between Brooklyn and the Chaoyang District of Beijing, serving as a link between Beijing and New York.

The Friendship Archway also bears two inscriptions—one in Chinese saying "One Family over Four Seas" and the other in English stating "Brooklyn-Beijing Chaoyang."

Former Brooklyn President and current Mayor of New York City, Eric Adams, stated: "It's sending a clear and loud message that it is continuing expansion of the strength of the power and the respect that the Chinese community has in this city..." He pointed out that this arch not only enhances cultural exchanges between China and America but also "infuse a great deal of capital and resources into not only the borough of Brooklyn, but into the city," bringing considerable economic benefits to the region.(the Xinhua News Agency, 2018-07-29; Washington.DC: Friendship Archway in Chinatown)

Conclusion

As an important symbol of traditional Chinese architecture and culture, paifang possesses not only graceful forms and rich aesthetic value but also carry a long history and profound cultural heritage. It holds great importance in the past, present, and future.

Terms and Expressions

Memorial archway (Paifang) 牌坊
The Contemporary Chinese Dictionary 《现代汉语词典》
Loyalty 忠
Filial piety 孝
Righteousness 义
Horizontal beams 横梁
the Book of Songs 《诗经》
the Lifang unit system 里坊制
Three Obedience and Four Virtues 三从四德
Three Cardinal Guides and Five Constant Virtues 三纲五常
the Jade Emperor 玉皇大帝
Mazu 妈祖
Feudal ethics and morals 封建伦理道德
Officialdom is the natural outlet for good scholars. 学而优则仕。
Splendour and wealth 荣华富贵
Having successful official careers 官运亨通
Chastity Arch 贞洁牌坊
Neo-Confucianism 宋明理学
Better to starve than to lose virtue. 饿死事小，失节事大。

Questions

What is the significance of paifangs in Chinese culture?
What five provinces and cities in China have a significant number of paifangs?
How did the construction of paifangs change over the Ming and Qing Dynasties?
What are the cultural meanings behind paifangs?
Why are paifangs considered important in ancient Chinese social customs?
What is the function of paifangs in overseas Chinese communities?

References

Xi Yanyu 席雨言. Archway: Cultural Metaphor of traditional Chinese Architecture. Oriental Collection,2023,(11):79-81. [Translation]. 牌坊：中国传统建筑的文化隐喻.东方收藏,2023,(11):79-81.
Jin Qizhen 金其桢. On the origins and Social Functions of Archways. Chinese Culture Forum,2003,(01):73-77. [Translation]. 论牌坊的源流及社会功能.中华文化论坛,2003,(01):73-77.
the Xinhua News Agency 新华社 (2018-07-29). Feature: First Chinese-style archway to become new tourist magnet in New York, 特色:纽约首个中式牌坊成为新的旅游热点http://www.xinhuanet.com/english/2018-07/29/c_137354359.htm
Baidu Encyclopedia 百度百科: Paifang, 牌坊 https://baike.baidu.com/item/%E7%89%8C%E5%9D%8A/26017?fr=ge_ala
Washington.DC 华盛顿特区: Friendship Archway in Chinatown,唐人街的友谊拱门 https://washington.org/dc-videos/discover-dc-360/friendship-archway-chinatown

Translation

中国传统建筑：牌坊

概况

牌坊，根据中国社会科学院编纂的第五版《现代汉语词典》上的定义，是一种形状像牌楼的构筑物，旧时多用来表彰忠孝节义的人物。

从外观上来看，它通常由数量不等的立柱和横木组成，由建造材料涵盖石头、木头、琉璃等多种材质，常因其大气的形制、宏伟的外观而深受人们的喜欢。

从功能上来看，牌坊的基本作用是对区域进行界定，其外观和功能类似于门，因此可视为一种特殊的门式建筑。

从地域分布来看，在中国，牌坊主要集中分布在北京、山西、安徽、浙江、山东等五省市。其中，古徽州（安徽皖南）原有牌坊一千多个，现尚存百余个，被誉为“牌坊之乡”。牌坊在海外也有广泛的分布，如美国纽约布鲁克林日落公园的友谊牌坊。

从文化意义上来看，牌坊是具有中国特色的传统建筑，是中华文化的标志性建筑之一，承载着悠久的历史和深厚的文化底蕴。牌坊的发展历程显示着中国传统建筑技艺的发展脉络，对于研究中国建筑艺术和社会历史文化具有重要价值。

牌坊的起源

一般认为，牌坊发端于汉代的衡门，最终成熟和兴盛于明清。

衡门作为牌坊的雏形，其设计最为简单原始，由两根柱子支撑一根横梁构成，最早可见于诗经中的《陈风·衡门》：“衡门之下，可以栖迟”。随着时间推移，牌坊逐渐演化出多柱多间的不同形式，最终形成了今日百花齐放、各具特色的景观。

牌坊最初是一种实用性建筑，作为“门”来连接和分离里坊制城市的不同区域。然而，到了明清时期，牌坊建造由私人行为变为官方行为，官方的介入，使得牌坊逐渐从实用性建筑变成了荣誉性建筑。明清时期，政府用牌坊作为奖励来表彰有功之臣、有才之士、贞节之女、孝顺之子等，使这些人成为引导和育化公众的社会榜样，以实现营造良好社会氛围、稳定社会秩序、维护封建统治的目的，因此，牌坊的建造不仅仅是为了褒扬个体，也蕴含着道德教育与社会引领的目的。

牌坊的意义和内涵

虽然牌坊是作为一种实用建筑而诞生的，但它长期以来一直被官方作为道德教化的工具，因此也被赋予了丰富的内涵，产生着深远的影响。

在社会层面，牌坊作为封建礼教和封建道德的一个象征性建筑符号，起到道德教化的作用。政府通过立牌坊旌表褒奖功臣、义士、孝子、节妇、善人等，为人们树立道德楷模,以此熏陶教育人们要忠君,要讲气节,要孝悌,要贞节,要仁义,要行善积德,要遵循“三从四德”、“三纲五常”等封建道德礼教。

在文化层面，牌坊作为一种具象化的记录工具，具有记载历史、承载情感、展示风俗、体现社会总体价值等多种功能。

牌坊可以用以记载已发生过的有关事情,刻载坊主和立坊人的身份及时间，表达坊主成就、功勋、荣誉以及引颂和纪念等内容，是纪念重要历史事件、先贤或先人的载体之一。

牌坊蕴含和表达着人们的复杂情感,或缅怀,或表彰,或同情,或祝福,或敬仰,或崇拜,或颂扬,或仰慕,或哀悼,或引以为豪。

立牌坊是我国古代社会的一种重要的民风民俗,而牌坊本身也是古代民风民俗的一种重要载体。牌坊体现了民众的信仰，如玉皇大帝、关公、妈祖等各种民间信仰。牌坊上的龙、凤、鹤、龟等动植物图案体现了中国古代生动的民风。

牌坊是中国封建社会中人们表达人生理念的一种重要载体。如“学而优则仕”、“荣华富贵”、“官运亨通”等这些理念在牌坊上得到充分展现，体现了封建时代人们的追求和价值观。值得指出的是，在牌坊的众多类型中，最富争议的是贞洁牌坊。

“贞节”一词最初并不是用来赞美丧夫守贞的妇女，而是赞美那些在丈夫去世后独自维持家庭并抚养子女的伟大母亲。然而，在南宋时期，以程颐和朱熹为代表的理学家开始主张抑制正常的生理欲望，并将贞节重新定义为妇女对男人的忠诚。他们进一步提出“饿死事小，失节事大”的口号，要求妇女把贞节看得比生命还重要。明清时期，理学思想的蓬勃发展强化其对整个社会的影响，因此，女性贞节观念被迅速灌输到公众的思想中，得到普遍认可，并进一步获得政府的支持。

政府用牌坊来表彰那些在丈夫死后不改嫁，甚至牺牲自己与丈夫合葬的妇女，这种牌坊被称为“贞节牌坊”。据《大明宫典》规定：“三十岁前丧夫的寡妇，如能保持贞节，五十岁前不改嫁，则免去其所在宗族的部分劳役，并赏赐贞节牌坊。”

官方对贞节观念的强调和宣传，使贞节牌坊在全国各地流行起来。贞节牌坊是明清两代特有的牌坊类型，也是数量最多、最为出名的牌坊。

贞节牌坊的存在，为牌坊这一符号的内涵抹上了阴影。它是旧时代的产物，充分体现了中国古代封建礼教中的糟粕——对妇女的摧残和对人天性的压抑。

一座座贞节牌坊埋葬过无数命运悲惨的女子，就像是那段黑暗历史的见证者，其背后透露出的问题放到如今仍引人深思。

牌坊在海外的传播

牌坊在海外传播的主要原因与唐人街的扩张息息相关。漂洋过海的华人在他们的社区中兴建壮丽的牌坊，将其视为一种承载乡愁情感的文化象征。这些拱门的建立也为文化的交融和交流创造了契机。

以纽约布鲁克林区的日落公园中的友谊牌坊为例。这是纽约市第一座牌坊，由北京和纽约政府共同建造。它象征着布鲁克林与北京朝阳区之间的友谊桥梁，也是连接着北京和纽约之间的纽带。

友谊牌坊上还将刻着两则铭文 — 一则是中文的“四海一家”，另一则为英文的“布鲁克林-北京朝阳”。

前任布鲁克林区长、现任纽约市长埃里克·亚当斯表示：“这清晰而响亮地传达了信息，即中华社区在这座城市中的实力和尊重不断增强……” 他指出，这座拱门不仅加强了中美文化之间的交流，也能“不仅为布鲁克林区，还为整个城市注入大量资金和资源”，为该地区带来可观的经济收益。

总结

牌坊，作为中国传统建筑和文化的一个重要标志，其不仅具有优美的形制，丰富的美学价值；还承载着悠久的历史，深厚的文化底蕴，在过去、现在乃至未来都有重要的研究意义。

问题

牌坊在中国文化中的意义是什么?
中国哪五个省市的牌坊数量比较多?
牌坊的建造在明清时期发生了怎样的变化?
牌坊背后的文化内涵是什么?
为什么牌坊在中国古代社会习俗中被认为是重要的?
牌坊在海外华人社区的作用是什么?

Li Xun | Chinese Animation

Overview

In Cambridge Advanced Learner's Dictionary, the word “animation” means moving picture. Here, Chinese animation refers to animation produced by Chinese. (mainland). Chinese animation originated in the 1920s. In 1922, the first advertising animation in China, Shu Zhen Dong Chinese Typewriter, was produced. In 1926, the first animated film in China, Da Nao Studio, was produced. In 1935, the first audio animated film in China, Camel Dancing, was produced, opening a page in the history of Chinese animation. In the 1940s, the Wan brothers created the first feature film of Chinese animation, Princess Iron Fan, which was released in Southeast Asia and Japan and received warm welcome, laying a good foundation for Chinese animation to go international. Between the 1950s and the 1980s, China entered a golden era of animation. In this period, there were mainly three kinds of traditional animation before the technique of computer animation be widely used, including paper-cut animation, water ink animation and puppet animation. But after this, Chinese animation started to decline dramatically, and it was not until the recent 10 years that a batch of excellent animated works began to emerge, such as Fox Spirit Matchmaker in 2015 and Ne Zha: Birth of the Demon Child in 2019. Chinese animation has had an unparalleled glory, which also proves that Chinese animation has strength and has artistic laws suitable for its development. Looking at the development of Chinese animation over the past few decades, it can be seen that Chinese animation has always been committed to a path with its own characteristics. (Chinese animation Baidu bai ke (baidu.com)) (Luo Hong 2011 335) (Luo Hong 2011 6)

Traditional Elements

Most Chinese animations are set against the background of mythological tales or ancient history, and thus involve many traditional Chinese elements. Among them, some animation works are made completely according to the original mythology, and some fabricate a story that has never existed before, but most are adapted from existing myths or historical events.

For example, China's early animations such as Uproar in Heaven, Nezha Conquers the Dragon King, and Princess Iron Fan are all adapted from the long novel Journey to the West. However, the character Nezha was not originally from China at the earliest, but from Indian Buddhist mythology, but it was introduced to China relatively early, and there are records about Nezha in many dynasties:

Jin Dynasty:The Sutra of the Buddha's Deeds and Praises - The First Birth Chapter records:"Vaisravana, the king of heaven, gave birth to Narakuja (that is, Nezha), and all the heavenly beings were extremely happy. The king gave birth to a crown prince today, in the Kapilavastu kingdom, and all the people were also so happy." In the earliest written records of Buddhism, Nezha is a just god of war who is deeply loved by the public. Once born, it makes all the gods, Buddhas and people in the heaven and earth rejoice and praise.

Tang Dynasty:The Sea of Meanings of the Shurangama Sutra records:"The crown prince of the king of heaven is like that of Nezha and the like, assisting in governing and controlling, grasping ghosts and protecting the world and benefiting people."

Song Dynasty:The Jiatai Pudeng Record records:"Nezha has ten faces and ten eyes moving, and the formless spiritual light blocks the sun wheel."

Since the Jin Dynasty, there have been descriptions of Nezha almost in every dynasty. In The Sutra of the Buddha's Deeds and Praises - The First Birth Chapter, Nezha is described as "once born, it makes all the gods, Buddhas and people in the heaven and earth rejoice and praise", while in the animation work Nezha: Birth of the Demon Child, Nezha was born as a "demon child" with a bad nature. Once born, it caused the fear and disgust of the people, and the director's intention of such an adaptation is probably to pave the way for Nezha to sacrifice his life to save everyone at the end, thereby highlighting Nezha's kind character. Therefore, this work conveys such a concept: even if it is a demon, there is kindness. Such a concept is very common in Chinese culture. In Journey to the West, many monsters seem to be very evil, but they haven't done anything extremely heinous. Generally, they just steal things and rob, at least they are aboveboard. On the contrary, in human society, there are all kinds of calculations, conspiracies, and framings, which are simply more evil than monsters; the first is to lament the sinister nature of human society, and the second is to abandon the "label of the evil", that is, there is no absolute evil. This is exactly the value that many Chinese writers want to express through monsters.

Coincidentally, there is also a shadow of this value in the animation Fox Spirit Matchmaker. In this animation, humans and monsters coexist in the world, and it describes some kind-hearted monsters who do not hesitate to sacrifice themselves to protect others and some humans who murder monsters for power. And this animation also involves some other traditional Chinese elements. It mainly tells a series of interesting and mysterious stories that occur in the process of the fox spirit who takes on the profession of matchmaker pulling the red thread for the lovers in the previous life. And the word "matchmaker" comes from Romance of the Western Chamber created by Wang Shifu, a dramatist in the Yuan Dynasty. In Romance of the Western Chamber, there is a maidservant in the prime minister's mansion named "Hongniang". She not only has to take care of Miss Cui Yingying's daily life, but also monitors Miss on the order of the old lady and reports immediately if there is any bad tendency. But after Hongniang saw Miss Yingying's mind towards Zhang Sheng, she still broke through the shackles of feudal ethics and risked being punished by the old lady to help Miss Yingying and Zhang Sheng, and finally made the lovers become a couple under the matchmaking of Hongniang. Since then,"Hongniang" has referred to those who match men and women to become husband and wife. And "pulling the red thread" is a metaphor for "facilitating marriage".

In addition, there are also some Chinese ancient poems and some original poems in Fox Spirit Matchmaker. For example,"Ask what on earth love is, which directly makes it difficult for the magpie bridge to cross the pain of lovesickness, and directly makes it difficult for the butterfly to pick the sweetness of the same heart". This sentence is adapted from Yuan Haowen's Moliyu·Yanqiu Ci in the Jin Dynasty. Another example is "On the seventh day of July, at the bamboo pavilion by the Huai River, the scabbard and the flute depend on each other, without regret or complaint". This sentence is written by the author of Fox Spirit Matchmaker. These poems endow this animated work with a romantic atmosphere and enhance its artistic quality, making it more ornamental and aesthetically valuable.

Influence From Abroad

Aesthetic Convergence in Character Modeling Design

Since the 1990s, many excellent Japanese anime works have been introduced into China. At that time, China's animation industry was not yet mature, and most of the animation works were themes for children. Therefore, at that time, Japanese anime became the mainstream in the Chinese market. Some excellent Japanese anime works such as Detective Conan, Dragon Ball, and Naruto have gained a large number of fans in China. As a result, this has had a certain impact on the Chinese people's animation aesthetics. Therefore, after entering the 21st century, many Chinese animations have some similarities in the modeling design of characters with Japanese anime characters, specifically manifested in the hair, face shape, facial features, and figure of the characters. For example, when designing some cute female characters, a "dumb hair" will be deliberately designed on the hair, such as "Takanashi Rikka" in the Japanese anime work Love, Chunibyo & Other Delusions and "Tu Shan Su Su" in the Chinese anime work Fox Spirit Matchmaker, as shown in the figure.

In addition, in terms of the movement postures of the characters, American animation also has a certain influence on China. "When we were at Disney, one of the words we talked about the most was 'appeal.'" wrote Tom Bancroft in his book "The Disney Animation Master's Character Design Class". A notable feature of American animation is that the movement postures of the characters are highly expressive and appealing, and some Chinese works have also borrowed some expression techniques. (Tom Bancroft 2021 51)

Production Technology

Japanese anime works mainly focus on 2D painting and have mature painting techniques. The advantages are artistic pictures and more delicate emotional expression. American animation works mainly focus on 3D modeling, and the advantages are strong realism and good dynamic effects. It can be said that the animation production technologies of both Japan and the United States have great reference significance for China.

Terms And Expressions

Chinese animation 中国动画
Shu Zhen Dong Chinese Typewriter 《舒振东华文打字机》
Da Nao Studio 《大闹画室》
Camel Dancing 《骆驼献舞》
Princess Iron Fan 《铁扇公主》
Uproar in Heaven 《大闹天宫》
Nezha Conquers the Dragon King 《哪吒闹海》
Journey to the West 《西游记》
The Sutra of the Buddha's Deeds and Praises - The First Birth Chapter 《佛所行赞经·第一生品》
The Sea of Meanings of the Shurangama Sutra 《首楞严经义海》
The Jiatai Pudeng Record 《嘉泰普灯录》
Nezha: Birth of the Demon Child 《哪吒之魔童降世》
Fox Spirit Matchmaker 《狐妖小红娘》
Romance of the Western Chamber《崔莺莺待月西厢记》
Hongniang 红娘
Cui Yingying 崔莺莺
Moliyu·Yanqiu Ci 《摸鱼儿·雁丘词》
Detective Conan 《名侦探柯南》
Dragon Ball 《龙珠》
Naruto 《火影忍者》
Love, Chunibyo & Other Delusions 《中二病也要谈恋爱》
Takanashi Rikka 小鸟游六花
Tu Shan Su Su 涂山苏苏

Questions

What is the position of the animation "Princess Iron Fan" in the history of Chinese animation?
What are the three main traditional types of animations in China from the 1950s to the 1980s?
List two excellent Chinese animations after 2010.
List some of the traditional Chinese elements involved in the animation "Fox Spirit Matchmaker".
In what aspects does the main influence of Japanese animation on Chinese animation be reflected?

References

[1]Chinese Animation - Baidu Baike (baidu.com)

[2]Animation art and culture / Edited by Luo Hong. - Wuhan: Wuhan University Press, October 2011.

[3]Creating Characters with Personality/ by (US) Tom Bancroft; Translated by Ji Xiaoting. - Shanghai: Shanghai People's Fine Arts Publishing House,2021.1

Translation

概述

在《剑桥高级学习者词典》中，“动画”一词意为移动的图片。在这里，中国动画指的是（中国大陆）中国人制作的动画。中国动画起源于20世纪20年代。1922年，中国第一部广告动画《舒振东华文打字机》制作完成。1926年，中国第一部动画片《大闹画室》制作完成。1935年，中国第一部有声动画影片《骆驼献舞》制作完成，翻开了中国动画历史的一页。20世纪40年代，万氏兄弟创作了中国动画的第一部故事片《铁扇公主》，该片在东南亚和日本上映并受到热烈欢迎，为中国动画走向国际奠定了良好基础。20世纪50年代至80年代，中国进入了动画的黄金时代。在这一时期，在计算机动画技术被广泛应用之前，主要有三种传统动画类型，包括剪纸动画、水墨动画和木偶动画。但在这之后中国动画开始大幅衰退，直到近10年才开始出现一批优秀的动画作品，比如2015年的《狐妖小红娘》和2019年的《哪吒之魔童降世》。中国动画曾有过无与伦比的辉煌，这也证明了中国动画有实力且有适合自身发展的艺术规律。纵观中国动画在过去几十年的发展，可以看出中国动画一直致力于走一条具有自身特色的道路。（中国动画百度百科）（罗虹 2011年6页）（罗虹 2011年335页）

传统元素

中国动漫大多以神话传说或者是古代历史为背景，因此涉及许多中国传统元素。其中，有些动漫作品完全按照原神话来制作，还有一些编造出一个从来没有的故事，但大多数是根据已有神话或历史事件改编。比如中国早期的动画《大闹天宫》，《哪吒闹海》，《铁扇公主》都是由长篇小说《西游记》改编。然而，哪吒这一人物最早并非出自中国，而是出自印度佛教神话，但传入中国较早，多个朝代都有关于哪吒的记载：

晋代：《佛所行赞经·第一生品》记载：“毗沙门天王，生那罗鸠婆（即哪吒），一切诸天众，皆悉大欢喜，王今生太子，迦毗罗卫国，一切诸人民，欢喜亦如是。”哪吒在佛教最早的文字记载中是一位深受大众欢迎的正义战神，一出生就让天地间的一切天众神佛及百姓为之欢颂。唐代：《首楞严经义海》记载：“天王太子即那吒之类，辅政统摄，跨握鬼物，护世益人。” 宋代：《嘉泰普灯录》记载：“那吒十面十眸动，无相灵光翳日轮。”

从晋代开始，几乎历朝历代都有对哪吒的描述。在《佛所行赞经·第一生品》中，哪吒被描述为“一出生就让天地间的一切天众神佛及百姓为之欢颂”，而在动漫作品《哪吒之魔童降世》中，哪吒是作为一个“魔童”降世的，天性恶劣，一出生就引起了百姓的恐惧和厌恶，而导演如此改编的用意，大概是为了为哪吒在最后舍命救众人做铺垫，以此凸显哪吒善良的品格。因此，这部作品传达出这样一个观念：即使是妖魔，也有善良的。这样的观念，在中国文化中很常见。《西游记》中有许多妖怪都是看似很恶，但并没做过什么罪大恶极的事，一般都是偷偷东西以及抢劫，至少光明磊落。反观人类社会，各种算计，阴谋，陷害，简直比妖怪还恶；第一是感慨人类社会的险恶，二是对“恶人标签”的摒弃，即不存在绝对的恶人。这正是许多中国作家想要通过妖怪表达的价值观。

无独有偶，在动漫《狐妖小红娘》中也有这种价值观的影子。在这部动漫中，人与妖共存于世间，描写了一些善良的为了保护别人而不惜牺牲自己的妖怪和一些为了力量而谋害妖怪的人类。而这部动漫还涉及另一些中国传统元素。它主要讲述了以红娘为职业的狐妖，在为前世恋人牵红线的过程中发生的一系列有趣、神秘的故事。而“红娘”一词，来源于元代杂剧家王实甫创作的《崔莺莺待月西厢记》。在《崔莺莺待月西厢记》中有一个相国府的婢女名叫“红娘”，她不仅要照顾崔莺莺小姐的饮食起居，同时也奉老夫人之命监视小姐，有不良倾向要随时汇报。但是当红娘看出了莺莺小姐对张生的心思之后，还是突破了封建礼教的束缚，冒着被老夫人责罚的风险帮助莺莺小姐和张生，终在红娘的撮合下使有情人终成眷属。此后，“红娘”便指那些撮合男女双方成为夫妻的人。而“牵红线”便是“促成姻缘”的比喻。

另外，《狐妖小红娘》中还有一些中国古诗词以及一些原创诗词，比如“问世间情为何物，直教鹊桥难渡相思苦，直教化蝶难采同心甜”，这一句改编自金代元好问的《摸鱼儿·雁丘词》;又如“七月初七，淮水竹亭，鞘笛相依，无怨无悔”，这一句是原创。这些诗词赋予这部动画作品一种浪漫的氛围，提升了它的艺术品质，使其更具观赏性和审美价值。

来自国外的影响

角色造型设计以及运动姿势上的审美趋同

从20世纪90年代开始，许多优秀日本动画作品传入中国，那时中国的动画产业尚不成熟，而且大部分动画作品是面向儿童的题材，因此在那时日漫在中国市场成为主流，一些优秀的日漫作品如《名侦探柯南》、《龙珠》、《火影忍者》等在中国收获了一大批粉丝。因此，这对中国人的动画审美产生了一定影响，所以进入21世纪之后，不少中国动画在角色的造型设计上与日漫角色有一些相似之处，具体体现在人物的头发、脸型、五官和身材等。比如设计一些呆萌系的女性角色时，会特意在头发上设计一根“呆毛“，比如日本动漫作品《中二病也要谈恋爱》中的”小鸟游六花“和中国动漫作品《狐妖小红娘》中的”涂山苏苏“，如图。

此外，在角色的运动姿势上，美国的动画也对中国有一定的影响。“在迪士尼公司的时候，我们谈论得最多的一个词就是吸引力。”，汤姆·班克罗夫特在他的书《迪士尼动画大师的角色设计课》中写道。美国动画的一个显著特点是，人物的运动姿势表现力强，具有吸引力，中国的一些作品也借鉴了一些表现手法。（汤姆·班克罗夫特2021年51页）

制作技术

日本动画作品主要以2D绘画为主，具有成熟的绘画技巧，其优势是具有艺术性的画面以及更细腻的情感表达。美国动画作品主要以3D建模为主，其优势是真实感强且动态效果好。可以说，日本和美国的动画制作技术都对中国具有很大的借鉴意义。

问题

《铁扇公主》这部动画作品的在中国动画史上地位是什么？
20世纪50年代至80年代，中国主要的三种传统动画类型是什么？
列举两部2010年之后的中国优秀动画。
列举一些在动画作品《狐妖小红娘》中涉及的中国传统元素。
日本动画对中国动画的主要影响体现在哪个方面？

参考文献

[1]中国动漫_百度百科 (baidu.com)

[2]动漫艺术与文化/罗虹主编.—武汉：武汉大学出版社，2011.10

[3]迪士尼动画大师的角色设计课/（美）汤姆·班克罗夫特著；嵇小庭译 .—上海：上海人民美术出版社，2021.1

Zhu Ran |Military-style Travel

Please start to write now.

Introduction

In March 2023, the phrase "Military-style travel" suddenly burst into flames on major online platforms, becoming a unique cultural landscape. The term "military" originally meant "a collective term for technical soldiers who have undergone special training to carry out certain special tasks". The term has since been transformed semantically, objectively and connotatively into an emerging form of tourism that describes contemporary young people's efforts to challenge the limits of their economic, physical and temporal capabilities through rigorous planning. (Ye Jinhua/ Wang Yiteng 2024:105 ）

From the many descriptions of this phenomenon, it is clear that "Military-style travel" is cost-effective, fast, multifaceted and physically demanding. Chinese college students spend as little much money as possible to travel to as many places as they can during the weekend, rarely taking a break or even sleeping. To save money, they usually hop on a normal-speed train on a Friday night, arrive at the destination city on Saturday morning, travel extensively in the city, sleep at a 24-hour restaurant for a few hours on Saturday, then repeat the same busy schedule on Sunday before returning to their university in time for classes on Monday morning. (Da Xue Sheng Yan Jiu,2024:94; Journal of Shanxi Youth Vocational College, 2023:20)

The phenomenon of Military-style travel, which arose under specific historical conditions, is closely related to the structural social context caused by the New Crown epidemic. This includes both the retaliatory travelling mentality generated by the epidemic's blockage and the frugal consumerism spawned by the economic contraction after the epidemic receded. In addition, this new travelling fashion phenomenon could not have been created without the rapid dissemination of digital media such as Douyin, Bilibili and Xiaohongshu, and the promotion and support of material conditions. (Da Xue Sheng Yan Jiu,2024:94)

Main Part

Characteristics

Time is extremely valuable and scarce for the student population in an involutional social structure due to the increased pressure of study and heavy coursework. This is also confirmed by the average number of travelling days (2-3 days) of the special forces travelers. Physical capital is also a resource condition for student groups travelling. Many travelers use categories such as "youth", "young" and "crazy" to express their physical resources in the process of consuming possessive experiences. The special forces slogan "Youth has no price, hard seat to Lhasa", which appeared earlier in social media, also reflects the unique physical capital advantage of youth groups. The educational advantage of the youth group constitutes a strong cultural capital in possessive experience consumption, which is manifested in the youth group's excellent planning, strategy and co-ordination ability before, during and after travelling, as well as the cultural perception and evaluation of the university student group by society. (Da Xue Sheng Yan Jiu, 2024:97,98)

In terms of the source of economic capital, college students mainly rely on family financial support, and some of them also participate in hard work and study. Research from the network big data shows that 81.27% of the respondents chose to bring their own dry food to solve the problem of travelling food and drink; 83.49% of the respondents did not live in hotels during the journey, but chose Internet cafes, train stations, under the sea and other free public places. It can be seen that Military-style travel travelers are very strict in controlling their economic budgets in terms of catering and accommodation. In addition, many places have introduced preferential policies on scenic spot tickets for Military-style travel tourist groups, so the youth group's expenditure on tickets is also very limited. Symbolic capzital constraints are mainly constituted by the concomitant economic disadvantage, physiological disadvantage, psychological disadvantage and social status disadvantage of college student groups. For example, college students do not have independent economic sources, or independent economic sources are weak, so they belong to the economic disadvantage, and their discourse is not valued in the society and so on brought about by the social status disadvantage. The university student group is characterized by symbolic capital constraints in society. (Da Xue Sheng Yan Jiu, 2024:97,98)

Reasons

Over the past three years, young people have been repressed for too long, so unblocking means the beginning of revelry. Three years ago, the slogan of many young people was: the world is so big, I want to go and see. After three years of restrictions on travelling, it has become the urgent need of contemporary young people to see more outside and grow their knowledge. Many social media and community marketing groups have promptly recognized this need and have come up with a series of catchy slogans. The "Military-style travel" was born in the context of "revenge consumption". (Guo Jia 2023:51)

Economic and time constraints have made "Military-style travel" the only option. Over the past three years, the economic development of various industries has been affected to a greater or lesser extent. The vice president of Speedway Network told the reporter of International PR Magazine in an interview: "In fact, the most difficult is not the past three years, but this year. The budget is discounted this year, but the effect is required to be doubled." All industries are facing economic difficulties, resulting in individuals also being affected by the economy, so travelling requires strict control of money. In the "Military-style travel", sleeping while on the train and bringing your own dry food for meals maximize the economic cost savings, and compared to traditional travel methods, "Military-style travel" is more in line with the travel needs of contemporary young people, and more in line with the travel needs of subcultural groups. The travelling needs of subcultural groups are also more in line with the travelling needs of subcultural groups. (Guo Jia 2023:51)

The concept of visual communication represented by short videos, vlogs and live broadcasts has become a way of life for young groups nowadays. On platforms such as Jittery Voice and Xiaohongshu, a large group of netizens who like to share and punch cards have gathered, and every time they go to a new spot, they will share it, thus constructing a virtual world in the Internet. This is in line with the definition of "performance" by sociologists represented by Goffman. The strong spread of platforms such as Jittery Voice and Xiaohongshu has also contributed to the large number of imitations and rapid popularity of the topic of "Military-style travel". (Guo Jia 2023:51)

As of the end of 2022, there were thousands of topics related to "netroots spots" on Jittery App. Among them, the play volume of many topics, such as "hitting the net red restaurant" and "hitting the net red attractions", has exceeded 100 million. This phenomenon not only stems from a kind of self-performance of individual users, but also from a strong emotional resonance formed among users. "The desire to share has become the highest level of romance among contemporary young people, but in real life, sharing often fails to get the best response, so more young people choose to share their daily life on social platforms to get emotional satisfaction. (Guo Jia 2023:51)

Conclusion

The People's Data Institute believes that it is worth promoting the idea of feeling and experiencing more of the world without interfering with one's studies and allocating one's time and money wisely. Youth is only a few years, and university is only four years, the pressure and burden during the university is small, and the campus life is more simple and pure before entering the society. At this time the eyes to see everything is fresh and interesting, for the world's desire and curiosity to drive the young people to discover a different self, but also for their own college life to add a lot of fun and meaning, to make up for the lack of school closure brought about. The people and customs you come into contact with during your travels can also play an important role in shaping your outlook on the world. So no regrets, do what you want to do can not be faulted.

Questions

References

Long Yuhan |Folk Art: Youshen Fairs

Introduction

Youshen Fairs（Wandering Gods), also known as the Holy Driver Tour, the Tour of the Master, the Tour of the Bodhisattva, the Tour of the God Race, the New Year's Exercise, the Welcoming of the God, the Carrying of the God's Statue, the Statue of the God on Tour, etc., refers to the fact that during the New Year's period, or other festivals, people go to temples and bring the statues of the gods into the palanquins, and carry them out of the temples to tour the territory to accept the people's incense and worship to signify that the gods have landed in the folklore to visit the towns and villages and to bless the peace and safety of the territory. The main purpose of the festival is to reward the gods, eliminate disasters, and pray for blessings. From the third to the fifteenth day of the first month of the lunar calendar, it is the time to visit the gods. The gods often tour the village as a unit, sometimes several villages jointly, in the drums and gongs and the sound of firecrackers in the village parade, the people watching, greeted, the scene is warm. (Hu Xiulei/ Huang Xiaojian 2012: 34, 42-48)

Main part

Origin

Youshen Fairs originates from rich and diverse folk beliefs, and its cultural archetype is the ancient emperor who traveled to the four corners of the earth. In the Shanhaijing (Classic of Mountains and Seas), there is a record of a "wandering god", whose duty is to inspect a party for the Emperor of Heaven. In the Chinese folk belief system, there are "day wandering gods" and "night wandering gods", who monitor good and evil on earth during the day and night, respectively. There are various legends of the origins of Youshen Fairs in different regions where the culture is popular. (the Xinhua News Agency, 2024-02-27; Hu Xiulei/ Huang Xiaojian 2012: 34, 42-48)

Ceremony and Content

According to the description of some respected old people, the gods enshrined in the temple do not all come out during the day, but according to the different identity characteristics of the gods the temple priests invite different times to "go on tour" of the gods. All the participants in the parade gather at the temple square at the agreed time, men and women are not limited (no women participated in ancient times), but they must bathe and change into clean clothes. At the beginning of the procession, the first thing is to offer incense to the head of the community and perform the ritual of three kowtows and nine bows. After the incense, the procession of the gods according to the paper boat, gongs, lanterns, quiet avoidance card, palanquin, eight sound teams, lion team (or pottery drum team or floating color team), drums and another ceremonial lineup in good order, sounding a cannon to get up, the eight sounds, all the way to the sound of firecrackers, gongs, and drums Zona sound endless. The procession travels along certain routes in the village alleys or streets, and where it passes by, the heads of the neighboring households have to set off firecrackers, which are meant to welcome the gods. At the beginning of the worship, all the people around, including the tenants, relatives, friends, and staff of the hall, can bow three times and nine times in front of the Bodhisattva to pray for his blessings. At the end of the worship, Taoist priests and their assistants come forward to recite scriptures and cast spells to drive away demons and devils, thus blessing the people with peace. (Yao Xuelan 2012: 17, 18)

Taboos

1. The wandering gods cannot go beyond their village, each village has its gods to worship.

2. Do not steal offerings, offerings are dedicated to gods and must wait for the end of the wandering god to share.

3. Do not touch the idol at will, especially touch the head.

4. Do not point at God or talk about topics that do not respect God, such as comparing the level of appearance, and talking about beauty and ugliness.

5. Do not follow the gods in front, so as not to affect the normal progress of the team.

6. Do not stay near the groom to avoid being accidentally injured by the whip.

(from Baidu)

Zhao Shizi

The image of Zhao Shizi is usually portrayed as a handsome young man in red robes, wearing a crown and holding a jade ruyi in the god tour, an image that is deeply rooted in people's hearts and reflects their reverence and worship for him. (Feng Wu 2024: 48, 49)

Son of the Five Fortunes Emperor: In some legends, Zhao Shizi is believed to be the son of the Five Fortunes Emperor (i.e. Zhao Gongming), one of the gods of wealth in traditional Chinese mythology, with a deep foundation of belief in Fujian and other places. (Feng Wu 2024: 48, 49)

The True Lord of Medical Spirit: Zhao Shi Zi is revered for his merciful and kind character and his high attainments in medicine. He is often depicted as a deity who descends to earth to save the people's suffering, and is therefore also honored as the "True Lord of Healing". (Feng Wu 2024: 48, 49)

The incarnation of Yuan Dynasty Lifu: Another version of the story mentions that Zhao Shizi was a Yuan Dynasty Lifu who worshipped with four other failed Lifu on their way back to their hometowns by chance and was later worshipped by the local people as a god and became an important character in the Fuzhou region's god-walking activities. (Feng Wu 2024: 48, 49)

Local Guardian God: Regardless of his identity, Zhao Shizi is regarded as an important god in Fujian folk beliefs to protect local peace and ward off evil spirits. During the annual God Tour, his statue is ceremoniously carried out of the temple to parade around the territory and receive worship from the public, signifying that the god is personally visiting the earth and blessing the party with peace. (Feng Wu 2024: 48, 49)

Conclusion: Value and Significance

Youshen Fairs not only carries rich historical and cultural connotations, but also has important social functions and modern values, and is a bright pearl in the treasure house of Chinese culture. Subtly and entertainingly, Youshen Fairs demonstrates people's spiritual world, expresses people's pursuit and aspiration for good ideals, wisdom, and ethics, and is an important carrier for promoting the excellent culture of the Chinese nation and passing on Chinese virtues. Throughout the whole process of the activities of the Youshen Fairs, we can see the passion of the villagers inside and outside the community in the process of the Youshen Fairs to have fun with the "gods", as well as the optimistic thoughts of the people who are good at placing their hopes, praying for good fortune, and envisioning a better life in the future, which helps to form good social security and harmony and to stabilize interpersonal relationships. It is also a treasure of Chinese culture. It is a stable human relationship and adapts to the law of development of society. Because of the fitness and entertainment benefits of folklore festivals and sports activities, the pleasant and enthusiastic scenes and the propaganda effect of the media can be directly resorted to by the surrounding crowd, people will be influenced by the festivals and sports activities intentionally or unintentionally, and will be inspired and enlightened by the festivals and sports activities. (Chen Fudiao 2011: 54-57)

Terms and Expressions

Youshen Fairs（Wandering Gods) 游神

the Holy Driver Tour 圣驾巡游

the Tour of the Master 游老爷

the Tour of the Bodhisattva 游菩萨

the Tour of the God Race 游神赛会

the New Year's Exercise 年例

the Welcoming of the God 迎神

the Carrying of the God's Statue 抬神像

the Statue of the God on Tour 神像出巡

Classic of Mountains and Seas 《山海经》

Three kowtows and nine bows 三叩九拜

Quiet avoidance card 肃静回避牌

Eight sound teams 八音队

Lion team 狮队

Pottery drum team 陶鼓队

Floating color team 飘色队

Jade ruyi 玉如意

the Five Fortunes Emperor 五福大帝

True Lord of Healing 医灵真君

Questions

1.What is the main purpose of the Youshen Fairs?

2.What is the cultural archetype of the Youshen Fairs?

3.At the official beginning of the worship of God, what rites should people perform?

4.What are the taboos of the Youshen Fairs? Please list two items.

5.What are the physical characteristics of the Zhao Shizi?

References

1. Hu Xiulei, Huang Xiaojian. (2012). 游神文化的传承与发展——以新山和潮汕地区为主的分析[ The inheritance and development of Youshen culture: An analysis of Xinshan and Chaoshan regions]. 八桂侨刊 Overseas Chinese Journal of Bagui(4): 42-48+34.

2. the Xinhua News Agency. (2024).400年福建“游神”火出圈：80后出钱，90后管理，00后出力[ 400 years of Fujian "Youshen" fire out of the circle: after 80 money, after 90 management, after 00 output]. 新华社 the Xinhua News Agency：2024-02-27].

3. Yao Xuelan. (2012). 粤西地区年例文化研究[ Study on annual culture in western Guangdong]. 广州大学 Guangzhou University[D]: 17,18.

4. Feng Wu. (2024). “游神”风靡背后的福建民俗传统[ The popularity of "wandering God" behind the Fujian folk tradition]. 廉政瞭望 Lookout for clean government(5):48,49.

5. Chen Fudiao. (2011). 潮汕民俗游神赛会的现代意义——以揭阳市揭东县铺社村的游神赛会为例[ The modern significance of Chaoshan Folk Goddess Competition -- taking the Goddess Competition of Pushe Village, Jiedong County, Jieyang City as an example]. 韩山师范学院学报 Journal of Hanshan Teachers College（1）：54-57.

Translation

简介

游神，又称圣驾巡游、游老爷、游菩萨、游神赛会、年例、迎神、抬神像、神像出巡等等，是指人们在新年期间或其它喜庆节日里，到神庙里将行身神像请进神轿里，然后抬出庙宇游境，接受民众的香火膜拜，寓意神明降落民间，巡视乡里，保佑合境平安。主旨是酬神、消灾、祈福等。农历的正月初三至十五，便是游神的时间。游神常以村为单位，有时数村联合，在锣鼓和鞭炮声中结队巡游村境，百姓夹道观看、迎接，场面热烈。（胡修雷,黄晓坚 2012:34，42-48）

主体部分

起源

游神源于丰富多元的民间信仰，其文化原型是古代帝王巡狩四方。《山海经·海外南经》中有“游神”的记录，其职责是为天帝视察一方。在中国民间信仰体系中，有“日游神”“夜游神”的角色，分别在白天、夜晚监察人间的善恶。在游神文化流行的不同地区，流传有各式各样的起源传说。（新华社 2024-02-27;胡修雷,黄晓坚 2012:34，42-48）

仪式和内容

据一些德高望重的老人描述,庙里供奉的神灵并不是白天都要出来,而是根据神灵的不同身份特点由庙祝请出不同时间所要“出巡”的神灵。所有参加游神活动的人员按约定时间在神庙广场集合,男女不限（古时无女性参加），但必须沐浴、换穿干净的衣服。游神开始时，首先是社首上香，行三叩九拜礼。上香毕，游神队伍按纸船、锣、灯笼、肃静回避牌、神轿、八音队、狮队（或陶鼓队或飘色队）、大鼓等仪仗队列排好顺序，鸣炮起身，八音齐奏，一路鞭炮声、锣鼓琐呐声不绝于耳。游神队伍按一定的路线在村巷或街道穿行，经过的地方，附近的户主都要燃放鞭炮，意为迎神。拜神正式开始时，周围的人们，包括此厅堂的户人和亲戚朋友及工作人员都可以在菩萨前行三跪九叩之礼，祈求菩萨保佑。拜神结束后道士及其助手上前诵念经文，并施法驱赶妖魔鬼怪，从而保佑人民平安。（姚雪兰 2012: 17, 18)

禁忌

1.游神不能超出自已村的范围，每个村都有自己供奉的神明；

2.不能偷吃供品，供品是专门供奉神仙的，必须等游神结束后才能共享；

3.不要随意触碰神像，尤其是摸头；

4.不要用手指着神明或谈论不尊敬神的话题，如比较颜值、谈论美丑；

5.不要跟在神明前面，以免影响队伍正常行进；

6.不要在马夫附近停留，以免被鞭子误伤。（百度百科)

赵世子

在游神活动中，赵世子的形象通常被塑造为一位年轻英俊的青年，身着红色长袍，头戴王冠，手持玉制如意，这一形象深入人心，体现了人们对他的敬畏与崇拜。(凤妩 2024: 48, 49)

五福大帝之子：在一些传说中，赵世子被认为是五福大帝（即赵公明）的儿子，赵公明是中国传统神话中的财神之一，在福建等地有深厚的信仰基础。(凤妩 2024: 48, 49)

医灵真君：赵世子因其仁慈与善良的性格及医学上的高深造诣而被尊崇。他常被描绘成降临人间救治百姓疾苦的神祇，因此也被尊称为“医灵真君”。(凤妩 2024: 48, 49)

元代举人化身：另一个版本的故事提到赵世子是元代的一位举人，与其他四位落榜举人在回乡途中因缘际会结拜，后被当地民众奉为神明，并成为福州地区游神活动中的重要角色。(凤妩 2024: 48, 49)

地方守护神：无论其身份如何，赵世子在福建民间信仰中都被视为保护地方和平、驱邪避灾的重要神只。在每年的游神活动中，他的神像会被隆重地抬出庙宇巡游境内，接受民众膜拜，寓意神明亲临人间巡视，保佑一方平安。(凤妩 2024: 48, 49)

结论：价值和意义

游神不仅承载着丰富的历史文化内涵，还具有重要的社会功能和现代价值，是中华文化宝库中的一颗璀璨明珠。游神以潜移默化、寓教于乐的形式,展示着人们的精神世界,表达着人们对美好理想、智慧与伦理道德的追求与向往,是弘扬中华民族优秀文化和传承中华美德的重要载体。透过游神赛会的整个活动过程,我们看到了社区内外的村民在游神赛会过程中与“神明”共欢娱的激情,以及在游神赛会活动背后反映出来的人们善于寄托希望、祈祥纳福、憧憬未来美好生活的乐天思想，有助于形成良好的社会治安和和谐安定的人际关系,适应了社会的发展规律。由于民俗节庆体育活动的健身娱乐效益、愉快热烈的场面与媒体的宣传作用都能直接诉诸于周围人群,人们会有意无意地受到节庆体育活动的影响,得到节庆体育活动的熏陶和启迪。(陈福刁 2011: 54-57)

术语和表达

Youshen Fairs（Wandering Gods) 游神

the Holy Driver Tour 圣驾巡游

the Tour of the Master 游老爷

the Tour of the Bodhisattva 游菩萨

the Tour of the God Race 游神赛会

the New Year's Exercise 年例

the Welcoming of the God 迎神

the Carrying of the God's Statue 抬神像

the Statue of the God on Tour 神像出巡

Classic of Mountains and Seas 《山海经》

Three kowtows and nine bows 三叩九拜

Quiet avoidance card 肃静回避牌

Eight sound teams 八音队

Lion team 狮队

Pottery drum team 陶鼓队

Floating color team 飘色队

Jade ruyi 玉如意

the Five Fortunes Emperor 五福大帝

True Lord of Healing 医灵真君

问题

1.游神的主旨是什么？

2.游神的文化原型是什么？

3.拜神正式开始时，人们要行什么礼？

4.游神有哪些禁忌？请列举两项。

5.赵世子有哪些外形特点？

参考文献

[1]胡修雷,黄晓坚.游神文化的传承与发展——以新山和潮汕地区为主的分析[J].八桂侨刊,2012(04):42-48+34.

[2]400年福建“游神”火出圈：80后出钱，90后管理，00后出力 | 每日文旅．新华每日电讯（公众号）[引用日期2024-02-27]

[3]姚雪兰. 粤西地区年例文化研究[D].广州大学,2012. 17-18

[4]凤妩.“游神”风靡背后的福建民俗传统[J].廉政瞭望,2024(05):48-49.

[5]陈福刁.潮汕民俗游神赛会的现代意义——以揭阳市揭东县铺社村的游神赛会为例[J].韩山师范学院学报,2011,32(01):54-57.

Pei Xinxian |Nuo Opera

Introduction

Nuo Opera is a form of traditional Chinese Opera originating from ancient Nuo sacrificial ceremonies, known for its mysterious, rustic, unique performance style, and rich cultural connotations. It has rich cultural connotations and social value. Through innovation and development, this ancient art form can be transformed into cultural products and industries with contemporary characteristics and market value, thereby enriching people's spiritual and cultural life, promoting social harmony, stability, and development. However, in modern society, Nuo pera faces many challenges such as a shortage of inheritors, a shrinking audience, and changes in the cultural and ecological environment. In order to protect and inherit this precious cultural heritage, the government, society, and Nuo Opera artists need to work together and take effective measures to ensure the inheritance and development of Nuo Opera in contemporary society. （Pan Guimin 2024，1）

Main part

Origin and Development

Nuo opera originated from the ancient Nuo sacrificial ceremony, which was a ritual held by ancient ancestors to ward off evil and pray for blessings and good fortune. It can be traced back to the Zhou Dynasty. The emergence of Nuo opera is closely related to the religious beliefs and folk activities of ancient people. At that time, people believed that through this ritual, diseases and evil forces could be dispelled, and the peace and health of the community could be protected. According to the Book of Rites of Zhou, the profession of "Fang Xiangshi" had already existed during the Zhou Dynasty. They were responsible for performing rituals, exorcism, and praying for blessings in the palace and among the people. Nuo opera gradually evolved from this foundation. During the Sui and Tang dynasties, Nuo opera began to absorb religious elements such as Buddhism and Taoism, forming a unique form of performance. After the Song Dynasty, Nuo opera gradually spread to various parts of the country, forming various local characteristics. Nuo opera is mainly spread in southern China, especially among ethnic minorities such as the Gelao and Miao ethnic groups in Guizhou, Hunan, and other regions. The Nuo opera performances of these ethnic groups usually include various forms such as dance, recitation, and wearing masks, among which the actors will wear various masks to represent different deities and characters.

Over time, Nuo opera has gradually evolved into a comprehensive art form, which not only includes the original function of exorcism and epidemic prevention, but also incorporates more cultural elements and expressive techniques. In different regions, Nuo opera also presents its unique regional characteristics and ethnic styles.

In 2006, Nuo Opera was included in the National Intangible Cultural Heritage List of China, indicating that the protection and inheritance of Nuo Opera culture has received national attention. Nowadays, with the support of cultural departments, various Nuo opera teams in various regions actively inherit and promote this traditional cultural form through various performance activities. At the same time, through academic research, they deepen their understanding of its historical value and cultural connotations.

The Performance Forms

The performance forms of Nuo opera are diverse, but usually include elements such as masks, dances, singing, recitation, and hitting. The mask design of Nuo Opera is unique, with various deity and ghost images, such as Fu, Lu, Shou, Xi, Ba Xian, Guan Gong, and so on. The actors wear masks and use dance and dramatic performances to express the stories and rituals of gods and ghosts. The singing style and music of Nuo opera are also very distinctive, usually using the singing techniques and instruments of local opera, such as erhu, flute, gongs and drums.

The Cultural Connotation

Nuo opera is not only a form of entertainment, but also a folk religious belief and cultural inheritance. The sacrificial rituals and images of gods and ghosts portrayed in Nuo opera reflect people's thinking and belief in nature, gods, life and death, and other issues. At the same time, Nuo opera also contains rich moral and ethical ideas, such as respecting the elderly and loving the young, loyalty and kindness, courage and justice, and so on. In addition, Nuo opera also has high artistic value, showcasing the essence and unique charm of folk art in terms of masks, costumes, singing, dance, and other aspects. （刘贵梅 2024,1）

The Current Situation

1. Analysis of the Current Situation of Nuo Opera in Contemporary Society

Nuo opera is distributed in multiple regions, each with its own unique Nuo opera school. Such schools as Wuyuan Nuo Dance in Jiangxi, Dejiang Nuo Opera in Guizhou, Meishan Nuo Opera in Xinhua, Hunan, and Mianxian Nuo Opera in Shaanxi have maintained a good inheritance status in contemporary society.

2. Challenges and difficulties

With the development of modern society and the advancement of technology, traditional culture and art are facing unprecedented challenges. As a representative of ancient Chinese folk religious ritual dramas, Nuo opera also faces some difficulties and challenges.

Shortage of Inheritance Talents: With the passing of the older generation of Nuo opera artists, the younger generation's interest and participation in Nuo opera are not high, leading to the risk of losing the traditional skills and performance forms of Nuo opera.

The shrinking audience: The diversification of modern entertainment methods and changes in modern lifestyles have led to a gradual decrease in the audience of Nuo Opera, especially among young audiences who are less interested in traditional theatrical art.

Changes in cultural and ecological environment: With the acceleration of urbanization and the decline of rural culture, the traditional performance venues and rehearsal bases of Nuo opera have been destroyed, and the cultural and ecological environment of Nuo opera has been seriously affected.

Insufficient funds for protection and inheritance: The protection and inheritance of Nuo opera face a shortage of funds, resulting in a lack of sufficient resources to support the inheritance and development of Nuo opera.

The challenge of integrating tradition and modernity: In the process of inheriting and developing Nuo opera, how to combine traditional performing arts with modern stage technology and audience needs is an urgent problem that needs to be solved.

Low social awareness: As a traditional art form, Nuo opera has relatively low awareness in society, and many people have insufficient understanding of Nuo opera, which affects its dissemination and inheritance.

Cultural shock: The impact of modern culture has made Nuo Opera face competition from other art forms. How to absorb and innovate while maintaining traditional characteristics to adapt to the taste of modern audiences is a challenge that Nuo Opera needs to face in its inheritance.

In order to overcome these difficulties, it is necessary for the government, society, and Nuo opera artists to work together to protect and inherit this precious cultural heritage by formulating relevant policies, providing financial support, conducting education and training, and strengthening cultural exchanges.

3. Successful cases of Nuo opera inheritance:

Case 1: Wuyuan County, Shangrao City, Jiangxi Province: Wuyuan Nuo Dance is one of the important schools of Chinese Nuo Opera, known for its long history, unique performance forms, and rich cultural connotations. With the support of the local government and cultural departments, Wuyuan Nuo dance has been effectively protected and inherited. A Nuo dance art troupe has been established locally, regularly holding Nuo dance training classes to cultivate a younger generation of Nuo dance performers. At the same time, Wuyuan County has also increased the popularity and influence of Nuo dance by holding Nuo Dance Festival and conducting cultural exchange activities.

Case 2: Dejiang County, Tongren City, Guizhou Province: Dejiang County is one of the birthplaces of Chinese Nuo Opera, with rich Nuo Opera resources and traditions. The local government attaches great importance to the protection and inheritance of Nuo Opera, has established the Dejiang County Nuo Opera Art Troupe, established the Nuo Opera Museum, and regularly holds Nuo Opera training classes and performance activities. In addition, Dejiang County has promoted the inheritance and development of Nuo opera by conducting academic research on Nuo opera and publishing relevant books.

Case 3: Xinhua County, Hunan Province: Xinhua County is the core inheritance site of Meishan Nuo Opera, a national intangible cultural heritage. The local government and cultural departments are actively taking measures to protect and inherit Meishan Nuo Opera. Established the Meishan Nuo Opera Art Troupe, established a Nuo Opera Inheritance Base, and regularly held Nuo Opera training classes and performance activities. In addition, Xinhua County has also increased the popularity and influence of Meishan Nuo Opera by conducting academic research on Nuo Opera and organizing a Nuo Opera cultural festival.

These successful cases of the inheritance of Nuo opera demonstrate that the government plays an important role in protecting and inheriting Nuo opera. By providing financial support, establishing inheritance bases, organizing training courses and performance activities, as well as conducting academic research and cultural exchanges, the important folk cultural heritage of Nuo Opera has been effectively protected and inherited. At the same time, these cases also demonstrate that Nuo opera still has vitality and charm in contemporary society, and has received attention and support from all sectors of society.

The Inheritance of Nuo Opera

In order to inherit Nuo opera, we should take appropriate measures.

Firstly, the government should provide sufficient policy support and legal protection for Nuo opera, providing funding and institutional guarantees for its inheritance and development. At the same time, establish and improve a mechanism for protecting the intangible cultural heritage of Nuo opera, ensuring that the traditional skills and cultural connotations of Nuo opera are effectively inherited.

Secondly, the education department should incorporate content related to Nuo opera into the curriculum of schools, allowing students to be exposed to and learn Nuo opera from a young age, and cultivating their interest and sense of identification with Nuo opera. In addition, professional courses and training courses are offered to attract more young people to engage in the performance and production of Nuo opera, cultivating fresh blood for the inheritance of Nuo opera.

Once again, strengthen the communication and dissemination of Nuo opera, hold various Nuo opera performances, exhibitions, and exchange activities, so that more people can understand and appreciate the charm of Nuo opera. At the same time, by utilizing modern technological means such as recording videos and creating online courses, we can broaden the channels for the dissemination of Nuo Opera and move it towards a broader stage.

Finally, field research and data organization were conducted on Nuo opera to deeply explore and study its historical and cultural value, providing theoretical support for the inheritance of Nuo opera. At the same time, encourage and support Nuo Opera artists and scholars to participate in international exchanges, absorb the essence of other cultures, and constantly innovate and develop Nuo Opera. （Zha Yi 2024,3）（Anni Che 2024,1）

Influence

Nuo Opera plays an important role in Chinese traditional culture. It is not only widely spread in Chinese Mainland, but also promoted overseas. As a precious intangible cultural heritage of the Chinese nation, its promotion has significant and far-reaching significance.

Firstly, Nuo opera carries profound historical and cultural value, and is an important material for studying the integration of ancient ethnic groups, religious evolution, and folk customs inheritance. It not only records the basic forms of hunting economy and agricultural economy in the southern region of China, but also reflects the cultural exchange and integration among various ethnic groups in China, especially at the level of folk culture. Secondly, the promotion of Nuo opera helps to protect and inherit ethnic culture. Nuo opera is known as the "true ancient folk Nuo opera" with a history of 6000 years. For example, the national intangible cultural heritage Meishan Nuo opera held in Xinhua, Hunan is a vivid manifestation of this cultural inheritance and protection. Through various festivals, academic seminars, and public exhibitions, more people can learn about and participate in the inheritance of Nuo opera, which can effectively prevent the loss of this intangible cultural heritage.Once again, the artistic value of Nuo opera cannot be ignored. Its performance form and content are rich and colorful, with witty and witty language, high pitched and beautiful singing, and high artistic appreciation value. Promoting Nuo opera not only enriches people's spiritual and cultural life, but also promotes the development of traditional ethnic art. Finally, the promotion of Nuo opera plays an important role in enhancing national cultural confidence and building a socialist cultural power. With the enhancement of China's comprehensive national strength and the enhancement of cultural soft power, more and more people are paying attention to and proud of their own traditional culture.

As a unique form of ethnic cultural expression, the promotion of Nuo opera helps to strengthen the national sense of identification and pride in traditional culture, and further promotes the prosperity and development of socialist culture. The promotion of Nuo opera is not only a respect for history and culture, but also an investment in the future of the nation, and a necessary way to build a socialist cultural power. By deeply exploring and disseminating the cultural connotations of Nuo opera, this ancient art form can be revitalized and revitalized under new historical conditions.

We should know that the influence of Nuo opera is not limited to the field of drama, but also involves multiple aspects such as culture, history, religion, etc.Today, with the development of society and cultural changes, Nuo Opera faces the task of protection and inheritance, and we need to work together to promote this excellent folk cultural heritage.

Conclusion

Nuo opera is an important artistic form in traditional Chinese culture, with rich historical and cultural connotations. As an intangible cultural heritage of China, the inheritance and development of Nuo opera in contemporary society also face many challenges. However, we believe that through the joint efforts of the government, society, Nuo opera artists, and us, effective measures can be taken to find new living and development space for Nuo opera in modern society, and to inherit this precious cultural heritage.

Terms and Expressions

Nuo Opera傩戏

Book of Rites of Zhou《周礼记》

Gelao n. 仡佬族

Miao n. 苗族

Flute n. 长笛

gong n. 锣

Questions

1.How did Nuo opera originate and develop? How is it related to modern society?

2.What are the characteristics of Nuo opera in terms of performance form? How to reflect its cultural connotations?

3. What challenges and difficulties does Nuo opera face? What successful inheritance cases can be referred to?

4.What measures should be taken for the inheritance of Nuo opera? What are the roles of the government, society, and Nuo opera performers?

5.What are the impacts of Nuo opera? How to promote and develop this cultural heritage in contemporary society?

References

[1]查怡.文化自信视域下池州傩戏的传承与发展探析[J].文化学刊,2024,(05):6-9.

[2]潘贵民.中国傩戏传承与保护多维视角研究[J].戏剧文学,2024,(05):88-94.

[3]刘贵梅,谢磊.池州傩戏文化的纪实影像传播研究[J].绥化学院学报,2024,44(05):95-97.

[4]Anni Che Journal | [J] Research and Commentary on Humanities and Arts. Volume 2 , Issue 2 . 2024

Translation

概述

傩戏是一种源于古代傩祭仪式的戏曲形式，以其神秘、古朴、独特的表演风格和丰富的文化内涵而著称，具有丰富的文化内涵和社会价值。通过创新和发展，可以将这种古老的艺术形式转化为具有时代特色和市场价值的文化产品和文化产业，从而丰富人们的精神文化生活，促进社会的和谐稳定和发展。然而，在现代社会中，傩戏面临着传承人才短缺、观众群体萎缩、文化生态环境变化等诸多挑战。为了保护和传承这一宝贵的文化遗产，政府、社会和傩戏艺人需共同努力，采取有效措施，使傩戏在当代社会中得以传承和发展。（潘贵民 2024，1）

起源与发展

傩戏起源于古代的傩祭仪式，是古代先民为驱邪避祟、祈福纳祥而举行的一种仪式,最早可以追溯到周朝。傩戏的产生与古代人们的宗教信仰和民俗活动紧密相关，当时的人们相信通过这种仪式可以驱除病魔和邪恶力量，保护社区的安宁与健康。据《周礼》记载，周朝时已经有了“方相士”这一职业，他们负责在宫廷和民间进行祭祀、驱鬼、祈福等活动。傩戏就是在此基础上逐渐演变而来的。在隋唐时期，傩戏开始吸收了佛教、道教等宗教元素，形成了独特的表演形式。宋代以后，傩戏逐渐流传到全国各地，形成了多种地方特色。

傩戏主要流传于中国南方地区，尤其是贵州、湖南等地的仡佬族、苗族等少数民族中。这些民族的傩戏表演通常包括舞蹈、唱诵、面具佩戴等多种形式，其中演员们会戴上各式各样的面具，代表不同的神灵和角色。

随着时间的推移，傩戏逐渐演变成一种综合性的艺术形式，不仅包含了驱鬼逐疫的原始功能，还融入了更多的文化元素和表现手法。在不同的地区，傩戏也呈现出各自独特的地域特色和民族风格。

2006年，傩戏被列入中国国家级非物质文化遗产名录，这标志着对傩戏文化保护与传承工作得到了国家层面的重视。如今，各地傩戏团队在文化部门的扶持下，通过开展各种演出活动，积极传承和发扬这一传统文化形式，同时也通过学术研究，深化对其历史价值和文化内涵的理解。

表演形式

傩戏的表演形式多种多样，但通常都包括面具、舞蹈、唱念做打等元素。傩戏的面具造型独特，有各种神鬼形象，如福、禄、寿、喜、八仙、关公等等。演员们戴着面具，通过舞蹈和戏剧化的表演来表现神鬼的故事和仪式的意义。傩戏的唱腔和音乐也很有特色，通常采用地方戏曲的唱法和乐器，如二胡、笛子、锣鼓等。

文化内涵

傩戏不仅是一种娱乐活动，更是一种民间宗教信仰和文化传承。傩戏所表现的祭祀仪式和神鬼形象，反映了人们对自然、神灵、生死等问题的思考和信仰。同时，傩戏也蕴含了丰富的道德和伦理思想，如尊老爱幼、忠诚善良、勇敢正义等等。此外，傩戏还具有很高的艺术价值，其面具、服装、唱腔、舞蹈等方面都展现了民间艺术的精髓和独特魅力。（Liu Guimei 2024,1）

现状

1.傩戏在当代社会中的现状分析

傩戏分布在多个地区，每个地区都有其独特的傩戏流派。如江西婺源傩舞、贵州德江傩戏、湖南新化梅山傩戏、陕西勉县傩戏等，这些流派在当代社会中保持着较好的传承状态。

2.挑战与困难

随着现代社会的发展和科技的进步，传统文化和艺术面临着前所未有的挑战。傩戏作为中国古代民间宗教仪式戏剧的代表，也面临着一些困境和挑战。

传承人才短缺：随着老一代傩戏艺人的去世，年轻一代对傩戏的兴趣和参与度不高，导致傩戏的传统技艺和表演形式面临失传的危险。

观众群体萎缩：现代娱乐方式的多样化和现代生活方式的改变，使得傩戏的观众群体逐渐减少，尤其是年轻观众对传统戏剧艺术的兴趣减弱。

文化生态环境变化：随着城市化进程的加快和乡村文化的衰落，傩戏的传统演出场所和排练基地受到破坏，傩戏的文化生态环境受到严重影响。

保护和传承资金不足：傩戏的保护和传承工作面临资金短缺的问题，导致缺乏足够的资源来支持傩戏的传承和发展。

传统与现代的融合挑战：在传承和发展傩戏的过程中，如何将传统表演艺术与现代舞台技术、观众需求相结合，是一个有待解决的问题。

社会认知度低：傩戏作为一种传统艺术形式，在社会中的认知度相对较低，很多人对傩戏的了解不足，影响了傩戏的传播和传承。

文化冲击：现代文化的冲击使得傩戏面临着来自其他艺术形式的竞争，如何在保持传统特色的同时，吸收和创新，以适应现代观众的口味，是傩戏传承中需要面对的挑战。

为了克服这些困难，需要政府、社会和傩戏艺人的共同努力，通过制定相关政策、提供资金支持、开展教育培训、加强文化交流等方式，来保护和传承傩戏这一宝贵的文化遗产。

3.成功的傩戏传承案例：

案例一：江西省上饶市婺源县：婺源傩舞是中国傩戏的重要流派之一，以其悠久的历史、独特的表演形式和丰富的文化内涵而著称。在当地政府和文化部门的支持下，婺源傩舞得到了有效的保护和传承。当地成立了傩舞艺术团，定期举办傩舞培训班，培养年轻一代的傩舞演员。同时，婺源县还通过举办傩舞节和开展文化交流活动，提高了傩舞的知名度和影响力。

案例二：贵州省铜仁市德江县：德江县是中国傩戏的发源地之一，拥有丰富的傩戏资源和传统。当地政府高度重视傩戏的保护和传承工作，成立了德江县傩戏艺术团，建立了傩戏博物馆，定期举办傩戏培训班和演出活动。此外，德江县还通过开展傩戏学术研究和出版相关书籍，促进了傩戏的传承和发展。

案例三：湖南省新化县：新化县是国家级非物质文化遗产梅山傩戏的核心传承地。当地政府和文化部门积极采取措施，保护和传承梅山傩戏。成立了梅山傩戏艺术团，建立了傩戏传承基地，定期举办傩戏培训班和演出活动。此外，新化县还通过开展傩戏学术研究和举办傩戏文化节，提高了梅山傩戏的知名度和影响力。

这些成功的傩戏传承案例表明，政府在保护和传承傩戏方面扮演了重要的角色。通过提供资金支持、建立传承基地、举办培训班和演出活动，以及开展学术研究和文化交流，有效地保护和传承了傩戏这一重要的民间文化遗产。同时，这些案例也展示了傩戏在当代社会中仍然具有生命力和魅力，得到了社会各界的关注和支持。

傩戏的传承

为了传承傩戏，我们应当采取适当的措施。

首先，政府应给予傩戏足够的政策支持和法律保护，为其传承和发展提供资金和制度保障。同时，建立健全傩戏非物质文化遗产保护机制，确保傩戏的传统技艺和文化内涵得到有效传承。

其次，教育部门应在学校的课程设置中加入傩戏相关内容，让学生从小接触和学习傩戏，培养他们对傩戏的兴趣和认同感。此外，开设专业课程和培训班，吸引更多年轻人从事傩戏表演和制作，为傩戏的传承培养新鲜血液。

再次，加强傩戏的交流与传播，举办各类傩戏演出、展览和交流活动，让更多人了解和欣赏傩戏的魅力。同时，利用现代科技手段，如录制视频、制作网络课程等，拓宽傩戏传播渠道，使其走向更广阔的舞台。

最后，对傩戏进行田野调查和资料整理，深入挖掘和研究傩戏的历史文化价值，为傩戏的传承提供理论支撑。同时，鼓励并支持傩戏艺术家和学者参与国际交流，吸收其他文化精华，不断创新和发展傩戏。（查怡 2024,3）（Anni Che 2024,1）

影响和意义

傩戏在中国传统文化中占有重要地位，不仅在中国大陆流传广泛，还在海外得到了推广和发扬。作为中华民族珍贵的非物质文化遗产，其推广的意义重大且深远。

首先，傩戏承载着深厚的历史文化价值，是研究古代民族融合、宗教演化以及民俗传承的重要资料。它不仅记录了我国南方地区的狩猎经济和农耕经济的基础形态，还反映了我国各民族间的文化交流与融合，尤其是在民间文化层面的交流。其次，傩戏的推广有助于保护和传承民族文化。傩戏被誉为“真正的古老民间傩戏”，至今已有六千年历史，如湖南新化所举办的国家级非遗梅山傩戏，正是这种文化传承和保护的生动体现。通过各种节庆、学术研讨会和公开展演等形式，让更多人了解和参与到傩戏的传承中来，可以有效防止这一非物质文化遗产的流失。

再次，傩戏的艺术价值不容忽视。它的表演形式和内容丰富多彩，语言俏皮风趣，唱腔高亢亮丽，具有很高的艺术欣赏价值。推广傩戏，不仅可以丰富人们的精神文化生活，也能促进民族传统艺术的发展。

最后，傩戏的推广对于提升民族文化自信，构建社会主义文化强国具有重要作用。随着我国综合国力的增强和文化软实力的提升，越来越多的人开始关注和自豪于本民族的传统文化。

傩戏作为独特的民族文化表现形式，其推广有助于加强国民对传统文化的认同感和自豪感，进一步促进社会主义文化的繁荣发展。傩戏的推广不仅是对历史文化的尊重，也是对民族未来的投资，更是构建社会主义文化强国的必要途径。通过深入挖掘和传播傩戏的文化内涵，可以促使这一古老艺术形式在新的历史条件下焕发出新的生机与活力。我们要知道，傩戏的影响不仅局限于戏剧领域，还涉及到文化、历史、宗教等多个方面。今天，随着社会的发展和文化的变迁，傩戏面临着保护和传承的任务，需要我们共同努力来弘扬这一优秀的民间文化遗产。

结论

傩戏是中国传统文化中的一种重要艺术形式，具有丰富的历史和文化内涵。作为中国非物质文化遗产，傩戏在当代社会中的传承和发展也面临着诸多挑战。但是我们相信，通过政府、社会、傩戏艺人和我们的共同努力，采取有效措施，一定能够在现代社会中找到傩戏新的生存和发展空间，将这一宝贵的文化遗产传承下去。

术语和表达

Nuo Opera傩戏

Book of Rites of Zhou《周礼记》

Gelao n. 仡佬族

Miao n. 苗族

Flute n. 长笛

gong n. 锣

问题

1. 傩戏是如何起源并发展的？它与现代社会有何关联？

2. 傩戏在表演形式上有哪些特点？如何体现其文化内涵？

3. 傩戏面临哪些挑战和困难？有哪些成功的传承案例可以借鉴？

4. 傩戏的传承工作应采取哪些措施？政府、社会和傩戏艺人的角色是什么？

5. 傩戏的影响有哪些方面？如何在当代社会中弘扬和发展这一文化遗产？

参考文献

[1]查怡.文化自信视域下池州傩戏的传承与发展探析[J].文化学刊,2024,(05):6-9.

[2]潘贵民.中国傩戏传承与保护多维视角研究[J].戏剧文学,2024,(05):88-94.

[3]刘贵梅,谢磊.池州傩戏文化的纪实影像传播研究[J].绥化学院学报,2024,44(05):95-97.

[4]Anni Che Journal | [J] Research and Commentary on Humanities and Arts. Volume 2 , Issue 2 . 2024

Please start to write now. =Hu Yujie |=Cuisine：Hunan cuisine, one of the eight major cuisines Please start to write now.

Li Shujing |Music and Instruments: Suona Horn

Introduction

Suona, Chinese double-reed woodwind instrument, the most commonly used double-reed instrument. Similar to the shawm, the suona originated in Arabia; it has been widely used in China since the 16th century. The reed is affixed to a conical wooden body covered by a copper tube with eight finger holes (seven in front and one in back), to which is fitted a brass bell. Its range is generally about two octaves, and it comes in many sizes. The suona is characterized by its shrill and penetrating sound and the frequent use of tonguing in performance. It is much used in military music ensembles and religious processions and as a stage instrument in Chinese operas. (https://www.britannica.com/art/suona)

Position in Chinese Folk Music

The original suona is a musical instrument spread in Persia and Arabia, and even its name is a transliteration of the ancient Persian word Surnā. Suona appeared in China around the third century AD. There are already images of suona playing in the Jiyue murals in Cave 38 of Kizil Grottoes in Baicheng, Xinjiang. In the Jin and Yuan dynasties more than 700 years ago, it spread to the Central Plains of China. During the Ming and Qing dynasties, it was widely used in folk music bands for weddings and funerals, and was also used as an accompaniment for folk songs, dances and operas. (http://m.xinhuanet.com/2018-01/04/c_1122207320.htm)

"Birds Paying Homage to the Phoenix", originally named "Ten Scenes", is the most representative among many suona tunes, demonstrating the expressiveness of the suona to an extreme. In the sound of "Birds Paying Homage to the Phoenix", there are warbler singing and dancing, birds and flowers, contributing to a vibrant natural scene. The song is full of the author's yearning and pursuit of a free and beautiful life, and also has a lively and rough life atmosphere.birds and flowers, a vibrant natural scene. The song is full of the author's yearning and pursuit of a free and beautiful life, and also has a lively and rough life atmosphere. (https://baike.baidu.com/item/%E7%99%BE%E9%B8%9F%E6%9C%9D%E5%87%A4/13209216)

As a traditional folk instrumental music performance art and one of the most valuable intangible cultural heritages with folk art charm, suona art plays an important role in Chinese folklore. Suona is believed to ward off evil spirits and bring good luck, making it a common choice for auspicious occasions like New Year celebrations, birthdays, marriage ceremonies and harvest festivals. Meanwhile, suona is often used in funeral ceremonies, accompanying the procedures of wake, condoling and burial, and in some places, suona is also used in grave digging ceremonies. Suona's deep tones evoke emotions ranging from joy and celebration to sorrow and remembrance, reflecting the complex tapestry of human experiences. (Zhang Yulan Wu Yuhui, Research of Suona Music in Funeral Ceremonies —— Take Zhaili Village, Ziwei Town, Dingzhou City, Hebei Province as an Example, 2018, 140)

Except its significance, the precious cultural value of suona can not be ignored, which can be concluded as historical value, artistic value, folklore value and humanistic value.

After hundreds of years of cultural exchanges and integration between the north and the south, suona has formed its unique characteristics and customs. Through the long historical development, people can appreciate the developing path and passing on traditions of Chinese folk music. In terms of craftsmanship, suona is crafted from materials like bronze or brass, showcasing the skills of metalworkers from different periods. They have evolved over time, with modern versions incorporating improvements in design and playing techniques, while still maintaining their traditional essence.

In summary, the artistic value of the suona lies in its ability to express human emotions, convey stories, showcase virtuosity, represent diverse regional cultures, and serve as a cultural symbol within Chinese society. Take the regional diversity for example, suona exists in several variations across China, each with its distinct style and local nuances. Each region in China has its own style of playing the suona, like the famous "Lanzhou Suona" from Gansu Province or "Huangmei Suona" from Anhui. These local variations carry rich cultural heritage and are an expression of regional identity. These regional differences reflect the country's rich cultural diversity and contribute to the overall artistic richness of the instrument. (Yang Lizhong Yang Fan, Folk Music Growing in the Sand —— Discussion on the Origin, Inheritance and Characteristics of Minqin Suona , 2023, 107)

Besides being used in Chinese traditional ceremonies, suona has other values in different aspects. During village gatherings or agricultural rituals, suona bands are common, providing entertainment and a sense of unity among community members. In some cases, the suona is believed to have spiritual properties, believed to ward off evil spirits or bring blessings through its music. Overall, suona plays a vital role in Chinese folk culture, serving as a connection to the past, a source of communal joy, and an integral part of diverse local traditions.

Suona embodies a deep connection to human values such as cultural continuity, emotional expression, resilience, storytelling, and the pursuit of harmony, making it a valuable aspect of our collective humanistic heritage. During community gatherings and ceremonies, suona's sound unites people and creates a sense of unity, reinforcing the importance of social cohesion and shared experiences. What’s more, the use of suona in traditional Chinese music often reflects the harmony between man and nature, symbolizing the balance sought in human life and the environment. (Yang Lizhong Yang Fan, Folk Music Growing in the Sand —— Discussion on the Origin, Inheritance and Characteristics of Minqin Suona , 2023, 107)

In China, the traditional suona is mainly used in weddings, funerals and other ceremonies in rural areas. However, with the acceleration of urbanization and the influence of western culture, the living space of suona is becoming narrower and narrower. It is necessary to open up new space for the inheritance and development of suona. (Wang Lei, The Use of Suona in the National Orchestra, 2024, 98)

To some extent, the expansion of new media channels can reduce suona's dependence on wedding and funeral ceremonies, weaken its functional limitations, and develop its modern musical attributes and characteristics. With the development of new media technology, the communication advantages of platforms such as Douyin, Kuaishou and XiaoHongshu continue to be highlighted, with fast communication speed, wide dissemination range, strong interaction and wide audience, which are deeply loved by young people. Inheriting suona skills through new media channels can not only broaden the spreading space of suona, but also improve the spreading effect. (Chen Yifeng, Qingyang suona intangible cultural heritage from the perspective of cultural memory Research on the communication strategy, 2023, Gansu University of Political Science and Law)

The inheritance and innovation of suona cannot be separated from talents, and the development of suona can be injected with fresh blood through innovative talent training mode. Suona artists must break the barriers between families and factions, learn from each other, and form a joint effort to cultivate the next generation. Meanwhile, suona artists should strengthen the consciousness of people's culture, realize the importance of protecting these instrumental music cultures, and establish a system of inheritance and protection. While maintaining traditional cultural characteristics, we try to integrate fresh cultural elements into it to make it more in line with modern aesthetics and awaken the cultural emotions of the whole people. (Shi Liu, Research on the Art and Culture of Miao Suona in Lar Mountain Terrace, 2023, 71)

At the same time, the inheritance and development of suona cannot be separated from the support of the government. The promulgation of the intangible cultural heritage regulations protects this intangible cultural heritage project to a certain extent, but it is far from enough. A series of relevant measures should be introduced to implement the policy in detail. The decline of suona is the decline of traditional folk culture from the root. Local governments should protect suona culture from the root, organize various forms of folk culture programs, so as to give suona culture more opportunities to be displayed and give it more official recognition. (Liang Jing, Study on Inheritance and Development of Suona as Intangible Cultural Heritage in Northern Anhui, 2023, 1)

Conclusion

In a word, suona is not only the soul of folk music, but also one of the symbols of Chinese culture. It is widely used in various musical performances and celebrations because of its melodious tone, which can deeply move people's hearts. At the same time, suona also carries rich historical and cultural connotations, and is an important part of the excellent traditional Chinese culture. Nowadays, the application of suona in modern music has become more and more extensive, which has injected new vitality into the inheritance and innovation of traditional folk music. As a very attractive instrument, its existence not only enriches our musical life, but also makes great contributions to the inheritance and development of Chinese culture.

Terms and Expressions

Birds Paying Homage to the Phoenix 百鸟朝凤

Ten Scenes 十祥景

Questions

Where did suona originally come from?

What is the most famous suona tune?

What occasions suona would be used for?

What do you think about the inheritance and innovation of suona?

References

https://www.britannica.com/art/suona

https://baike.baidu.com/item/%E5%94%A2%E5%91%90/307159?fr=ge_ala

https://baike.baidu.com/item/%E7%99%BE%E9%B8%9F%E6%9C%9D%E5%87%A4/13209216

Liang Jing, Study on Inheritance and Development of Suona as Intangible Cultural Heritage in Northern Anhui, 2023, 1

Wang Lei, The Use of Suona in the National Orchestra, 2024, 98

Chen Yifeng, Qingyang suona intangible cultural heritage from the perspective of cultural memory Research on the communication strategy, 2023, Gansu University of Political Science and Law

Yang Lizhong Yang Fan, Folk Music Growing in the Sand —— Discussion on the Origin, Inheritance and Characteristics of Minqin Suona , 2023, 107

Zhang Yulan Wu Yuhui, Research of Suona Music in Funeral Ceremonies —— Take Zhaili Village, Ziwei Town, Dingzhou City, Hebei Province as an Example, 2018, 140

Shi Liu, Research on the Art and Culture of Miao Suona in Lar Mountain Terrace, 2023, 71

Chen Jiawen |

Please start to write now.

=Chen Jiawen |=Chinese Handicraft: Kesi

Introduction

Kesi, also known as "cutting silk", is the essence of traditional Chinese silk art. It is one of the most traditional silk fabrics in the Chinese silk weaving industry, which is highly appreciated for decorative silk fabrics.

Craft Skill

In fact, Kesi silk is not really carved with a knife. It is a plain fabric woven by using raw silk as the warp line and colored ripe silk as the weft line. The weft wire does not cut through the whole width according to the pre-painted pattern, and uses many small shuttles to dig and weave separately according to the pattern color, so that there are some broken marks between the pattern and the plain ground, and the color and the color, similar to the image of a knife, which is the so-called "through the warp and break the weft" weaving method. The ancients described Kesi as "bearing the view of the sky like the image of carved wisps". The front and back of Kesi works are the same, similar to double-sided embroidery, with the same pattern and color on both sides, opposite directions, and no thread is visible, and the thread is completely hidden in the upper and lower weft.

History and Development

The earliest physical examples of Chinese Kesi can be traced back to the Tang Dynasty. In 1973, a geometric tapestry was unearthed from the Tomb of Astana in Turpan, Xinjiang. It was 9.3 cm long and 1.9 cm wide. It was made of grass green, dark green, orange, medium yellow, yellow brown and white silk. There are also Kesi of the Tang Dynasty in the Nara Era of weaving preserved in Shoakura, Japan. One of the Kesi of exotic honeysuckle lotus pattern is a more mature weaving technique. In the Northern Song Dynasty, the weaving technique of Kesi in ancient China developed greatly. For example, the first-class Ziluanke piece of Kesi in the Northern Song Dynasty (now in Liaoning Provincial Museum) is 131.6 cm high and 55.6 cm wide. It consists of ganoderma sativa in its beak, pairs of loanran, crane, golden pheasant, peacock, swan goose, white pheasant, hermorant, 㶉ð«¶, oriole and a variety of flowers. The color scheme is in navy blue, light blue, moon white, earthen yellow, light yellow, light yellow, emerald green, light green and dark green on the purple ground. The composition is outlined with light yellow or light green lines It is a very representative piece of the Northern Song Dynasty. In the Southern Song Dynasty, there appeared Kesi artists such as Zhu Kerou and Shen Zifan, who specialized in copying the calligraphy and painting of famous people, and created many weaving methods to express the changes of calligraphy and painting strokes and colors, thus developing Kesi handicraft skills to a peak. Southern Song Dynasty Zhu Kerou's "Mountain Tea Butterfly Map" According to Zhu Qiqian's book "Record of Carved Silk Paintings and Calligraphy in Qingnei House Collection", there are 113 pieces of silk in the Song Dynasty, and 70 pieces are now collected in the National Palace Museum in Taipei. Among them, Shen Zifan, Zhu Kerou and other people's works are not only exquisite, but also very careful in the selection of paintings. The body material is taken from the style of calligraphy and painting, according to different images, the selection of different elastic thickness of silk, flexible handling of the tightness of the weft silk, the expression of the shape of the picture, and then in some parts with a small number of strokes, the original copy is vivid. The beauty of its texture is sometimes better than the original. The Scroll of Kesi Flowers and Birds by Shen Zifan (in the National Palace Museum, Taipei) is 95.7 cm high and 38 cm wide. In its natural color, two Keshi birds perch on a peach branch with dewiness in the wind. Shen expressed the realistic and quiet style of the original work with weaving methods such as weaving, lengthening, wrapping, penetrating and carving scales. The Outlines of the flowers and leaves are drawn with black, blue, light green and other colored weft silk, and then the back and neck of the bird are embellished with ink brush. On the lower right of the panel is "Zi Fan Ink book" section, "Cangyan" and "Tang Village Approval" chapter. Shen Zifan's "Wisi Qingbi Landscape Map Axis" (Palace Museum Collection), 88.4 cm high, 37 cm wide, white, warp density of 20 per cm, weft density of 64 ~ 66 per cm, warp thickness of 0.15 mm, With a thickness of 0.15 ~ 0.2 mm, it uses more than 10 kinds of color silk, such as blue, moon white, lake color, blue-green, green, moxa green, light green, fragrant yellow, agarwood, brown, light green, white, bronze, ink, etc. It weaves the landscape of characters with various techniques, such as winding, short-length and short-length, wood combing, knitting, and Guan GUI, and it is a rich and elegant color match. The "Kesi Peony" (Collection of Liaoning Provincial Museum), woven by female Kesi artist Zhu Kerou, is 23.1 cm high and 23.8 cm wide. There is a beautiful peony in full bloom on the magnetic green ground. There are two kinds of color blue, four kinds of yellow, four kinds of green, one kind of red, one kind of white, the warp with twisting silk, the weft with loose thread, the color of peony petals is the use of the length and length of weaving shuttles, so that the length of dark and light weft is wrong, forming a space mixed color effect. The Kesi of the Yuan Dynasty is represented by the "Gesi Eight imimes Arch and Longevity Scroll" and "Gesi Oriental Shuo Stealing Peach Scroll" collected by the Palace Museum. It is simple and bold in shape, contrary to the delicate and soft fashion of the Southern Song Dynasty. In the early Ming Dynasty, Kesi is only used in the imperial decree, mandate, ship character and other small works. Xuande years to re-copy the calligraphy and painting of celebrities. In the middle and late Ming Dynasty, huge works appeared, such as the Scroll of Gesi and Yao Chi Gathering Celebration in the Ming Dynasty collected by the Palace Museum in Beijing, with a heart width of 205 cm and a height of 260 cm. Ming Dynasty "Kesi Zhaochang flower Scroll" is 244.5 cm long and 44 cm high. Kesi is also used to weave dragon robes and giant Buddha paintings (Thangka). At this time, the raw materials of Kesi were a large number of gold thread, peacock feather thread and extremely thin double strands of strongly twisted silk. Commonly used Fengtail qiangwei and other methods, but also a small amount of color painting pen. Solemn shape, pure and thick temperament, colorful. During the reign of Emperor Qianlong in Qing Dynasty, Kesi was used to weave a large number of imperial poems, paintings, calligraphy, Buddhist scriptures, Buddha statues, clothing and interior furnishings. The technique is delicate, creating the double-sided transparent technology and weaving and embroidery. It is also useful for silk yarn weaving ground pattern, wool yarn weaving pattern works.

Value

Artistic value: Kesi technique is the most traditional technique in Chinese silk weaving industry, which is of high artistic value. Most of the Kesi works are collective creations, which require the careful cooperation of many processes and craftsmen in the production process. Because of its unique weaving and exquisite craftsmanship, Kesi works have become treasures enjoyed by the royal family and nobles, as well as objects of collection and appreciation by scholars and calligraphers. Cultural significance: Kesi is not only one of the representatives of Chinese traditional silk art, but also an important part of Chinese traditional culture. The inheritance and development of Kesi skill not only reflects the wisdom and creativity of the ancient Chinese working people, but also shows the charm and profound of traditional Chinese culture.

Development Status

Kesi technique has been included in the national intangible cultural heritage list and has been valued and protected by the state and society. At present, the inheritance and development of Kesi is facing some challenges and difficulties, such as the lack of inheritors and the rising cost of raw materials. However, with the improvement of people's understanding and attention to traditional culture, the inheritance and development of Kesi skills have also ushered in new opportunities and hopes. In short, as a treasure of Chinese traditional silk art, Kesi is not only of high artistic value and cultural significance, but also an important part of Chinese traditional culture. We should strengthen the protection and inheritance of Kesi art, so that this traditional art can continue and develop.

Vocabulary

Kesi缂丝 silk fabrics丝织品 meridian经线 weft纬线 tabby平纹 shuttle梭子 blackish green墨绿 Cambridge blue浅蓝 cloud and mist云烟 rich and gaudy浓艳 thread residue线头 craftsman匠人 men of letters墨客 extensive and profound博大精深 directories名录 gem瑰宝

References

[1]赵敬莎.一寸缂丝一寸金.J.电影文学.2024.10 [2]曹敏.明朝缂丝的艺术特征研究.J.辽宁丝绸.2024.1 [3]王欣.缂丝艺术的历史存续与当代价值.J.现代丝绸科学与技术.2023.03 [4]郭菲、解莹.定州缂丝：经纬交织出的艺术.J.科学之友.2023.09

Chinese Translation

中国手工艺品：缂丝

   缂丝，又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。

缂丝其实并非真的用刀来雕刻，这是一种以生蚕丝为经线，彩色熟丝为纬线，采用通经回纬的方法织成的平纹织物：纬丝按照预先描绘的图案，不贯通全幅，用多把小梭子按图案色彩分别挖织，使织物上花纹与素地、色与色之间呈现一些断痕，类似刀刻的形象，这就是所谓“通经断纬”的织法。古人形容缂丝“承空观之如雕缕之像”。缂丝作品正反面相同，类似双面绣，两面花纹、色彩相同，方向相反，且看不到线头，线头完全藏在上下纬线之中。

   中国缂丝的实物最早可追溯到唐代。1973年新疆吐鲁番阿斯塔那唐墓曾出土一件几何纹缂丝带子，长 9.3厘米，宽 1.9厘米，用草绿、墨绿、橘黄、中黄、黄棕、白等色丝缂织而成。日本正仓院保藏的奈良时代留传下来的织绣品中，也有唐代的缂丝，其中一件异兽忍冬莲花纹缂丝，缂织技艺已较成熟。
   中国古代缂丝北宋时期，缂织技术有了很大的发展，如传世的北宋缂丝一等紫鸾鹊谱(现藏辽宁省博物馆)高131.6厘米，宽55.6厘米，系由嘴衔如意灵芝草、穿插飞翔于花丛中的成对文鸾、仙鹤、锦鸡、孔雀、鸿雁、白鹇、鹭鹚、鸂鶒、黄鹂与各种花卉组成,并在紫地上用藏青、浅蓝、月白、土黄、浅黄、淡黄、翠绿、浅绿、深绿等色退晕配色，再以浅黄或浅绿线条勾勒，构图严整，是一件北宋极有代表性的缂丝精品。
   南宋时期出现了朱克柔、沈子蕃等缂丝艺人，专门摹缂名人书画，创造了许多表现书画笔致和晕色变化的缂织方法，从而把缂丝手工技艺发展到一个高峰。
   据朱启钤《清内府藏刻丝书画录》一书所收宋代缂丝品目就有113件,现有70件收藏在台北故宫博物院。其中沈子蕃、朱克柔等人的作品，不仅缂技精巧，而且对画稿的审选也极为慎重，体材悉取院体书法、绘画,根据不同的形象，选用不同松紧粗细的丝线，灵活处理纬丝的松紧，表现画面形状的转侧起伏，再在某些局部以少量添笔描画，把原作摹缂得惟妙惟肖。其肌理质感之美，有时比原作更胜。沈子蕃的《缂丝花鸟轴》(台北故宫博物院藏)高95.7厘米，宽38厘米，本色地，缂织双鸟栖于迎风含露的桃枝上。沈氏用勾缂、长短戗、包心戗、渗和戗、刻鳞等织法，将原作写实、沉静的风格表达出来。对花、叶轮廓的处理，采用黑、蓝、浅绿等不同色纬丝分别勾缂，再在鸟的背、颈等部以墨笔润饰。幅右下缂“子蕃墨书”款，“苍巖”、“棠村审定”章。又沈子蕃的《缂丝青碧山水图轴》（故宫博物院藏），高88.4厘米，宽37厘米，白色地，经密每厘米20根,纬密每厘米64～66根,经粗0.15毫米，纬粗0.15～0.2毫米,以蓝、月白、湖色、蓝绿、绿、艾绿、淡绿、香黄、沉香、褐、淡青、白、古铜、墨色等十余种色丝，用勾缂、长短戗、木梳戗、结缂、贯缂等多种技法缂织人物山水,近景陂树卷润,远山云烟出岫，配色丰富典雅。女缂丝艺人朱克柔缂织的《缂丝牡丹》 (辽宁省博物馆藏)，高23.1厘米，宽23.8厘米,磁青地上有一枝姣艳的牡丹盛开,晕色如画。色有蓝色两种,黄色四种,绿色四种,朱、白各一种，经用捻丝，纬用松线，牡丹花瓣的晕色是利用织梭伸展的长短变化，使深浅色纬长短相错，形成空间混合的晕色效果。元代缂丝以故宫博物院收藏的《缂丝八仙拱寿图轴》和《缂丝东方朔偷桃图轴》为代表，造型简练豪放，一反南宋细腻柔美的风尚。 　明代初期缂丝只用于敕制、诰命、船符等小件作品。宣德年间重新摹缂名人书画。明代中后期，出现了巨幅作品，如北京故宫博物院收藏的明《缂丝瑶池集庆图轴》，画心宽 205厘米，高260厘米；明《缂丝赵昌花卉图卷》长 244.5厘米，高44厘米。缂丝还用来缂织龙袍及巨幅佛像画(唐卡)。此时缂丝原料大量用金线及孔雀羽线和极细的双股强捻丝线。常用凤尾戗等缂法，也少量加彩绘补笔。造型庄重，气质纯厚，色彩浓艳。清乾隆时，缂丝大量用来缂织御制诗文、书画、梵经佛像、服装及室内陈设等。手法细腻，创造了双面透缂技术和缂丝加绣。也有用丝线缂织地纹，毛线缂织花纹的作品。

艺术价值：缂丝技艺是中国丝织业中最传统的一种挑经显纬技艺，具有极高的艺术价值。缂丝作品大多是一种集体创作的作品，其制作过程中需要多道工序和匠人的精心配合。缂丝作品因其独特的织法和精湛的工艺，成为皇家和贵族享用的珍品，同时也是文人墨客收藏和鉴赏的对象。文化意义：缂丝不仅是中国传统丝绸艺术的代表之一，也是中国传统文化的重要组成部分。缂丝技艺的传承和发展，不仅体现了中国古代劳动人民的智慧和创造力，也展现了中国传统文化的魅力和博大精深。发展现状：缂丝技艺已被列入国家级非物质文化遗产名录，得到了国家和社会的重视和保护。目前，缂丝技艺的传承和发展面临着一些挑战和困难，如传承人的缺乏、原材料成本的上升等。然而，随着人们对传统文化的认识和重视程度的提高，缂丝技艺的传承和发展也迎来了新的机遇和希望。总之，缂丝作为中国传统丝绸艺术的瑰宝，不仅具有极高的艺术价值和文化意义，也是中国传统文化的重要组成部分。我们应该加强对缂丝技艺的保护和传承，让这一传统艺术得以延续和发展。

Xiang Lu |

Introduction

Sang Zhi County, affiliated to Zhangjiajie City in Hunan Province, is located in the northwest border of Hunan Province. It is the hometown of Marshal He Long and the starting place of the Long March of the Second Front Army of the Red Army. It boasts the first batch of national nature reserves in China and the first national nature reserve in Hunan Province - the primeval forest of Badagongshan, which has been included in the Chinese “Man and Biosphere Reserve (MAB)” and “one of the 17 key areas of global biodiversity significance in China”. Sang Zhi Folk Songs, a local traditional music of Sang Zhi County, Hunan Province, are one of the national intangible cultural heritages.

Development

Sang Zhi Folk Songs originated from the ballads of the ancestors in daily production and life during the primitive farming period. They are folk music cultural varieties created, sung, and accumulated by the people of Sang Zhi County, Hunan Province, in long-term life practice, with a history of more than 2,000 years. Sang Zhi Folk Songs are lively in rhythm, beautiful in melody, rich in tunes, and diverse in forms. There are more than 10,000 existing folk songs, and famous songs include Mulberry Tree and Lantern Stand, Brewing Tea with Cold Water Slowly and A Lantern Hung at the Door.

In The Nine Songs, Qu Yuan wrote, “I throw my rings into the river, leaving my pendant in Lipu.” In The Nine Songs: Xiang People, it further recorded, “Yuanyuan has artemisia, while Lipu has orchid. I miss you, but dare not speak. Far away, I look at the flowing water slowly. The ceremony is complete, the drums are beaten, and the flowers are passed and danced. The beautiful women sing gracefully. Spring orchid and autumn chrysanthemum, forever blooming.” This is the earliest text related to Sang Zhi and Sang Zhi Folk Songs. The “Lipu” mentioned here refers to the current Lishui River. Lishui River is one of the four major river systems in Hunan Province, flowing into Dong Ting Lake at Xiao Dukou, Li Xian County, Chang De City.

According to The Biography of Ma Yuan in the Book of the Later Han Dynasty , “In the 24th year , General Liu Shang of the Army attacked the Wuling Wuxi Barbarians, going deep into enemy territory and getting his troops annihilated. Therefore, Ma Yuan requested to go again.” “Every time the enemies ascended the steep slope and made noises Ma Yuan would drag his feet to observe them. His aides were saddened by his brave spirit and wept for him.” The famous general Xiang Dancheng relied on natural defenses to hold out for several months and trapped Ma Yuan’s army in Hutou Mountain on the south bank of the Yuanjiang River. Ma Yuan sighed as he looked at the river, helpless and at a loss. Thus, the allusion of “ascending steep slopes and making noises” originated. The “noises” were also called “barbarian songs” at that time, which later evolved into today’s Sang Zhi Folk Songs. (Wang Yin, On the Linguistic Art of Sang Zhi Folk Song Lyrics, 33)

During the Ming Dynasty, the chieftain of Sang Zhi led thousands of Tujia warriors to fight against Japanese pirates in Zhejiang and Jiangsu provinces and Korea three times upon the imperial court's summons. In the process of fighting against the Japanese pirates (Japanese pirates in the 13th to 16th centuries), Mulberry Tree and Lantern Stand came into being. There are two versions about the mulberry tree: one is that the mulberry tree in the legend is tall and straight, and the man and woman are reluctant to part with each other, so they send their lover away under the mulberry tree; the other is that a man and a woman in love build a tree platform, place an oil lamp on it, write letters under the lamp, and miss each other deeply. This highlights the reluctance of a pair of young lovers falling in love when they part. In the summer of 1928, He Jinzhi, a commander of the Red Army, bid farewell to his beloved wife Dai Guixiang with this Sang Zhi folk song. She remained widowed in plain clothes all her life, singing this song almost every day at her husband's grave for more than 60 years. She picked one or two mulberry leaves every day until her death. The wooden box she left behind was filled with mulberry leaves. (Wang Yin, On the Linguistic Art of Sang Zhi Folk Song Lyrics, 37)

According to the Sang Zhi County Annals of Tongzhi period in the Qing Dynasty, “In the fifth year of Yongzheng (1727), Zhang Hongyi, a native of the county, donated land in the west of the county town with his nephew Chongzhou and Shizhou to build the Martial Temple, which had a song pavilion." The 1942 edition of the Sang Zhi County Annals confirms this statement: In the fifth year of Yongzheng, Zhang Hong, a native of the county, donated land in the west of the county to build the Martial Temple, which had a song and dance pavilion, where old and young people sang and danced. The Sang Zhi County Annals of Qianlong period records, "In the first lunar month of the Tujia people, there are lantern competitions, hand-waving, singing hand-waving songs, and playing on the swing, which last until the 16th day of the first lunar month.” In addition, Sha Wenqing, a native of Sang Zhi He Kou in the second year of Qing Jia Qing, created “Condolence to a Friend” stating, “The singing of swallows flying by the sun sends doubts and disbelief, disturbing the traveler's dream.” The phrase “Yue song, a mourning song” indicates that Sang Zhi Folk Songs were already quite popular in the Qing Dynasty. (Translated by zhichongerni1, baidu.com)

In modern China, the famous founding general He Long led the revolution in Sang Zhi with "two kitchen knives", establishing the Hunan-Hubei revolutionary base with Sang Zhi as the core. The Red Army from Yunnan, Guizhou, Sichuan, Yunnan, Hubei, Guangxi, Jiangxi and other places gathered here, bringing folk songs from various regions and integrating them with Sang Zhi Folk Songs, which promoted the development of Sang Zhi Folk Songs. Influenced by the times, Sang Zhi Folk Songs also created many songs reflecting the feelings between the military and civilians, such as A Lantern Hung at the Door and so on.

In 1987, the Hunan Folk Song and Dance Troupe went to Poland to participate in the International Folk Song and Dance Evening, bringing Sang Zhi Folk Songs to the international stage for the first time. In 2004, singer Song Zuying held an individual concert at the Golden Hall in Vienna, singing Mulberry Tree and Lantern Stand. In 2008, singer Lei Jia included it in Songs of the 56 Ethnic Groups in China and presented it as a national gift to countries participating in the Olympic Games.

On May 20, 2006, Sang Zhi Folk Songs were approved by the State Council of the People's Republic of China and included in the first batch of national intangible cultural heritage list, with the project number of Ⅱ-10.

Mou Yihong |Music and instrument: Ancient Chinese pentatonic scale--Gong,Shang,Jue,Zhi,Yu

Introduction

The Five-Tone Scale, comprising Gong, Shang, Jue, Zhi, and Yu, emerged as a fundamental element of Chinese music thousands of years ago. Unique to Chinese culture, this scale is deeply rooted in traditional aesthetics and philosophy. It is not only a musical scale but also a reflection of the ancient Chinese belief in the harmonious unity of nature and the cosmos. Each tone is associated with a specific quality and emotion, reflecting the ancient Chinese understanding of the universe and human nature. Throughout history, the Five-Tone Scale has evolved and been adapted to various musical styles and genres. It remains a cornerstone of traditional Chinese music, shaping melodies, harmonies, and compositions. Whether in ancient court music, folk songs, or modern interpretations, the Five-Tone Scale continues to resonate with listeners, capturing the essence of Chinese culture and aesthetics.

五音阶，即宫、商、角、徵、羽，作为中国音乐的基础元素，数千年前就已出现。这是中国传统文化所独有的，不仅是一个音乐音阶，也是古代中国人对自然和宇宙和谐统一信念的反映。每个音阶都与一种特定的品质和情感相关联，反映了古代中国人对宇宙和人类本性的理解。在历史的长河中，五音阶不断演变并适应各种音乐风格和流派。它依然是传统中国音乐的基石，塑造着旋律、和声和作品。无论是在古代的宫廷音乐、民间歌曲，还是现代的演绎中，五音阶都继续引起听众的共鸣，捕捉着中国文化和美学的精髓。

Overview

Pentatonic scale is the ancient musical scale of the Han nationality. It is generated from the gong tone to yu tone in the order of fifths, including gong, shang, jue, zhi, and yu. During the Tang Dynasty, it was named as "he, si, yi, chi, gong". Pentatonic scale is usually referred to as "wu sheng" (五声), "wu yin" (五音) and so on in ancient documents.The term "wu sheng" (五声) first appeared in the "Zhou Li · Chun Guan" (周礼·春官), stating: "They are all adorned with the five tones: gong, shang, jue, zhi, and yu." While the term "wu yin" (五音) was first seen in the "Mencius · Li Lou Shang" (孟子·离娄上), saying: "Without the six pitches, one cannot correct the five tones."

Historical Background:

The pentatonic scale in ancient Chinese music dates back to the prehistoric era, where it was likely first used in primitive folk music and rituals. Over time, this scale became a fundamental component of traditional Chinese musical theory and practice.

Gong, the first note, represents the element of earth and is characterized by its stability and grounding sound. Shang, the second note, corresponds to metal and has a bright and resonant sound. Jue, the third note, represents wood and is associated with a clear and piercing tone. Zhi, the fourth note, corresponds to fire and is known for its lively and energetic sound. Yu, the final note, represents water and is characterized by its smooth and flowing melody.

Musical Characteristics:

The pentatonic scale in ancient Chinese music is characterized by its simplicity, purity, and balance. Each note in the scale has a unique sound and symbolism, creating a harmonious and balanced musical structure. The ancient Chinese five tones, namely Gong, Shang, Jue, Zhi, and Yu, correspond to the Western musical scales as follows: Gong to C, Shang to D, Jue to E, Zhi to F, and Yu to G. These correspondences are based on the perceived similarity in pitch and musical characteristics between the two systems.The ancient Chinese musical scale having two fewer notes than the Western scale is not a matter of mathematical or physical limitation but rather a result of cultural and aesthetic preferences. The five-tone system in ancient China was based on the concept of "five elements" (wood, fire, earth, metal, water) and their corresponding relationships with the human body and nature. This system emphasized balance, harmony, and simplicity, which were reflected in the musical scale as well. The two omitted notes, Fa and Si, in the Western scale are considered semi-tones, and their absence in the ancient Chinese scale contributes to a more harmonious and balanced sound.The lack of semi-tones in the ancient Chinese scale has a profound impact on the character and expression of Chinese music. It contributes to a more serene, harmonious, and meditative quality that is often associated with traditional Chinese melodies. The absence of sharp dissonances and the emphasis on balance and simplicity allow the music to flow smoothly and evoke deep emotional responses. This unique aesthetic is a defining characteristic of Chinese music and has influenced its development and evolution throughout history.In summary, the ancient Chinese five-tone system, while differing from the Western scale in terms of note count, possesses its own unique aesthetic value and influence on Chinese music. Its simplicity, balance, and harmonious sound have contributed significantly to the rich cultural heritage of Chinese music.

Instrumental Applications:

The pentatonic scale has been utilized in various traditional Chinese musical instruments, including the zither (guqin), the bamboo flute (dizi), and the pipa. These instruments have unique playing techniques and expressive capabilities that bring out the distinctive sounds and characteristics of the five notes. The zither, for example, utilizes plucking and finger-pressing techniques to create the rich and resonant tones of the pentatonic scale. The bamboo flute, on the other hand, relies on breath control and fingering to produce the clear and piercing melodies of the scale. The pipa, a four-stringed plucked instrument, utilizes plucking and strumming techniques to create a lively and energetic soundscape within the pentatonic scale.

Cultural Significance:

The pentatonic scale in ancient Chinese music is not merely a musical construct; it is also deeply rooted in Chinese culture and philosophy. The five notes correspond to the five elements of nature and the five directions, reflecting the ancient Chinese belief in the interconnectedness of all things in the universe. The pentatonic scale also embodies the Chinese concept of harmony and balance, representing the harmonious coexistence of different elements and forces in nature. This cultural significance has been passed down through generations, influencing the development and evolution of traditional Chinese music and instruments.

Conclusion:

The ancient Chinese pentatonic scale of Gong, Shang, Jue, Zhi, and Yu is a unique and fundamental component of traditional Chinese music. This paper has explored the historical background, musical characteristics, and instrumental applications of this scale, revealing its deep connections with Chinese culture and philosophy. By understanding the pentatonic scale and its role in traditional Chinese music, we gain a deeper appreciation of the richness and complexity of this ancient musical tradition.

五声音阶，汉族古代音律。就是按五度的相生顺序，从宫音开始到羽音，依次为：宫—商—角—徵—羽；唐代时使用“合、四、乙、尺、工”。五声音阶，古代文献通常称为“五声”“五音”等。“五声”一词最早出现于《周礼·春官》：“皆文之以五声，宫商角徵羽。而“五音”最早见于《孟子·离娄上》：“不以六律，不能正五音。”

历史背景:

中国古代音乐中的五声音阶可以追溯到史前时代，当时它可能首次用于原始的民间音乐和仪式。随着时间的推移，这个音阶成为中国传统音乐理论和实践的基本组成部分。

Gong是第一个音，代表土的元素，其特点是稳定和接地音。尚，第二个音符，对应于金属，有一个明亮和共振的声音。“觉”是第三个音符，代表木头，与清晰而刺耳的音调有关。志，第四个音符，对应于火，以其活泼和充满活力的声音而闻名。“余”是最后一个音，代表水，其特点是旋律流畅流畅。

音乐的特点:

五声音阶在中国古代音乐中具有简单、纯净、平衡的特点。音阶中的每个音符都有独特的声音和象征意义，创造出和谐而平衡的音乐结构。中国古代的五音，即巩、尚、觉、直、余，对应西方的音阶如下:巩到C，尚到D，觉到E，志到F，于到g。这些对应关系是基于两个系统在音高和音乐特征上的相似性。中国古代音阶比西方音阶少两个音符，这不是数学或物理上的限制，而是文化和审美偏好的结果。中国古代的五音系统是基于“五行”(木、火、土、金、水)的概念以及它们与人体和自然的对应关系。这个体系强调平衡、和谐和简单，这也反映在音阶上。西方音阶中省略的两个音“发”和“丝”被认为是半音，而中国古代音阶中没有这两个音有助于使声音更加和谐和平衡。中国古代音阶中半音的缺失对中国音乐的特征和表现产生了深刻的影响。它有助于营造一种更宁静、和谐和沉思的品质，这通常与中国传统旋律有关。没有尖锐的不和谐音，强调平衡和简单，使音乐流畅流畅，唤起深刻的情感反应。这种独特的审美是中国音乐的一个决定性特征，并影响了中国音乐在历史上的发展和演变。综上所述，中国古代五声制虽然在音符数上与西方音阶有所不同，但对中国音乐有着自己独特的审美价值和影响。它的简洁，平衡，和谐的声音为中国音乐丰富的文化遗产做出了重要贡献。

仪器应用程序:

五声音阶被用于各种中国传统乐器，包括古琴、笛子和琵琶。这些乐器有其独特的演奏技巧和表现力，使五音的音色和特点更加鲜明。例如，古筝利用弹拨和手指按压技术来创造五声音阶丰富而共振的音调。另一方面，竹笛依靠呼吸控制和指法来产生清晰而尖锐的音阶旋律。琵琶是一种四弦弹拨乐器，在五声音阶中运用弹拨和弹奏技术创造出活泼而充满活力的音景。

文化意义:

五声音阶在中国古代音乐中不仅仅是一个音乐结构;它也深深植根于中国的文化和哲学。五音对应自然的五行和五个方向，反映了中国古代对宇宙万物相互联系的信念。五声音阶也体现了中国人的和谐与平衡的观念，代表了自然界中不同元素和力量的和谐共存。这种文化意义代代相传，影响着中国传统音乐和乐器的发展和演变。

结论:

中国古代五声音阶“宫”、“商”、“觉”、“致”、“于”是中国传统音乐中独特而基本的组成部分。本文探讨了该音阶的历史背景、音乐特征和器乐应用，揭示了它与中国文化和哲学的深刻联系。通过了解五声音阶及其在中国传统音乐中的作用，我们对这一古老音乐传统的丰富性和复杂性有了更深的认识。

Terms and Expressions

Questions

References

Yu Xinzhong | Social Phenomenon: Mobile Population

Overview

“Mobile population” refers to people who frequently change their place of residence, whether within a country or across international borders, often for work, education, or personal reasons. In China, the word refers to the particular group of people who live in the place different from the one registered in their household register. The registered residence system is China's characteristic. Once born, every Chinese is registered in their household register which various his basic information including kinship, registered birthplace, urban nature or agricultural nature. After the Reform and Opening, the inter-provincial migration phenomenon has been getting more frequent and vigorous. Up to 2021, the number of mobile population had gone up to over 350 million. Many special social phenomena comes along with this huge community.

Housing Problems

Housing Burden

Most of the people who live right in which is registered in thir household register own a house inherited from their ancestors. On the opposite, mobile population generally do not have houses. Due to the Chinese economic boom, the housing prices have been rocketed in recent few decades, which makes it a heavy burden for mobile population to pay extra money for residence. They need to rent or buy a house, and then bear the loan costs every month, which definately make their lives harder than the natives.

Landlords and Landladies

Accordingly, especially in metropolis, a group of natives called Landlords and Landladies(Baozupo and Baozugong) appears. They are the locals who inherited real estate more than they need and then have the ability to rent their houses to mobile population to have an extra income monthly. Many of them even live on this income and be envied by many people. The Landlords and Landladies are mostly in the Pearl River Delta and Yangtze River Delta regions which are most developed in the country. The local expression Baozupo and Baozugong also comes from Cantonese. Many jokes came from this concept, for example, many youngsters jokingly express that they want to marry to a daughter or son of a Landlord or Landlady because they don't need to find a job to earn a living anymore.

Solutions

But the problem draws much attention and is in the process of processing. Many big city governments provide affordable public rental housing for young people who are new to the job market, and offer low interest loans or subsidies to first-time homebuyers in the city.

Educational Problems

Stay-at-home Children

China implements a nine-year compulsory education system in most provinces(some provinces like Hong Kong and Xinjiang is longer), which means every child in China has the right to get educated at least in primary schools and junior highs. However, due to the increasingly mismatched distribution and demand of educational resources. Many mobile population influx regions failed to accommodate so many school-age children. So the government implements two different education policies for mobile and local children. Local children's education is prioritized and assured. But the mobile ones are not. Their enrollment quota is limited because of insufficiency. Only the mobile children who get enough scores at the entrance examination get admitted to local schools. The rest of them have to seperate with their parents and go back to their hometowns. Thanks to the Compulsory Education System, the schools in the mobile population's hometown can assure the children's education, but the separation from their parents is inevitable. These mobile population's children who live in their hometown with their grandparents are called stay-at-home children or left-behind children. Up to 2018, there are approximately 10 million stay-at-home children in China. Many problems appear in this group of children. Due to the lack of caring from parents and the relatively bad education resources, poor academic performance and mediocre overall quality are very common among left behind children, and there are even frequent occurrences of voluntary dropouts and various psychological problems.

The Unjust Between The Local Children and The Mobile Population Children

The situation of the mobile children living and going to school with their parents is also not optimistic. Owing that most of their fellow students are locals, they can't get on well with their peers and are more susceptible to exclusion, discrimination, and even campus bullying. Some teachers even speak local dialect which the mobile children cannot understand instead of Mandarin in classes.

Solutions

In recent years, the situation is getting better. Take Guangdong Province as an example, the phenomenon of different systems used respectively in local and mobile children ended in 2020. In Zhongshan city, where over half of the residents belong to mobile population, 4 middle schools had been built from 2020 to 2023 to creat enough quota for all of the children and the systems were finally unified into one. All the children are treated equally. All of the school-age children no matter they are locals or mobile population can finish their compulsory education right in the place their parents work and don't need to pay tuition.

Lifestyles and Customs

Example: The Wide Spread of Hunan Cuisine

China is a vast country with rich culture differing from places to places. Every group of migration from diffrent provice brings thir special cultural characteristics to the destination, enhancing cultural integration and innovation. Guangdong is the largest outflow area of population from Hunan. In Shenzhen alone, there are over three million people from Hunan province. The mobile population brings many cultural elements into here, among which Hunan Cuisine is the most outstanding. In Guangdong, the number of Hunan restaurants is second only to Cantonese restaurants. Meanwhile, under the influence of the local culture, the cuisine is also different from the ones in its home. The flavor is relatively mild to fit in the taste of Cantonese people, and the decoration of the restaurants adopts Contonese style.

Example: The Adaptation of Having Tangyuan

With the influx of mobile population for northern China, many restaurants start to sell dumplings together with tangyuan during many festivals like Spring Festival and Winter Solstice when the Cantonese uesed to be supposed to eat tangyuan.

Example: Eating Habits

Because the weather in Guangdong is hot and humid almost all year round, in order to prevent suffering from the excessive internal heat,which is called Shanghuo in Chinese, people in Guangdong are accustomed to brewing specially made bitter herbal tea to nourish the body.At the same time, some special combinations will be made in daily diet, such as pairing each meal with a soup and making sure to have green vegetables. So the mobile population who have lived in Guangdong for many years have also begun to adopt this habit and developed some different soup and vegetables that meet their special tastes. Phenomena alike are too many to list, indicating the integration and pushing the evolution of Chinese culture.

Concepts

The Chinese nation attaches great importance to the origin of families and the inheritance of patrilineal lineage. There is an old saying goes "A leaf will fall back to the root of the tree anyway." indicating that no matter where the siblings go, their cultural identity should follow their ancestors. The Household Residence System that lasts for over one thousand years may be the main reason for this concept. Because every new-born kid's residence is registered according to their fathers and cannot easily changed in the future. In the past, if a family wanted to change their registered residence into the place they were living now from their hometown, they must meet many demanding conditions such as they had to own a house locally and had to live in the city for enough time. But the policy has been getting loosen these years. The registered residence doesn't restrict people's lives like before. Many people tend to express they are from the place they grew up instead of the place they were born or the one their parents came from. The idea of "mobile population" may also dissappear in the future due to the frequent population mobility and the the resolution of the difference between the two.

Terms

mobile population 流动人口 household register 户口本 system of registered residence 户口制度 landlords and landladies 包租公和包租婆 Pearl River Delta 珠江三角洲 Yangtze River Delta 长江三角洲 stay-at-home children 留守儿童 herbal tea 凉茶

Questions

What does mobile population particularly mean in China?
Is the residence registered in every Chinses person's household register the place he or she is living right now?
What does the government do to solve the mobile population's housing problems?
Can you express your opinion about how our concepts of mobile population will change?

Referrences

Chai Kangni, Wang Yufan, Feng Changchun. The Housing Rental and Purchase Demand of China's Floating Population under the Combination of Willingness and Ability: Differences in 285 Cities at or above the Prefectural Level and the Interactions between Cities and Individuals.
Meng Ke, Lin Yuhao, Liu Wangbao. A Study on the Spatial Pattern and Influencing Factors of Urban Identity and Perceived Acceptance among Chinese Floating Population.
Li Ling. Internal Population Migration in China Since The Economic Reforms: A Review.
Chunni Zhao, Xini Zhao. A Survey on the Language Life of Migrant Children in Foshan City of China.
Dai Yi. The Growth and Migration of Population in Modern China.
Fu Xinqiang, Zhao Yufeng. The intergenerational characteristics of China's floating population.
Shi Zhilei, Wang Zhang, Shao Xi, Zhou Xiaoqiang.A Study on the Problems Faced by the Second Generation of Chinese Floating Population after Adulthood.
Baidu Encyclopedia. Mobile Population.
Baidu Encyclopedia. The "Left-behind" Children.

Translation

社会现象：流动人口 “流动人口”指的是经常变换居住地点的人群，不管是跨国界的跨省界的，都属于这一范畴。他们迁移的目的常包括教育、工作和其他个人原因。在中国，这个词特指那些居住地和户籍登记地点不同的人群。户籍制度是一个中国的特色。每个中国人一出生就会在他们的户口本上记录下他们的各种信息，包括了他们的亲属信息，户口所在地以及是农村户口还是城市户口等等。在改革开放之后，省际人口流动情况变得更加的普遍和频繁。到2021年，中国的流动人口数量已经超过了3.5亿。很多特别的社会现象在这样的人群中间产生。

住房问题在自己户口所在地居住的人们大部分都会从祖上继承下一栋房子。相反地，流动人口则一般没有房子。近几十年中国的经济腾飞，房价飙升。不管是买房子供房贷还是租房子每个月交房租，流动人口都需要背负上更加沉重的负担。相应的，尤其是在大城市中，一群叫做包族婆和包租公的人群应运而生。他们都是从祖上继承了房产的本地人，他们的房产超过了自身的居住需求，所以他们可以将一些房子出租给流动人口来获得每个月的额外收入。他们中有很多人甚至就靠收租金为生，很多人也很羡慕他们。包租婆和包租公们大部分都在珠三角地区和长三角地区这些经济最发达的地区。包租婆和包租公这种称呼也是来自于粤语方言。很多笑话也从这个概念中产生，比如，很多年轻人会戏称自己想要跟一个包租公/婆的女儿或儿子结婚，这样他们就不需要费心思去找工作赚钱养家了。但是在发展过程中，这个问题也引起了重视。很多大城市的政府已经开始给年轻的求职者们提供廉价的公租房，并且还给城市中首次购房的人们提供低息贷款或者是补助。

教育问题中国在绝大部分省份都实行九年义务教育制度（有些身份比如香港和新疆会更长），这意味着中国的每个小孩都有权利受到至少读完小学和初中。然而，因为教育资源的分配和需求之间的不平衡。很多流动人口接受地区都不能提供足够的学位给学龄儿童。于是政府变对本地儿童和外地儿童提供了两套不同的教育制度。本地儿童的教育问题被优先处理，并且能够保证他们的受教育权。但是流动人口儿童就不能被保证。他们的入学指标因为不足够而被限制了。只有在入学考试中分数足够高的流动儿童才能够被本地学校录取。剩下的流动儿童只能够跟他们的父母分开然后回到老家。因为毕竟有义务教育制度，在流动儿童的假象，学校还是会保证他们能够读书。但是他们不得不和父母分开。这些和爷爷奶奶住在老家的流动人口的孩子叫做留守儿童。直到2018年，中国大约还有1000万的留守儿童。在这些儿童群体中，有很多问题发生。因为缺少了父母的照顾和相对较差的教育资源，这些留守儿童中成绩差和综合素质较低的问题普遍存在。而且甚至常会出现主动辍学问题和各种心理问题。那些和父母住在一起并且在当地就学的流动人口的子女中同样有不好的情况。因为他们的同学绝大部分是本地人，他们往往不能和同辈相处好并且更容易遭受到排挤、歧视和校园暴力。有些老师甚至在上课的时候也说流动人口无法听懂的本地方言而不说普通话。近年来，情况也同样有所好转。以广东省为例，给本地儿童和流动人口儿童设立的不同标准在2020年结束了。在中山市，这里有超过一半的居民都是流动人口，在2020年到2023年间就建立了4所中学来创造足够的穴位给所有的孩子上学，于是两个标准终于被统一了。所有的学龄儿童，不管是本地人还是流动人口，都可以在父母务工地完成自己的义务教育学业并且不用支付学费。

生活习惯和习俗中国的幅员辽阔，并且不同地方都有非常丰富的文化和历史。来自不同省份的移民都将自己的文化特色带到了迁入地。这促使了文化的交融与创新。湖南省流动人口最大的迁入地就是广东省。仅在深圳一市，就有超过300万的湖南人。这些流动人口将很多的文化元素带到这里，其中最有特色的就是湘菜。在广东，湘菜馆的数量仅次于粤菜馆。同时，收到了本地文化的影响，湘菜也变得和湖南本土的不一样了。为了适应广东人的口味，这里的湘菜会相对清淡一些，并且饭店的装修也变成了广东风格。随着很多北方人口的流入，广东很多的饭店也开始在一些节日售卖饺子，比如冬至和春节，本来这些节日期间本地人都会吃汤圆。因为广东几乎终年炎热潮湿，为了防止身体里的热气伤害身体，中文也叫防止上火，广东人会熬制特制的凉茶来滋补身体。同时，在日常饮食中也会有些特殊的搭配，比如每顿饭必须要配一种汤和一道绿色蔬菜。所以在广东生活多年的流动人口也采用了这种生活习惯，他们还会根据自身不同的口味需求开发出一些不同的汤和蔬菜。

观念中华民族非常重视家庭的起源和父系传承。有一句老话叫做“落叶归根”，意思是不管后代们去了哪里，他们的文化认同始终需要和他们的先辈们一样。中国的持续了超过一千年的户籍制度或许是这种观念的一个主要成因。因为每个新生的孩子都会根据他们的父母的户籍被登记上自己的户籍，并且在未来还很难被更改。在过去，一个家庭如果想要把户口本上的户籍从原来的改成他们现在居住的地方，他们需要满足很多苛刻的条件，比如他们必须在当地有一套房子并且在这个城市居住了足够长的时间。但是近年来政策已经开始放宽了。户口所在地已经不想之前那样限制人们的生活了。很多人开始表示他们来自于自己长大的地方，而不是自己出生的地方或者他们父母来自的地方。“流动人口”的观念在未来或许也会消失，因为在未来人口流动会更加频繁并且两者之间的差异会被消解。

词汇和表达 mobile population 流动人口 household register 户口本 system of registered residence 户口制度 landlords and landladies 包租公和包租婆 Pearl River Delta 珠江三角洲 Yangtze River Delta 长江三角洲 stay-at-home children 留守儿童 herbal tea 凉茶

问题 1.流动人口在中国特指什么？ 2.中国人户口本上登记的地址就是他们正在居住的地方吗？ 3.政府做了什么行为来解决流动人口的住房问题？ 4.你可以表达一下你认为我们对流动人口的观念将会如何变化吗？

参考文献

柴康妮,王宇凡,冯长春.(2024).意愿与能力结合下中国流动人口住房租购需求——285个地级以上城市差异特性及城市和个体交互影响
孟珂,林育豪,刘望保.(2024).中国流动人口城市认同度与感知接受度空间格局及影响因素研究.地理与地理信息科学,2024,40(02):51-58+66.
李玲.(2001).改革开放以来中国国内人口迁移及其研究.地理研究,2001(04):453-462.
Chunni Zhao;Xini Zhao.(2023).A Survey on the Language Life of Migrant Children in Foshan City of China. Journal | Academic Journal of Humanities & Social Sciences. Volume 6 , Issue 24 .
扈新强,赵玉峰.(2023).中国流动人口的代际特征.传承,DOI:10.16743/j.cnki.cn45-1357/d.2023.03.002.
石智雷,王璋,邵玺,等.(2023).中国流动人口二代成年后面临问题研究.农业经济问题,2023(10):129-144.DOI:10.13246/j.cnki.iae.2023.10.002.
百度百科：流动人口
百度百科：留守儿童

Song Chengshuang | Chinese tradition culture：Zanhua

Introduction

Many tourists have recently come to Quanzhou to experience the XunPu women's hairpin flowers because of this saying, "Adorn yourself with flowers in this life, be beautiful in the next". Quanzhou is a city with a long history and culture in China, with mountains and seas, rich cultural heritage and historical heritage. "Zanhua" is also one of the characteristic cultures of the local XunPu Village. Hairpin flower is actually a type of ancient Chinese headwear, usually fixed on a bun by an ivory hairpin, and then wrapped with flowers in nature or flowers made of other materials. The Zanhua culture has a long history of two to three thousand years and is one of the national intangible cultural heritages.(from Baidu)

Cultural customs

As for why it is necessary to hairpin and Zanhua, some people say that the locals initially used animal bones such as fish, sheep, and cows to hairpin, which preserves the ancient custom of "bone needles to secure hair". Others say that "Zanhua Wei" originates from the custom of Central Asian women wearing flowers, which is brought back by the exchange of the Maritime Silk Road during the Song and Yuan dynasties. XunPu women are known for their qualities of Diligent Housekeeping. In order to facilitate their work at the seaside, they wear a large train top, wide tube pants, headwear such as "Zanhua Wei" and earrings such as "DingXianggou", which have become typical features of XunPu women. The headwear and folk culture of the XunPu women record their optimistic attitude towards life, and it is every woman's longing and pursuit of beauty. In addition, it is also a microcosm of ocean culture and the Maritime Silk Road. With its unique geographical environment and cultural characteristics, XunPu embodies the philosophical idea of "Heaven and Man are united as One" in which foreign culture coexists with local culture.(Yuan Xiaopeng. The aesthetic thought research of XunPu female headwear folk culture[J].Drama house,2015,(22):247.)

Historical development

Zanhua originated in the Qin and Han dynasties, became popular in the Tang dynasty, flourished in the Song, Yuan, and Ming dynasties, and gradually declined during the Qing dynasty.

The Zanhua Culture Before the Tang Dynasty

The Zanhua culture has a long and rich history, and its development can be traced back to the Warring States period. At that time, although the Zanhua Culture had not yet formed, people began to use flowers as headwear to express their inner emotions. During the Qin and Han dynasties, the trend of hairpin flowers gradually emerged. Especially in the Han Dynasty, women in the Sichuan regions regarded hairpin flowers as fashionable, which is evidenced by the Eastern Han Dynasty pottery figurines with mirrors unearthed in Chengdu. From the Wei, Jin, Southern and Northern Dynasties to the Tang Dynasty, the trend of hairpin flowers became increasingly fierce.

The Zanhua Culture of the Tang Dynasty

The Tang Dynasty was the golden period of Zanhua culture, and both the royal nobles and common people were enthusiastic about hairpin flowers on their heads, forming a unique social trend. The high attire flower bun of Tang Dynasty women was particularly popular, which not only was gorgeous and eye-catching, but also laid the foundation for the popularity of the "flower crown" in the Song Dynasty. In the painting of Portrait of a Flower-wearing Maid, the author uses the elements of flowers to depict the wealth and prestige of aristocratic women in the palace, reflecting the Zanhua Culture at that time. In the painting, except for the maidservants, five noble women are adorned with hairpins on their heads, using vigorous and clean brushstrokes, appearing incredibly beautiful and radiant. In addition, the Zanhua Culture during the Double Ninth Festival also adds to the festive atmosphere. (Zhang Yiliang.The artistic expression and cultural inheritance of hairdressing flowers in Portrait of a Flower-wearing Maid[J].Oriental collection,2023,(09):33-35 )Wang Wei wrote in his poem "Memories of Shandong Brothers on September 9th": " I know from afar where my brothers are climbing high, but one less person is missing when they wore with Cornus officinalisu everywhere." Here, "wore Cornus officinalis" expresses the custom of the Zanhua Culture during the Double Ninth Festival. On the Double Ninth Festival, besides wearing Cornus officinalis, people also have the custom of wearing chrysanthemums. During the Double Ninth Festival, when people climb high to play, they usually have to put chrysanthemums all over their heads to go home.

The Zanhua Culture of the Song Dynasty

In the Song Dynasty, the hairpin culture reached its peak, men's hairpin became popular and became a court etiquette at that time. Compared with the Tang Dynasty, it was more common for men in the Song Dynasty to hairpin flowers, and it was not limited to festivals or celebrations. In the Song Dynasty, people believed that wearing flowers on the head was auspicious, so during that period, when encountering major events, the emperor and officials would wear flowers. During the reign of Emperor SongTaizong, a banquet and flower were held for the annual Jinshi ceremony, and people had to hairpin flowers as rewards. At the same time, women in the Song Dynasty were also enthusiastic about using flowers to dress themselves up. They would choose suitable flowers according to seasonal changes and display different styles. The love for hairpin flowers among literati in the Song Dynasty also reached a climax. They believed that wearing flowers on their heads not only looked beautiful, but also reflected the elegance and taste of literati. Su Shi, a great poet in the Song Dynasty, was very fond of hairpin flowers. He once said, "When people grow old, they should not be ashamed of hairpin flower. Flowers should be ashamed of on the head of old people.” The hairpin flowers of Song Dynasty poets not only reflect the aesthetic taste and characteristics of the time, but also reflect the open and free mentality of the entire society, containing rich humanistic spirit.

The Zanhua Culture After the Song Dynasty

In the Yuan, Ming, and Qing dynasties, the custom of hairpin flowers evolved. Although it was not as popular as in the Song dynasty, it still remained within a certain social class and specific festival celebrations. For example, the records of the Zanhua Culture in the Ming Dynasty mainly appeared in social activities such as the Spring Festival, imperial examinations, wedding customs, expeditions, and leisure activities. (Pang Yajing.Study on the beauty of color in Portrait of a Flower-wearing Maid[J]. （中）Beauty and times，2022（08）：63-65. )And with the development of makeup technology, hairpins are more often combined with hairstyles and makeup, becoming a part of overall image design.

The Zanhua Culture in the Modern and contemporary times

From modern times to today, the tradition of hairpin flowers has been preserved in some regions and specific contexts, such as the bride's wedding headwear, folk festival activities, and the costumes of characters in traditional Chinese opera performances and has evolved into hairpin flower ornaments made from various materials such as flowers and silk flowers.

The significance of hairpin flowers

Decorative

Hairpins initially appeared as headwear, reflecting personal elegance and lifestyle, especially for women who show beauty through hairpins.

Symbolic significance

Different flowers have their own meanings, such as peonies symbolizing wealth and auspiciousness, and plum blossoms symbolizing pride and a clear breeze. Wearing them can express the wearer's emotional support or pursuit of beautiful qualities.

Social status markers

In certain historical periods, hairpins became makers of status and identity. For example, during the Song Dynasty, emperors gave flowers to officials, and officials of different levels received flowers of different materials and colors. As a result, hairpins had the function of distinguishing between official ranks.

From ancient times to the present, hairpin flowers not only have ornamental value, but also represent traditional culture and epitome of Eastern aesthetics. People of different ages, regardless of gender, continue this long-standing tradition of meticulously embellishing themselves with clusters of flowers, living seriously, and striving to live beautifully. The Zanhua Culture blooms with a timeless fragrance, as well as a rich life belonging to ordinary people. With the changing times, hairpin flower is not only a decoration, but also a symbol of cultural inheritance, carrying people's longing and pursuit for a better life. In modern society, hairpin flower has also become artworks and collectibles, showcasing the fusion of tradition and modernity. Both classical and modern styles of hairpins reflect the vastness and profundity of Chinese culture, as well as the charm of traditional aesthetics.

Terms and Expressions

XunPu 蟳埔

Zanhua 簪花

bone needles to secure hair 骨针安发

Zanhua Wei 簪花围

DingXianggou 丁香钩

Portrait of a Flower-wearing Maid《簪花仕女图》

Memories of Shandong Brothers on September 9th 《九月九日忆山东兄弟》

I know from afar where my brothers are climbing high, but one less person is missing when they wore with Cornus officinalis everywhere. 遥知兄弟登高处，遍插茱萸少一人。

Jinshi ceremony 进士喜宴

When people grow old, they should not be ashamed of hairpin flower. Flowers should be ashamed of on the head of old people. 人老簪花不自羞，花应羞上老人头。

Questions

(1) What is the Zanhua Culture?

(2)When did the Zanhua Culture become popular?

(3) What is the meaning of Zanhua Culture？

References

袁晓鹏.(Yuan Xiaopeng) 泉州蟳埔女头饰民俗文化的美学思想研究(The aesthetic thought research of XunPu female headwear folk culture)[J].戏剧之家(Drama house),2015,(22):247.

张轶梁.(Zhang Yiliang)《簪花仕女图》的簪花艺术表现及文化传承(The artistic expression and cultural inheritance of hairdressing flowers in Portrait of a Flower-wearing Maid)[J].东方收藏(Oriental collection),2023,(09):33-35

庞雅静.(Pang Yajing)《簪花仕女图》的色彩美研究(Study on the beauty of color in Portrait of a Flower-wearing Maid) [J]. 美与时代（中）(Beauty and times)，2022（08）：63-65.

Translation

简介

“今世簪花，来世漂亮”，近段时间不少游客因为这一句话来泉州体验蟳埔女簪花。泉州是我国历史文化悠久的一座城市，有山，有海，有丰富的文化遗产和历史底蕴，“簪花”更是当地蟳埔村的特色文化之一。簪花，实乃中国古代佩戴头饰的一种，通常由象牙簪固定在发髻上，再以鲜花或其他材料制成的花朵缠绕而成。簪花文化距今已有两三千年的悠久历史，是国家非物质文化遗产之一。

文化习俗

至于为何要簪发戴花，有人说当地人最初用鱼、羊、牛等动物骨簪发，保留古代“骨针安发”的风俗，也有人说“簪花围”源于中亚妇女戴花的习俗，在宋元时期由海上丝绸之路交流带回来。蟳埔女以勤劳持家的品质而闻名，为方便海边劳作，身着大裾衫、宽筒裤，佩戴头饰“簪花围”和耳饰“丁香钩”成为蟳埔女的典型特征。蟳埔女头饰及其民俗文化记载着蟳埔女面对生活的一种乐观态度，同时也是每一个女性对美的向往和追求。同时也是海洋文化与海上丝绸之路的缩影，蟳埔以独特的地理环境、人文特征，体现了外来文化与地方文化相生共存“天人合一” 的哲学思想。()

历史发展

簪花，兴起于秦汉，流行于唐，繁盛于宋、元、明三朝，至清朝逐渐式微。唐代以前的簪花文化簪花文化源远流长，其发展历程可追溯至战国时期。那时，虽然尚未形成真正的簪花习俗，但人们已开始将花卉作为头饰，以表达内心情感。进入秦汉时期，簪花之风逐渐兴起。特别是在汉代，川蜀地区的妇女将簪花视为时尚，成都地区出土的东汉执镜陶俑便是明证。魏晋南北朝至唐代，簪花之风愈演愈烈。唐代的簪花文化唐代是簪花文化的黄金时期，无论皇室贵族还是平民百姓，都热衷于在头上簪花，形成了一种独特的社会风尚。唐代妇女的高装花髻尤为流行，这种发型不仅华丽夺目，还为宋代“花冠”的流行奠定了基础。在《簪花仕女图》中，作者就运用花的元素来表现宫廷贵族妇女的富贵之气，体现出当时的簪花艺术。画中除了侍女外，五个贵族妇女头上皆簪花作为装饰，用笔遒劲干净利落，显得美艳绝伦、流光溢彩。此外，重阳节期间的簪花习俗也增添了节日氛围，王维在其诗《九月九日忆山东兄弟》中写道：“遥知兄弟登高处，遍插茱萸少一人。”这里的“插茱萸” 表达的就是重阳节里鬓发插花的风俗。重阳节除了插茱萸，人们还有戴菊花的风俗。在重阳佳节，人们登高游玩之时，通常也要把菊花插满头才能回家。宋代的簪花文化进入宋代，簪花文化更是达到了巅峰。宋代男子簪花盛行，成为当时的一种宫廷礼仪。与唐代相比，宋代男子簪花更为普遍，且不仅限于节日或庆典场合。在宋朝，人们认为头上戴花表示吉祥，所以在宋朝时期，遇到大事，皇帝与百官都会戴花。在宋太宗时期，就为每年的新晋进士摆喜宴并簪花，而赏赐的花，人们必须戴着。同时，宋代女性也热衷于用花来打扮自己，她们会根据季节变化选择适合的花朵，展现出不同的风采。宋代文人对簪花的热爱也达到了高潮，他们认为头上戴花不仅美观，还能体现出文人的雅致和品位。宋代大文豪苏轼就非常喜欢簪花，他就曾道：“人老簪花不自羞，花应羞上老人头。宋代文人簪花，不仅反映出当时的审美情趣和时代特征，还折射出整个社会开放自由的心态，蕴含了丰富的人文精神。” 宋代之后的簪花文化到了元明清时期，簪花风俗有所演变，虽然不像宋代那样全民盛行，但依旧保持在一定的社会阶层和特定的节日庆典中。比如，明代有关簪花习俗的记载，主要出现在立春节日、科举及第、婚礼民俗、出征远游、生活休闲等社会活动中 [3]。而且随着化妆技术的发展，簪花更多的与发型、妆容相结合，成为整体形象设计的一部分。近现代近现代至今天，簪花的传统在一些地区和特定情境下仍有保留，如新娘出嫁时的头饰、民间节庆活动、以及戏曲表演中的角色的装扮等，并且演变为使用鲜花、绢花等各种材料制成的簪花饰品。

簪花的意义

装饰性簪花起初是作为头饰出现的，能够体现个人的高雅品味和生活情调，尤其是女性通过簪花展示秀丽。象征意义不同的花卉有各自的寓意，如牡丹象征富贵吉祥，梅花寓意傲骨清风，佩戴时可以表达佩戴者的情感寄托或者对美好品质的追求。社会地位标志在某些历史时期，簪花成为身份和地位的象征，例如宋朝时皇帝赐花给官员，不同等级的官员会得到不同材质和颜色的花，簪花由此具有了官阶区分的功能

从古至今，簪花不仅具有观赏价值，更是传统文化的代表和东方美学的缩影。不同年龄，无关男女，人们延续着这一悠久的习俗，精心用锦簇花团妆点自己，认真生活，努力活得漂亮。簪花文化绽放着历久弥新的芬芳，也绽放着属于平凡人们的馥郁人生。随着时代的变迁，簪花不仅仅是一种装饰品，更是文化传承的象征，承载着人们对美好生活的向往和追求。现代社会，簪花也成为了艺术品和收藏品，展示着传统与现代的交融。无论是古典还是现代风格的簪花，都体现了中华文化的博大精深和传统美学的魅力。

问题

（1）什么是簪花？

（2）簪花什么时候开始流行？

（3）簪花有什么意义？

Tan Yalan |Xiangdao

introduction

The incense culture is a series of activities, objects, systems, and concepts that gradually formed around the production, processing, blending, and use of various incense products during the long historical process of the Chinese nation. It reflects the unique national traditions, aesthetic concepts, and modes of thinking of the Chinese people, permeating every aspect of Chinese life. As such, it is an important component of the profound and extensive Chinese culture.

Origins and Development

The culture of Chinese incense can be traced back to the Neolithic era. As early as 6000 years ago, the ancestors of the Chinese people had learned to use aromatic plants for religious rituals, aiming to honor the gods with their fragrant offerings.

By the Zhou Dynasty (approximately 1050-250 BCE), incense culture developed into a more complex system. The emperors of the Zhou Dynasty held annual rituals at the Temple of Heaven, where burning incense played a crucial role. The rising smoke was believed to carry the scent of the offerings to the heavens for the gods to enjoy. - The poem "Sheng Min" from the "Book of Songs" mentions the ritual of Emperor Hou Ji of the Zhou Dynasty, indicating that incense culture was widely applied at that time. Han Dynasty scholar Zheng Xuan explained the term "yin" in the "Book of Documents," showing that incense rituals were well-documented in ancient texts

During the Qin Dynasty (221-206 BCE), the unification of China by Qin Shi Huang laid the foundation for the spread of incense culture. Under the centralized rule, incense culture spread nationwide. With the establishment of the Han Dynasty (206 BCE - 220 CE), more types of incense were introduced to China via the Silk Road from Central Asia, enriching the variety and promoting the popularity and development of incense culture. Incense was widely used in the Han Dynasty court for rituals, daily life, and traditional Chinese medicine

Three Kingdoms to Southern and Northern Dynasties Period Transmission and Transformation:During the Three Kingdoms to the Southern and Northern Dynasties period (220-589 CE), the widespread dissemination of Buddhism in China closely linked incense culture with Buddhist rituals. Various types of incense were used in temples, making incense burning an essential part of Buddhist ceremonies. During this period, incense culture gradually expanded from religious rituals to the daily lives of scholars and literati [oai_citation:4,General History of Chinese Incense | hongkongincense](https://en.hongkongincense.com/incense-culture).

Sui and Tang Dynasties:Golden Age of Incense Culture: In the Tang Dynasty (618-907 CE), international trade flourished, bringing a variety of incense materials into China, further enriching the types of incense. Incense was no longer limited to religious rituals; it became popular in the imperial court for entertainment and social activities. The peak of Buddhist development during the Tang Dynasty further strengthened the connection between incense culture and Buddhist rituals. Temples and Buddhist activities widely used incense, making it a standard part of religious ceremonies [oai_citation:5,General History of Chinese Incense | hongkongincense](https://en.hongkongincense.com/incense-culture).

Scholars and Literati's Incense Culture:Besides religious activities and court life, incense culture also attracted many scholars and literati, becoming a cultural activity alongside tea ceremonies and flower arrangements. It was used to cultivate character and elevate the spirit [oai_citation:6,Chinese Incense History: From the Neolithic Period to pre-Middle Ages - Kin Objects](https://kinobjects.com/blogs/news/chinese-incense-history-neolithic-to-pre-middle-ages-zhou-qin-han-dynasties) [oai_citation:7,General History of Chinese Incense | hongkongincense](https://en.hongkongincense.com/incense-culture).

Song Dynasty:Advanced Development of Incense Culture: The Song Dynasty (960-1279 CE) saw incense culture reach new heights. During this period, incense rituals were on par with painting, calligraphy, and tea ceremonies, becoming one of the four refined activities for scholars. Many books on incense were written and published, detailing various incense recipes and usage methods. Incense culture gradually permeated all social strata, making it accessible to ordinary people and significantly increasing its popularity [oai_citation:8,General History of Chinese Incense | hongkongincense](https://en.hongkongincense.com/incense-culture).

Yuan, Ming, and Qing Dynasties:Inheritance and Innovation:During the Yuan, Ming, and Qing Dynasties (1271-1912 CE), incense culture continued to develop. The Ming Dynasty (1368-1644 CE) was particularly important for incense culture, with numerous books published on the subject, detailing various types and methods of using incense. In the Qing Dynasty (1644-1912 CE), incense culture became even more widespread, with extensive use among the common people. The Qing government also organized the compilation and study of incense culture, summarizing previous experiences and compiling numerous documents on incense culture [oai_citation:9,General History of Chinese Incense | hongkongincense](https://en.hongkongincense.com/incense-culture).

Types of Incense

The four most precious types of incense, known as the "Four Famous Incenses," are agarwood, sandalwood, ambergris, and musk. These incenses are highly valued for their unique scents and uses, playing an essential role in Chinese incense culture. Other common types of incense include:

- **Plant-Based Natural Incenses**: Chrysanthemum, osmanthus, peach blossom, jasmine, rose, etc. - **Leaf-Based Incenses**: Mugwort, mint leaves, rosemary, lemongrass, patchouli leaves, etc. - **Fruit-Based Incenses**: Dried tangerine peel, passion fruit, lemon slices, pepper, etc. - **Resin-Based Incenses**: Styrax, benzoin, frankincense, camphor, etc. - **Wood-Based Incenses**: Sandalwood, cypress, pine, cinnamon, etc. - **Root and Rhizome Incenses**: Dandelion, atractylodes, cyperus, licorice, angelica, turmeric, etc. - **Animal-Based Incenses**: Ambergris, musk, beaver castoreum, etc. [oai_citation:10,Incense in China - Wikipedia](https://en.wikipedia.org/wiki/Incense_in_China) [oai_citation:11,General History of Chinese Incense | hongkongincense](https://en.hongkongincense.com/incense-culture).

Incense Utensils

The fundamental and essential incense utensils are known as the "Seven Essentials for Incense Burning," which include: - Incense burner, incense box, burner ash, charcoal, mica plate, fine ash, and incense spoon.

Ritual Steps

There are three primary methods of enjoying incense: burning, fumigating, and smelling directly. Burning involves directly lighting the incense with a flame. Fumigating is more complex and involves heating the incense without direct flame, often using charcoal and mica plates to release the fragrance. Smelling directly is the simplest method, where the incense is enjoyed without any additional stimulation to release the scent.

Cultural Connotation

The culture of incense has carried countless meanings and connotations since ancient times. Firstly, its use in religious worship since the Zhou Dynasty highlights the long-standing religious history of the Chinese people and its importance in ancient life. Incense not only provides olfactory pleasure but also reflects the ancient people's love for life and their ability to find beauty and interest. The culture of incense helps elevate our aesthetics and contributes a rich heritage to the development of art. Additionally, the thriving incense culture reflects people's need for self-cultivation, embodying rich philosophical thoughts and spiritual connotations, representing the Chinese philosophy of harmony and balance. In ancient medicine, incense was cleverly combined with healing practices, playing a valuable role in relieving stress and adjusting emotions.

Revival

In today's fast-paced world, the pursuit of a stable, serene, and leisurely lifestyle has led to renewed interest in incense culture. More and more people are learning about and incorporating incense culture into their daily lives, adding a touch of elegance and calm.

Summary

Incense culture is an indispensable part of traditional Chinese culture, intricately connected with history, philosophy, art, and medicine. It embodies the unique aesthetic pursuits and values of the Chinese people.

Terms and Expressions

1. **沉香 (Agarwood)** 2. **檀香 (Sandalwood)** 3. **龙脑香 (Borneol)** 4. **麝香 (Musk)** 5. **龙涎香 (Ambergris)** 6. **安息香 (Benzoin)** 7. **乳香 (Frankincense)** 8. **丁香 (Clove)** 9. **桂皮 (Cinnamon)** 10. **艾草 (Mugwort)** 11. **香炉 (Incense Burner)** 12. **香盒 (Incense Box)** 13. **炉灰 (Burner Ash)** 14. **香炭 (Charcoal)** 15. **云母片 (Mica Plate)** 16. **灵灰 (Fine Ash)** 17. **香匙 (Incense Spoon)**

Questions

1. To which historical period can the origins of Chinese incense culture be traced back? 2. How did incense culture play a role in the Heaven worship rituals during the Zhou Dynasty? 3. What were the reasons for incense culture reaching its golden age during the Tang Dynasty? 4. In what aspects did incense culture reach new heights during the Song Dynasty? 5. What are the characteristics of the development of incense culture during the Yuan, Ming, and Qing Dynasties? 6. What are the four most precious types of incense? 7. What are the "Seven Essentials for Incense Burning" in incense culture? 8. What are the main evaluation methods in incense culture? 9. What are the philosophical and spiritual connotations of incense culture? 10. How is incense culture being revived and valued in modern society?

References

- [Kin Objects](https://kinobjects.com) [oai_citation:12,Chinese Incense History: From the Neolithic Period to pre-Middle Ages - Kin Objects](https://kinobjects.com/blogs/news/chinese-incense-history-neolithic-to-pre-middle-ages-zhou-qin-han-dynasties) - [Hong Kong Incense](https://en.hongkongincense.com) [oai_citation:13,General History of Chinese Incense | hongkongincense](https://en.hongkongincense.com/incense-culture) - [Wikipedia on Incense in China](https://en.wikipedia.org/wiki/Incense_in_China) [oai_citation:14,Incense in China - Wikipedia](https://en.wikipedia.org/wiki/Incense_in_China) - Voytishek E.E., et al., "«Incense Seals» in Chinese Culture: Origins, Ritual and Practical Functions", Vestnik NSU. Series: History and Philology [oai_citation:15,«Incense Seals» in Chinese Culture: Origins, Ritual and Practical Functions | Voytishek | Vestnik NSU. Series: History and Philology](https://nguhist.elpub.ru/jour/article/view/1239/?locale=en_US)

Translation

简介香道文化是中华民族在长期历史进程中，围绕各种香品的制作、炮制、配伍与使用而逐步形成的一系列活动、物品、制度和观念，反应除了中华民族独特的民族传统，美学观念一级思维模式等，渗透在中国人生活的方方面面，是博大精深的中华文化的一个重要组成部分。

起源极其发展中国的香道文化可以上溯直至新石器时代。早在6000年前，中国人的祖先就已经学会使用带有香味的芳香类植物进行宗教祭祀活动，旨在已芳香气泽敬奉神灵。

到了周代（约公元前1050-250年），香文化逐渐发展出更复杂的系统。周朝的皇帝每年都会在天坛举行祭天仪式，而香料的燃烧起到了重要的作用。燃烧香料所升起的烟被认为可以将祭品的香气带到天上，让神灵享用。 • 《诗经》中的《大雅·生民》诗篇提到周朝王后稷的祭天仪式，这表明香文化在当时已被广泛应用。汉代学者郑玄在《尚书》中解释“禋”这一香文化术语，说明香祭作为一种礼仪已在古代典籍中有所记载。

• 秦朝（公元前221-206年）统一六国的壮举为香文化的传播打下了地域基，础。在秦始皇通过中央集权的统治模式下，香文化得以在全国范围内传播。 • 随着汉代的建立（公元前206-公元220年），更多的香料沿着丝绸之路从中亚传入中国。这不仅丰富了香料的种类，也推动了香文化的普及和发展。汉代宫廷中使用的香料种类繁多，香料不仅用于祭祀，还用于宫廷生活和中医药。

三国至南北朝时期

1. 香文化的传承与变迁： • 三国至南北朝时期（公元220-589年），佛教在中国广泛传播，香文化与佛教仪式紧密结合。寺庙中往往使用种类繁多的香料，燃香成为佛教仪式的重要组成部分。这个时期，香文化逐渐从宗教祭祀向文人雅士的日常生活中扩展。

隋唐时期

2. 香文化的黄金时代： • 在唐代（618-907年），国际贸易空前发展，大量的香料得以进入中国市场，进一步丰富了香料的种类。这时，香料不再局限于宗教祭祀，它们受到宫廷的欢迎，用于娱乐以及社交活动。 • 唐代佛教达到发展的顶峰，香文化与佛教仪式更加紧密结合。许多寺庙和佛教活动中都使用了大量香料，焚香成为衡量宗教仪式的标准之一。 3. 文人雅士的香文化：除了宗教活动和宫廷生活之外，香文化也吸引了许多文人雅士，成为与茶道，花道并列的文化活动，用于陶冶情操，提升精神境界。

宋代

4. 香文化的高度发展： • 宋代（960-1279年），香文化发展达到新高度。这个时期，香道与书画、茶道并列，成为文人四大雅事之一；许多有关的书籍编写出版，详细记录了各种香料的配方和使用方法。 • 宋代的香文化逐渐渗透到社会的各个阶层。普通百姓也有条件使用香料，香文化普及程度大大提高。

元明清时期

5. 香文化的传承与创新： • 元明清时期（1271-1912年），香文化继续发展。明代（1368-1644年）是香文化的重要时期，大量有关书籍出版，其种类和使用方法更加多样化，还在医学、保健和日常生活中广泛应用。 • 清代（1644-1912年），香文化进一步普及，民间更广泛使用。清政府还组织了对香文化的整理和研究，总结前朝经验，编纂了大量关于香文化的文献。

香料种类四大名香，即最名贵的四种香料，分别是沉香、檀香、龙脑香和麝香。也有说法认为四大名香是沉香、檀香、龙涎香和麝香12。这四种香料因其独特的香气和用途，在中国香文化中占有极其重要的地位。

其他常见香料包括但不限于：

植物性天然香料，如菊花、桂花、桃花、茉莉花、玫瑰花等。草叶类，如艾草、薄荷叶、迷迭香、柠檬草、霍香叶等。果实类，如陈皮、百香果、柠檬片、花椒等。树脂类，如苏合香、安息香、乳香、龙脑等。木质类，如檀香、柏木、松木、肉桂、等。根茎类，如蒲公英、苍术、香附子、甘草、白芷、郁金等。动物性香料，如龙涎香、麝香、甲香等。

器具焚香器具数不胜数，其中最基础也是最重要的被称为“焚香七要”，分别是:香炉、香盒、炉灰、香炭墼、隔火砂片、灵灰、匙筋。仪式步骤品香有三种主要方法，分别是焚香，熏香和生闻。焚香一般采用直接用明火点燃焚香材料的方式。熏香则更为复杂，不直接点燃，而是炭块高温搁着云母片等炙烤香料以散发香味。生闻则更加简单，品香者不采取任何刺激香气挥发的方法直接品闻香气。

文化内涵香道文化自古至今承载了中华民族无数底蕴与内涵。首先是宗教信仰内涵，自周代起香的在祭祀活动中的广泛使用提现了中华民族悠久的宗教文化历史极其在古代生活中的重要地位；焚香品香不仅仅是嗅觉上的享受，更体现了古代人们热爱生活，善于发现美和情趣的美好品质，通过香道文化，我们的审美得到提升，也为艺术的发展贡献了丰富的遗产；香道文化的蓬勃发展提现了人们修身养性的需求，蕴含着丰富的哲学思想和精神内涵，正是中国文化中中庸和谐理念的重要提现；初次之外，在医学发达的古代，香道也巧妙地与治病救人相结合，在缓解压力，调节情绪等方面发挥了其宝贵价值。

复兴在经济，科技等高速发展的今天，人们更加追求稳定安宁，悠然自得的生活方式，也促使人们重视起我们的香道文化。如今，人们对香道文化产生浓厚的兴趣，越来越多的人学习香道文化，并加以运用，给我们的日常生活添色许多。

总结香道文化是中国传统文化中不可或缺的一部分，它与历史，哲学，艺术，医学等紧密相关，提现了中华民族独特的审美意趣和追求。

Xiao Ye |The Imperial Civil Examination System

Introduction

The imperial civil examination system is an ancient Chinese system of selecting officials through examinations. From its inception to its abolition in 1905, it had a long history of more than 1,200 years and had a profound impact on the society at that time. It was considered to be the fairest way of talent selection that could be adopted in the feudal era, but in the later stages of development, its drawbacks gradually came to the fore, and its negative effects became more and more significant. In addition, ancient Japan, Korea, Vietnam and other countries that had close exchanges with China were also deeply influenced by the imperial civil examination system. To this day, the imperial civil examination system still has profound cultural value and significance. (The imperial civil examination system,2024)

The development of the imperial civil examination system

The origin of the imperial civil examination system is controversial in historical circles, with various claims ranging from the Han, Sui, to the Tang dynasties. The mainstream view, however, is that the system was initiated during the Sui Dynasty and further developed and perfected during the Tang.

1 Sui Dynasty: Establishment

Before the Sui Dynasty, the official selection systems were largely corrupt. For instance, the “Nine Ranks system” during the Wei, Jin, and Southern and Northern Dynasties was based on family background and social status rather than ability. During its implementation, it was unable to escape the notion of class privilege and lacked standardized regulations, leading to widespread corruption among officials. After the establishment of the Sui Dynasty, Emperor Wen of Sui fully recognized the shortcomings of the previous official selection systems and abolished the Nine Ranks system. He began to use a system of specialized examinations to select officials. During the reign of Emperor Yang of Sui, the jinshi subject was established for the first time, marking the formation of the civil service examination system.

2 Tang Dynasty: Perfection

The Tang Dynasty inherited and improved the imperial civil examination system of the Sui Dynasty. It was manifested in the following: Emperor Taizong of the Tang Dynasty increased the number of subjects to be examined, with the two subjects of jinshi and mingjing as the main subjects; Emperor Wu Zetian expanded the number of people who could be selected for the imperial examinations, and created the military examination and the palace examination; Emperor Xuanzong of the Tang Dynasty appointed high-ranking officials to preside over the examinations, and raised the status of the imperial civil examination system.

3 Northern Song Dynasty: Development The examination system in the early years of the Northern Song Dynasty saw further development compared to the Tang Dynasty, mainly reflected in the following aspects: First, the examination process was strictly regulated, with the exam divided into three levels: the county examination, the provincial examination, and the palace examination, which became a fixed institution. Second, the number of examination subjects was simplified, with the jinshi subject becoming the most important. Third, the “anonymizing method” was implemented in the examination process to prevent corruption by examiners. Fourth, the number of candidates admitted was expanded.

4 The Ming and Qing dynasties: Rigidity

In order to strictly control the thinking of the scholars, the imperial civil examination system of the Ming Dynasty underwent significant changes from content to form. The examination was based only on the Four Books and Five Classics of Confucianism. Candidates were not allowed to express their own opinions. The style of the answer sheet was strictly regulated, and the essay was mechanically divided into eight parts, which was called “Stereotyped Writing”. This severely restricted people's thinking, stifled intellectual ingenuity and creativity, ossified thinking, and seriously impeded the development of Chinese science and culture.

5 Late Qing Dynasty: Abolition

In the 1898 Hundred Days Reform, Emperor Guangxu issued an edict to “abandon the eight-legged essay and replace it with policy essays.” After the failure of the Hundred Days Reform, in 1905, the Qing government announced the abolition of the imperial civil examination system. From then on, the imperial civil examination system came to an end.(Lin,33-34)

The content and form of the imperial civil examination system

The imperial civil examination system primarily assessed candidates’ mastery of Confucian classics, and the focus and scope of the examination varied over different periods. The examination was conducted in three stages: the county examination, the metropolitan examination, and the imperial examination. The county examination was the initial stage held locally. Qualified candidates were named “juren”. The metropolitan examination was the second stage held in the capital and qualified candidates were named “gongshi” The imperial examination is conducted personally by the emperor. Qualified candidates were named “jinshi” The examination employed a subject-based selection method, where candidates chose to take the examination based on their strengths. The main forms of examination included poetry, lyrics, fu (a type of ancient Chinese prose), essays, and policy proposals, which later gradually evolved to focus more on policy proposals. (The imperial civil examination system,2024)

The evaluation of the imperial civil examination system

Terms and Expression

The imperial civil examination system 科举制
Nine Ranks system 九品中正制
Emperor Yang of Sui 隋炀帝
jinshi subject 进士科
Mingjing subject 明经科
Emperor Wu Zetian 武则天
The military examination 武举
The palace examination 殿试
The county examination 乡试
The provincial examination 省试
anonymizing method 糊名法
Mingfa subject 明法科
Four Books and Five Classics 四书五经
Stereotyped Writing/eight-legged essay 八股文
the metropolitan examination 会试

Questions

References

Li Sijin |Literature:Qu Yuan

Introduction

Qu Yuan is a famous great patriotic poet in Chinese history, the founder of Chinese romantic literature, and the founder and representative writer of "Chu Ci". 2,300 years ago, the great patriotic poet Qu Yuan threw himself into the Miluo River. The spirit of Qu Yuan has been continuously interpreted since the Han Dynasty, showing distinctive characteristics of the times in each era; The activities and festivals commemorating Qu Yuan have become important cultural traditions of the Chinese nation, and people have increased their sense of belonging and identity through commemorating Qu Yuan. The spirit of Qu Yuan has been widely disseminated and recognized abroad, and the Chinese Dragon Boat Festival has been included in the "Representative List of Intangible Cultural Heritage".

Main Part

In 340 B.C., Qu Yuan was born in the state of Chu. When he was young, he received a good education and had a big ambition. After entering politics, he advocated for "good governance", advocating for internal governance with clear laws and external alliances to resist the state of Qin. Later, he was marginalized by the aristocracy and exiled to the region of the Yuan and Xiang rivers. However, he steadfastly upheld his ideals, practiced the ways of a nobleman. In 278 BC, when there was no way to serve the country , Qu Yuan committed suicide in the Miluo River in complete despair. 1.Qu Yuan's virtue Qu Yuan used his own name to reflect the moral standards he pursued. Qu Yuan once said: "My father gave me the name 'Zheng Ze,' and called me 'Ling Jun'." "Zheng Ze" signifies integrity and righteousness, adhering strictly to principles of conduct: "Ling Jun" denotes intelligence, wisdom, fairness, and justice. In the "Song of the Orange Tree," he further exemplifies his character by the steadfastness of the orange tree: for the sake of his noble ideals, he would never compromise, even unto death. Qu Yuan's eternal aspiration lies in his literary works and political ambitions, all of which stand on the side of the people. His greatness lies in his unwavering compassion for the country and its people, and his profound love for his homeland. The reason he have become a significant commemoration of a traditional festival is because his words and actions overflow with boundless love for the people, and the country. Deeply embedded within them lies the enduring strength of national spirit. "No one in the country knows me, why cling to the old capital?" Qu Yuan once pondered the question of "why not leave the country," but ultimately, he did not embark on distant travels, which truly reflects his steadfastness to domestic cultural heritage. 2.Qu Yuan's political advocacy and contributions Qu Yuan was a great politician. On the one hand, he set up the ideal and ambition of "good governance" very early, and the political goal for which he fought for all his life. He advocated internal governance with clear laws and the reform of politics. At this time, Qu Yuan, who was honest, upright and selfless, was supported by King, and the six reform measures he carried out made the state of Chu stronger and stronger. On the other hand, Qu Yuan advocated external alliances to resist the state of Qin. His foreign policy made the state of Chu once present a situation of national wealth and strong army. 3.Qu Yuan's poems Poet is Qu Yuan's primary label throughout the ages. Qu Yuan integrated his life with his homeland, and his specific works are full of deep feelings for his country, which are worthy of praise and learning for future generations.From his life and works, people have summarized and continuously expounded the "Qu Yuan spirit", and with the changes of the times, it has been constantly endowed with new connotations of the times. He recounted in "Li Sao": "Long did I sigh and wipe away my tears, to see my people bowed by griefs and fears." The poet expressed deep sympathy for the difficult life of the people. And this kind of love and sorrow intertwined also made Qu Yuan refuse to leave his hometown until he died. His feelings for the country and the people also erupted uncontrollably in a series of poetic works such as "Jiu Ge" and "Jiu Zhang". Therefore, Qu Yuan's poetry has incomparable cultural value. 4.The embodiment of Qu Yuan's spirit in modern times Today, during the Dragon Boat Festival, various regions across China highlight the theme of honoring Qu Yuan, praising his patriotism. Through reciting poetry, and participating in dragon boat races, the public are lead to learn about the spirit of Qu Yuan and nurture patriotic sentiments.Since the 18th National Congress of the Communist Party of China, he has praised his honest and noble personality on different occasions, andhas repeatedly quoted famous sentences from Qu Yuan's poems to expound his thoughts.Today, as we commemorate Qu Yuan, we honor the traditional Chinese scholar's spirit of confronting life and death, boldly striking at the unknown, represented by Qu Yuan's "Questions to Heaven" spirit. In his epic poem "Questions to Heaven," Qu Yuan delves from the separation of heaven and earth, the changes of yin and yang, to natural phenomena like the sun, moon, and stars, directly questioning mythological legends and historical tales of sages and villains, prosperity and decline. Through his inquiries, he expresses his cosmological, historical, and political views. Not confined by doctrines but driven by reality, daring to question and critique, such exploratory spirit is truly admirable.This shows the Chinese's critical spirit of existing traditional concepts and the spirit of exploring scientific truth. Today, we commemorate Qu Yuan to honor the loyal and unswerving patriotic spirit of Qu Yuan. Qu Yuan's name has become an important label for patriotism. The greatest charm of Qu Yuan's personality lies in the spiritual core with the spirit of patriotism as the core, which allowed him to transcend the value pursuit of scholars at that time to abandon the country and pursue profits, closely link personal ideals with the destiny of the nation, and strive to unite and struggle for the realization of the people's yearning for a better life. Today, we commemorate Qu Yuan to honor the perseverance and struggle spirit of Qu Yuan. Qu Yuan has been worried the Chu State all his life, whether he is in the imperial court or not, he does not forget to think about the country and the people.Unwilling to take a detour, nor willing to compromise, he finally proved his loyalty with his life, and he never regretted it.

Conclusion

As a spiritual symbol, "Qu Yuan" has played an important role in the construction of the sense of community of the Chinese nation from the past to the present and even in the future. Further research on Qu Yuan's spirit is helpful to better understand Qu Yuan's personality charm, and the connotation of the spiritual home of the Chinese nation, and is of important and far-reaching significance for establishing and practicing the core values of socialism.

Terms and Expressions

Representative List of Intangible Cultural Heritage 非物质文化遗产代表作名录 good governance 美政 internal governance with clear laws对内修明法度 external alliances to resist the state of Qin对外联齐抗秦 "Song of the Orange Tree"《橘颂》

Questions

Who is the founder and representative writer of "Chu Ci"?
What is Qu Yuan's political advocacy?
What is the meaning of Qu Yuan's name?
How Qu Yuan's spirit is embodied in his poetry?
What is the meaning of "Questions to Heaven"?

References

[1] Tang Jianjun. The Enduring Mystery of Qu Yuan's Spirit [J]. Journal of Hunan Provincial Institute of Socialism, 2023, 24 (05): 80-84. [2] Guo Xiaochun, "The Era of Qu Yuan's Spirit", People's Forum, No. 19, 2019, pp. 130-131. [3] Ma Xin. Research on the Special Teaching of Qu Yuan's Works in High School from the Perspective of Family and Country Feelings[D]. Northwest Normal University, 2023. DOI:10.27410/d.cnki.gxbfu.2023.001190. [4] Yuan Shuangyan. On the Life Choices of Confucius and Qu Yuan from the Analects and Chu Ci [J]. Chinese Character Culture, 2024, (06): 221-223. DOI:10.14014/j.cnki.cn11-2597/g2.2024.06.003.[5] Wen Z ,Fang F . Study on the Integration of Party History Learning and Education into Ideology Construction in Universities[C]// International Science and Culture Center for Academic Contacts (Moscow, Russia). Proceedings of The 4th International Conference on Education Studies: Experience and Innovation (ICESEI 2023). School of Marxism, Shanghai University of Political Science and Law;, 2023: 6. DOI:10.26914/c.cnkihy.2023.056836 [6] Wang Qunhai: 30 years of persistence and inheritance of Qu Yuan culture [J]. National Family, 2024, (02): 28-29. [7] Cui Yu. Qu Yuan's Personality Charm and Significance of the Times [J]. Yangtze River Novel Appreciation, 2024, (06): 100-103.

Translation

Introduction 屈原是中国历史上一位著名的伟大的爱国诗人，中国浪漫主义文学的奠基人，“楚辞”的创立者和代表作家。2300年前，伟大的爱国诗人屈原在汨罗江自杀殉国。屈原精神自汉代以来不断被阐释，在每个时代都展现出鲜明的时代特征；纪念屈原的活动和节日成为重要的中华民族文化传统，人们通过纪念屈原增加了归属感、认同感；屈原精神在国外得到广泛传播和认可，中国端午节被列入“非物质文化遗产代表作名录”。 Main part 公元前340年,屈原出生于楚国,少年曾受过良好教育，志向远大，从政后提倡“美政”，主张对内修明法度，对外联齐抗秦，后遭贵族排挤，被流放至沅湘流域。但他坚守自我理想，践行君子之道。公元前278年，在报国无路的情况下，屈原极度绝望，自杀于汨罗江。 1.屈原的美德屈原用自己的名字反映追求的道德标准。屈原曾言：“父亲把我的名取为正则，把我的字叫作灵均。”“正则”即正直、正派，恪守做人原则；“灵均”指聪颖、智慧、公平、公正。在《橘颂》中，他又以橘树的“独立不迁”体现自己的操守：为了心中美好的信念，绝不与小人同流合污，即使死去，也未曾后悔过。屈原的千古之志，体现在他的文学作品和政治抱负都无一不站在人民的立场上。他的伟大也在于他能始终怀着强烈的对国家及人民的悲悯之心，和对家国的深爱。他之所以能成为一个重要传统节日的主要纪念对象，就是因为他的言行流露着对祖国、对人民无限的爱，其中蕴藏着民族精神的持久力量。“国无人莫我知兮，又何怀乎故都？”屈原亦曾考虑过“何不去国”的问题，但他最终没有去国远游，这正体现了他对本国文化遗产的坚守。 2.屈原的政治主张及贡献屈原是一名伟大的政治家。一方面，他很早就树立了“美政”的理想抱负，及为之奋斗终生的政治目标。他主张对内修明法度，改革政治。此时，清正廉洁、刚正无私的屈原得到国君支持，其开展的六条变法改革图强措施，让楚国日益强大起来。另一方面，屈原对外主张联齐抗秦。他的外交政策，使得楚国一度呈现出一个国富兵强的局面。 3.屈原的诗歌诗人是屈原横贯古今的首要标签。屈原将自己的生命与故土融为一体，在其具体的作品中充斥着对家国深厚的情感，值得后世传颂学习。从他的生平和作品中，人们总结并不断阐发出“屈原精神”，随着时代的变迁，不断地赋予新的时代内涵。他在《离骚》中述说着：“长太息以掩涕兮,哀民生之多艰!”诗人对人民艰难的生活深表同情。且这种热爱与忧患交织着的情感也使屈原至死不肯离乡他就。”他对国家和人民的这种感情在《九歌》《九章》等一系列诗歌作品中，也毫不节制地喷发而出。因此，屈原的诗歌有着无法比拟的文化价值。 4.屈原精神在现代的体现今日，每逢端午节，中国各地都突出祭祀屈原的主题，歌颂屈原忧国忧民的精神，通过开展诗词吟诵、进行赛龙舟等活动，引领公众学习屈原精神，培养爱国情怀。党的十八大以来，习近平总书记曾在不同场合多次赞叹其心忧家国、清正高洁的人格魅力，并先后多次引用屈原诗歌中的名句来阐述思想。今天我们纪念屈原，是纪念屈原代表的传统中国士人直面生死、敢向未知勇猛叩击的“天问”精神。在长诗《天问》中，屈原从天地离分、阴阳变化、日月星辰等自然现象，一直问到神话传说乃至圣贤凶顽和治乱兴衰的历史故事，并从设问中表达自己的宇宙观念、历史观念和政治主张。这表现了中国人对既有传统观念的批判精神和对科学真理的探索精神。今天我们纪念屈原，是纪念屈原代表的忠贞不渝的爱国精神。屈原的名字已成为爱国主义的重要标签。屈原人格最大魅力就在于以爱国主义精神为核心的精神内核，让他超越了当时士大夫普遍弃国逐利的价值追求，把个人理想同民族命运紧密联系在一起，为实现人民对美好生活的向往而努力团结奋斗。今天我们纪念屈原，是纪念屈原代表的锲而不舍的奋斗精神。屈原一生都在为楚国操心，无论是否处在朝廷，都不忘忧心国家与人民。不愿迂回，也不愿妥协，最后用生命证明了自己的一腔忠义，也不曾后悔。 conclusion “屈原”作为一种精神符号，从过去到现在以至未来，都对中华民族共同体意识的构建起着重要作用。对屈原精神的进一步研究，有助于更好地了解屈原的人格魅力，帮助我们全面理解中华民族精神家园的内涵，对于树立和践行社会主义核心价值观具有重要而深远的意义。 Questions 1.“楚辞”的创立者和代表作家是谁？ 2.屈原的政治主张是什么？ 3.屈原名字的内涵是什么？ 4.屈原的精神是怎样在他诗歌里体现的？ 5.“天问精神”是什么意思？ References [1]汤建军. 屈原精神历久弥新的奥秘 [J]. 湖南省社会主义学院学报, 2023, 24 (05): 80-84. [2]郭晓春：《屈原精神的时代弘扬》，《人民论坛》2019年第19期，第130-131页。 [3]马鑫. 家国情怀视域下的高中屈原作品专题教学研究[D]. 西北师范大学, 2023. DOI:10.27410/d.cnki.gxbfu.2023.001190. [4]袁双艳. 从《论语》与《楚辞》论孔子与屈原的人生选择 [J]. 汉字文化, 2024, (06): 221-223. DOI:10.14014/j.cnki.cn11-2597/g2.2024.06.003. [5]Wen Z ,Fang F . Study on the Integration of Party History Learning and Education into Ideology Construction in Universities[C]// International Science and Culture Center for Academic Contacts (Moscow, Russia). Proceedings of The 4th International Conference on Education Studies: Experience and Innovation (ICESEI 2023). School of Marxism, Shanghai University of Political Science and Law;, 2023: 6. DOI:10.26914/c.cnkihy.2023.056836 [6]王群海：30载坚守传承屈原文化 [J]. 民族大家庭, 2024, (02): 28-29. [7]崔豫. 屈原人格魅力及时代意义 [J]. 长江小说鉴赏, 2024, (06): 100-103.

Luo Yang |Games: pitch-pot game(touhu)

Introduction

Pitch-pot game is a ceremonial game played by ancient people during banquets. During the game, a specially made pot is used, and the guests take turns throwing arrows into it. The one who hits the most wins, while the loser drinks. As a classic entertainment activity in Chinese traditional culture, Pitch-pot is not only a competitive game but also a social way of interaction with significant cultural symbolism. With a long history, it embodies rich philosophical thoughts and moral teachings, exerting a profound influence on Chinese etiquette and culture.

The Evolution and Revival of Touhu Culture

Origin and Development

The renowned Han dynasty writer Zheng Xuan mentioned in his work "The Book of Rites - Pitch-pot," that "Pitch-pot evolved from the archery rituals of the Shang and Zhou dynasties." Archery was one of the six arts for noblemen, and the archery rituals evolved into essential etiquette for banquets. However, due to the limited space of the courtyard, or the people who were unfit for archery, the activity of using bristles instead of arrows, pots instead of targets, and throwing instead of shooting emerged, transforming "banquet archery" into "banquet pitching."

After a long period of development and evolution, Pitch-pot transitioned from an exclusive elegant entertainment for the upper class to the common people, becoming popular among the general public. The earliest literary record of Pitch-pot activity appeared in the "Zuo Zhuan". In the "Zuo Zhuan - The Twelfth Year of Duke Zhao," it was recorded: "The Marquis of Jin entertained the Marquis of Qi, and Zhongxing Muzi played pitch-pot." In the twelfth year of Duke Zhao (around 530 BC), pitch-pot activities were still entertainment at ruling class banquets. At that time, Pitch-pot could be considered as a ritual, inheriting the form and ethical ideas of archery, to some extent reflecting the ethical rules of status hierarchy.

By the Warring States period, pitch-pot gradually became popular among the common people, allowing both men and women to participate, enhancing the entertainment aspect of pitch-pot. During the reign of Emperor Wu of the Han dynasty, the imperial household official Guo was particularly skilled in Pitch-pot. He improved the rules and equipment used in pitch-pot, leading to its wider dissemination among the common people. Until the Song dynasty, Prime Minister Sima Guang opposed the excessive entertainment aspect of Pitch-pot, proposing a return to its ceremonial function, limiting the richness of Pitch-pot skills. In the Ming and Qing dynasties, although Pitch-pot games were still popular among the literati, its overall development slowed down. With the introduction of modern Western sports at the end of the Qing dynasty, pitch-pot game declined and withdrew from the historical stage. （Zhang Yong, Deng Lixing. Research on the rise and fall of the development of ancient Chinese pots. Journal of Yulin Normal University ( Natural Science Edition ), 2007, ( 05 ): 119 - 121）

Cultural significance

The early practice of Touhu had a complete ceremonial process. As the sport became more entertaining over time, the ceremonial aspects were reduced. However, it is undeniable that the ceremonial culture and the spirit of sports competition within it still have strong guiding significance for the revival of traditional culture today.

Touhu embodies the traditional Chinese culture of moderation and can cultivate both the body and mind. From the perspective of external human behavior, Touhu also provides guidance for people's behavior, requiring people to follow certain standards and methods in handling affairs. Those who participate in this activity all uphold a cautious and respectful attitude. The host and the guest need to demonstrate their courteous demeanor through the ceremonial three invitations and three refusals. The attendants of the host and the guest also need to complete the prescribed sections according to the shooting ceremony, and must not be arrogant, negligent, distracted, turn their backs on the game while standing, or discuss other matters on the scene, etc., to show the seriousness of this activity. From the perspective of the inner state of a person, it is necessary to accompany the game of Touhu with elegant songs, requiring participants to pay attention to rhythm and rhyme, and to act according to the sound; in this process, the upper and lower parts of the human body are in a coordinated state, embodying the combination of movement and stillness, and the pursuit of harmony between man and the outside world. （Zhang Guoquan. ' Touhu ' and the inheritance of ancient ritual and music spirit. Lantai World, 2014, ( 04 ): 106-107）

Unlike other throwing sports overseas, Touhu does not achieve competition through physical confrontation, but emphasizes rationality and moral cultivation. Touhu is a typical representative of the gentleman's competition, requiring one to strive for victory through their own efforts in the competition, while also giving enough respect to the opponent. The Analects of Confucius describes it this way: a gentleman should value self-cultivation and not easily compete with others for superiority. If one must compete with others, they can participate in the shooting ceremony or Touhu. One should strive for victory in the competition, and when they win, they should bow to the opponent to show respect, rather than being complacent. In the competition, one continuously improves their personal cultivation level, using sports as a way to urge individuals to continuously improve their cultivation. This is also consistent with the modern competitive sports concept of "friendship first, competition second". （Wang Yuan. Rejuvenation of Traditional Culture from Pot-throwing Game. Beijing Folklore Forum, 2020, ( 00 ): 189-195.）

Inheritance and promotion

In the sports and cultural ecology of contemporary China, Western sports have long occupied the mainstream position, and China's traditional sports has been marginalized. In recent years, with the rise of the national fitness wave, people have paid more attention to the content and quality of sports activities. This has created a rare opportunity for the revival of pitching pots. However, we do not need to copy the development model of ancient pitching pots, but to promote its combination with modern entertainment while retaining its own cultural value. For the general public, the fun of sports activities is ranked first, followed by its cultural value. Therefore, we can make bold innovations in pitching pots, increase its gameplay, or expand the scale of the game, so that it can be transformed from a two-person round-based game to a multi-person competition, attracting more people to participate in the sport of pitching pots. （Luo Yongyi, Yang Lan, Qiu Jun. From the historical evolution of the pot to see the revival of traditional sports. Journal of Chengdu Sport University, 2017,43 ( 05 ): 75-80）

In addition to improving and innovating pitching pots, we should also actively promote the spread of pitching pots at home and abroad. Although there are many pitching pot activities in China, most of them are personal organizations of pitch pot enthusiasts. If we want to make pitch pots a trend in society, multi-party cooperation is strongly needed. First of all, the government should play a guiding role, provide policy guarantees and economic support for pitching pots, and lay the foundation for the healthy development of this project. Secondly, we should make full use of education as an effective platform to let children get in touch with it from an early age and cultivate their interest. Finally, vigorous publicity by the media is indispensable. Through the Internet, we call on the whole society to pay attention to the development of folk sports and enhance the people's cultural confidence and cultural identity. （Hao Jinfang.Touhu cultural historical changes and inheritance. Shandong Sport University, 2014.）

Conclusion

Pitch-pot, a treasure in China's excellent traditional culture, not only inherits the rituals of archery and the etiquette of self-cultivation, but also integrates the essence of Chinese civilization. Under the call of national rejuvenation in the new era, developing pitch-pot is of great significance to the revival of Chinese traditional sports culture and today's leisure sports. We have the responsibility to inherit it and promote its dissemination, so that more people can enjoy this precious humanistic practice of the ancestors of China.

Terms and Expressions

Pitch-pot game 投壶游戏

Ceremonial game 宴会游戏

The Book of Rites 《礼记》

Archery rituals 射礼

Warring States period 战国时期

Moderation 中庸

Self-cultivation 正己修身

Questions

How did Pitch-pot evolve from archery rituals?
What cultural values does Pitch-pot embody?
What are the challenges and opportunities in reviving Pitch-pot?
Why is Pitch-pot's development significant to Chinese traditional sports culture?
What roles do the government, education, and media play in promoting Pitch-pot?

References

Wang Yuan. Rejuvenation of Traditional Culture from Pot-throwing Game. Beijing Folklore Forum, 2020, ( 00 ): 189-195.

Zhang Guoquan. ' Touhu ' and the inheritance of ancient ritual and music spirit. Lantai World, 2014, ( 04 ): 106-107.

Zhang Yong, Deng Lixing. Research on the rise and fall of the development of ancient Chinese pots. Journal of Yulin Normal University ( Natural Science Edition ), 2007, ( 05 ): 119 - 121.

Hao Jinfang.Touhu cultural historical changes and inheritance. Shandong Sport University, 2014.

Luo Yongyi, Yang Lan, Qiu Jun. From the historical evolution of the pot to see the revival of traditional sports. Journal of Chengdu Sport University, 2017,43 ( 05 ): 75-80

Translation

投壶

投壶是古人宴会时礼节性的游戏。游戏时设特制之壶，宾主以次投矢其中，中多者为胜，负者饮。作为中国传统文化中的一项经典娱乐活动，投壶不仅是一种竞技游戏，更是一种独具文化象征意义的社交方式。它历史悠久，蕴含着丰富的哲学思想和道德教化功能，对中国礼仪文化影响深远。

起源及发展

汉代著名文学家郑玄在他所著的《礼记·投壶》中说道：“投壶是从商周时期射礼演化而来的。”射，是君子六艺的一种，由此衍生出来的射礼成为了宴会中必备的礼仪。然而，由于弓、箭数量和宴会场地的限制，或者一些嘉宾不擅长射箭，就出现了以棘代矢，以壶代靶，以投代射的投壶活动，使“宴射”变成了“宴投”。经过漫长的发展和演变后，投壶由上层社会专属的高雅娱乐走向民间，受到广大平民百姓的喜爱。投壶活动的文献记载最早出现于《左传》。《左传·昭公十二年》载：“晋侯以齐侯宴，中行穆子相，投壶。”在昭公十二年（公元前530年）的时侯，投壶活动还是统治阶层宴会上的娱乐。当时投壶可以被称为是投壶礼仪, 是对射礼从形式到伦理思想的继承, 一定程度上体现地位尊卑的伦理法则。到了战国时期，民间开始逐渐流行投壶，男女皆可参加，增加了投壶的娱乐性。汉武帝时期，郭舍人尤其擅长投壶，他改良了投壶的规则和所用器具，使投壶在民间得到了更为广泛的传播。直到宋代，丞相司马光反对投壶的过度娱乐化，提出要回归它的礼仪功能，限制了投壶技艺的丰富性。明清时期，投壶游戏虽然还流行于士大夫之间，但它整体的发展已趋于缓慢，随着清末西方现代体育运动的传入，投壶走向衰落，退出了历史舞台。（张永,邓丽星.中国古代投壶发展盛衰考证.玉林师范学院学报(自然科学版),2007,(05):119-121）

文化意义

投壶早期具有完善的礼仪流程，在后世的发展中，随着投壶运动娱乐性的不断加强, 礼仪则相应地减少。但不可否认的是，其中的礼仪文化以及体育竞技精神对于当下传统文化的复兴仍然有较强的指导意义。投壶体现了中国传统的中庸文化，能够修养身心。从人的外在行为方面看, 投壶也对人的行为方式做出了指引, 要求人们在事务的处理方面遵循一定的标准与方法。参与到这项活动中的人都秉持着谨慎恭敬的态度, 宾主之间需要通过礼节性的三请三辞来展现双方儒雅揖让的风度。宾主的侍从也都要根据射礼程序完成所规定的节数, 在整个活动过程中做到不可傲慢、不能懈怠、不准分散精力和心神旁顾、不准在站立时背对赛局、不能在现场对他事进行谈论等一系列要求, 以表示此项活动的郑重。从人的内心状态来看, 投壶时需要用雅歌进行伴奏，要求参与者讲求节奏与韵律,循声而发; 在这个过程中, 人的身体上下都处于协调状态,体现着动静结合,追求人与外界的和谐。（张国权.“投壶”与古代礼乐精神传承.兰台世界,2014,(04):106-107）与海外的投掷游戏不同的是，投壶并非通过身体对抗来实现竞争，而更强调理性和道德修养。投壶运动是君子之争的典型代表,要求在比赛中通过自己的努力来争取胜利,同时也要给予对手足够的尊重。《论语》中对其做出了这样的表述:君子要重视修身养性,不能与人轻易争高低,如果一定要与人相争,便可以进行射礼或投壶。在比赛中要争取胜利,而在取得优胜时要向对手作揖表示尊重,而不是意得志满。在比赛当中不断提高个人修养水平，将体育运动作为督促个人不断提升修养的途径,这也与现代竞技体育“友谊第一，比赛第二”的理念相一致。（王媛.从投壶游戏看传统文化的复兴.北京民俗论丛,2020,(00):189-195.）

传承和推广

当代中国的体育文化生态中，西方体育长期占据主流阵地，中国的传统体育文化被边缘化。近年来，随着全民健身浪潮的兴起，人们越来越重视体育活动的内容和质量。这为复兴投壶创造了不可多得的机会。但是，我们并不需要照搬古代投壶的发展模式，而是要在保留它自身文化价值的同时，促进它与现代休闲娱乐相结合。对于广大群众而言，体育活动的趣味性是排在首位的，其次才是它的文化价值。因此，我们可以对投壶进行大胆创新，增加它的玩法，或扩大比赛的规模，让它从双人回合制比赛变成多人对抗赛，吸引更多人参与到投壶运动中。（罗永义,阳岚,仇军.从投壶的历史演进看传统体育的复兴.成都体育学院学报,2017,43(05):75-80）除了对投壶进行改良与创新外，我们也要积极推动投壶的海内外传播。虽然国内有不少投壶活动，但大多是投壶爱好者的个人组织。要想让投壶在社会范围内形成风潮，离不开多方合作。首先，政府要发挥导向作用，为投壶提供政策保障和经济支持，为这一项目的健康发展奠定基础。其次，要充分利用教育这一有效的平台，让孩子们从小接触投壶文化，培养他们对它的兴趣。最后，媒体的大力宣传是必不可少的。通过网络呼吁全社会关注民间运动的发展，提高民众的文化自信和文化认同感。（郝金芳. 投壶文化历史变迁与继承.山东体育学院,2014）

总结

投壶，这一中华优秀传统文化中的瑰宝，不仅继承了射礼的仪节和正己修身的礼义，更融入了华夏文明的精华积淀。在新时代民族复兴的号召下，发展投壶运动对于中国传统体育文化的复兴对当今休闲体育的发展有着重要意义。我们有责任传承投壶并推广它的传播,让更多人享受到这项华夏先民的珍贵人文实践成果。

术语和表达

Pitch-pot game 投壶游戏

Ceremonial game 宴会游戏

The Book of Rites 《礼记》

Archery rituals 射礼

Warring States period 战国时期

Moderation 中庸

Self-cultivation 正己修身

问题

1. 投壶是如何从射礼演变而来的？

2.投壶体现了什么文化价值观？

3.恢复投壶的挑战和机遇是什么？

4.为什么投壶的发展对中国传统体育文化具有重要意义？

5.政府、学校和媒体在宣传投壶方面扮演了什么角色？

Lin Ruyin |Folk Art:Piao Se

Brief Introduction

Piao Se, also known as Tai Ge, Zou Ge, Gao Tai, etc., is a kind of folk art that has been passed down in the central and southeastern coastal areas of China. It refers to the actor appearing to soar in the air without any support, wearing brightly colored clothes, creating a beautiful scenery during the performance. According to some sources, "Piao Se" is a comprehensive art form that combines drama, music, art, magic, acrobatics, and mechanics. It portrays characters in a soaring, thrilling, and magical way. With its height, danger, precision, wonder, andS exquisite, it is praised by foreigners as the Hidden Art of the East. Piao Se mainly consists of three parts, “Se Gui”, the platform; “Se Geng”, the supporting stick; and“Se Xin”, the core. One is the “Se Gui”, which is a platform used to support “Ping”, “Piao” and other props. It generally consists of two parts: the one sitting on the platform is called "Ping", and the one floating in the air is called “Piao". “Se Geng” is the supporting stick that serves as a supporting and connecting steel branch, the thrilling manifestation of Piao Se. The last is “Se Xin”, which refers to the actors and actresses, mostly children aged three to eight. Piao Se is a long-standing art performance that is widely popular in southern China, especially in Guangdong province. Nowadays, Piao Se mostly appears in large festivals or cultural events, often accompanied by other folk activities such as dragon and lion dances.

Historical Origin

Piao Se originated from the folk, drew materials from the folk, and flourished in the folk. The most widely accepted explanation for the origin in the Qing Dynasty. Since the Ming Dynasty, various types of dramas have emerged and been loved by the people of Lingnan region, especially Cantonese opera and Chaozhou opera. During the Taiping Rebellion in the Xianfeng period of the Qing Dynasty, Cantonese opera star Li WenMao took the lead in responding. After the failure of the uprising, Cantonese opera was officially banned. People then moved the stages to the streets, dressed children in theatrical costumes, and paraded around historical stories, not only protecting their own safety but also preserving customs and traditions.

Four Factions

In different regions, Piao Se combines local folk culture and has its own characteristics. Among them, four factions of Piao Se: Piao Se in Yakou Village, Nanlang Town, Zhongshan, , Piao Se in Meilu Village in Wuchuan, Zhanjiang, Piao Se in Fushi Village, Taishan Town, Jiangmen and Piao Se in Hetian Town, Luhe County are more famous and have been selected as national intangible cultural heritage.

Piao Se in Yakou Village, Nanlang Town, Zhongshan

On the sixth day of the lunar May, known as the Dragon King's Birthday, Yakou Village holds a large-scale floating activity, mainly parading in the fields. The most unique and the most famous part is the "Qiuqian Se", seeming like a swing. "Piao" and "Ping" are not fixed on the supporting stick, but swing up and down with the swing frame, forming a dynamic atmosphere, with brilliant colors that are pleasing people. Yakou Village is the only area in the Pearl River Delta region that implements people's commune, and it is still implemented today, with the land still managed by the production team. The unique system, pastoral scenery, and folk customs of Yakou Village have jointly created a unique form of Piao Se.

Piao Se in Meilu Village in Wuchuan, Zhanjiang

Wuchuan Piao Se originated in Shagang Village, Huangpo Town in Wuchuan, and was founded in the Qing Dynasty. It evolved from folk "Zhuan Se", "Gui Se" to "Piao Se". Its main characteristic is that the manufacturing process is very exquisite. Firstly, artists will create design drawings based on the principles of mechanics and artistic aesthetics; Then assemble the platform according to the design drawings. The shapes of Wuchuan Piao Se are diverse, with some characters floating in auspicious clouds, some standing on swords and guns, and some holding others in their hands. With continuous development, it has gradually evolved from one actor in one platform to multiple actors in one platform, with a sharp increase in difficulty and a greatly improved appreciation.

Piao Se in Fushi Village, Taishan Town, Jiangmen

Piao Se in Fushi Village originated from Shaanxi Gao Tai, and is a representative folk art of Taishan, which is paraded on the third day of the third lunar month known as the "Northern Emperor's Birthday". Fushi Village has a history of over 600 years. In 1996, the Guangdong Provincial Department of Culture awarded it the title of "Hometown of Ethnic and Folk Arts in Guangdong Province - Hometown of Piao Se". While in other regions, Piao Se is constantly innovating, the one in Fushi maintains its most primitive and traditional appearance. In Fushi, children selected as actors and actresses not only need to have a gorgeous appearance, but also possess excellent character and education, an outgoing personality, and diligence. Only after professional training can they become true performers.

Piao Se in Hetian Town, Luhe County

The Hakka ancestors of Hetian migrated from the central plains to the southern region, combining the central plains culture and Lingnan culture to create a unique Hetian Gao Jing(Piao Se). The 19th and 20th days of the first lunar month each year are the days for the Hetian Piao Se Parade. The most prominent artistic feature of it compared to the above three is its height. With the support of steel pipes, actors can soar up to seven to eight meters in the sky, seemingly supportless. It is precisely because of this characteristic that Hetian Gao Jing requires extremely perfect craftsmanship. Whether its supporting materials, forging temperature, or shape design all require strict control.

Inheritance and Development

Steady Inheritance

With the increasing awareness of protecting traditional folk art by the country, people's cultural recognition and love for Piao Se, this folk art has steadily developed under the inheritance of inheritors and has been selected as a national intangible cultural heritage. As a folk art with unique beauty and cultural value, Piao Se has been invited multiple times to perform at various large-scale events and festivals, and even shows up in the international world, all of which are inseparable from the persistence of inheritors of intangible cultural heritage. The path of inheriting Piao Se is not smooth sailing, but fortunately, after experiencing the stage of stagnating, it has revived and flourished again, constantly moving forward in the inheritance and innovation of inheritors.

Existing Problems

Every coin has two sides. As an intangible cultural heritage, it will inevitably face two problems. One is insufficient heirs, and the other is insufficient funds. The difficulty of this folk art is daunting for many people, and in order to truly master and inherit this art, it requires hard work and sweat day and night. Furthermore, a performance requires great human resources, material, and financial resources, but the income from the performance can only barely support the team. Therefore, under various practical conditions, how to better protect and inherit the traditional folk art is a problem that we need to constantly consider.

Terms and Expressions

HaaKa 客家 Taiping Rebellion 太平天国运动 the people's commune 人民公社 pastoral 田园的 aesthetics 美学理论

Questions

1. How many kinds of Piao Se have been selected as the intangible cultural heritage? 2. What is the comment foreigners give on Piao Se? 3. What are the three parts of Piao Se?

References

[1]彭爽.广东“飘色”民俗文化的保护和传承探究[J].文化创新比较研究,2021,5(11):135-138. [2]尹丽华. 广东飘色民俗文化的功能和艺术价值探究[D].广东技术师范学院,2019. [3]崔绿茵,蒋恩臣.粤西文化互融的现状与发展前景的调研——以电白区霞洞镇年例与吴川飘色文化为例[J].文化创新比较研究,2023,7(11):103-108. [4]王毓.湛江地区非物质文化遗产吴川飘色之口述史略——基于飘色第三代传承人孙康福的访谈[J].文物鉴定与鉴赏,2022(18):166-169.DOI:10.20005/j.cnki.issn.1674-8697.2022.18.041.

简介

飘色，又称抬阁、走阁、高台等，是流传于我国中部及东南沿海的一种民间艺术形式。它是指扮演者在扮演的过程中看似腾空，不借助任何支撑，身着色彩鲜艳的衣服“飘”在空中，形成一道靓丽的景色。在别的资料中记载到：“飘色，是一门集合戏剧、音乐、美术、魔术、杂技、力学于一体的综合造型艺术，塑造人物飘然欲飞，惊险神奇，以其高、险、精、奇、巧，被外国友人誉为‘东方的隐蔽艺术’。” 飘色主要由色柜、色梗和色芯三部分组成。一是色柜，即板车，用以支撑“屏”、“飘”和道具的台子。色柜一般分为上下两个部分，坐在台上的称作“屏”，在空中称作“飘”。二是色梗，即起支撑和连接作用的钢枝，是飘色艺术惊险的表现，是飘色艺术的灵魂。三是色芯，即“屏”和“飘”的扮演者，大多为3-8岁的儿童。飘色是一项历史悠久的艺术表演，广泛流行于我国南部，尤其是广东地区。现代飘色大多出现在大型节日或是大型文化活动中，常常与舞龙舞狮等其他民俗活动一同巡游。

历史渊源

飘色起源于民间，取材于民间，兴盛于民间。关于飘色的起源，最广为接受的说法是其起源于清朝。明代以来，各式戏剧兴起，受到岭南地区百姓喜爱，尤其是粤剧、潮剧等。清朝咸丰年间太平天国运动时，粤剧名伶李文茂带头响应。在起义失败后，粤剧遂遭明令禁止。人们遂将舞台搬到街上，将小孩子装扮成戏剧造型，以历史人物故事为情景进行巡游，不仅保护了自身安全，也保护了习俗传统。这便是飘色的由来。

四大派别

不同地区的飘色结合了当地的民俗文化，各具特色，其中中山南朗镇崖口村、江门台山斗山镇浮石村、湛江吴川梅菉、广东陆河县河田镇四地的飘色较为出名，先后入选国家级非物质文化遗产。

中山南朗崖口飘色

每逢五月初六“龙王诞”，中山南朗的崖口村就会举行大型的飘色活动，主要在田间地头进行巡游。崖口飘色最特别且最著名的就是“秋千色”。“飘”和“屏”并不固定在色梗上，而是随着秋千架上下摆动，动感飘逸，色彩绚丽，令人赏心悦目。南朗崖口村是珠三角地区唯一实行人民公社的地区，且直到现在仍然实行，土地仍由生产队负责。崖口村特别的制度、田园风光与民俗共同造就了独特的中山南朗崖口飘色。

吴川飘色

吴川飘色起源于吴川市黄坡镇沙岗村，创于清朝，由民间“转色”“柜色”演变为“飘色”。其最主要的特点是制作工艺十分精巧。首先，飘色艺人会根据力学原理和艺术美感创作设计图纸；然后按照设计图纸对色柜进行拼装。吴川飘色的造型多种多样，有的人物飘于祥云，有的人物立于刀枪之上，有的人物手托着其他人。随着不断的发展，吴川飘色由一“屏”一“飘”逐渐演变为多“屏”多“飘”，难度急剧升高，观赏性也大大提高。

台山浮石飘色

台山浮石飘色来源于陕西高抬，于每年农历三月三“北帝诞”巡游，是台山最具代表性的一项民间艺术。台山浮石村有着600多年的历史，在1996年，广东省文化厅授予其“广东省民族民间艺术之乡——飘色之乡”称号。在其他地区的飘色都不断创新，浮石飘色保持着最原始最传统的样子。在浮石，被挑选为飘色演员的儿童不仅要长相俊俏，还要品学兼优、性格开朗、勤劳上进，在经过专业的培训后才能成为真正的飘色演员。

河田高景

河田客家先民从中原迁移至南方地区，结合中原文化与岭南文化，创造出了独特的河田高景。每年的正月十九、二十两天是河田高景巡游的日子。河田高景与以上三种相比最突出的艺术特点是“高”。飘色演员借助钢管的支撑，最高能凌驾于7-8米的高空，看似无依无托，奇特无比。正是由于这一特点，河田高景要求极高的工艺性，不论是支撑材料、锻造温度还是造型设计都需要严格的把控。

传承与发展

稳步传承

随着国家对民间传统艺术的重视与保护，人们对飘色的文化认同与喜爱，飘色艺术在传承人的继承下稳步发展，先后被选为国家非物质文化遗产。作为具有独特美与文化价值的民间艺术，飘色多次被邀请出现在各种大型活动、节日的现场，甚至走向国际世界，这一切都少不了非遗传承人的坚持。飘色的传承之路并不是一帆风顺的，好在经历了爆冷后，它又再次复苏和繁荣，在传承人们的继承创新中不断前行。

现存问题

凡事都有两面性。作为一项非物质文化遗产，它必然会面对两个“不足”。一是继承人不足，二就是资金不足。飘色艺术的难度让许多人都望而却步，且要想真正掌握并能够传承这门艺术，需要付出夜以继日的努力与汗水。再者，一次演出需要消耗的人力、物力与财力都是极大的，但演出的收入只能勉强支撑团队。因此，在众多现实条件下，如何更好的保护并传承飘色这一传统民间艺术是我们需要一直思考的问题。

短语与词汇

HaaKa 客家 Taiping Rebellion 太平天国运动 the people's commune 人民公社 pastoral 田园的 aesthetics 美学理论

问题

1. 有多少种飘色被选为非物质文化遗产？ 2. 外国人对飘色的评价是什么？ 3. 飘色的三个部分分别是什么？

参考文献

[1]彭爽.广东“飘色”民俗文化的保护和传承探究[J].文化创新比较研究,2021,5(11):135-138. [2]尹丽华. 广东飘色民俗文化的功能和艺术价值探究[D].广东技术师范学院,2019. [3]崔绿茵,蒋恩臣.粤西文化互融的现状与发展前景的调研——以电白区霞洞镇年例与吴川飘色文化为例[J].文化创新比较研究,2023,7(11):103-108. [4]王毓.湛江地区非物质文化遗产吴川飘色之口述史略——基于飘色第三代传承人孙康福的访谈[J].文物鉴定与鉴赏,2022(18):166-169.DOI:10.20005/j.cnki.issn.1674-8697.2022.18.041.

Pan Tong |

Introduction

Jingdezhen Porcelain refers to the porcelain produced in the city of Jingdezhen, Jiangxi Province, China. Because of its excellent quality, Jingdezhen has won the reputation of “Porcelain Capital”. Jingdezhen has been supported by its porcelain industry for thousands of years. With unique cultural symbolism and influence, it is still the most influential porcelain historical and cultural city in the world.

Development History

The First Show of Force: Han to Five Dynasties

“Xinping smelt pottery, began in the Han Dynasty”. At this time the pottery “itself coarse, the body is very thick, the glaze color is light and brown”, not sold far. During the Tang Dynasty, Jingdezhen porcelain has a greater impact in the country. “Tang Wude years, the town people Tao Yu carried porcelain into the central, known as false jade, and tributed it to the court, so Changnanzhen porcelain world famous.” Five Dynasties, Jingdezhen porcelain production has reached a considerable scale. The main products are celadon and white porcelain, mostly without much decorative motifs or paintings. They are the earlier mature porcelain we can see now.

Strong Rise: Song and Yuan Dynasties

Song clan moved south, a large number of literati, skilled craftsmen also moved to the south of the Yangtze River. Therefore, Jingdezhen absorbed and assimilated from other places' famous kilns of excellent workmanship, and became famous for its original light, elegant and beautiful shadow blue porcelain. Yuan dynasty is the innovation period of Jingdezhen porcelain. The new variety of blue-white porcelain is increasingly mature in technology, opening up a new era from plain porcelain to colored porcelain.

Stepping up to the Peak: Ming and Qing Dynasties

Jingdezhen porcelain in the early Qing Dynasty, whether it is the official kilns or folk kilns, whether it is product modeling, decorative techniques, themes or styles, have reached a state of extreme prosperity.

Porcelain Veins Pass on: Modern and Contemporary Periods

During the Republic of China, “Eight Friends of Zhushan”, with traditional painting and calligraphy into porcelain famille rose paintings, created a new famille-rose porcelain. After the founding of New China, Jingdezhen porcelain developed from royal porcelain to multi-category porcelain. Reform and opening up have innovated new colors, techniques and materials. The traditional ceramic art has been revitalized. (Zhu Hong, 2019)

Four Characteristics of Jingdezhen Porcelain

It is sorted by the feelings of people observing the porcelain from afar and near.

White as jade: Jingdezhen porcelain is milky white, with soft luster and lukewarm like jade.
Bright as a mirror: Jingdezhen porcelain glaze is smooth, crystal clear, like a brilliant mirror.
Thin as paper: Jingdezhen porcelain is light in texture and translucent in shadow. Ming dynasty Hao Shijiu burned the Luan Mu Cup, which is as thin as cicada's wing, one only weighs about 1.1 grams.

https://baike.baidu.com/item/%E6%98%8A%E5%8D%81%E4%B9%9D?fromModule=lemma_search-box

Sound like a chime: Jingdezhen porcelain is crisp and clear. With a finger gently buckle, you can hear the “dong” sound, like a musical instrument to play a beautiful chime sound.

Four Famous Porcelains

Jingdezhen porcelain is diverse, but to the Blue-white porcelain, Famille-rose porcelain, Color-glazed porcelain and Linglong porcelain the most prestigious, known as “Jingdezhen four famous porcelain”. Each excels in its own way.

Blue-white Porcelain is the most representative, belonging to the underglaze colored porcelain. Primitive blue-white porcelain was already seen in the Tang and Song dynasties. Mature blue-white porcelain appeared in the Yuan Dynasty Hutian kiln. Many of its derivatives were created and exported globally during the Yuan and Ming dynasties, reaching peak in the Qing Dynasty. Its thin, translucent quality and exotic motifs made it very valuable throughout Europe.

https://baike.baidu.com/item/%E9%9D%92%E8%8A%B1%E7%93%B7/9

Influenced by the production process of enameled porcelain, Famille-rose porcelain is created as a new variety in the late Kangxi period on the basis of five-color porcelain. Yongzheng emperor had a special love for it, so there is the brilliance of “Yongzheng Famille-Rose Porcelain”.

https://baike.baidu.com/item/%E9%9B%8D%E6%AD%A3%E7%B2%89%E5%BD%A9?fromModule=lemma_search-box

Known as “Manmade Gems”, Color-glazed porcelain is generally divided into following categories: blue, crimson, black, white, yellow, green, blue-and-white glazed, and so on, with each color further subcategorized into specific type.
Linglong porcelain, developed during the Xuande reign of the Ming Dynasty, is renowned for its finely patterns and glittering, translucent beauty, earning the name “porcelain inlaid with glass.” Characterized by perforated decoration, it combined with the blue-white technique during the Qing Dynasty creating Blue-white Linglong Porcelain.

https://en.chinaculture.org/2014-12/02/content_579443_4.htm

Significance

Economic Significance

Jingdezhen porcelain was exported to more than 120 countries in Asia, Africa, Europe and the United States. In the 300 years between the 16th and 18th centuries, about 300 million pieces of porcelain were imported into Europe, and large number of other porcelain was shipped to East and Southeast Asia, which facilitated maritime trade and the establishment of a global market. (Meng-xia Zha, 2023, 42)

Culture Significance

Traditional Chinese culture and art spread around the world with the export of Jingdezhen porcelain, influencing local lifestyles and cultural etiquette, and promoting the exchange and integration of Chinese and foreign cultures. In the case of Korea, for example, on the basis of learning, Korean potters retained the dragon motifs and developed their own style of blue and white porcelain, which was integrated into the country's ceremonial culture. (Anne Gerritsen, 2020, 125-128)
Jingdezhen porcelain has represented the highest level of porcelain making technology in many periods in history. The world's major porcelain-producing countries have drawn on and learn from it, which has had a profound impact on the world ceramic art.
As a major commodity on the Silk Road, it is an important physical evidence of this historical trade route.

Technical Significance

Demand from overseas markets stimulated Jingdezhen porcelain to progress in terms of shape, texture, glazes and decorative motifs, forming diverse and varied artistic styles. For example, the new porcelain Kraak, sold widely in Europe, whose painting style based on European preferences, very different from the traditional Chinese ceramic art style. In addition, at the request of many American merchants, porcelain was customized with decorative colors, images and themes, including breakfast dishes, heraldic porcelain depicting eagles, goddesses and portraits of Washington. (Meng-xia Zha, 2023, 48-49)

To Jingdezhen

The prosperity of porcelain drove the economic development of the surrounding areas and contributed to the expansion of the size of the town and the growth of the population, making Jingdezhen one of the earliest industrialized cities in China and even in the world. (Meng-xia Zha, 2023, 47-48)
From an ordinary marketplace development into a national porcelain center, and the world's porcelain capital, Jingdezhen social status and economic influence significantly improved.
The whole city focuses on the production of porcelain, gathering talents and forming a unique system of porcelain cultural heritage and porcelain production.

Terms and Expressions

Jingdezhen Porcelain 景德镇瓷器 Porcelain Capital 瓷都 Xinping 新平 Wude 武德（618年—626年），唐高祖李渊在位时的年号，唐朝第一个年号 Tao Yu 陶玉，昌南镇（今江西景德镇）人，擅制瓷 Changnanzhen 昌南镇 Shadow Blue Porcelain 影青瓷 Blue-white Porcelain青花瓷 Eight Friends of Zhushan 珠山八友 Famille-rose Porcelain粉彩瓷 Hao Shijiu 昊十九，景德镇人，中国古代制瓷名家 Color-glazed Porcelain颜色釉 Linglong Porcelain玲珑瓷 the Luan Mu Cup 卵幕杯 The Hutian Kiln 湖田窑 Kangxi 康熙 Yongzheng Famille-Rose Porcelain 雍正粉彩 Kraak 克拉克瓷

Questions

What are the four characteristics of Jingdezhen porcelain?
What are the four famous porcelain in Jingdezhen?
What is the significance of Jingdezhen porcelain exported overseas?

References

https://baike.baidu.com/item/%E9%9D%92%E8%8A%B1%E7%93%B7/9
http://culture.people.com.cn/n1/2019/0708/c428564-31221089.html
https://baike.baidu.com/item/%E9%9D%92%E8%8A%B1%E7%93%B7/9
https://baike.baidu.com/item/%E9%9B%8D%E6%AD%A3%E7%B2%89%E5%BD%A9?fromModule=lemma_search-box
https://en.chinaculture.org/2014-12/02/content_579443_4.htm
赵梦霞(Meng-xia Zha). 明清时期景德镇陶瓷的行销及商路研究(Research on the Marketing and Business Route of Jingdezhen Ceramics in Ming and Q)[D]. 太原师范学院, 2023.
Anne Gerritsen. The City of Blue and White. 2020, 125-128.

简介

景德镇陶瓷是指中国江西省景德镇市出产的瓷器。因其品质卓越，为景德镇赢得了“瓷都”的美称。景德镇以其瓷业支撑千年，如今依然是球最具影响力的陶瓷历史文化名城，具有独特的文化象征性和影响力。

发展历史

初露锋芒——汉到五代

“新平冶陶，始于汉世”。此时的陶瓷“自身粗，体甚厚，釉色淡而糙”，不远销。唐代时，景德镇的瓷器已在国内有较大的影响。“唐武德中，镇名陶玉者载瓷入关中，称为假玉器，且贡于朝，于是昌南镇瓷名天下。” 五代时的景德镇瓷器的生产已具相当规模，主要产品有青瓷和白瓷，大多没有什么装饰图案和绘画，是我们目前所能见到的早期较为成熟的瓷器。

强势崛起——宋元时期

宋室南迁，大量文人雅士、能工巧匠随之移居江南，景德镇由此融汇吸纳天下名窑之良工绝技，因独创轻巧、典雅、秀丽的影青瓷而名扬天下。元代是景德镇陶瓷的创新时期。新品种青花瓷在技术上日趋成熟，开辟了由素瓷转向彩瓷的新时代。

步入巅峰——明清时期

清代前期的景德镇陶瓷无论是官窑还是民窑，无论是产品造型、装饰技法还是装饰题材、装饰风格，都达到了极度繁荣的境界。

瓷脉相传——现当代时期

民国时期，“珠山八友”将传统书画技法融入陶瓷粉彩，创造了新粉彩瓷。新中国成立后，景德镇从过去皇家用瓷和工艺瓷生产，发展成为多门类的瓷业生产。改革开放后，创新了新彩类、工艺和材料，传统陶瓷艺术焕发新活力。

景德镇陶瓷四大特点

景德镇陶瓷的四大特点是以人们观察瓷器由远及近的感受而排序的。

白如玉：景德镇瓷器呈乳白色，光泽柔和，温润如玉。
明如镜：景德镇瓷器釉面光滑，晶莹剔透，宛若明镜，光彩照人。
薄如纸：景德镇瓷器胎质轻薄透影。明代昊十九创烧卵幕杯，薄如蝉翼，一枚仅重约1.1克。
声如磬：景德镇瓷器胎质清脆。用指轻扣，能听到“咚”的脆响，宛若乐器奏出的优美磬声。

景德镇四大名瓷

景德镇瓷器种类繁多，但以青花、粉彩、颜色釉与玲珑最负盛名，被誉为“景德镇四大名瓷”。四大名瓷各擅胜场。

青花瓷是景德镇最具代表性的瓷器，属釉下彩瓷。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。元明时期创烧了许多衍生品种并出口至全球，清代达到顶峰。其薄透胎质和异域纹饰使其在欧洲极具价值。
粉彩瓷是康熙晚期在五彩瓷基础上，受珐琅彩瓷制作工艺的影响而创造的一种新品种。雍正皇帝对粉彩情有独钟，因而有“雍正粉彩”的辉煌。
颜色釉被誉为“人造宝石”，一般分为以下几类：蓝色、深红色、黑色、白色、黄色、绿色、青花釉等，每种颜色再进一步细分为特定类型。
玲珑瓷发展于明朝宣德年间，素有“琉璃镶瓷”的美誉，以其精美的雕刻图案和晶莹剔透的魅力闻名。它以穿孔装饰为特征，在清代时与青花工艺结合，创造了青花玲珑瓷。

意义

经济意义

景德镇瓷器历史上远销亚、非、欧、美各大洲120多个国家，16至18世纪300 年中，约有 3 亿件陶瓷输入欧洲，另有大量的陶瓷被运往东亚和东南亚，促进了海上贸易，建立了全球市场。

文化意义

中国传统文化和艺术随景德镇瓷器的出口传播到世界各地，影响了当地的生活方式和文化礼仪，推动了中外文化的交流与融合。以朝鲜为例，朝鲜陶工在学习借鉴的基础上，保留龙纹，发展出具有本国风格的青花瓷，并将其融入本国礼仪文化之中。
景德镇瓷器在历史上多个时期代表了制瓷技术与工艺的最高水平，世界各地主要陶瓷生产国都曾借鉴和学习景德镇的制瓷工艺，对世界陶瓷艺术产生了深远的影响。
作为丝绸之路上的主要商品，景德镇瓷器是这一历史贸易路线的重要物证。

技术意义

海外市场的需求刺激景德镇瓷器在造型、胎骨、釉料和装饰图案等方面不断进步，形成了多元化和多样化的艺术风格。比如于明末清代被广销于欧洲的新型瓷器克拉克瓷，其绘画风格根据欧洲喜好而来，与中国传统的陶瓷艺术风格大不相同。此外，应许多美国商人的要求，瓷器有了定制的装饰色彩、画面和主题，包括早餐餐具，描绘雄鹰和美国第一任总统华盛顿肖像的纹章瓷。

对景德镇的意义

景德镇瓷器的繁荣带动了周边地区经济的发展，促进了城镇规模的扩大和人口数量的增长，使景德镇成为中国乃至世界最早工业化的城市之一。
从一个普通市集发展成为全国制瓷中心，甚至世界瓷都，景德镇社会地位和经济影响力显著提升。
整个城市以生产瓷器为主，瓷业人才聚集，形成了独特的陶瓷文化遗产体系和制瓷生产体系。

问题

景德镇陶瓷有哪四大特点？
景德镇有哪四大名瓷？
景德镇瓷器出口海外的意义有哪些？

Lei Huiting |

Folk Traditional Customs: Fireworks and Firecrackers

Introduction

Fireworks and firecrackers are the traditional cultural heritage of the Chinese nation. The culture of fireworks and firecrackers have been integrated into the bloodline of the Chinese nation for thousands of years. In China, fireworks and firecrackers are set off during festivals, weddings, funerals, promotion, relocation, completion of new buildings, business openings and celebrations. They have concentrated the wisdom of China’s laboring people, which played a special role and formed a unique cultural connotation. Setting off fireworks and firecrackers is not only a custom, but also a complex, which is one of the cultural symbols of the Chinese nation.

Origin

The exactly time when fireworks and firecrackers were invented still remains an unsolved mystery. According to the Annals of China Industry published in the Republic of China: “The manufacture of firecrackers in Hunan Province began in the Tang Dynasty, developed in the late Song Dynasty, and originated in Liuyang.”(Lei lei 2012, 6-16). According to the Horror Records in Tang Dynasty, it was said that 1400 years ago, people on the sides of the Nanchuan River were often harmed by mountain ghosts, which also harmed Emperor Taizong of the Tang Dynasty and caused a long-standing malady. So he issued a edict to the country to seek treatment. Li Tian, a hunter born in Liuyang, Hunan province, met the medicine king Sun Simiao, who lived in seclusion in Liuyang. Sun once gave him a packet of gunpowder and told him that put the gunpowder in a small bamboo tube and lit it, it would burst and make a loud noise. Li did experiments and found that though it could make a huge sound, it was dangerous and prone to hurt people. After continuous experiments, Li successfully used the paper tube to wrap the gunpowder——both ends with mud sealed, and put a fuse on one end. In this way, truly practical firecrackers were born. Not only could it make a huge sound, but also a strong smoke, which dispelled the mountain ghosts, stopped the epidemics, and cured the Tang Taizong. Thus, Li was named “the originator of firecrackers” by the Tang Taizong. Fireworks came with the development of firecrackers.（Zhao Lu, 2015）

Development

Then the fireworks had a splendid history. For example, there were “flaring rocket” and “fiery trees and silver flowers” in the Tang Dynasty, “gunpowder drama” in the Song dynasty, and "wooden frame fireworks" in the Ming Dynasty. There were already quantity production of roll paper fireworks in the Northern Song Dynasty, but most of them were small fireworks in tubes, such as rotating fireworks like “ground mouse”, “butterfly flower” and jet fireworks like “golden monkey”, “flower of happiness and longevity”, which were very popular among the people (Chen Chun 2016, 29-32). During the Southern Song Dynasty, there were officially fireworks and hanging firecrackers. In the Yuan Dynasty, fireworks were not only widely used in mainland, but also spread overseas with the conquests of the Mongol Empire. During the Ming Dynasty, the technique of making fireworks developed to a very high level. The Ming Dynasty novels depicted "wooden frame fireworks", which were connected by internal medication lines and can be set off for several hours. Mo E Small Records, written in the late Yuan Dynasty and the early Ming Dynasty, recorded the ratio of more than 20 kinds of fireworks (Zhou Qian 2022, 118-119). Around the early 13th century, fireworks began to be introduced to India by foreign messengers and merchants through the Silk Road, and then gradually introduced through India to Arab countries, to Spain, and spread to European and American countries. From the perspective of fireworks techniques, the Italian missionary Matteo Ricci and the French missionary Nicolas Trigault remarked the fireworks technology of the Ming Dynasty in the Chinese Notes of Matteo Ricci: “Their fireworks techniques were so good that there was almost nothing they cannot skillfully imitate with fireworks.” The New History of China written by Portuguese missionary Gabriel de Magalhaes recorded the fireworks on the night of the Lantern Festival in 1644: “Like a boat, a tower, a fish, a dragon, a tiger, an elephant, there are generally thousands of amazing fireworks”(Zhou Qian 2022, 118-119). It can be said that the fireworks at that time had developed into an independent specific craft industry. During the Ming and Qing Dynasties, the fireworks industry in Liuyang made great progress. There were more than 200,000 people engaging in fireworks production and more than 300 workshops and an annual output of more than 140,000 boxes (a box can ring 200,000 times). In 1723, Liuyang firecrackers were listed as the court tribute, which greatly entered the market. In 1739, firecracker production entered commercial production, and Liuyang also began to become “the center of Hunan firecracker manufacturing”. During the reign of Emperor Tongzhi of the Qing Dynasty, Liuyang fireworks formed a large industry, with 80% of the civilian households engaged in the production of fireworks. The production workers reached more than 5,000 people, and the annual output remained at about 250,000 boxes (Xu Songzhu 2001, 12-14).

Chemical Principle

Fireworks and firecrackers have similar principle, and their structure includes black gunpowder and fuses. People add luminous agent and toner, metal powder such as magnesium and aluminum, which shine fiercely when burned. People who make fireworks skillfully arrange them to decide the order of burning. In this way, after the fireworks were detonated, they can bloom bright and colorful patterns in the dark sky. This principle is called flame reaction.

Cultural Value

Ancient Chinese believed that fire could remove ominousness; the spark was a sign of happy events; the sound could frighten ghosts and dispel evil spirits; the fireworks made Yang rise, which were full of masculine beauty (Chen Bi, Yuan Yi 2003, 58-59). Every folk traditional festival and various celebration parties, people set off fireworks to show their joy. The fireworks splash golden, colorful and dizzying spark, whirling and jumping on the ground, or flying and shining in the sky, which are a note of joy and a symbol of auspiciousness and express people’s psychological pursuit of “turning dark into light, plain into gorgeous, silence into excitement, and decadent into magic” (Pan Gongpei 2015, 62-65). These are the romantic feelings and sense of cultural ceremony in cultural bloodline of the Chinese nation continuing for thousands of years. Firecrackers and fireworks have a profound cultural connotation and aesthetic value. Whether judging from the perspective of aesthetics, poetics, humanities or economics, firecrackers and fireworks are intangible cultural heritage in the real sense, which are typical cultural products with unique historical precipitation, long standing traditional craftsmanship, profound cultural connotation and psychological comfort function.

Terms and Expressions

Li Tian 李畋

Sun Simiao 孙思邈

Liuyang 浏阳

the originator of firecrackers 爆竹祖师

flaring rocket 起花火箭

fiery trees and silver flowers 火树银花

gunpowder drama 火药什戏

wooden frame fireworks 木架烟花

ground mouse 地老鼠

butterfly flower 蝴蝶花

golden monkey 金猴献瑞

flower of happiness and longevity 福寿花

Matteo Ricci 利玛窦

Nicolas Trigault 金尼阁

Gabriel de Magalhaes 安文思

luminous agent 发光剂

toner 发色剂

flame reaction 焰色反应

Yang 阳气

evil spirits 戾气

Annals of China Industry《中国实业年志》

Horror Records《骇闻录》

Mo E Small Records《墨娥小录》

Chinese Notes of Matteo Ricci《利玛窦中国札记》

The New History of China《中国新史》

Questions

1. In which dynasty did the manufacture of firecrackers begin?

2. Where do the firecrackers originate?

3. Who invented the firecrackers?

4. What is the principle of fireworks emitting colorful light?

References

[科学网https://news.sciencenet.cn/sbhtmlnews/2015/2/297432.shtm]

赵鲁(Zhao Lu).《中国科学报》Chinese Journal of Science (2015-02-27 第6版历史)

周乾(Zhou Qian).烟花：一场持续了近千年的中国式浪漫[J]Fireworks: Chinese-style Romance Lasting for Thousands of Years.快乐作文Happy Composition,2022,(Z8):118-119

陈淳(Chen Chun).烟花：夜空中绽放的中国戏法[J]Fireworks: Chinese Tricks Blooming in the Night Sky.百科知识Encyclopedic Knowledge,2016,(03):29-32.

潘功配(Pan Gongpay).烟花爆竹是文化也是科学[J]Fireworks Are Both Culture and Science.标准生活Standard of Living,2015,(02):62-65.

雷蕾,向彧姿,李瑚(Lei Lei, Xiang Yu Zi, Li Hu).浏阳花炮如何续写千年传奇[J]How Does Liuyang Fireworks Continue to Write the Millennium Legend.发明与创新Invention and Innovation,2012(07):6-16.

陈碧,袁艺(Chen Bi, Yuan Yi).烟花鞭炮与中国传统民俗[J]Fireworks and Firecrackers and Traditional Chinese Folk Customs.株洲工学院学报Journal of Zhuzhou Istitutr of Technology,2003(06):58-59.

徐松竹(Xu Songzhu).烟花文化正奇葩——访“中国烟花之乡”浏阳[J] Fireworks Culture Is Wonderful ——Visiting “The Hometown of Fireworks in China” Liuyang.湖南经济Hunan Economy,2001(07):12-14.

民间传统习俗：烟花和爆竹

引言

烟花爆竹是中华民族的传统文化遗产。千百年来，烟花爆竹文化已经融入了中华民族的血脉当中。在中国，逢年过节、婚丧嫁娶、升学乔迁、大厦落成、生意开张、庆典活动等都要放烟花、燃爆竹。烟花爆竹集中了我国劳动人民的智慧，发挥了自己独特的功能，形成了独特的文化内涵。燃放烟花爆竹已不仅仅是一种风俗，更是一种情结，是中华民族的文化标志之一。

起源

烟花爆竹究竟是在什么时候被发明的至今仍然是个未解之谜。民国时期出版的《中国实业年志》有个说法：“湘省爆竹之制造，始于唐代，发达于宋末，而发源于浏阳也。”据唐代《骇闻录》记载，相传 1400 年前，南川河两岸时闻有人被山魈所害，唐太宗被山鬼迷缠，久治无效，遂诏书全国求医。出生于湖南浏阳的猎人李畋遇到了在浏阳隐居的药王孙思邈。孙思邈曾给他一包火药，并告诉他，把火药装在一节一节的小竹筒里，点燃后即可爆裂，发出巨响。李畋按此方法做了实验。但是，他发现竹筒制作的爆竹虽然响亮，但危险性大容易伤人。李畋通过不断地实验，终于成功地采用纸筒来包裹火药——两头用泥巴封好，一头插上点火线。这样，真正实用的爆竹就诞生了。它不仅能发出巨大的声响，还冒出浓烈的烟雾，驱散了山魈邪气，制止了瘟疫的流行，使唐太宗龙体康复。李畋救驾有功，被唐太宗封为“爆竹祖师”。随着爆竹的发明, 才逐渐有了烟花。

发展

随后烟花爆竹经历了灿烂的历史，比如唐代有“起花火箭”“火树银花”，宋代有“火药什戏”，明朝有“木架烟花”。北宋已大量生产卷纸烟花，不过多为小型筒花，诸如“地老鼠”、“蝴蝶花”等旋转类烟花和“金猴献瑞”、“福寿花”等喷射类烟花，这类烟花很受民间青睐。南宋期间，正式出现了烟花，有了一挂一挂的鞭炮。元代时期，烟花不仅在本土的应用越发广泛，甚至还伴随着蒙古帝国的征服史远传海外。明朝时期，烟花制作技艺发展到了相当高的水平，明代的小说中描绘了一二丈高的“木架烟花”，内部用药线连接，可连续燃放几个小时。成书于元末明初的《墨娥小录》记录了20多种烟花的配比。大约在13世纪初期，花炮开始由外国使者和商人经丝绸之路传入到印度，再经印度逐渐传入阿拉伯国家，传入西班牙，逐渐传播到欧美国家。从烟花制作技艺角度而言，意大利传教士利玛窦、法国传教士金尼阁所撰《利玛窦中国札记》对明朝的烟花技术做了评价：“他们制作焰火的技术实在出色，几乎没有一样东西，他们不能用焰火巧妙地加以模仿”。葡萄牙传教士安文思所撰《中国新史》的中记录了明崇祯十七年（1644年）元宵节晚上的烟花：“似舟，似塔，似鱼，似龙，似虎，似象，一般有上千种令人惊奇的烟火”。可以说，那时候的烟花已经发展为一种独立的特种工艺行业了。明清时代，浏阳花炮产业有了长足发展，农闲时从事花炮生产制造的达20余万人，县城的生产作坊超过300余家，年产量在14万箱之上（一箱有20万响）。一箱能响20万次清雍正元年（1723年），浏阳鞭炮列为朝廷贡品，声势大振，从此大量进入市场；乾隆四年（1739），鞭炮制作进入商品化生产，浏阳也开始成为“湖南爆竹制造之中心地”。清同治年间，浏阳花炮形成大行业，80%的民户从事花炮生产，生产工人达5000余人，年产量保持在25万箱左右。

化学原理

烟花和爆竹的原理大同小异，其结构都包含黑火药和药引。人们在制作烟花的过程中加入一些发光剂和发色剂，发光剂是镁、铝等金属粉末，这些金属燃烧时会发出的强光。制作烟花的人经过巧妙的排列，决定燃烧的先后次序。这样，烟花引爆后，便能在漆黑的天空中绽放出鲜艳夺目、五彩缤纷的图案，这就是中学常讲的焰色反应。

文化价值

古人认为：火，可以拨除不祥，火花，是喜事降临的预兆；声响，能惮吓鬼魅，驱散疬气；烟火使阳气上升，富有阳刚之美。每逢民间传统节日和各种庆典晚会，人们纷纷放花炮以示喜庆，烟花燃放时金花四溅、五彩缤纷，或旋转窜跃于地面，或飞腾闪耀于天空，令人目不暇接，是喜悦的音符、吉祥的象征，表达了人们“化黑暗为光明、化平淡为绚丽、化沉寂为热闹、化腐朽为神奇”的心理追求。这是中华民族文化血脉中延续千年的浪漫情怀与文化的仪式感。烟花爆竹具有深厚文化内涵及其审美价值。无论是从美学、诗学、还是人文学、经济学的视野来判断，烟花爆竹是真正意义上的非物质文化遗产，是具有独特历史沉淀、悠久传统工艺与深厚文化内涵和心理慰藉功能的典型文化产品。

问题：

1.爆竹的制造开始于哪个朝代？

2.爆竹的发源地是哪里？

3.爆竹是谁发明的？

4.烟花能发出五颜六色的光是运用了什么原理？

参考文献

[科学网https://news.sciencenet.cn/sbhtmlnews/2015/2/297432.shtm]

赵鲁《中国科学报》 (2015-02-27 第6版历史)

周乾.烟花：一场持续了近千年的中国式浪漫[J].快乐作文,2022,(Z8):118-119

陈淳.烟花：夜空中绽放的中国戏法[J].百科知识,2016,(03):29-32.

潘功配.烟花爆竹是文化也是科学[J].标准生活,2015,(02):62-65.

雷蕾,向彧姿,李瑚.浏阳花炮如何续写千年传奇[J].发明与创新,2012(07):6-16.

陈碧,袁艺.烟花鞭炮与中国传统民俗[J].株洲工学院学报,2003(06):58-59.

徐松竹.烟花文化正奇葩——访“中国烟花之乡”浏阳[J].湖南经济,2001(07):12-14.

Lu Yixuan |

Introduction

1.Introduction

Poetry, painting, and calligraphy: Known as the "Three Perfections," these genres were regarded as the ultimate expressions of Chinese literati culture during the Ming dynasty (1369-1644). Members of the Wu School, centered on the affluent city of Suzhou and nearby towns, earned admiration for their interpretations of these art forms. Painting with Words celebrates Wu School works, examining the relationships among their imagery, brushstrokes, and, especially, words.

Main Part

2.A Cultural Center

Situated on flat fertile land between Lake Tai and the Yangzi River, Suzhou (present-day Jiangsu province) is one of the oldest cities in the Yangzi delta. Before the Ming dynasty (1369-1644), when it became a leading center of literati culture, Suzhou had enjoyed a prominent political, economic, and cultural position for most of its two thousand-year history. The city was a major transportation hub on the Grand Canal, which stretched 1,100 miles between the former imperial capital Hangzhou to the south and the Ming imperial capital in Beijing far north. Besides the capital, during the fifteenth and sixteenth centuries Suzhou was the largest urban center in the Ming empire and perhaps the entire world.

Shaped like a rectangle, Suzhou was dotted with temples and spacious residences boasting elegant walled gardens. A grid of anals and paved streets, including as many as three hundred stone bridges, crisscrossed the city, which was surrounded by a moat and a towering outer wall. Beyond its water buffer, the city spilled into the surrounding suburbs but soon gave way to a prosperous countryside of small lakes and ponds, rice paddies, and agricultural fields. Rustic villages and temples were nestled in the landscape; larger satellite townships rose farther off. An area of low-forested hills stood to the west of Suzhou, overlooking the broad expanse of Lake Tai and its several nearby islands. Local poets and artists frequently ventured to such rural and suburban locations and even chose these easily accessible sites for their private retreats and retirement homes.

3.Wen Zhengming: Leader of the Wu School

An outstanding painter and calligrapher and an important trendsetter in his time, Wen Zhengming (1470-1559) was the unrivaled leader of the Wu School for much of its neyday during the first sixty years of the sixteenth century. Born to a modestly successful scholar-official family, Wen was a late bloomer in the arts; he was particularly poor at calligraphy in his youth. But he persevered, studying painting with Shen Zhou, who is often considered the Wu School's spiritual founder. Eventually, Wen mastered a wide range of painting styles and developed his own powerful, influential approach to calligraphy.

In 1527, when he returned to Suzhou after an unhappy three-year stint at the imperial court, Wen built a studio on his family's land. For the next thirty-two years, he devoted himself wholeheartedly to the life of a gentleman-scholar in retirement: reading, writing, painting, composing poetry, and socializing with likeminded friends. Wen's pivotal importance to the Wu School is magnified by the length of his extraordinary career, his wide circle of friends and acquaintances, and the artistic renown of his many students, including his two sons and a nephew and extending to several generations of Wens.

4.At Court and Beyond

During the fifteenth century, many leading gentleman artists of Suzhou spent a good part of their adult lives either serving at court in the imperial capital, Beijing, or out on provincial assignments. Often, they only returned home occasionally or after retirement. Several, such as Xia Chang (1388-1470), Xu Youzhen (1407-1472), and Wu Kuan (1435-1504), embraced these roles,distinguishing themselves in the national jinshi (advanced scholar) examinations and rising to high government offices. As artists, these men were known primarily as poets and calligraphers-except for Xia, who was also a master of the gentlemanly art of ink-bamboo painting.

The lifestyles of Liu Jue (1410-1472) and Shen Zhou (1427-1509) signaled a major alternative to serving at court. Liu only served in the capital for some eight years; Shen opted out entirely. Instead, they spent their lives in and around Suzhou, happily engaged in scholarly and artistic pursuits within their gardens and estates. Occasionally they visited friends, making communal forays into nature and to local scenic or historical sites. This lifestyle became a hallmark of Wu School gentleman artists.

Many Wu School artists were related by blood, marriage, and other formal relationships. They may have been family friends or schoolmates, taken their examinations together, studied as teacher and student, or done business as patron and client. The artists' relationships carried over into their poetry and artworks, which often were inherently personal in nature.

5.The Gentleman in Retirement

Often hailed as the spiritual founder of the Wu School, the painter, poet, and calligrapher Shen Zhou (1427-1509) came from a well-connected lineage of gentleman artists who lived in the Suzhou suburb of Xiangcheng. Both his father and uncle were landscape painters. Shen rejected the official career path followed by most of his peers in favor of a life of art and personal fulfillment. Following his example, many later Wu School artists made the same choice.

For gentleman artists in fifteenth- and sixteenth-century Suzhou, retirement consisted of socializing with other literati, refined activities such as art collecting, and a love of creature comforts such as elegant private gardens. These examples of his paintings and calligraphy reveal aspects of Shen's life in retirement: engaging with likeminded friends, observing and commentating on everyday life, and spending time alone at home or in favorite pastimes, such as wandering the hills to find inspiration for poetry or a place to play his qin.

Shen is said to have had an open, generous character. His palpable enjoyment of nature imbues each painting and poem in this section, graciously inviting us to join in. Owing to Shen's enduring influence and that of his immediate followers, these amiable qualities have come to characterize Wu School literati art.

6.In Full Flower

The Wu School rose to its artistic zenith during the first half of the sixteenth century, led by three of its brightest stars: Wen Zhengming (1470-1559), Tang Yin (1470-1524), and Qiu Ying (ca. 1494-1552). Together with the older Shen Zhou (1427-1509), this group is known as the "Four Great Artists of the Ming." Shen and Wen exemplified the Wu School ideal of the gentleman artist, while Tang and Qiu epitomized the accomplished Suzhou professional. Qiu was solely a painter; the other three developed distinct styles of painting, calligraphy, and poetry.

Although the Four Great Painters came from different social and economic backgrounds-and more than sixty-five years separated the oldest from the youngest-their lives and art intersected repeatedly. Wen and Tang had been friends since they were teenagers, and they both studied literati painting with Shen. Tang also studied under a local professional painter named Zhou Chen (ca. 1450-ca.1535), to whom he and Wen later recommended the young painting phenomenon Qiu Ying.

Such teacher-student and patron-client relationships were key to an artist's development and career in sixteenth-century Suzhou. Wen in particular had both a large number of outstanding students and a wide circle of local connections. Several of Wen's students and protégés went on to develop careers and styles of their own, among them the two brilliant calligraphers Wang Chong (1494-1533) and Chen Shun (1483-1544), both of whom died before their former master.

Despite their differences in style, approach, and social standing, professional artists and gentleman artists were codependent. Thematically, professional artists drew their material from the literature and history at he core of the literati tradition; in turn, literati artists wrote out the appropriate texts in fine calligraphy to accompany the professional artists' paintings. A primary distinction between the two groups was that the gentleman artist was also a calligrapher and a poet in his own right, and the fundamental purpose of his art was personal self-expression, usually prompted by an occasion or recent event. In some cases, one gentleman artist might have written a scroll of poetry for a friend or as a calligraphic exercise. Other times, individuals from both groups would collaborate on a scroll or contributed to a collective project.

7.The Followers

Known for decades as the Wu School's leader, Wen Zhengming (1470-1559) remained active as an artist until he died at age eighty-nine. By that time, several of his most outstanding followers had already passed away. Other artists, however, continued to work in styles heavily influenced by Wen Zhengming's approach well into the final quarter of the sixteenth century. Among these were his two talented sons, Wen Peng (1498-1573) and Wen Jia (1501-1583), who directly emulated their father and shared many of his interests and concerns. Qian Gu (1508-after 1574) also faithfully adhered to the styles that Wen Zhengming had developed and promoted.

Other gentleman artists advanced Wen Zhengming's legacy in new directions, such as Lu Zhi (1496-1576), who developed a unique, almost luminous style of landscape painting. The flourishing professional painter Xie Shichen (1487-after 1567) incorporated elements from other popular styles, but he continued to draw inspiration and material CAa from literati culture and to rely on gentleman artists for calligraphic contributions to his scrolls. Wen Zhengming's influence even extended to the generation of his great-grandson Wen Zhenmeng (1574-1636), a calligrapher. He and other local gentleman artists carried on producing collective scrolls and albums inspired by traditional themes,such as the "Eight Views of Xiao Xiang," as well as by contemporary occasions.

Still, Wen Zhengming's death deprived the Wu School of both its center of gravity and its leading light, and the vitality and prominence of Suzhou painting and calligraphy ultimately waned. By the early seventeenth century, the city's economic clout also had diminished, owing in part to the rise of nearby Shanghai and other towns in the Yangzi delta region. Competing centers of artistic production diluted and eventually eclipsed the city's premier cultural status. By the 1630s, the Wu School, though still highly influential, had given up its role as a dominant force.

Conclusion

Terms and Expressions

Questions

References

Li Yanran |

Introduction

A thangka (also known as tangka, thankga, or Tibetan scroll painting) is a classical and stylized form of Nepalese and Tibetan painting. These intricate artworks typically depict Buddhist deities, scenes, or mandalas. Thangkas are traditionally painted on cotton or silk appliqué and are often used as aids for meditation or teaching. They communicate profound meanings related to Buddhist philosophy through their detailed compositions. When not on display, thangkas are kept unframed and rolled up, similar to Chinese scroll paintings.

Main Part

History and Origins

The history of Tangka painting is deeply intertwined with the spread of Buddhism in Tibet. The earliest Tangka paintings date back to the reign of King Songtsen Gampo (618-650 AD), who played a pivotal role in establishing Buddhism in Tibet. Over the centuries, Tangka painting evolved, influenced by Indian, Nepalese, and Chinese artistic traditions. The creation of Tangka paintings flourished particularly during the Tibetan Renaissance in the 11th century, a period marked by the revival of Buddhist scholarship and artistic endeavors.

During the early stages, Tangka painting primarily depicted deities and mandalas, serving as tools for teaching and meditation. The construction of the first Buddhist temples in Tibet, such as the Jokhang Temple in Lhasa, further stimulated the development of religious art, including Tangka painting. These temples became centers of artistic activity, where local artists learned from foreign masters and began to develop their distinctive styles.

The period between the 8th and 11th centuries saw significant contributions to Tangka painting from Indian and Nepalese artists. The renowned Indian Buddhist scholar and artist, Atisha (982-1054 AD), played a crucial role during this period. Invited to Tibet by King Jangchub O, Atisha brought with him a wealth of artistic and spiritual knowledge, which greatly influenced Tibetan art and Tangka painting.

The Tibetan Renaissance in the 11th century marked a pivotal moment in the history of Tangka painting. This era was characterized by a resurgence of Buddhist scholarship, the translation of Buddhist texts, and the establishment of new monastic institutions. The renaissance period saw the synthesis of various artistic traditions into a distinctly Tibetan style, marked by vibrant colors, intricate details, and profound spiritual symbolism.

During the 14th to 17th centuries, the Ming dynasty in China established close diplomatic and cultural relations with Tibet. This period saw the exchange of artistic techniques and motifs between the two regions, further enriching the Tangka painting tradition. Tibetan artists adopted Chinese landscape techniques and the use of silk, while maintaining their unique iconographic and symbolic elements.

The 17th century onward witnessed the formalization of Tangka painting schools and lineages, each with its unique style and approach. Prominent schools include the Menri (Sman-ri) school, founded by Menla Dondrub in the 15th century, known for its classical and refined style, and the Khyenri (mKhyen-ri) school, founded by Khyentse Chenmo in the 15th century, recognized for its bold and expressive style.

The preservation and continuity of Tangka painting faced challenges in the 20th century due to political changes and cultural upheavals. However, efforts by Tibetan communities in exile and international interest in Tibetan culture have helped sustain and revive this ancient art form. Today, Tangka painting continues to thrive as both a spiritual practice and an art form, preserving the rich heritage of Tibetan Buddhism.

Symbolism and Themes

Tangka paintings are rich in symbolism and often depict deities, mandalas, historical events, and teachings of Buddhism. Each element in a Tangka painting carries specific meanings and serves as a visual aid for meditation and contemplation.

Deities and Bodhisattvas

Tangka paintings frequently portray Buddhas, Bodhisattvas, and protective deities. These figures are depicted with specific hand gestures (mudras), postures (asanas), and attributes that symbolize various aspects of Buddhist teachings. For example, Avalokiteshvara, the Bodhisattva of Compassion, is often shown with multiple arms, each holding different objects representing his compassionate activities.

Mandalas

Mandalas are intricate geometric designs that represent the universe and serve as tools for meditation. They are often used in Tangka paintings to depict sacred spaces and cosmological concepts. The central figure in a mandala is usually a deity, surrounded by concentric circles and squares filled with symbolic elements.

Historical and Mythological Scenes

Tangka paintings also narrate stories from the life of the Buddha, the exploits of various saints and yogis, and mythological tales. These narrative paintings serve an educational purpose, conveying moral and spiritual lessons.

Symbols and Iconography

Common symbols in Tangka paintings include the lotus flower (purity), the vajra (indestructibility), and the wheel of Dharma (teachings of the Buddha). Each symbol is meticulously placed to enhance the painting’s spiritual message.

Cultural and Religious Significance

Tangka paintings are not merely decorative objects; they hold deep religious and cultural significance. In Tibetan Buddhism, Tangka paintings are used as aids for visualization during meditation. Practitioners focus on the image of a deity, internalizing its qualities and receiving blessings. The detailed iconography serves as a guide for spiritual practice and contemplation.

Moreover, Tangka paintings are used in religious ceremonies and rituals. They are often displayed in monasteries, temples, and private homes, where they serve as objects of veneration. During festivals, such as the Tibetan New Year (Losar), large Tangka paintings are unfurled on hillsides, allowing devotees to receive blessings from the sacred images.

Tangka paintings also play a crucial role in preserving and transmitting Tibetan culture and religious teachings. Each painting is a repository of iconographic and symbolic knowledge, passed down through generations of artists and practitioners. The continuity of this artistic tradition reflects the resilience and adaptability of Tibetan culture in the face of historical challenges.

Conclusion

Terms and Expressions

Questions

References

Duan Siya |Striking iron flower

Introduction

Striking Iron Flowers , also known as iron trees , is a traditional folk firework popular in the Henan and Shanxi regions and is one of China's national intangible cultural heritages. It is mostly popular in the middle and lower reaches of the Yellow River, with Henan and Shanxi being the most. In the 1000-year-old folk art of "Striking Iron Flowers" , molten iron is struck with wooden rods to create sparks cascading through the sky like blossoming flowers.

Origin and development

The "Iron Flower Striking" has been passed down in the Yu-Jin region, began in the Northern Song Dynasty and flourished in the Ming and Qing Dynasties. It originated from the ritual activities of the craftsmen. In the Ming Dynasty, the iron-making industry flourished. With the aim to celebrate the harvest and pray for peace, the blacksmiths created a bright sparkling effect by striking the iron in the production. During the Ming and Qing Dynasties, with the support from government and all walks of life, the Queshan Iron Flower reached its peak. It expanded from the original Taoist rituals such as the birthdays of the Jade Emperor and the Queen Mother to general festivities, such as wishing for a new life, getting promoted and getting married. Then, the decline of "Striking Iron Flower took place between the Republic of China and the early years of People's Republic of China. During this period, numerous wars and natural disasters have displaced the Chinese people and left them with a difficult life, and the "Iron Flower" of Queshan also went into decline. Later, during the "Cultural Revolution", the "Iron Flower” was recognized as one of the "Four Olds", and the ritual performances were discontinued. Finally, in the early 21st century, the "Iron Flower" of Queshan was rediscovered: in 1983, Yang Jianjun, the curator of the Queshan County Cultural Center, began to recognize its rich cultural connotations. In June 2008, the iron flower art submitted by Queshan County, Henan Province was approved by the State Council to be included in the second batch of national intangible cultural heritage list. In the process of spreading, Queshan Iron Flower has absorbed various artistic elements such as firecrackers, dragon lanterns and brass instruments. It has gradually formed a unique performance style of grandeur, magnificence and auspiciousness.

Specific process

Before striking the flowers, they all kneel inside the shrine to ask the gods for safety and avoiding burns. A six-meter-high double-layer flower shed is set up in an open space. The shed is densely covered with fresh willow branches and tied with fireworks, firecrackers and goods, known as the "trellis", A six-meter-high old pole is erected in the middle of the shed, making the total height of the flower shed reach more than ten meters. A furnace is set up next to it to melt iron liquid. In order to ensure the special effect of "Iron Flower", charcoal is added to the iron water in the right amount, so that the blossoms appear bright red, and brass is added to the iron water, so that the blossoms appear lime green. More than ten performers take turns to use flower sticks to hit the iron liquid with a temperature of more than a thousand degrees onto the shed, forming iron flowers more than ten meters high. The iron flowers then ignite fireworks and firecrackers, and are accompanied by the "dragon through the flowers" performance. （Huaxia Jingwei Net） The flower stick used by the iron flower maker is a fresh willow stick that is as thick as a fist and more than a foot long. There is a circular pit with a diameter of 3 cm at the top of the stick to hold the iron liquid. When making iron flowers, the flower beater wears an inverted gourd ladle on his head for protection, is topless, holds an upper stick filled with iron juice in one hand, and a lower stick without iron juice in the other hand, and quickly runs to the bottom of the flower shed, using the lower stick to hit the upper stick. A dozen flower beaters take turns, one after another, moving back and forth between the furnace and the flower shed. One stick of iron flowers soars into the sky, and another stick follows, one after another. The scene is spectacular, presenting the characteristics of thrilling, exciting, festive and lively. A skilled flower player can hit the pole with one stick, lighting the fireworks and long whip at the highest point, which is called "winning the lottery". The winner will report his village and name, be given red clothes and flowers. He will also be rewarded with money and other things, which is very honorable. (Think China) When "hitting flowers", the artists must be physically and mentally united, bold and careful, and the team must focus on each other's cooperation. After striking the flower, each performers should follow the pre-set route to exit the trellis and arrive at the designated position for the preparation of the next baton, in order to prevent injuries caused by collisions. (Study on the Folk Culture of "Playing Tiehua" in Queshan, Henan Province, 29)

The risks behind the brilliance

Behind the brilliance, the risks are not known to all. The molten iron needs to be heated to more than 1600 degrees Celsius. Insufficient force or an inaccurate strike position may result in burns to oneself, so artisans bear countless scars across their bodies. In order to minimize injuries to the smiths, performers need to be very careful in the strength and angle. Firstly, the masters of the iron flower will beat the iron high and loose, so that the iron sparks falling down after the iron in the air can be cooled in contact with the air, making the temperature not so high. The more scattered, the larger the contact area between the iron star and the air, the easier it is to fully cool, the less likely to burn people.

Secondly, the ironwork is mostly performed in winter, when the weather is cold and the scattered ironwork can cool down more quickly, thus better guaranteeing the safety of the smiths. In the process of beating iron flowers, smiths will wear some specific protective clothing. Traditionally, there are mainly Taiji pattern helmet, Taoist style cotton protective cap with shawl, protective shoes, red or yellow cotton belt, etc. The protective shoes include legs, knee pads, foot pads, all three must be a one-piece type, so as to achieve the best protective effect. However, some smiths choose to go bare-chested to increase the shock of the scene. It is also called “An art for the brave”.

(Study on the Folk Culture of "Playing Tiehua" in Queshan, Henan Province, 31)

Current situation of the Inheritance

Today many of China's traditional activities are generally in a state of extinction. With the development of society, the iron smelting industry in Queshan County has completely disappeared, and the material basis for the survival of the Queshan "Iron Flower" rituals no longer exists. However, the state has given special funds to the contemporary inheritors of the "Iron Flower" every year to support the inheritance and development of it.

Yang Jianjun, as a contemporary inheritor, compiles books on the ritual performances of the "Iron Flower". At his own expense, he recruiting apprentices and organizes performances. He has led the team of "Tiehua" in Queshan to perform many times in Beijing, Mongolia, Guangzhou, Yunnan and other places, which has greatly increased the popularity in the world.

Existing problems

Like other folk intangible cultural heritages, Queshan "Iron Flower" also faces these problems: first, the inheritors are aging and there are few successors; second, the scale is large, the cost is high, and it is dangerous; third, there are many imitators, which has damaged the reputation of Queshan "Iron Flower". Queshan County should consciously protect the local folk culture, so that the inheritance and protection of the "Iron Flower" ritual performance will be transferred from the passive level to the active level, and inject fresh vitality into the Queshan "Iron Flower" ritual performance.

Conclusion

The technique of striking iron flowers has a long history, and the performance is magnificent and grandiose. The splendor of modern fireworks and the mystery of traditional art are integrated, which is breathtaking. It embraces Taoist culture, trade customs, folk crafts, which not only enriches the folk art treasury of China, but also plays an important role in enhancing national pride and strengthening national cohesion. However, as a treasure of traditional Chinese art, we should maximize the protection and inheritance, vigorously promote the industrialization of “Iron Flower”. It would be better to attract more young apprentices to inject modern vitality,I firmly believed that this art will continue to blossom in the night under the joint efforts of the Chinese nation and the Chinese people.

Terms and Expressions

Furnace: 熔炉（用来炼铁水） Trellis：花棚 Blacksmith：铁匠 Yu-Jin region：豫晋地区 Jade Emperor：玉皇大帝 Queen Mother：王母娘娘

Questions

Where did the iron flower first originate?
What are the requirements for the temperature of molten iron when striking iron flowers?
Why do craftsmen pray to the gods before striking iron flowers?
What are the current problems with “Iron Flower”?

References

[1]Zhang Feng.Study on the Folk Culture of "Striking Iron Flower" in Queshan, Henan Province[D].Qinghai Normal University,2018.24-38 [2]Queshan "Iron Flower": a different kind of fireworks[J].The Consultative Forum,2020,(06):50-52. [3]Yuan Jiali.Inheritance and Development of Zezhou Tiehua--The Example of Leicun Tiehua[J].Journal of Jincheng Vocational and Technical College,2015,8(3):34-41 [4] Xinhua. Folk artists perform "iron flowers" in SW China [N]. Global Times, Jan 28, 2023 [5] Li Jina. Striking iron flowers: An art for the brave[N]. Think China，09 Feb 2024 [6]https://www.huaxia.com/c/2021/04/16/569124.shtml 华夏经纬网2021.04-16

介绍

打铁花又称打树花，是流行于河南、山西地区的一种传统民间烟花，也是中国国家级非物质文化遗产。它流传于豫晋地区，始于北宋，盛于明清。主要流行于黄河中下游地区，以河南、山西为最。在有着千年历史的民间艺术 "打铁花 "中，用木棒敲打熔化的铁水，产生的火花在空中层层叠叠，犹如盛开的花朵。

起源与发展

“打铁花”流传于豫晋地区，始于北宋，盛于明清。它起源于工匠们的祭祀活动。在明代，炼铁业蓬勃发展，铁匠们为了庆祝丰收、祈求平安，便通过将炼铁过程中产生的铁水击打，创造出璀璨的火花效果。明清时期，在政府和社会各界的支持下，确山铁花达到了鼎盛时期。它从最初的道教仪式，如玉皇大帝和王母娘娘的生日，扩展到一般的节日庆典，如祝寿、升迁和结婚。然后，确山“打铁花”衰落于民国到建国初期。这段时间，众多的战乱和自然灾害使中国民众流离失所生活困苦，确山“打铁花” 也走向衰落。后来在“文革”时期确山“打铁花”被定位“四旧”，由此开始确山“打铁花”仪式展演就此中断了。最后，确山“打铁花”于 21 世纪初重新被发掘。1983 年，确山县文化馆馆长杨建军在认识到确山“打铁花”丰富的文化内涵。2008 年 6 月，河南省确山县申报的铁花艺术经国务院批准列入第二批国家级非物质文化遗产名录。在流传过程中，确山铁花吸收了鞭炮、龙灯、铜管乐器等多种艺术元素。逐渐形成了宏伟、壮观、吉祥的独特表演风格。

具体流程

在打铁花之前，工匠们都要跪在神龛内，祈求神灵保佑安全，避免烫伤。表演前，在空地上搭起六米高的双层花棚。花棚上密密麻麻地插满了新鲜的柳枝，上面绑满了烟花、鞭炮和物品，称为 "花棚"，花棚中间竖立着一根六米多高的老竹竿，花棚总高达十多米。花棚旁边立一座熔化铁汁用的熔炉，为保证“打铁花”产生特别的效果，在铁水中加入合适量度的木炭，击打而出的铁花就呈现鲜红色，在铁水中加入合适量度的黄铜铁花就呈现出青绿色。十几个打花者一棒接一棒，一人跟一人，往来于熔炉和花棚之间，轮流用花棍将温度高达一千多度的铁液打到棚子上，形成十几米高的铁花。棒棒相连，络绎不绝。棒中的铁汁冲向花棚，遇到棚顶的柳枝后迸散开来，点燃了花棚上的鞭炮和烟花，铁花飞溅，呈现出“龙穿花”的壮丽景象。打铁花者所用的花棒，是一根拳头粗细、尺多长的新鲜柳树棒，棒的顶端有直径3厘米大小的圆形坑槽，用以盛放铁汁。打铁花时，打花者头上戴着保护自己的倒葫芦瓢，上身赤裸，一手拿着盛有铁汁的上棒，一手拿着未盛铁汁的下棒，迅速跑至花棚下，用下棒猛击上棒。十几个打花者一棒接一棒，一人跟一人，往来于熔炉和花棚之间，棒棒相连，络绎不绝。场面壮观，惊险又热闹。技高一筹的打花者，能一棒击中老杆，点燃最高处的烟花和长鞭，称为“中彩”。中彩者当报出单位、姓名，披红挂花，奖励钱物，十分荣耀。 “打铁花”的艺人在进行“击花”时，个人要做到身心合一、胆大心细，团队之间相互配合要具有高度的默契性。每一个打花者击花之后，要按照事先设定好的路线退出花棚，到达指定的位置进行下一棒的准备，这是为了防止表演者之间产生碰撞受伤。 (河南省确山“打铁花”民俗文化研究19-20,28-29)

在光鲜亮丽的背后，风险并不为人所知。铁水需要加热到 1600 摄氏度以上。力度不够或敲击位置不准确，都有可能导致自身烧伤，因此工匠们的身上留下了无数伤疤。为了减少对铁匠的伤害，表演者需要非常注意力度和角度。首先，打铁花师傅们会把铁水打高打散，这样铁水在空中散开后掉落下来的铁火星可以与空气接触冷却，使得温度没那么高。打得越散，铁星与空气的接触面积越大，越容易充分冷却，越不容易将人烫伤。其次，打铁多在冬季进行，天气寒冷，散落的铁花冷却较快，更能保证打铁人的安全。在打铁花的过程中，铁匠会穿上一些特定的防护服。传统的主要有太极图案的头盔、道教风格的带披肩的棉布防护帽、防护鞋、红色或黄色的棉布腰带等。防护鞋包括护腿、护膝、护足，三者必须是一体式的，这样才能达到最佳的防护效果。不过，也有一些铁匠选择赤膊上阵，以增加现场的震撼力。所以这项艺术也被称为勇敢者的艺术。

传承现状

时至今日，中国许多的民间传统民俗活动普遍都处于一种走向消亡的传承现状。随着社会的发展确山县冶铁行业已经完全消失，确山“打铁花”仪式展演生存的物质基础已经不复存在。但是国家每年会给确山“打铁花”当代传承人非遗专项资金，以支持确山“打铁花”的传承与发展。作为确山“打铁花”当代传承人的杨建军，他编撰确山“打铁花”仪式展演的相关书籍。自费收徒弟和举办确山“打铁花”仪式展演,年迈的他带领着确山“打铁花”团队在北京、内蒙古、广州、云南等地多次展演，大大的提高了确山“打铁花”的知名度。

现存问题与措施

与其他民俗类非物质文化遗产一样，确山“打铁花”也面临着这些问题：第一，传承人老龄化，后继者少；第二，规模较大，花费较高，具有危险性；第三，模仿者多，确山“打铁花”的声望受损确山县的要自觉保护本地区的民俗文化，使“打铁花”仪式展演的传承与保护由被动层面转到主动层面，为确山“打铁花”仪式展演注入新鲜的活力。

结论

打铁花技艺历史悠久，表演气势磅礴，场面宏大。现代烟花的灿烂夺目和传统绝技的神秘惊险交织在一起，令人叹为观止。打铁花涵容了道教文化、商贸习俗、民间工艺等内容，丰富了中华民族的民间艺术宝库，为活跃人民群众的文化生活、提高民族自豪感和增强民族凝聚力发挥着重要作用。但是作为中国传统艺术的瑰宝，我们应该予以最大限度的保护与传承，大力促进打铁花的产业化，吸引更多年轻学徒为该艺术注入现代的活力，让其在中华民族和中国人民的共同努力下，继续在夜晚绽放金花

问题

铁花最早起源于哪里？
打铁花时对铁水温度有什么要求？
打铁花前工匠们为什么要向神灵祈祷？
目前打铁花在传承上存在哪些问题？

参考文献

[1]张凤.河南省确山“打铁花”民俗文化研究[D].青海师范大学,2018.24-38 [2]确山“铁花”：不一样的烟火[J].协商论坛,2020,(06):50-52. [3]原佳丽.泽州打铁花的传承与发展——以来村打铁花为例[J].晋城职业技术学院学报,2015,8(3):34-41 [4]Xinhua. Folk artists perform "iron flowers" in SW China [N]. Global Times, Jan 28, 2023 [5] Li Jina. Striking iron flowers: An art for the brave[N]. Think China，09 Feb 2024 https://www.huaxia.com/c/2021/04/16/569124.shtml 华夏经纬网2021.04-16

Hu Yujie |Chinese Cuisine:Xiang Cuisine--One of the Eight Major Cuisines

Introduction

Hunan cuisine, originating from Hunan Province, China, is one of the eight major cuisines in China, with a long history and unique taste characteristics. Hunan cuisine is famous for its freshness, aroma, numbness and spiciness. It is good at stimulating multiple sensory experiences of the taste buds, while emphasizing the freshness of the ingredients and the preservation of the original flavor. Hunan cuisine is highly respected at home and abroad for its unique flavor style and rich variety of dishes, and has become a shining pearl in Chinese food culture.

The development of Hunan cuisine

Spring and Autumn Period and Warring States Period From the Neolithic sites in Hunan the archaeologists unearthed a large number of exquisite pottery vessels for food and wine, with the remains of grain and animal bones unearthed together.So it is confirmed that the ancestors in Hunan changed gradually the primitive state of eating animal flesh raw and drinking its blood as early as 8,000 thousand years ago, and began to eat cooked food. During the Warring States Period, around 300 BC, the great poet Qu Yuan was exiled to Hunan and wrote his famous poem The songs of Chu. Among which Conjuring reflected the rich and delicious dishes in sacrificial activities at that time. There is a passage in Conjuring Spirit that reads: "..食多方些，稻粢穱麦，挐黄粱些。大苦咸酸，辛干行些。肥牛之犍，臑若芳些。和酸若苦，陈吴羹些。胹鳖炮羔，有柘浆些。鹄酸臇凫，煎鸿鸧些。露鸡臛臇，厉而不爽些。" It means: "(People)Eat a variety of dishes. Rice, millet, early wheat and sorghum are all yours to eat. Sour, sweet, salty and bitter, compose a harmonizing taste. The tendons of fat cows are soft and fragrant. There are soup from Wu with sour and bitter flavor, roast turtle and roast lamb with sugar cane juice. There are also the swan in vinegar, the pheasant stew, the fried wild geese and Can Cang, the marinated chicken and stewed turtle .The rich aroma of these foods lingers." All of these show that as early as the Warring States Period, the ancestors of Hunan had quite mature cooking skills and rich and colorful eating life.

Qin and Han dynasties During the Qin and Han dynasties, Hunan's food culture gradually formed a relatively complete system from materials, cooking methods to flavor styles. As could be seen from the burial relics unearthed at tomb of Lady Xin Zhui in Mawangdui, Changsha City, Hunan Province, in 1972, there were nearly 100 kinds of exquisite dishes in Hunan during the Western Han Dynasty more than 2,000 years ago. There were 24 kinds in 5 categories of only meat soups. And there were 72 other foods.For example, "Yu Fu" is the meat cut from the belly of raw fish; "Niu Kuai", "Lu Kuai" and so on are raw meat cut into thin strands; "Ao Tu"is dry fried rabbit and so on.

Tang, Song, Ming and Qing Dynasties Due to its rich products, Hunan is known as the "land of fish and rice", so since Tang and Song dynasties, especially in the Ming and Qing dynasties, the development of Hunan food culture has become more perfect, and gradually formed a distinctive characteristic of Hunan cuisine among the eight major national cuisines.[4]

Republic of China period Tan Yankai, a famous man in the period of the Republic of China, founded the important system of Hunan cuisine - Hunan cuisine in Zu’an with his chefs. With the food concept of "excellent selection of raw materials, fine knife processing, exquisite cooking skills, and precise flavor coordination", Hunan cuisine in Zu’an has won people's favor and is known as "the source of Hunan cuisine". Hunan cuisine in Zu’an is a famous series and important school in Hunan cuisine. [4]

Taste Characteristics and Forming Reasons of Xiang Cuisne

As soon as the chili seeds landed in the fertile and moist land of Hunan, they quickly won the love of the people on this land. As a kind of western foreign goods, chili in Hunan not only was not rejected, or neglected like onions, pepper and other crops , but got a special courtesy and collision sparks of passion. The reasons can be analyzed as follows: The first reason is about geography and climate. On the one hand, Hunan is suitable for the growth and reproduction of subtropical plants, so the yield and quality of chili are both considerable; on the other hand, Hunan is either dry for a long time without rain or rainy even causing a disaster.Large temperature difference and high humidity often cause heavy moisture in the human body and gloom in mind. While the chili dispels cold, removes dampness and opens depression, it’s especially suitable for consumption in Hunan. The second reason is about economy and transportation. Poor land and a far distance from the southeast coast caused the ancient Hunan economy backward, inconvenience of transportation and the expensive sea salt. And pepper has the function of stimulating taste and disinfection."Yuqing County Annals" is the first to say that chilies can "replace salt"and stimulate appetite [1], so it just become a substitute for salt.Moreover, at that time seasonal vegetables outside the province were difficult to enter the local. Rural people's purchasing power was low but chilies was tasty and the price was cheap, so it has become the most affordable and practical vegetables for farmers. According to the survey of the rural investigation team of Hunan Provincial Bureau of Statistics, in 1999, the chili sowing area of Hunan province is 1.15 million hectares, with an annual output of more than 300,000 tons. In that year, it imported more than 300,000 tons of chilies from Hainan and other places.The two combined, All citizens in Hunan consumed more than 10 kilograms of chilies every year. Due to the economic development of the province, the decline of the degree of spicy food in the whole province and the obvious difference in the degree of spicy food in developed cities and remote rural residents continue to prove the relationship between the local economy and the amount of the consumption of chili, especially the degree of spicy food. The third reason is about spiritual culture."When Hunan changes, China changes; when Hunan exists, China exists."People's sense of mission which take the world as their own duty is extremely prominent in Chinese provinces. The two large-scale migrations in the early Ming and early Qing dynasties had a great influence on the character and folk customs of Hunan people. The two major migrations were both because the population was sharply reduced by the war and a large number of outsiders moved to Hunan. This reorganization of the population caused the emergence of new folk customs in Hunan. This humanistic characteristic is interlinked with the spirit of chili, so chili and "spicy people" hit it off. Hunan people borrow the momentum of chili to support themselves, so the transformation is not strange from a common love for spiciness to a large-scale spiciness production, .

Famous Dishes of Xiang Cuisine

Mao shi bouilli Mao shi bouilli uses pork belly as the main material,with sugar and cooking wine as colored seasoning.Once the dish is finished, the color is red and bright, with strong meat fragrance but no greasy feeling. Because a little chili is added in the cooking process, so the taste is sweet with salty, salty with spicy, sweet without greasy. In 1914, Mao Zedong fell in love with red braised pork while studying at Hunan First Normal University. In the early years, Mao Zedong could put soy sauce in his dishes. But later, in a soy sauce workshop,he saw unsanitary situation in the process of soy sauce production, so he never ate soy sauce again. After entering Beijing, Mao Zedong did not let soy sauce in any of his dishes. Cheng Ruming, a chef in Zhongnanhai, figured out a solution to use sugar and salt instead of soy sauce to color the meat. So the braised meat was salty and sweet. Mao Zedong was very satisfied after tasting it.

Chop bell chili fish head Chop bell chili fish head usually uses bighead fish head and chopped chili as the main materials, with soy sauce, ginger, onion, garlic and other accessories steamed together. Dishes are red and bright in color, strong in taste, and tender in meat. The meat is fat but not greasy, the taste is soft and waxy, and the flavor is freshly spicy and palatable.

La flavor steamed It is made by steaming preserved pork, chicken, fish, chicken soup and spices together. The practice is simple, and the taste is salty and sweet and palatable. Hunan has a low terrain with a warm and humid climate so fresh meat could not be stored easily, but the smoked meat can be preserved and stored and durable. Gradually, people also developed the eating habit of eating . As early as the Han Dynasty, the ancestors of Hunan made delicacies with the preserved meat. By the Qing Dynasty, such dishes were famous, and "La flavor steamed" was one of many preserved dishes.

The cultural value of Hunan cuisine The spirit of craftsmanship with meticulous workmanship The core connotation of "craftsman spirit" is dedication, concentration, excellence, perseverance, the pursuit of excellence and innovation. [2] "Zu’an cuisine" embodies the artisan spirit in Hunan cuisine. The ingredients of Zu’an cuisine are extremely strict and the process is extremely exquisite. The ingredients are only taken from the heart of the vegetable and cooked in clear soup. [3]The taste is sparse but not light, and the fragrance is soft and waxy.

dietary thought of”Heaven and man are one, and conform to nature” Harmony between heaven and man, conforming to the natural Xiang people conform to the laws of nature, formed the diet wisdom of adapting to the time and local conditions. For example, Chenzhou's famous "Xifengdu fish meal" is precisely because the local freshwater fish are abundant, which provides excellent raw materials for the production of Xifengdu fish meal, reflecting the most direct food thought of Chenzhou people "relying on the mountain to eat and relying on the water to eat".[3]

Neighborly friendly food culture In Chinese classical philosophy, one of the important laws between the natural universe is Yin and Yang balance to create all things. As a result, food production also needs to follow the principle of balance between Yin and Yang, so as to produce a peaceful delicacy.［4］Xiang people have been warm and hospitable since ancient times. In the past, when living conditions were not sufficient, they expressed their gratitude, respect and blessing by giving and sharing food with each other. For example, when celebrating the New Year in Wugang, there is a folk custom of making "rice flowers"(mi hua), because in Chinise mi”hua” and "fa" homophone , meaning that everything is complete and prosperous,.Wugang people will give it as an auspicious food to their relatives and friends, and its food culture and folk culture have been deeply integrated.

Translation

简介

湘菜源自中国湖南省，是中国八大菜系之一，具有悠久的历史和独特的口味特点。湘菜以其鲜、香、麻、辣而闻名，善于激发味蕾的多种感官体验，同时强调食材的新鲜和原汁原味的保留。湘菜独特的口味风格和丰富的菜品种类使其在国内外都备受推崇，成为中国饮食文化中的一颗璀璨明珠。

湘菜的发展历史

春秋战国时期从湖南的新石器遗址中出土的大量精美的陶食器和酒器，以及伴随这些陶器一起出土的谷物和动物骨骸的残存来测算，证实潇湘先民早在八九千年前就脱离了茹毛饮血的原始状态，开始吃熟食了。在公元前300 多年的战国时代，伟大的诗人屈原被流放到湖南，写出了著名诗章《楚辞》。其中的《招魂》就反映了当时的这种祭祀活动中丰富味美的菜肴情况。《招魂》中有一段这样的描写：“..食多方些，稻粢穱麦，挐黄粱些。大苦咸酸，辛干行些。肥牛之犍，臑若芳些。和酸若苦，陈吴羹些。胹鳖炮羔，有柘浆些。鹄酸臇凫，煎鸿鸧些。露鸡臛臇，厉而不爽些。”解释成白话是这样的：“吃的菜肴丰富多彩。大米、小米、穱麦、黄粱随你食用。酸、甜、咸、苦，调和适口。肥牛的蹄筋又软又香。有酸苦风味调制的吴国羹汤。烧甲鱼、烤羊羔还加上甘蔗汁。醋烹的天鹅、焖野鸡、煎肥雁和鸧鹤，还有卤鸡和炖龟肉汤，味美而又浓烈啊——经久不散。” 上述这些，都说明了早在战国时期，湖南先民的烹调技艺相当成熟，饮食生活相当丰富多彩。

秦汉两代时期秦汉两代，湖南的饮食文化逐步形成了一个从用料、烹调方法到风味风格都比较完整的体系，其使用原料之丰盛，烹调方法之多彩，风味之鲜美，都是比较突出的。1972 年从湖南长沙市马王堆的軚侯妻辛追墓出土随葬遗策中可以看出，在2000多年前的西汉时，湖南的精肴美馔已近百种。仅肉羹一项就有5大类24种。另外还有72种食物,如“鱼肤”是从生鱼腹上割取的肉；“牛脍”、“鹿脍”等是把生肉切成细丝制成的食物；“熬兔”是干煎兔等。

唐宋明清由于湖南物产丰富，素有“鱼米之乡”的美称，所以自唐、宋以来，尤其在明、清之际湖南饮食文化的发展更趋完善，逐步形成了全国八大菜系中一支具有鲜明特色的湘菜系。

民国时期民国时期名人谭延闿及其家厨创立了湘菜的重要菜系－组庵湘菜。组庵湘菜以“原材料选取精良、刀工处理精细、烹制技艺精湛、味道调和精准”的美食理念赢得了人们的青睐，被称为“湘菜之源”，组庵湘菜是湘菜中的著名系列和重要流派。

口味特点及成因

辣椒种子一落脚在湖南这片肥沃而湿润的土地，就迅速赢得了这片土地上人民的酷爱。作为一种西来的洋货，辣椒在湖南不仅没有被排斥，或者遭到洋葱、胡椒等农作物被冷落的命运，反而得到了特别的礼遇，碰撞出激情的火花。究其缘由，可作以下分析：第一层是地理与气候的原因。一方面，湖南地理位置适宜亚热带植物的生长与繁衍，辣椒的产量与品质都极可观；另一方面湖南或久旱不雨，或一雨成灾，温差大，湿度高，人民常受寒暑内蕴之浸而易致湿郁，而辣椒祛寒去湿开郁，特别适宜于在湖南本土上食用。第二层是经济与流通的原因。湖南土地贫瘠，远离东南沿海，使古代湖南经济落后，交通不便，还造成了海盐昂贵。而辣椒具有刺激口味和消毒的功能，《余庆县志》最先载辣椒可以“代盐”，增添食欲［5］，恰好成为食盐的替代品。而且当时省外时令蔬菜较难进入本地。乡村人民购买力较低，辣椒味美价廉，因而成为农家最实惠、实用的蔬菜。据湖南省统计局农村调查队调查，1999年，全省辣椒播种面积为一百一十五万公顷，年产三十余万吨，当年从海南等地进口反季度辣椒三十多万吨，两项相加，全省男女老少人均消耗辣椒每年在十公斤以上。因经济的发展而出现的全省整体食辣程度的衰减，发达城市和偏僻农村居民食辣程度的明显差异，继续证明了地方经济与辣椒消费量的多寡尤其是食辣程度的高低的相互关系。第三层是精神文化的原因。“吾湘变，则中国变；吾湘存，则中国存。”(1897年9月发布的《湖南时务学堂缘起》)湖南仁人志士以天下为己任的使命感，在中国各省份中极为突出。明初和清初两次大规模移民，对湖南人的性格和民风影响甚大。两次大移民，都是由于战乱导致人口锐减，大批外地人移入湖南，这种人口的重新组合，使湖南出现新民风。这种人文特征与辣椒的精神内质相通，因而辣椒与“辣人”一拍即合。湖南人借辣椒的冲劲来壮怀，从一般的嗜辣发展到大规模种辣、制辣的过程，便不足为怪了。

经典菜品

毛氏红烧肉毛氏红烧肉以五花肉为主料，白糖、料酒为有色调味料烧制而成。成菜后，色泽红亮，肉香味浓，无油腻感。因在烧制过程中加入了少许辣椒，所以味道甜中带咸，咸中带辣，甜而不腻。 1914年，毛泽东在湖南第一师范学院学习时爱上了红烧肉。早年，毛泽东吃的菜里是可以放酱油的。后来有一次，在酱油作坊里看到酱油制作过程中有不卫生的情况，就再也不碰酱油了。进了北京之后，毛泽东所有吃的菜里，都不让放酱油。中南海厨师程汝明琢磨出解决办法，就是用糖色加盐，代替酱油为肉着色调味，这样烹制的红烧肉咸鲜不失、甜味兼得，毛泽东尝过之后很是受用。

剁椒鱼头剁椒鱼头通常以鳙鱼鱼头、剁椒为主料，配以豉油、姜、葱、蒜等辅料蒸制而成。菜品色泽红亮、味浓、肉质细嫩。肥而不腻、口感软糯、鲜辣适口。

腊味合蒸腊味合蒸是以腊猪肉、腊鸡、腊鱼、鸡汤和调料，下锅清蒸而成，其做法简单，咸甜适口。南地区地势较低，气候温暖潮湿。新鲜的肉类食品不宜储存，但经烟熏后的腊肉却能防腐耐贮。渐渐的，百姓也养成喜吃腊肉的饮食习惯。早在汉代时，湖南先民就用腊肉制作佳肴。到清代，此类菜肴已很出名，“腊味合蒸”就是许多腊味菜肴中的一种。

湘菜孕育的文化价值

精工细作的“工匠精神” “工匠精神”的核心内涵是爱岗敬业、专心专注、精益求精、持之以恒、追求卓越和守正创新。[2]“祖庵菜”便体现了湘菜中的工匠精神。祖庵菜选料极为严格，工艺极其精细，其选料只取菜心，用清汤烧制成菜，味道寡而不淡、清香软糯，若没有精益求精的工匠精神，则无法将平凡食材做到极致。

天人合一，顺应自然的饮食思想在中国古典哲学观念中, 自然宇宙间的重要规律之一是阴阳相和生万物。受此影响, 食物制作亦需遵循阴阳平衡的原则, 这样才能制作出气味平和的美味佳肴。［4］湘人顺应自然规律，形成的因时制宜、因地制宜的饮食智慧。如郴州地区有名的“栖凤渡鱼粉"，正是因为当地盛产淡水鱼，为栖凤渡鱼粉制作技艺提供了优良原料保障，体现了郴州人"靠山吃山，靠水吃水”的最直接的饮食思想。[6]

亲邻友善的饮食文化。湘人自古以来热情好客，在过去生活条件不充裕的情况下，他们通过彼此互赠、分享美食，表达彼此之间的感恩、敬重和祝福之情。如在武冈逢过年过节时，民间就有制作“米花”的民俗，因米“花”又与“发“谐音，寓意万事圆满，兴旺发达。武冈人将之作为吉祥食物赠予亲人好友，其食俗文化和民俗文化已经深度融合一起。

Terms and Expressions

Spring and Autumn Period and Warring States Period 春秋战国时期

The songs of Chu 《楚辞》

Conjuring Spirit《招魂》

Republic of China period 民国时期

Hunan Provincial Bureau of Statistics 湖南省统计局

Mao shi bouilli 毛氏红烧肉/毛家红烧肉

Chop bell chili fish head剁椒鱼头

La flavor steamed腊味合蒸

Questions

1.What are the characteristics of the taste of Hunan cuisine?

2.What cultural values does Hunan cuisine contains?

3.Can you give us three examples of famous dishes of Hunan cuisine?

1.湘菜有什么口味特点？

2.湘菜蕴含了怎样的文化价值？

3.你能举例三道有名的湘菜吗？

References

［1］张恺烺;孔泽鸣(Zhang Kailang; Kong Zeming).明清时期辣椒在中国的传播及饮食文化影响(The spread of pepper in China and the influence of food culture during the Ming and Qing Dynasties)［I］.文化创新比较研究(Comparative Research on Cultural Innovation),2023:27.

［2］肖化移(Xiao Huayi).工匠精神(craftsmanship spirit) ［M］.长沙(Changsha)：湖南人民出版社(Hunan People's Publishing House)，2019:4-5.

［3］彭军炜(Peng Junwei).湘菜非物质文化遗产文化育人价值分析(Analysis of cultural education value of Hunan cuisine )［I］.四川(Sichuan)：四川旅游学院学报(Journal of Sichuan Tourism University)，2023:5.

［4］李明晨，戴涛(Li Mingchen, Dai Tao).中国饮食文化的三重竞界(The triple competition circle of Chinese food culture)［J］.学习与实践(Learning and Practice)，2019（3）：130-133.

Luo Shuzhen | The Evolution of the Official Selection System

Introduction

 The system for selecting officials, also known as the official advancement system, refers to the procedural regulations by which the state appoints civil servants. This system is an important part of Chinese history and culture, and a gem of Chinese civilization. From ancient times to the present, the system for selecting officials has evolved from simplicity to complexity, from a lower to a higher level, and has become systematic and comprehensive. The improvement and development of this system holds significant inspiration for the refinement of China's modern system of selecting officials.

Evolution of the System for Selecting Officials

In primitive society, during the legendary era of Yao, Shun, and Yu, the system of abdication was practiced for talent selection. The criteria for selection were virtue and ability, with virtue referring to excellent moral character, and ability referring to outstanding talent. This system of talent selection, with its primitive democratic hue, was suited to the backward productivity of the time.（Deng Zhongping，Qianxi Zhongguo Gudai Xuanguanzhidu Ji Qishi,2）
The rudimentary form of the ancient Chinese official selection system was established in the Xia Dynasty. As the first slave state in ancient China, the Xia Dynasty established the hereditary noble and official system. Bloodline was the standard for selecting officials, determining the appointment of government officials at all levels through familial blood relations, ranking respect and nobility, and official titles based on the closeness of blood ties. Those with titles and official positions could enjoy fiefs and estates for generations. （Xing Zhongli，Zhongguo Gudaide Zhuyao Xuanguanzhidu,4）This system maintained the interests of the ruling class to a certain extent but was not conducive to effective societal management.
The Spring and Autumn and Warring States periods were a time of significant social transformation, with different countries attaching importance to talent. The main forms of talent selection during this period were the retainer system and the military merit system. The retainer system involved fostering individuals with special knowledge or skills for one's own use, including both personal retainers and government retainers. The military merit system referred to granting official positions and noble titles based on the size of military achievements. Shang Yang's reforms decreed: "The royal family without military merit shall not be included in the registry." Useful talents shone on the stage of the Spring and Autumn and Warring States periods, promoting economic development and social transformation.
During the Western and Eastern Han dynasties, the main methods of selecting officials were the recommendation system and the summoning system. The recommendation system involved local officials recommending capable and virtuous individuals to the court after investigation, with the court then assessing and appointing or directly appointing them. The summoning system was a direct appointment system by the emperor for individuals with special talents. The criteria for selection were moral character and ability. Both systems helped to some extent to purify the administration, fostering a folk custom that valued reputation and virtue. However, as local influential families grew in power, reputation influence was dominated by bureaucratic families, leading to serious phenomena of seeking fame and gain.（Li Jing, Gudai Zhongguo Xuanguanzhidu Jiantao Yu Qishi,2）
The Wei, Jin, Southern and Northern dynasties implemented the nine-rank system, which stipulated that at the local state and county levels, there would be officials responsible for evaluating the locals' suitability for official positions based on nine ranks, with periodic adjustments to the evaluated ranks. Initially, the system was able to select useful talents, but it gradually fell under the control of powerful families, resulting in a situation where "the upper ranks had no humble backgrounds, and the lower ranks had no powerful clans."
The imperial examination system, as the most important official selection system in ancient China, originated in the Sui Dynasty, flourished in the Tang Dynasty, was perfected in the Song Dynasty, declined in the Ming and Qing dynasties, and was abolished in 1905. The imperial examination system was a system of selecting talents through examinations on various subjects. The Sui Dynasty's imperial examination subjects included the Xiucai, Jinshi, Mingjing, and Jushi, with the Xiucai being the most prestigious. The Tang Dynasty's imperial examination system included regular and special examinations. Regular examination subjects included Mingjing, Mingfa, Xiucai, Jinshi, Mingfa, Mingzi, Mingsuan, Tongzi, Daoju, and so on, with the Jinshi being the most esteemed. The special examinations selected talents with outstanding abilities and virtues in literature, military affairs, and moral character, with subjects including Wenjingbangguo, Xianliangwenzheng, Wuzu'anbian, Xiaodilitianxianglu, and Junmouyuezhongke, among others. The Song Dynasty began to reform the Tang Dynasty's Jinshi examination method, which focused on poetic composition, adding content such as classics and meanings, in order to select practical talents for handling government affairs. By the Southern Song Dynasty, the Jinshi subject was changed to select talents through poetry and classics. The Ming and Qing dynasties implemented the eight-legged essay system, with the criteria for selecting talents being the eight-legged essay. During the Qing Dynasty, the imperial examination system was divided into three categories: regular examinations, special examinations, and translation examinations. The regular examinations, which were the primary focus, were further divided into civil and military streams, with an emphasis on the civil aspect. In addition to the regular examinations, there was also an imperial examination known as the court examination, which tested candidates on poetry, policy essays, and memorial writings. The results of these examinations were reviewed by ministers appointed by the emperor and reported to the emperor for final ranking. The imperial examination system facilitated social mobility, aided in the discovery and cultivation of talents to serve the rulers, and played a role in maintaining the stability of the feudal dynasty. However, it was difficult to test for administrative abilities, it often overlooked moral character, and it fostered the growth of factions. As the system became rigid in its later stages, it was ultimately abolished in 1905.（Gao Chi,Tangdai Xuanguanzhidu Deshi—Yi Kejuzhi Wei Zhongxin De Sikao,3-4）

Implications for Contemporary China

 Firstly, it is important to establish a correct perspective on personnel utilization. There is a need to select talents who uphold the national system and promote social and economic development, combining both moral integrity and ability.（Ma Kai, Qinhan Yilai Zhongguo Gudai Xuanguanzhidu Yanjin Yanjiu,50）
 Secondly, there is a continuous need to reform and improve the system for selecting talents. It is essential to ensure that the selection process is strict and transparent, that the selection examinations are fair and just, and to strengthen legal oversight and the institutionalization of personnel selection methods.（Zhang Yifan, Lun Zhongguo Gudai Xuanguanzhidu Ji Qi Xiandai Jiejian）
 Finally, there is a need to overcome the mindset that places official positions as the sole purpose of education. In ancient times, the main goal of selecting officials was to serve the supreme ruler and the autocratic system, leading to a deeply ingrained connection between education and government service. From a modern perspective, the purpose of education should not be limited to obtaining official positions, but should also focus on character development.（Yuan Jia, Qian Yi Woguo Gudai Xuanguanzhidu,2）

Queations for the topics

1. How does China's system for selecting officials promote mobility between different social strata? 2. How can the selection of officials balance virtue and ability to ensure that the chosen talents possess both moral integrity and professional competence? 3. How does the contemporary system for selecting officials in China draw from the historical imperial examination system to improve and refine the mechanism for talent selection? 4. In the context of globalization, how does China's system for selecting officials adapt to international standards and the needs of global governance? 5. How can the reform of the system for selecting officials enhance the efficiency and responsiveness of government departments? 6. How can the influence of interest groups be avoided in the selection process to ensure the objectivity and fairness of the selection outcomes? 7. How does the contemporary system for selecting officials in China strengthen the assessment of candidates' overall qualities, rather than selecting solely based on examination scores?

References

Deng Zhongping，2010, Qianxi Zhongguo Gudai Xuanguanzhidu Ji Qishi Xing Zhongli，Zhongguo Gudaide Zhuyao Xuanguanzhidu Li Jing,2008, Gudai Zhongguo Xuanguanzhidu Jiantao Yu Qishi, Gao Chi,2024, Tangdai Xuanguanzhidu Deshi—Yi Kejuzhi Wei Zhongxin De Sikao Ma Kai,2015, Qinhan Yilai Zhongguo Gudai Xuanguanzhidu Yanjin Yanjiu Zhang Yifan, Lun Zhongguo Gudai Xuanguanzhidu Ji Qi Xiandai Jiejian Yuan Jia，2010, Qian Yi Woguo Gudai Xuanguanzhidu

引言

 选官制度，也称为仕进制度，是国家选拔官吏的程序规章。选官制度是中国历史文化的重要组成部分，也是中国文化的瑰宝。从古至今，选官制度经历了从简单到复杂，从低级到高级的发展过程，具有系统性和完整性。选官制度的完善与发展对我国完善现代选官制度具有重大启示意义。

选官制度的演变

 原始社会，即传说中的尧舜禹时期，人才选拔采用的是禅让制。选拔的标准是贤与能，贤，即品德优良；能，即才能出众。这种带有原始民主色彩的人才选拔制度与当时落后的社会生产力相适应。
 中国古代官吏选拔制度的雏形形成于夏朝。夏朝作为中国古代第一个奴隶国家，形成了世卿世禄制。血缘作为选拔官吏的标准，通过家族血缘关系来确定政府各级官员的任命，按血缘亲疏定等级尊卑和官爵高下，凡有爵位与官职者可世代享有采邑和封地。这种选官制度一定程度上维护了统治阶级的利益，但不利于社会的有效管理。
 春秋战国是社会大变革时期，各国重视人才，此时人才选拔主要是养士制和军功制。养士制即豢养一批具有特殊知识或技能的士人，以为己用，包括个人养士和政府养士。军功制，是指根据战功的大小来封官晋爵，商鞅变法规定：“宗室非有军功论，不得属籍”。有用之才在春秋战国的舞台上绽放光芒，推动了经济发展和社会变革。
 两汉时期，官吏选拔方式主要是察举制和征辟制。察举制是指地方官吏经过考察，将能者、贤者举荐给朝廷，朝廷经过一定的方式考核任用或直接任用。征辟制是皇帝对特殊人才直接评任的制度。选拔的标准是德行与才干。两种制度在一定程度上清明了吏治，形成注重声望德行的民风，但后来随着地方豪强势力的发展，声望影响被官僚家族所支配，沽名钓誉现象严重。
 魏晋南北朝实行九品中正制，它规定在地方州郡分别设立大小中正，负责以九个等级品评本地区的士人，作为授官的依据，并对已评定的品级定期予以升降。制度创立之初，尚能选拔有用之才，后来逐渐被门阀世族所把控，出现“上品无寒门，下品无势族”的场景。
 科举制作为中国古代最为重要的选官制度，它来源于隋朝，充分发展于唐朝，完善于宋代，而于明清时期走向衰落，于1905年被废止。科举制是一种按照不同的科目通过考试而选取人才的制度。隋朝科举取士的科目有秀才科、进士科、明经科、俊士科，其中以秀才科地位最高。唐代的科举制包括常科和制科。常科的举试科目包括明经、明法、秀才、进士、明法、明字、明算、童子、道举等，其中以进士科最受器重。制科选拔的人才多是在文学、军事、品德等方面才华出众的能人贤士，其科目包括文经邦国科、贤良文正科、武足安边科、孝弟力田闻于乡闾科、军谋越众科等。宋代开始改革晚唐进士科首场诗赋的考试方式，加以经义等内容，以获取以选拔处理政务的实干人才。至南宋时期，进士科目变更为诗赋和经义两科选拔人才。明清实行八股取士，取才标准变成八股文。满清时期，科举考试科目分为常科、制科和翻译科三种。常科取士，分文、武两类，以文为主。常科科举取士另加朝考，考试内容为诗词、策论、疏书等，成绩由钦派大臣阅定，并上报皇帝，确定等级。科举制促进了阶级流动，有利于发掘、培养人才为统治者服务，对维持封建王朝稳定起到一定作用。但是其难以测试行政才能、易忽视道德、滋生朋党，在后期僵化，最终在1905年被废除。

对当代中国的启示

 首先是树立正确的用人观。要选拔维护国家体制和促进社会经济发展的德才兼备人才。
 其次是要不断改革和完善选拔人才的制度。要确保选拔过程严格、透明，选拔考试公正、公平，强化法制层面监管，加强人事选拔方式的制度化建设。
 最后是要克服官本位思想。古代官吏选拔的主要目的是替最高统治者效忠，为专制制度服务，因此读书和做官相连结的思想根深蒂固。以现代的视角来看，读书的目的不因只局限于做官，而更在于做人。

问题

1，中国的选官制度如何促进社会各阶层之间的流动性？ 2，如何在选拔官员时平衡德行和能力，以确保选出的人才既具备道德品质又具有专业能力？ 3，当代中国的选官制度如何借鉴历史上的科举制度，以改进和完善人才选拔机制？ 4，在全球化背景下，中国的选官制度如何适应国际标准和全球治理的需求？ 5，如何通过选官制度的改革，提高政府部门的效率和响应性？ 6，如何在选拔过程中避免利益集团的影响，确保选拔结果的客观性和公正性？ 7，当代中国的选官制度如何加强对候选人综合素质的评估，而不仅仅是基于考试成绩的选拔？

引用

邓中平，2010，浅析中国古代选官制度及启示刑忠利，中国古代的主要选官制度李静，2008，古代中国选官制度检讨与启示高驰，2024，唐代选官制度得失—以科举制为中心的思考马凯，2015，秦汉以来中国古代选官制度演进研究张艺凡，论中国古代选官制度及其现代借鉴袁佳，2010，浅议我国古代选官制度

Cult Ov 2 Fin Exam 2024

Tu Hairong:The Torch of Unity: Celebrating Torch Festival Among China's Ethnic Minorities

Origins and Myths

Historical Evolution

Regional Variations

Connection to Ancient Agricultural Societies and Rituals

Traditional Customs and Practices

Contemporary Celebrations

Cultural Impact

Social Impact

Terms and Expressions

Questions

References

Translation

Chen Zhuo |Chinese Painting: A Thousand Miles of Rivers and Mountains

Introduction

Wang Ximeng: The Prodigy Painter

The Historical Context of the Northern Song Dynasty

Artistic Brilliance and Technical Mastery

Detailed Analysis of Key Sections

Symbolism and Cultural Connotations

Impact and Legacy

Conclusion

Terminology

Questions

References

简介

天才画家王希孟

北宋时期的历史背景

精湛技术

象征意义和文化内涵

影响

结论

参考文献

问题

Wu Liping | Festival：Qixi Festival

Introduction

Origin

Activities on the day

Cultural significance and development of Qixi Festival

Conclusion

Terms and Expressions

Questions

References

Translation

Luo Jiayi | Music and instruments：Yuge（Fishing song）

Overview

Classification of fishing songs

Characteristics of fishing songs

The value of fishing songs

Translation

概述

渔歌的分类

渔歌的特征

渔歌的价值

Terms and Expressions

Questions

References

Xie Xianglin |Education:Chicken Child(Fired-up Child)

The Origin and Meaning

Causes of the Chicken Child

Education system

Ideological Tradition

Economic Factors

Specific Manifestations in Society

The Double Reduction Policy

Similar phenomena abroad

Summary

Terms and Expressions

Questions

References

(Translation)教育：鸡娃

鸡娃的由来及含义

鸡娃现象的成因

教育体制

思想传统

经济因素

鸡娃在社会中的具体显现

双减政策

国外的相似现象