中国文化英语教程文本
中国文化英语教程文本
Part I Wisdom and BeliefsUnit 1 Confucian thought on heaven and humanityConfucius (551-479 BC), known in China as Kongzi, given name Qiu and alias Zhongni, was a native of Zouyi (present-day Qufu in Shandong Province) of the State of Lu during the Spring and Autumn Period (770-476 BC). A great thinker, educator and founder of Confucianism, Confucius is an ancient sage to the Chinese people. His words and life story were recorded by his disciples and their students in The Analects (Lunyu).Confucius on Heaven: the source of EverythingIn the Shang (1600-1046 BC) and Zhou (1046-256 BC) dynasties, the prevalent concept of “Heaven”was that of a personified god, which influenced Confucius. Generally, however, Confucius regarded “Heaven”as nature. He said, “Heaven does not speak in words. It speaks through the rotation of the four seasons and the growth of all living things.”Obviously, heaven equaled nature, in the eyes of Confucius. Moreover, nature was not a lifeless mechanism separate from humans; instead, it was the great world of life and the process of creation of life. Human life was part and parcel of nature as a whole.Confucius on People: ren and liRen and Li are the two core concepts of Confucius's doctrine about people.When his students Fan Chi asked him about ren, Confucius replied, “love people”. This is Confucius' most important interpretation of ren. Love for the people is universal love. Confucius further emphasized that this kind of love should “begin with the love for one's parents”. He believed no one could love people in general if they did not even love their own parents. Confucius regarded “filial piety and fraternal duty”as the essence of ren. The Doctrine of the Mean (Zhongyong) quotes Confucius as saying, “The greatest love for people is the love for one's parents.”He also said, “Children should not travel far while their parents are alive. If they have no choice but to do so, they must retain some restraint.”He did not mean that children should not leave their parents at all. What he meant was that children should not make the parents anxious about them while away from home. Confucius said again, “Children should think often of the age of their parents. They should feel happy for the health and longevity of their parents. They should also feel concern for the aging of their parents.”By ren, Confucius meant universal love based on love for one's parents. How should peoplelove one another then Confucius said, “One should be aware that other people may have similar desires as oneself. While fulfilling one's desires, allow others to fulfill their desires as well.”He further said, “Do not do toward others anything you would not want to be done to you.”Thus from oneself to one's family, from family to society, one should extend love to all people. Mencius (c. 372-289 BC), a great Confucian scholar, best summarized ren as, “loving one's parents, loving the people, loving everything in the world.”Li refers to rituals, traditions and norms in social life. Of these, Confucius regarded burial ritualsand ancestral worship rituals as the most important, because they rose from human feelings. He said, “A child should not leave his parents' bosom until he is three years old.”He naturally love his parents. The ritual of wearing mourning for a deceased parent for three years was an expression of thechild's love and remembrance.Confucius on the State of lifeBefore Confucius, only the nobility had the right to education. He was the first figure in Chinese history to initiate private education. According to historical records, Confucius taught for many years and trained 3,000 disciples. A total of 72 of them excelled in the “six arts”, ., ritual, music, archery, (carriage)driving, calligraphy, and mathematics. A great educator, Confucius has been admired by later generations as the “sage of sages”.Confucius believed the basic goal of education was to cultivate “persons of virtue”, whoshould have sound character and uplifted minds. Such people should be able to shoulder important social responsibilities and to make contributions to society. Confucius regarded lofty ideals, great virtue, love of people, and the “six arts”as the general principles of education. Of these, virtue was the most important. His students were involved in a variety of professions, including politics, trade, education, diplomacy, ritual ceremony, and classifying ancient books. Whatever they did, they all wanted to improve their learning of the humanities and to enhance their virtue.Unit 2 Laozi's philosophy of Non-actionThe book Laozi was written around the sixth century BC. The author is generally believed to beLao Dan, or Laozi –a recluse who lived during the Spring and Autumn Period. Few records have survived about Lao Dan, who was said to have once held a low civil position in the royal court, in chare of the archival records of the Zhou Dynasty. Yet, due to his great learning, even Confucius was said to have traveled miles to consult him.Laozi, also known as Classic of the Way and Virtue (Dao De Jing), consists of just over 5,000 Chinese characters. Its 81 chapters are divided into two parts, Dao (the Way) and De (Virtue). Short as it is, the book has played a tremendous role in the development of Chinese culture. It became the basis of Daoism, the school of philosophy parallel to Confucianism in ancient China. The thought of Laozi formed the foundation of Daoism, the most influential indigenous school of religion in China. It has also exerted a direct impact on the characteristics, trends of thought and aesthetic sensibilitiesof the Chinese nation. Today Laozi still plays a role in the development of Chinese thinking. Naturalness and Non-action“Naturalness”is an important concept of Laozi's philosophy. It refers to a natural state of being, an attitude of following the way of nature. Laozi emphasized that everything in the world has its own way of being and development: birds fly in the sky, fish swim in the water, clouds float in the sky, flowers bloom and flowers fall. All these phenomena occur independently and naturally without following any human will, and humans should not try to change anything natural. Laozi admonished people to give up on any desire to control the world. Following the way of nature is the way to resolving conflicts between humans and the world.“Non-action”is another important concept of Laozi's philosophy. It is the guarantee of “Naturalness”. Laozi said, “(Dao or the Way) acts through non-action,”by which he did no mean that one should do nothing and passively wait for something to be achieved. Neither did he deny human creativity. What he meant is that human enterprises should be built on the basis of naturalness, not on many attempts to interrupt the rhythm of nature. Human creativity should be in compliance with the ways of nature.The philosophy of Non-contentionOn the basis of “naturalness”and “non-action”, Laozi proposed the view of“overcoming the strong by being weak”. The era Laozi lived in was replete with endless wars. Therefore, war was an important treme for philosophers, and ant-war thinking was the norm. Even the great strategist Sunzi advocated “winning a war without fighting it”, not to mention the great thinker Confucius, who strongly championed a government based on love. Their contemporary Mozi (c. 468-376 BC), founder of Mohism, also condemned wars while calling for “love for all”.According to Laozi, war springs from humanity's bloated desires. Conflict arises out ofpeople's struggles to satisfy their desires, and conflict escalates into war. Therefore, Laozi's philosophy is based on “non-contention”. To him, human striving and competitive strife is the root cause of decline; desiring nothing is the natural way of life.Laozi said, “The greatest virtue is like water.”He compared his philosophy of“non-contention”to water, to distinguish it from the law of the jungle. He said, “Water nourishes everything but contends for nothing.”To Laozi, humans tend to seek higher positions while water always flows to lower places. Driven by desire, humans like whatever they think is superior while despising whatever they think is inferior. Yet water always flows downward. As the source of life, water nourishes all living things on Earth. No life can exist without water. Water contributes to the world without regard for gain or loss. Remaining low, level and tranquil, water embraces and reflects everything under heaven. The way of water is completely different from the way of people with avid desires.But the philosophy of Laozi is by no means weak. On the contrary, it is full of strength.According to Laozi, water accumulates great strength in its weakness and quietude. Its strength can break down all barriers in the world. He said, “Nothing in the world is weaker than water. Yet nothing is stronger than water when it comes to breaking something strong.”Water is a typical example of the weak winning over the strong. Water is invincible because it desires nothing and contends for nothing.Unit 3 Chinese Buddhist CultureWho am I Where am I from Where am I goingMen are mortal. But death is not an once-and-for-all thing. They enter the rotating Wheel of Six Realms:Heaven, Human, Asura, Animal, Hungry Ghost, Hell.Documents stored in computer can be canceled at will, but what we have done in our life, and actually in our innumerable lives, cannot. What has been done has been done. The information is stored in your true “self”, not the physical one, and will accompany you life after life, and determines which Realm you enter.Only when we are completely free from lust, hatred, and folly, can we manage to break away from the capture of the rotating Wheel, and achieve perpetual enlightenment, discovering your true “self”.In Buddhism there isn't any dominating god who controls your destiny. We are the maker of our own fate. What we are at present is a result of what we have done in the past; and what we will be in the future is decided by what we are doing at present. What we have done form the “karma”, which, like a gene, decides on your future story. But this “gene”can of course be modified, by doing good deeds and obtaining healthy biological and spiritual energy, so as to change our future course of career. We are, therefore, our own master. What are the basic requirements for a BuddhistFive Prohibitions for the laymen:1) Don't kill;2) Don't steal;3) Don't seek aberrant sensual pleasures;4) Don't talk irresponsibly;5) Don't drink alcohol.Part II Creativity and ExchangeUnit 4 The Silk RoadThe silk road refers to a transport route connecting ancient China with Central Asia, West Asia, Africa, and the European continent. It appeared as early as the second century BC and was traveled mainly by silk merchants. The term “Silk Road”, or “die Seidenstrasse”in German, was first noted down by the German geographer Ferdinand Von Richthofen at the end of the 19th century.The silk road began in Chang'an (present-day Xi'an, capital of Shaanxi Province), passingthrough Gansu and Xinjiang to Central Asia, West Asia, and to lands by the Mediterranean. Therewere no signs of communication between ancient Chinese civilization and Mediterranean civilizationin earlier history. In about the seventh century BC, the ancient Greeks began to learn about an ancient civilization to the east, yet knew little about it. Before the Silk Road, according to archeological findings, there had already existed an intermittent trade route on the grasslands from the Yellow River and the Indus River drainage areas to the Euphrates and the Tigris, and the Nile drainage areas. Yetreal communication between China, Central and West Asian countries, Africa and the European continent did not develop until the opening of the Silk Road.Zhang Qian, Trail BlazerThe pioneer who blazed the trail of the Silk Road was Zhang Qian (c. 164-114 BC). In ZhangQian's time, the Chinese has little knowledge about Central and West Asian countries, Africa or Europe, although they were aware of the existence of many different countries and cultures in faraway places to the west.During the reign of Emperor Wu (r. 140-135 BC), there were 36 small kingdoms in the Western Regions (present-day Xinjiang and parts of Central Asia). All of them were later conquered by the Huns, who then posed a direct threat to the Western Han and blocked the dynasty's path west.Under these circumstances, Emperor Wu appointed Zhang Qian to lead a team of more than 100 envoys to the Western Regions.The mission was to unite the Indo-Scythic people against the Huns, who once killed theirchieftain. Zhang Qian's team set out in 138 BC. No sooner had they entered the Hexi Corridor (northwest of present-day Gansu Province), than they were captured by the Huns. After being held under house arrest for over ten years, Zhang Qian and only one other remaining envoy managed to escape and return to Chang'an in 126 BC. Their accounts about the Western Regions were arevelation to Hun emperor and his ministers.In the next two decades, Emperor Wu launched three major campaigns against the Huns,forcing them to retreat from the Western Regions. In 119 BC, the emperor sent Zhang Qian on a second mission to the Western Regions. This time Zhang Qian went further west, while his deputies reached more than a dozen countries in South and West Asia, and the Mediterranean.Zhang Qian's two missions to the Western Regions opened up the road to the west. EmperorWu adopted a series of measures to strengthen ties with the Western Regions, including encouragingHan People to trade there.Soon the route was bustling with caravans of camels carrying goods of all types andreverberating with the tinkling of their bells. Through the Silk Road, trade flourished between China and Central, South and West Asian countries, Africa and Europe. In 166, envoys from Rome arrived via the Silk Road in Chang'an, were they set up an embassy.Part III Art and AestheticsUnit 5 Music: Govern the Country, Nourish the MindThe tradition of Chinese music dates back to remote antiquity. Governing the country and nourishing the mind through music are two of the main functions of this tradition.Governance Through MusicAccording to ancient Chinese culture, rituals provided the norms of conduct of people. The goalwas to maintain social order.Music was for the mind's cultivation and expression. Its purpose was to enhance people'soutlook on life and imbue them with energy and creativity, such that they could enjoy a more harmonious and happier spiritual life. Individual contentment would then lead to social harmony, as well as to a more harmonious relationship between people and nature. The highest level of ancient Chinese music was to represent spiritual with nature.The prominent stature of music in ancient China explains the emergence of sophisticated instruments from early times. Chime bells were one example. First used in the Shang Dynasty, they became quite popular during the Western Zhou Dynasty (1046-771 BC). In 1978, a fine set of chime bells was unearthed in Hubei Province, from the tomb of Marquis Yi, a local lord in a small state called Zeng during the Warring States Period.The Marquis Yi chime bells consist of 65 bells arranged in three rows. The first row includes 19niu bells, and the second and third rows include 45 yong bells. The bells in each row differ from one another in shape and size, emanating(发出) different tones. In addition, there is a separate and much larger bell used to adjust pitch. Like the bells, the from is made of bronze, weighing as much as five tons or more. The total weight of the bells is more than 440 kilograms. While the bells bear inscriptions totaling more than 2,800 Chinese characters relating to music and the making of the instrument, the frame is carved with exquisite patterns in relief (浮雕) and fretwork(回纹细工). Instruments of such a scale and such fine craftsmanship were quite rate in the world at the time. Five musicians were needed to play the instrument. Each bell produces two tones when struck at the respective sound points as marked. The entire set of chime bells is able to produce all the tones of a modern piano.Consoling the Mind with MusicWild Geese Landing on the The Chinese zither tends to create a tranquil air. The composition Shallow Shore is such an example. With a relaxed rhythm, the first part of the piece depicts a calm Yangtze River under a clear autumn sky. The second part progresses into livelier rhythms to imitatethe chirping of many birds. The third part presents a thematic scene of wild geese leisurely landing on the shallow shores of the Yangtze, as a gentle breeze makes the water ripple. To Chinese musicians and music lovers, the contentment of the wild geese represents the human heart.The zither was also instrumental in communication between ancient scholars and artist. The Three Stanzas of Plum Blossoms, was based on an Eastern Jin Dynasty famous zither composition,One ) (-383).桓伊王子猷story of the poet Wang Ziyou () (c. 338-386) and the flute player Huan Yi (day the poet was taking a boat trip when he overheard someone on the riverbank say Huan Yi waspassing by. Although the two had never met before, they admired each other as poet and flute player. Despite his lower rank of office, Ziyou sent a family member to request Huan Yi to play the flute. Three Stanzas of Plum played and Yi dismounted from his carriage Without hesitation, Huan Blossoms, while Ziyou listened from his boat. After finishing, Huan Yi mounted his carriage and drove on. Ziyou, too, continued with his boat journey. The two of them exchanged not a single word, s three 'yet both were content with the communication of their hearts through the music.The flutestanzas were later converted into a composition for the Chinese zither, which has become one of thethe of its eulogy expression of otherworldly feelings through best-known musical works –as ans purity, fragrance and resistance to the cold.'plum flower Unit 6 Flying strokes of CalligraphyThe evolution of Chinese characters font甲骨文the Oracle bone script→金文Jinwen (Inscriptions on bronze )→篆书Seal script→隶书Official script→楷书Regular script→草书Cursive script→行书running scriptWang Xizhi and Preface to the Lanting Pavilion CollectionIn the Hall for Cultivation of Mind of the Palace Museum, there is a Three-treasurer Study,which derives its name for the three most valuable calligraphic works housed here. These three treasures, most valued and adored by Emperor Qianling (r. 1736-1795) of the Qing Dynasty, were A Sunny Scene after a Quick Snow by Wang Xizhi, Mid-Autumn by Wang Xianzhi and Boyuan byWang Xun (349-400). As father and son, Wang Xizhi and Wang Xianzhi hae been known as the“Two Wangs”, their works universally recognized as the peak of Chinese calligraphy.Unit 7 Porcelain –Calling Card of Chinese CultureIn English, the country and “porcelain”share the same name –“China”. This proves that Europeans have long known of China's relationship to porcelain. Porcelain found its way to Europein the 15th century, occupying an important position in the exchanges between China and other countries. The Keisel Randy Museum in Germany houses a blue-and-white bowl dating back to the Ming Dynasty. Throughout history, China, along with other Asian countries, and Europe maintaineda busy and vast trade in porcelain. From 1602 to 1682, the Dutch East India Company transported more than 16 million articles of porcelain to Europe. Porcelain garnered a good reputation for Chinafor its sophistication and elegance, and played an important role in the wave of the European idealization of China during the 17th and 18th centuries. In the rococo style popular in Europe of that time, one could sense, from time to time, the influence of “Chinese vogue”represented by China's styles of porcelain and gardens.Porcelain is of great significance in the history of Chinese civilization. Pottery was thepredecessor of porcelain, while glazed pottery was the basis for the emergence of porcelain. Aroundthe first century, porcelain production first emerged in China, and by The Song Dynasty it had become mature. Song-Dynasty porcelain represented the acme of Chinese porcelain technique. Fivefamous kilns, the Jun, Ding, Guan, Ge, and Ru, were all creative and original in their respective products, and their porcelain ware has been imitated by later generations throughout the ages. In the Yuan Dynasty, Jingdezhen became the center of the Chinese Porcelain industry.Pure Blue-and-White PorcelainPure and elegant beauty is the goal that porcelain pursues, and this ideal is best explained in the production of blue-and-white porcelain.Blue-and-white porcelain is a typical artifact of porcelain in China. Among the porcelainexported during the Ming and Qing dynasties, 80 percent was blue-and-white. Chinese-madeblue-and-white porcelain ware emerged long before the founding of the Tang Dynasty, but it was not until the Yuan Dynasty that this type of porcelain came to be produced in quantity, with the attendant masterpieces. The Ming Dynasty witnessed the maturity of the art, and a large number of valuable pieces were produced in this period. Jingdezhen, a small town that created the enchantingblue-and-white porcelain of the Yuan Dynasty, became its porcelain-producing center; and in the subsequent Ming Dynasty, the imperial kilns were established here. Blue-and-white porcelain is now the most representative of Chinese porcelain.To produce blue-and-white porcelain, cobalt oxide is requisite. It is employed to draw on thewhite roughcast before glaze is applied. After kilning at a high temperature, the roughcast turns into blue-and-white porcelain, since cobalt oxide turns blue with heat. The white surface with blue patterns and a shiny sheen of glaze produces a pure, elegant and transparent effect.Unit 8 Peking Opera: Artistry of PerformersThe Delights of Peking Opera MasksChina's Peking Opera radiates with the beauty of resplendent color –vivid, intense and glamorous. This artistic beauty comes not only from the costumes but also from the masks of exaggerated, dazzling designs, gleaming with red, purples, whites, yellows, blacks, blues, greens, every diverse color imaginable.Masks, applied to the two roles of the “jing”or “painted-face role”and the “chou”or “clown”, serve two purposes. One is to indicate the identity and character of the role. For example, a “red face”means the person is loyal and brave; a “black face”signifies the person is straightforward; and “a white face”identifies the person as crafty and evil. The other purpose is to express people's appraisal of the roles from a moral and aesthetic point of view, such as respectable, hateful, noble, ridiculous, etc.Peking Opera Performance: Sing, Speak, Act, and FightThe performance of a Peking Opera actor can be summarized into four basic aspects, of singing, speaking, acting, and fighting, the core of which is a combination of song and choreography. Singing is of utmost importance in the performance of Peking Opera, because first of all, Peking Opera is a singing art. Any famous Peking Opera boasts several wonderful arias that are well-known and popular with audiences. The charm of the melodies usually embodies the sublime realm of the art of Peking Opera. Unable to appreciate the magic of Peking Opera arias, one would fail to enjoy the profound beauty of the art itself.Speaking refers to character monologs and dialogs, which serve to propel the development ofthe story. Speaking, like singing, needs to be executed in an appealing way.Acting and fighting mean that actors employ physical movements to express the emotions of the characters and the circumstances. Acting includes body movements and eye movements, solo dancingor group dancing, etc. Most of the dancing is choreographed movements from everyday life. Fighting Pekingof art the As scenes. battle or fight depict to acrobatics and arts martial choreographed isOpera depends on movement to depict events, actors are given much room to perform on the the Picking up the Jade Bracelet, the young woman Sun Yujiao and the young scholar fall in love operawith each other, their eyes affixed on each other as if a thread connected them. Then, as MatchmakerLiu uses her pipe to pull the “virtual”line up and down, the young couple's eyes accordingly the significance to and add much and down. These actions produce great humor move up“world of images”, but at the or the ”“play performance.Acting and fighting serve the wholeKing Chu Bids same time they are themselves a beautiful art in both form and skill. For example, in Farewell to His Concubine, artist Mei Lanfang performed a sword dance in a miraculously skillful way, which became very popular with audiences. This is a type of beauty in form. As for the beauty of skill,.”this usually includes some very difficult acrobatic movements, often referred to as “superb skillsspeaking, singing, fact that the Peking Opera lies in the of The uniqueness performances inacting, and fighting, all focus on one or two actors in the play.“mingjue”was used to refer to famous , hence er”jueThese performers used to be called “'actors or actresses. In this sense, the world of imagery created in Peking Opera mainly relies on thesinging, speaking, acting, and fighting of actors, especially in the performance of the famous plays.This is the biggest difference between Peking Opera and other forms of performing arts in terms ofwell –art of performers”“And the remark –Peking Opera is the aesthetic appreciation. describes its quintessence.Visual World“”The Beauty of ais a distinctive feature of Peking Opera. Its virtually consists of two ”Depicting a “visual worldaspects: one is virtual movements, and the other virtual settings. Virtual movement refers to imitatingactions onstage. For example, riding a horse. Onstage, an actor cannot ride a real horse, but can onlyhold a whip and imitate the movement of galloping by walking around the stage, turning the body, wielding the whip, and pulling the reins. A virtual setting means creating an imagined environment onstage. For example, rowing a boat. As there is no water or boat on the stage, an actor usually takesthe rowing of a boat on water.”an oar and, through actions, makes the audience “see At the Crossroad. This opera describes the story of two yamen runners escorting Jiao One isZan to prison. On the way they stay at an inn for the night. Ren Tanghui, whose task is to protect Jiao Zan, checks in at the same time. The owner of the inn, however, suspects Ren Tanghui is planning tos room at night. Thus a fight starts. What is special murder Jiao Zan, so he gropes his way into Ren'the yet is brightly lit; fight happens about the performance is that, although the at night, the stagefeature which performances, from the actors' pitch-dark audience is able to sense it is a nights sword swishes down, only 'stealthy movements typical of people in darkness. Sometimes, one man s face, yet the latter feels nothing, thus producing a breathtaking 'a few inches away from the otheryet meaningful and humorous effect.RiverAutumn story Opera. This transplanted from The other example is Sichuan , a playdescribes a young nun, Chen Miaochang who leaves the nunnery to pursue her lover Pan Bizheng. Onstage, there is neither water nor boat, but through the performance of the young woman and thethat the stage is a river. The boat sways forward; “see”old boatman, the audience is able to obviously。
中国文化英语教程文本
P a r t I W i s d o m a n d B e l i e f s Unit 1 Confucian thought on heaven and humanityConfucius (551-479 BC), known in China as Kongzi, given name Qiu and alias Zhongni, was a native of Zouyi (present-day Qufu in Shandong Province) of the State of Lu during the Spring and Autumn Period (770-476 BC). A great thinker, educator and founder of Confucianism, Confucius is an ancient sage to the Chinese people. His words and life story were recorded by his disciples and their students in The Analects (Lunyu).Confucius on Heaven: the source of EverythingIn the Shang (1600-1046 BC) and Zhou (1046-256 BC) dynasties, the prevalent concept of “Heaven”was that of a personified god, which influenced Confucius. Generally, however, Confucius regarded “Heaven” as nature. He said, “Heaven does not speak in words. It speaks through the rotation of the four seasons and the growth of all living things.”Obviously, heaven equaled nature, in the eyes of Confucius. Moreover, nature was not a lifeless mechanism separate from humans; instead, it was the great world of life and the process of creation of life. Human life was part and parcel of nature as a whole.Confucius on People: ren and liRen and Li are the two core concepts of Confucius’s doctrine about people.When his students Fan Chi asked him about ren, Confucius replied, “love people”. This is Confucius’ most important interpretation of ren. Love for the people is universal love. Confucius further emphasized that this kind of love should “begin with the love for one’s parents”. He believed no one could love people in general if they did not even love their own parents. Confucius regarded “filial piety and fraternal duty”as the essence of ren. The Doctrine of the Mean (Zhongyong) quotes Confucius as saying, “The greatest love for people is the love for one’s parents.” He also said, “Children should not travel far while their parents are alive. If they have no choice but to do so, they must retain some restraint.” He did not mean that children should not leave their parents at all. What he meant was that children should not make the parents anxious about them while away from home. Confucius said again, “Children should think often of the age of their parents. They should feel happy for the health and longevity of their parents. They should also feel concern for the aging of their parents.”By ren, Confucius meant universal love based on love for one’s parents. How should people love one another then Confucius said, “One should be aware that other people may have similar desires as oneself. While fulfilling one’s desires, allow others to fulfill their desires as well.” He further said, “Do not do toward others anything you would not want to be done to you.” Thus from oneself to one’s family, from family to society, one should extend love to all people. Mencius (c. 372-289 BC), a great Confucian scholar, best summarized ren as, “loving one’s parents, loving the people, loving everything in the world.”Li refers to rituals, traditions and norms in social life. Of these, Confucius regarded burial rituals and ancestral worship rituals as the most important, because they rose from human feelings. He said, “A child should not leave his parents’ bosom until he is three years old.” He naturally love his parents. The ritual of wearing mourning for a deceased parent for three years was an expression of the child’s love and remembrance.Confucius on the State of lifeBefore Confucius, only the nobility had the right to education. He was the first figure in Chinese history to initiate private education. According to historical records, Confucius taught for many years and trained 3,000 disciples. A total of 72 of them excelled in the “six arts”, ., ritual, music, archery, (carriage)driving, calligraphy, and mathematics. A great educator, Confucius has been admired by later generations as the “sage of sages”.Confucius believed the basic goal of education was to cultivate “persons of virtue”, who should have sound character and uplifted minds. Such people should be able to shoulder important social responsibilities and to make contributions to society. Confucius regarded lofty ideals, great virtue, love of people, and the “six arts” as the general principles of education. Of these, virtue was the most important. His students were involved in a variety of professions, including politics, trade, education, diplomacy, ritual ceremony, and classifying ancient books. Whatever they did, they all wanted to improve their learning of the humanities and to enhance their virtue.Unit 2 Laozi’s philosophy of Non-actionThe book Laozi was written around the sixth century BC. The author is generally believed to be Lao Dan, or Laozi – a recluse who lived during the Spring and Autumn Period. Few records have survived about Lao Dan, who was said to have once held a low civil position in the royal court, in chare of the archival records of the Zhou Dynasty. Yet, due to his great learning, even Confucius was said to have traveled miles to consult him.Laozi, also known as Classic of the Way and Virtue (Dao De Jing), consists of just over 5,000 Chinese characters. Its 81 chapters are divided into two parts, Dao (the Way) and De (Virtue). Short as it is, the book has played a tremendous role in the development of Chinese culture. It became the basis of Daoism, the school of philosophy parallel to Confucianism in ancient China. The thought of Laozi formed the foundation of Daoism, the most influential indigenous school of religion in China. It has also exerted a direct impact on the characteristics, trends of thought and aesthetic sensibilities of the Chinese nation. Today Laozi still plays a role in the development of Chinese thinking. Naturalness and Non-action“Naturalness” is an important concept of Laozi’s philosophy. It refers to a natural state of being, an attitude of following the way of nature. Laozi emphasized that everything in the world has its own way of being and development: birds fly in the sky, fish swim in the water, clouds float in the sky, flowers bloom and flowers fall. All these phenomena occur independently and naturally without following any human will, and humans should not try to change anything natural. Laozi admonished people to give up on any desire to control the world. Following the way of nature is the way to resolving conflicts between humans and the world.“Non-action”is another important concept of Laozi’s philosophy. It is the guarantee of “Naturalness”. Laozi said, “(Dao or the Way) acts through non-action,”by which he did no mean that one should do nothing and passively wait for something to be achieved. Neither did he deny human creativity. What he meant is that human enterprises should be built on the basis of naturalness, not on many attempts to interrupt the rhythm of nature. Human creativity should be in compliance with the ways of nature.The philosophy of Non-contentionOn the basis of “naturalness”and “non-action”, Laozi proposed the view of “overcoming the strong by being weak”. The era Laozi lived in was replete with endless wars. Therefore, war was an important treme for philosophers, and ant-war thinking was the norm. Eventhe great strategist Sunzi advocated “winning a war without fighting it”, not to mention the great thinker Confucius, who strongly championed a government based on love. Their contemporary Mozi (c. 468-376 BC), founder of Mohism, also condemned wars while calling for “love for all”.According to Laozi, war springs from humanity’s bloated desires. Conflict arises out of people’s struggles to satisfy their desires, and conflict escalates into war. Therefore, Laozi’s philosophy is based on “non-contention”. To him, human striving and competitive strife is the root cause of decline; desiring nothing is the natural way of life.Laozi said, “The greatest virtue is like water.”He compared his philosophy of “non-contention” to water, to distinguish it from the law of the jungle. He said, “Water nourishes everything but contends for nothing.” To Laozi, humans tend to seek higher positions while water always flows to lower places. Driven by desire, humans like whatever they think is superior while despising whatever they think is inferior. Yet water always flows downward. As the source of life, water nourishes all living things on Earth. No life can exist without water. Water contributes to the world without regard for gain or loss. Remaining low, level and tranquil, water embraces and reflects everything under heaven. The way of water is completely different from the way of people with avid desires.But the philosophy of Laozi is by no means weak. On the contrary, it is full of strength. According to Laozi, water accumulates great strength in its weakness and quietude. Its strength can break down all barriers in the world. He said, “Nothing in the world is weaker than water. Yet nothing is stronger than water when it comes to breaking something strong.”Water is a typical example of the weak winning over the strong. Water is invincible because it desires nothing and contends for nothing.Unit 3 Chinese Buddhist CultureWho am I Where am I from Where am I goingMen are mortal. But death is not an once-and-for-all thing. They enter the rotating Wheel of Six Realms:Heaven, Human, Asura, Animal, Hungry Ghost, Hell.Documents stored in computer can be canceled at will, but what we have done in our life, and actually in our innumerable lives, cannot. What has been done has been done. The information is stored in your true “self”, not the physical one, and will accompany you life after life, and determines which Realm you enter.Only when we are completely free from lust, hatred, and folly, can we manage to break away from the capture of the rotating Wheel, and achieve perpetual enlightenment, discovering your true “self”.In Buddhism there isn’t any dominating god who controls your destiny. We are the maker of our own fate. What we are at present is a result of what we have done in the past; and what we will be in the future is decided by what we are doing at present. What we have done form the “karma”, which, like a gene, decides on your future story. But this “gene” c an of course be modified, by doing good deeds and obtaining healthy biological and spiritual energy, so as to change our future course of career. We are, therefore, our own master. What are the basic requirements for a BuddhistFive Prohibitions for the laymen:1) Don’t kill;2) Don’t steal;3) Don’t seek aberrant sensual pleasures;4) Don’t talk irresponsibly;5) Don’t drink alcohol.Part II Creativity and ExchangeUnit 4 The Silk RoadThe silk road refers to a transport route connecting ancient China with Central Asia, West Asia, Africa, and the European continent. It appeared as early as the second century BC and was traveled mainly by silk merchants. The term “Silk Road”, or “die Seidenstrasse”in German, was first noted down by the German geographer Ferdinand Von Richthofen at the end of the 19th century.The silk road began in Chang’an (present-day Xi’an, capital of Shaanxi Province), passing through Gansu and Xinjiang to Central Asia, West Asia, and to lands by the Mediterranean. There were no signs of communication between ancient Chinese civilization and Mediterranean civilization in earlier history. In about the seventh century BC, the ancient Greeks began to learn about an ancient civilization to the east, yet knew little about it. Before the Silk Road, according to archeological findings, there had already existed an intermittent trade route on the grasslands from the Yellow River and the Indus River drainage areas to the Euphrates and the Tigris, and the Nile drainage areas. Yet real communication between China, Central and West Asian countries, Africa and the European continent did not develop until the opening of the Silk Road.Zhang Qian, Trail BlazerThe pioneer who blazed the trail of the Silk Road was Zhang Qian (c. 164-114 BC). In Zhang Qian’s time, the Chinese has little knowledge about Central and West Asian countries, Africa or Europe, although they were aware of the existence of many different countries and cultures in faraway places to the west.During the reign of Emperor Wu (r. 140-135 BC), there were 36 small kingdoms in the Western Regions (present-day Xinjiang and parts of Central Asia). All of them were later conquered by the Huns, who then posed a direct threat to the Western Han and blocked the dynasty’s path west. Under these circumstances, Emperor Wu appointed Zhang Qian to lead a team of more than 100 envoys to the Western Regions.The mission was to unite the Indo-Scythic people against the Huns, who once killed their chieftain. Zhang Qian’s team set out in 138 BC. No sooner had they entered the Hexi Corridor (northwest of present-day Gansu Province), than they were captured by the Huns. After being held under house arrest for over ten years, Zhang Qian and only one other remaining envoy managed to escape and return to Chang’an in 126 BC. Their accounts about the Western Regions were a revelation to Hun emperor and his ministers.In the next two decades, Emperor Wu launched three major campaigns against the Huns, forcing them to retreat from the Western Regions. In 119 BC, the emperor sent Zhang Qian on a second mission to the Western Regions. This time Zhang Qian went further west, while his deputies reached more than a dozen countries in South and West Asia, and the Mediterranean.Zhang Qian’s two missions to the Western Regions opened up the road to the west. Emperor Wu adopted a series of measures to strengthen ties with the Western Regions, including encouraging Han People to trade there.Soon the route was bustling with caravans of camels carrying goods of all types and reverberating with the tinkling of their bells. Through the Silk Road, trade flourished between China and Central, South and West Asian countries, Africa and Europe. In 166, envoys from Rome arrivedvia the Silk Road in Chang’an, were they set up an embassy.Part III Art and AestheticsUnit 5 Music: Govern the Country, Nourish the Mind The tradition of Chinese music dates back to remote antiquity. Governing the country and nourishing the mind through music are two of the main functions of this tradition.Governance Through MusicAccording to ancient Chinese culture, rituals provided the norms of conduct of people. The goal was to maintain social order.Music was for the mind’s cultivation and expression. Its purpose was to enhance people’s outlook on life and imbue them with energy and creativity, such that they could enjoy a more harmonious and happier spiritual life. Individual contentment would then lead to social harmony, as well as to a more harmonious relationship between people and nature. The highest level of ancient Chinese music was to represent spiritual with nature.The prominent stature of music in ancient China explains the emergence of sophisticated instruments from early times. Chime bells were one example. First used in the Shang Dynasty, they became quite popular during the Western Zhou Dynasty (1046-771 BC). In 1978, a fine set of chime bells was unearthed in Hubei Province, from the tomb of Marquis Yi, a local lord in a small state called Zeng during the Warring States Period.The Marquis Yi chime bells consist of 65 bells arranged in three rows. The first row includes 19 niu bells, and the second and third rows include 45 yong bells. The bells in each row differ from one another in shape and size, emanating(发出) different tones. In addition, there is a separate and much larger bell used to adjust pitch. Like the bells, the from is made of bronze, weighing as much as five tons or more. The total weight of the bells is more than 440 kilograms. While the bells bear inscriptions totaling more than 2,800 Chinese characters relating to music and the making of the instrument, the frame is carved with exquisite patterns in relief (浮雕) and fretwork(回纹细工). Instruments of such a scale and such fine craftsmanship were quite rate in the world at the time. Five musicians were needed to play the instrument. Each bell produces two tones when struck at the respective sound points as marked. The entire set of chime bells is able to produce all the tones of a modern piano.Consoling the Mind with MusicThe Chinese zither tends to create a tranquil air. The composition Wild Geese Landing on the Shallow Shore is such an example. With a relaxed rhythm, the first part of the piece depicts a calm Yangtze River under a clear autumn sky. The second part progresses into livelier rhythms to imitate the chirping of many birds. The third part presents a thematic scene of wild geese leisurely landing on the shallow shores of the Yangtze, as a gentle breeze makes the water ripple. To Chinese musicians and music lovers, the contentment of the wild geese represents the human heart.The zither was also instrumental in communication between ancient scholars and artist. The famous zither composition, Three Stanzas of Plum Blossoms, was based on an Eastern Jin Dynasty story of the poet Wang Ziyou (王子猷) (c. 338-386) and the flute player Huan Yi (桓伊) (-383).One day the poet was taking a boat trip when he overheard someone on the riverbank say Huan Yi was passing by. Although the two had never met before, they admired each other as poet and flute player. Despite his lower rank of office, Ziyou sent a family member to request Huan Yi to play the flute.Without hesitation, Huan Yi dismounted from his carriage and played Three Stanzas of Plum Blossoms, while Ziyou listened from his boat. After finishing, Huan Yi mounted his carriage and drove on. Ziyou, too, continued with his boat journey. The two of them exchanged not a single word, yet both were content with the communication of their hearts through the music.The flute’s three stanzas were later converted into a composition for the Chinese zither, which has become one of the best-known musical works –as an expression of otherworldly feelings through its eulogy of the plum flower’s purity, fragrance and resistance to the cold.Unit 6 Flying strokes of CalligraphyThe evolution of Chinese characters font甲骨文the Oracle bone script→金文Jinwen (Inscriptions on bronze )→篆书Seal script→隶书Official script→楷书Regular script→草书Cursive script→行书running scriptWang Xizhi and Preface to the Lanting Pavilion CollectionIn the Hall for Cultivation of Mind of the Palace Museum, there is a Three-treasurer Study, which derives its name for the three most valuable calligraphic works housed here. These three treasures, most valued and adored by Emperor Qianling (r. 1736-1795) of the Qing Dynasty, were A Sunny Scene after a Quick Snow by Wang Xizhi, Mid-Autumn by Wang Xianzhi and Boyuan by Wang Xun (349-400). As father and son, Wang Xizhi and Wang Xianzhi hae been known as the “Two Wangs”, their works universally recognized as the peak of Chinese calligraphy.Unit 7 Porcelain – Calling Card of Chinese Culture In English, the country and “porcelain”share the same name –“China”. This proves that Europeans have long known of China’s relationship to porcelain. Porcelain found its way to Europe in the 15th century, occupying an important position in the exchanges between China and other countries. The Keisel Randy Museum in Germany houses a blue-and-white bowl dating back to the Ming Dynasty. Throughout history, China, along with other Asian countries, and Europe maintained a busy and vast trade in porcelain. From 1602 to 1682, the Dutch East India Company transported more than 16 million articles of porcelain to Europe. Porcelain garnered a good reputation for China for its sophistication and elegance, and played an important role in the wave of the European idealization of China during the 17th and 18th centuries. In the rococo style popular in Europe of that time, one could sense, from time to time, the influence of “Chinese vogue”represented by China’s styles of porcelain and gardens.Porcelain is of great significance in the history of Chinese civilization. Pottery was the predecessor of porcelain, while glazed pottery was the basis for the emergence of porcelain. Around the first century, porcelain production first emerged in China, and by The Song Dynasty it had become mature. Song-Dynasty porcelain represented the acme of Chinese porcelain technique. Five famous kilns, the Jun, Ding, Guan, Ge, and Ru, were all creative and original in their respective products, and their porcelain ware has been imitated by later generations throughout the ages. In theYuan Dynasty, Jingdezhen became the center of the Chinese Porcelain industry.Pure Blue-and-White PorcelainPure and elegant beauty is the goal that porcelain pursues, and this ideal is best explained in the production of blue-and-white porcelain.Blue-and-white porcelain is a typical artifact of porcelain in China. Among the porcelain exported during the Ming and Qing dynasties, 80 percent was blue-and-white. Chinese-made blue-and-white porcelain ware emerged long before the founding of the Tang Dynasty, but it was not until the Yuan Dynasty that this type of porcelain came to be produced in quantity, with the attendant masterpieces. The Ming Dynasty witnessed the maturity of the art, and a large number of valuable pieces were produced in this period. Jingdezhen, a small town that created the enchanting blue-and-white porcelain of the Yuan Dynasty, became its porcelain-producing center; and in the subsequent Ming Dynasty, the imperial kilns were established here. Blue-and-white porcelain is now the most representative of Chinese porcelain.To produce blue-and-white porcelain, cobalt oxide is requisite. It is employed to draw on the white roughcast before glaze is applied. After kilning at a high temperature, the roughcast turns into blue-and-white porcelain, since cobalt oxide turns blue with heat. The white surface with blue patterns and a shiny sheen of glaze produces a pure, elegant and transparent effect.Unit 8 Peking Opera: Artistry of PerformersThe Delights of Peking Opera MasksChina’s Peking Opera radiates with the beauty of resplendent color –vivid, intense and glamorous. This artistic beauty comes not only from the costumes but also from the masks of exaggerated, dazzling designs, gleaming with red, purples, whites, yellows, blacks, blues, greens, every diverse color imaginable.Masks, applied to the two roles of the “jing”or “painted-face role”and the “chou”or “clown”, serve two purposes. One is to indicate the identity and character of the role. For example, a “red face”means the person is loyal and brave; a “black face”signifies the person is straightforward; and “a white face”identifies the person as crafty and evil. The other purpose is to express people’s appraisal of the roles from a moral and aesthetic point of view, such as respectable, hateful, noble, ridiculous, etc.Peking Opera Performance: Sing, Speak, Act, and FightThe performance of a Peking Opera actor can be summarized into four basic aspects, of singing, speaking, acting, and fighting, the core of which is a combination of song and choreography.Singing is of utmost importance in the performance of Peking Opera, because first of all, Peking Opera is a singing art. Any famous Peking Opera boasts several wonderful arias that are well-known and popular with audiences. The charm of the melodies usually embodies the sublime realm of the art of Peking Opera. Unable to appreciate the magic of Peking Opera arias, one would fail to enjoy the profound beauty of the art itself.Speaking refers to character monologs and dialogs, which serve to propel the development of the story. Speaking, like singing, needs to be executed in an appealing way.Acting and fighting mean that actors employ physical movements to express the emotions of the characters and the circumstances. Acting includes body movements and eye movements, solo dancing or group dancing, etc. Most of the dancing is choreographed movements from everyday life. Fighting is choreographed martial arts and acrobatics to depict fight or battle scenes. As the art of PekingOpera depends on movement to depict events, actors are given much room to perform on the the opera Picking up the Jade Bracelet, the young woman Sun Yujiao and the young scholar fall in love with each other, their eyes affixed on each other as if a thread connected them. Then, as Matchmaker Liu uses her pipe to pull the “virtual” line up and down, the young couple’s eyes accordingly move up and down. These actions produce great humor and add much significance to the performance.Acting and fighting serve the whole “play”or the “world of images”, but at the same time they are themselves a beautiful art in both form and skill. For example, in King Chu Bids Farewell to His Concubine, artist Mei Lanfang performed a sword dance in a miraculously skillful way, which became very popular with audiences. This is a type of beauty in form. As for the beauty of skill, this usually includes some very difficult acrobatic movements, often referred to as “superb skills”.The uniqueness of performances in Peking Opera lies in the fact that the singing, speaking, acting, and fighting, all focus on one or two actors in the play.These performers used to be called “jue’er”, hence “mingjue” was used to refer to famous actors or actresses. In this sense, the world of imagery created in Peking Opera mainly relies on the singing, speaking, acting, and fighting of actors, especially in the performance of the famous plays. This is the biggest difference between Peking Opera and other forms of performing arts in terms of aesthetic appreciation. And the remark –“Peking Opera is the art of performers”–well describes its quintessence.The Beauty of a “Visual World”Depicting a “visual world”is a distinctive feature of Peking Opera. Its virtually consists of two aspects: one is virtual movements, and the other virtual settings. Virtual movement refers to imitating actions onstage. For example, riding a horse. Onstage, an actor cannot ride a real horse, but can only hold a whip and imitate the movement of galloping by walking around the stage, turning the body, wielding the whip, and pulling the reins. A virtual setting means creating an imagined environment onstage. For example, rowing a boat. As there is no water or boat on the stage, an actor usually takes an oar and, through actions, makes the audience “see”the rowing of a boat on water.One is At the Crossroad. This opera describes the story of two yamen runners escorting Jiao Zan to prison. On the way they stay at an inn for the night. Ren Tanghui, whose task is to protect Jiao Zan, checks in at the same time. The owner of the inn, however, suspects Ren Tanghui is planning to murder Jiao Zan, so he gropes his way into Ren’s room at night. Thus a fight starts. What is special about the performance is that, although the fight happens at night, the stage is brightly lit; yet the audience is able to sense it is a pitch-dark night from the actors’performances, which feature stealthy movements typical of people in darkness. Sometimes, one man’ s sword swishes down, only a few inches away from the other’ s face, yet the latter feels nothing, thus producing a breathtaking yet meaningful and humorous effect.The other example is Autumn River, a play transplanted from Sichuan Opera. This story describes a young nun, Chen Miaochang who leaves the nunnery to pursue her lover Pan Bizheng. Onstage, there is neither water nor boat, but through the performance of the young woman and the old boatman, the audience is able to obviously “see”that the stage is a river. The boat sways forward; all the way there the girl complains about the boat for being slow, while the old boatman keeps teasing her about her anxiety to see her lover. The performance is full of wit and humor.These examples describe the function of the “virtual world” in the art of Peking Opera, which provides limitless room for the performances of actors; and in return, performers present the audience with a world of images full of appealing wit. If in fact the stage of At the Crossroad was。
中国文化英语教程Unit15全文
Rhythm of Calligraphy
Zhang Xu was a Chinese calligrapher of the Tang Dynasty. A native of Suzhou, he became an official during the reign of Emperor Xuanzong of Tang. Legend has it that whenever he was drunk, he would use his hair as brush to perform his art, and upon his waking up, he would be amazed by the quality of those works but failed to produce them again in his sober state.
• As father and son, Wang Xizhi and Wang Xianzhi have been known as the “two Wangs”.
• Their works universally recognized as the peak of Chinese calligraphy.
Introduction
The brush is the traditional writing implement in Chinese calligraphy. The body of the brush can be made from either bamboo, or rarer materials such as red sandalwood, glass, ivory, silver, and gold. The head of the brush can be made from the hair (or feathers) of a wide variety of animals.
中国文化英语教程文本 (优选.)
wo最新文件---------------- 仅供参考--------------------已改成-----------word文本--------------------- 方便更改rdPart I Wisdom and BeliefsUnit 1 Confucian thought on heaven and humanityConfucius (551-479 BC), known in China as Kongzi, given name Qiu and alias Zhongni, was a native of Zouyi (present-day Qufu in Shandong Province) of the State of Lu during the Spring and Autumn Period (770-476 BC). A great thinker, educator and founder of Confucianism, Confucius is an ancient sage to the Chinese people. His words and life story were recorded by his disciples and their students in The Analects (Lunyu).Confucius on Heaven: the source of EverythingIn the Shang (1600-1046 BC) and Zhou (1046-256 BC) dynasties, the prevalent concept of “Heaven”was that of a personified god, which influenced Confucius. Generally, however, Confucius regarded “Heaven”as nature. He said, “Heaven does not speak in words. It speaks through the rotation of the four seasons and the growth of all living things.” Obviously, heaven equaled nature, in the eyes of Confucius. Moreover, nature was not a lifeless mechanism separate from humans; instead, it was the great world of life and the process of creation of life. Human life was part and parcel of nature as a whole.Confucius on People: ren and liRen and Li are the two core concepts of Confucius’s doctrine about people.When his students Fan Chi asked him about ren, Confucius replied, “love people”. This is Confucius’ most important interpretation of ren. Love for the people is universal love. Confucius further emphasized that this kind of love should “begin with the love for one’s parents”. He believed no one could love people in general if they did not even love their own parents. Confucius regarded “filial piety and fraternal duty”as the essence of ren. The Doctrine of the Mean (Zhongyong) quotes Confucius as saying, “ The greatest love for people is the love for one’s parents.” He also said, “Children should not travel far while their parents are alive. If they have no choice but to do so, they must retain some restraint.” He did not mean that children should not leave their parents at all. What he meant was that children should not make the parents anxiouss .. t .....about them while away from home. Confucius said again, “Children should think often of the age of their parents. They should feel happy for the health and longevity of their parents. They should also feel concern for the aging of their parents.”By ren, Confucius meant universal love based on love for one’s parents. How should people love one another then? Confucius said, “One should be aware that other people may have similar desires as oneself. While fulfilling one’s desires, allow others to fulfill their desires as well.” He further said, “Do not do toward others anything you would not want to be done to you.” Thus from oneself to one’s family, from family to society, one should extend love to all people. Mencius (c. 372-289 BC), a great Confucian scholar, best summarized ren as, “loving one’s parents, loving the people, loving everything in the world.”Li refers to rituals, traditions and norms in social life. Of these, Confucius regarded burial rituals and ancestral worship rituals as the most important, because they rose from human feelings. He said, “A child should not leave his parents’bosom until he is three years old.” He naturally love his parents. The ritual of wearing mourning for a deceased parent for three years was an expression of the child’s love and remembrance.Confucius on the State of lifeBefore Confucius, only the nobility had the right to education. He was the first figure in Chinese history to initiate private education. According to historical records, Confucius taught for many years and trained 3,000 disciples. A total of 72 of them excelled in the “six arts”, i.e., ritual, music, archery, (carriage)driving, calligraphy, and mathematics. A great educator, Confucius has been admired by later generations as the “sage of sages”.Confucius believed the basic goal of education was to cultivate “persons of virtue”, who should have sound character and uplifted minds. Such people should be able to shoulder important social responsibilities and to make contributions to society. Confucius regarded lofty ideals, great virtue, love of people, and the “six arts” as the general principles of education. Of these, virtue was the most important. His students were involved in a variety of professions, including politics, trade, education, diplomacy, ritual ceremony, and classifying ancient books. Whatever they did, they all wanted to improve their learning of the humanities and to enhance their virtue.Unit 2 Laozi’s philosophy of Non-actionThe book Laozi was written around the sixth century BC. The author is generally believed to be Lao Dan, or Laozi – a recluse who lived during the Spring and Autumn Period. Few records s .. t .....have survived about Lao Dan, who was said to have once held a low civil position in the royal court, in chare of the archival records of the Zhou Dynasty. Yet, due to his great learning, even Confucius was said to have traveled miles to consult him.Laozi, also known as Classic of the Way and Virtue (Dao De Jing), consists of just over 5,000 Chinese characters. Its 81 chapters are divided into two parts, Dao (the Way) and De (Virtue). Short as it is, the book has played a tremendous role in the development of Chinese culture. It became the basis of Daoism, the school of philosophy parallel to Confucianism in ancient China. The thought of Laozi formed the foundation of Daoism, the most influential indigenous school of religion in China. It has also exerted a direct impact on the characteristics, trends of thought and aesthetic sensibilities of the Chinese nation. Today Laozi still plays a role in the development of Chinese thinking.Naturalness and Non-action“Naturalness” is an important concept of Laozi’s philosophy. It refers to a natural state of being, an attitude of following the way of nature. Laozi emphasized that everything in the world has its own way of being and development: birds fly in the sky, fish swim in the water, clouds float in the sky, flowers bloom and flowers fall. All these phenomena occur independently and naturally without following any human will, and humans should not try to change anything natural. Laozi admonished people to give up on any desire to control the world. Following the way of nature is the way to resolving conflicts between humans and the world.“Non-action”is another important concept of Laozi’s philosophy. It is the guarantee of “Naturalness”. Laozi said, “(Dao or the Way) acts through non-action,” by which he did no mean that one should do nothing and passively wait for something to be achieved. Neither did he deny human creativity. What he meant is that human enterprises should be built on the basis of naturalness, not on many attempts to interrupt the rhythm of nature. Human creativity should be in compliance with the ways of nature.The philosophy of Non-contentionOn the basis of “naturalness” and “non-action”, Laozi proposed the view of “overcoming the strong by being weak”. The era Laozi lived in was replete with endless wars. Therefore, war was an important treme for philosophers, and ant-war thinking was the norm. Even the great strategist Sunzi advocated “winning a war without fighting it”, not to mention the great thinker Confucius, who strongly championed a government based on love. Their contemporary Mozi (c. 468-376 BC), founder of Mohism, also condemned wars while calling for “love for all”.According to Laozi, war springs from humanity’s bloated desires. Conflict arises out of s .. t .....people’s struggles to satisfy their desires, and conflict escalates into war. Therefore, Laozi’s philosophy is based on “non-contention”. To him, human striving and competitive strife is the root cause of decline; desiring nothing is the natural way of life.Laozi said, “The greatest virtue is like water.”He compared his philosophy of “non-contention” to water, to distinguish it from the law of the jungle. He said, “Water nourishes everything but contends for nothing.” To Laozi, humans tend to seek higher positions while water always flows to lower places. Driven by desire, humans like whatever they think is superior while despising whatever they think is inferior. Yet water always flows downward. As the source of life, water nourishes all living things on Earth. No life can exist without water. Water contributes to the world without regard for gain or loss. Remaining low, level and tranquil, water embraces and reflects everything under heaven. The way of water is completely different from the way of people with avid desires.But the philosophy of Laozi is by no means weak. On the contrary, it is full of strength. According to Laozi, water accumulates great strength in its weakness and quietude. Its strength can break down all barriers in the world. He said, “Nothing in the world is weaker than water. Yet nothing is stronger than water when it comes to breaking something strong.” Water is a typical example of the weak winning over the strong. Water is invincible because it desires nothing and contends for nothing.Unit 3 Chinese Buddhist CultureWho am I? Where am I from? Where am I going?Men are mortal. But death is not an once-and-for-all thing. They enter the rotating Wheel of Six Realms:Heaven, Human, Asura, Animal, Hungry Ghost, Hell.Documents stored in computer can be canceled at will, but what we have done in our life, and actually in our innumerable lives, cannot. What has been done has been done. The information is stored in your true “self”, not the physical one, and will accompany you l ife after life, and determines which Realm you enter.Only when we are completely free from lust, hatred, and folly, can we manage to break away from the capture of the rotating Wheel, and achieve perpetual enlightenment, discovering your true “self”.In B uddhism there isn’t any dominating god who controls your destiny. We are the maker of our own fate. What we are at present is a result of what we have done in the past; and what we will be in the future is decided by what we are doing at present. What we h ave done form the “karma”, which, like a gene, decides on your s .. t .....future story. But this “gene” can of course be modified, by doing good deeds and obtaining healthy biological and spiritual energy, so as to change our future course of career. We are, therefore, our own master.What are the basic requirements for a Buddhist?Five Prohibitions for the laymen:1) Don’t kill;2) Don’t steal;3) Don’t seek aberrant sensual pleasures;4) Don’t talk irresponsibly;5) Don’t drink alcohol.Part II Creativity and ExchangeUnit 4 The Silk RoadThe silk road refers to a transport route connecting ancient China with Central Asia, West Asia, Africa, and the European continent. It appeared as early as the second century BC and wastraveled mainly by silk merchants. The term “Silk Road”, or “die Seidenstrasse”in German, was first noted down by the German geographer Ferdinand Von Richthofen at the end of the 19th century.The silk road began in Chang’an (present-day Xi’an, capital of Shaanxi Province), passing through Gansu and Xinjiang to Central Asia, West Asia, and to lands by the Mediterranean. There were no signs of communication between ancient Chinese civilization and Mediterranean civilization in earlier history. In about the seventh century BC, the ancient Greeks began to learn about an ancient civilization to the east, yet knew little about it. Before the Silk Road, according to archeological findings, there had already existed an intermittent trade route on the grasslands from the Yellow River and the Indus River drainage areas to the Euphrates and the Tigris, and the Nile drainage areas. Yet real communication between China, Central and West Asian countries, Africa and the European continent did not develop until the opening of the Silk Road.s .. t .....Zhang Qian, Trail BlazerThe pioneer who blazed the trail of the Silk Road was Zhang Qian (c. 164-114 BC). In Zhang Qian’s time, the Chinese has little knowledge about Central and West Asian countries, Africa or Europe, although they were aware of the existence of many different countries and cultures in faraway places to the west.During the reign of Emperor Wu (r. 140-135 BC), there were 36 small kingdoms in the Western Regions (present-day Xinjiang and parts of Central Asia). All of them were later conquered by the Huns, who then posed a direct threat to the Western Han and blocked thedynasty’s path west. Under these circumstances, Emperor Wu appointed Zhang Qian to lead a team of more than 100 envoys to the Western Regions.The mission was to unite the Indo-Scythic people against the Huns, who once killed their chieftain. Zhang Qian’s team set out in 138 BC. No sooner had they entered the Hexi Corridor(northwest of present-day Gansu Province), than they were captured by the Huns. After being held under house arrest for over ten years, Zhang Qian and only one other remaining envoymanaged to escape and return to Chang’an in 126 BC. Their accounts about the Western Regions were a revelation to Hun emperor and his ministers.In the next two decades, Emperor Wu launched three major campaigns against the Huns, forcing them to retreat from the Western Regions. In 119 BC, the emperor sent Zhang Qian on a second mission to the Western Regions. This time Zhang Qian went further west, while his deputies reached more than a dozen countries in South and West Asia, and the Mediterranean.Zhang Qian’s two missions to the Western Regions opened up the road to the west. Emperor Wu adopted a series of measures to strengthen ties with the Western Regions, including encouraging Han People to trade there.Soon the route was bustling with caravans of camels carrying goods of all types and reverberating with the tinkling of their bells. Through the Silk Road, trade flourished between China and Central, South and West Asian countries, Africa and Europe. In 166, envoys from Romearrived via the Silk Road in Chang’an, were they set up an embassy.s .. t .....Part III Art and AestheticsUnit 5 Music: Govern the Country, Nourish the MindThe tradition of Chinese music dates back to remote antiquity. Governing the country and nourishing the mind through music are two of the main functions of this tradition.Governance Through MusicAccording to ancient Chinese culture, rituals provided the norms of conduct of people. The goal was to maintain social order.Music was for the mind’s cultivation and expression. Its purpose was to enhance people’s outlook on life and imbue them with energy and creativity, such that they could enjoy a more harmonious and happier spiritual life. Individual contentment would then lead to social harmony, as well as to a more harmonious relationship between people and nature. The highest level of ancient Chinese music was to represent spiritual with nature.The prominent stature of music in ancient China explains the emergence of sophisticated instruments from early times. Chime bells were one example. First used in the Shang Dynasty, they became quite popular during the Western Zhou Dynasty (1046-771 BC). In 1978, a fine set of chime bells was unearthed in Hubei Province, from the tomb of Marquis Yi, a local lord in a small state called Zeng during the Warring States Period.The Marquis Yi chime bells consist of 65 bells arranged in three rows. The first row includes 19 niu bells, and the second and third rows include 45 yong bells. The bells in each row differfrom one another in shape and size, emanating(发出) different tones. In addition, there is a separate and much larger bell used to adjust pitch. Like the bells, the from is made of bronze, weighing as much as five tons or more. The total weight of the bells is more than 440 kilograms. While the bells bear inscriptions totaling more than 2,800 Chinese characters relating to music and the making of the instrument, the frame is carved with exquisite patterns in relief (浮雕) andfretwork(回纹细工). Instruments of such a scale and such fine craftsmanship were quite rate in the world at the time. Five musicians were needed to play the instrument. Each bell produces two tones when struck at the respective sound points as marked. The entire set of chime bells is able to produce all the tones of a modern piano.s .. t .....Consoling the Mind with MusicThe Chinese zither tends to create a tranquil air. The composition Wild Geese Landing on the Shallow Shore is such an example. With a relaxed rhythm, the first part of the piece depicts a calm Yangtze River under a clear autumn sky. The second part progresses into livelier rhythms to imitate the chirping of many birds. The third part presents a thematic scene of wild geese leisurely landing on the shallow shores of the Yangtze, as a gentle breeze makes the water ripple. To Chinese musicians and music lovers, the contentment of the wild geese represents the human heart.The zither was also instrumental in communication between ancient scholars and artist. The famous zither composition, Three Stanzas of Plum Blossoms, was based on an Eastern Jin Dynastystory of the poet Wang Ziyou (王子猷) (c. 338-386) and the flute player Huan Yi (桓伊) (?-383). One day the poet was taking a boat trip when he overheard someone on the riverbank say Huan Yi was passing by. Although the two had never met before, they admired each other as poet and flute player. Despite his lower rank of office, Ziyou sent a family member to request Huan Yi to play the flute. Without hesitation, Huan Yi dismounted from his carriage and played Three Stanzas of Plum Blossoms, while Ziyou listened from his boat. After finishing, Huan Yi mounted his carriage and drove on. Ziyou, too, continued with his boat journey. The two of them exchanged not a single word, yet both were content with the communication of their hearts through the music.The flute’s three stanzas were later converted into a composition for theChinese zither, which has become one of the best-known musical works –as an expression of otherworldly feelings through its eulogy of the plum flower’s purity, fragrance and resistance to the cold.Unit 6 Flying strokes of CalligraphyThe evolution of Chinese characters font甲骨文the Oracle bone script→金文Jinwen (Inscriptions on bronze )s .. t .....→篆书Seal script→隶书Official script→楷书Regular script→草书Cursive script→行书running scriptWang Xizhi and Preface to the Lanting Pavilion CollectionIn the Hall for Cultivation of Mind of the Palace Museum, there is a Three-treasurer Study, which derives its name for the three most valuable calligraphic works housed here. These three treasures, most valued and adored by Emperor Qianling (r. 1736-1795) of the Qing Dynasty, were A Sunny Scene after a Quick Snow by Wang Xizhi, Mid-Autumn by Wang Xianzhi and Boyuan by Wang Xun (349-400). As father and son, Wang Xizhi and Wang Xianzhi hae been known as the “Two Wangs”, their works universally recognized as the peak of Chinese calligraphy.Unit 7 Porcelain – Calling Card of Chinese CultureIn English, the country and “porcelain”share the same name –“China”. This proves that Europeans have long known of China’s relationship to porcelain. Porcelain found its way to Europe in the 15th century, occupying an important position in the exchanges between China and other countries. The Keisel Randy Museum in Germany houses a blue-and-white bowl dating back to the Ming Dynasty. Throughout history, China, along with other Asian countries, and Europe maintained a busy and vast trade in porcelain. From 1602 to 1682, the Dutch East India Company transported more than 16 million articles of porcelain to Europe. Porcelain garnered a good reputation for China for its sophistication and elegance, and played an important role in the wave of the European idealization of China during the 17th and 18th centuries. In the rococo style popular in Europe of that time, one could sense, from time to time, the influence of “Chinese vogue”represented by China’s styles of porcelain and gardens.s .. t .....Porcelain is of great significance in the history of Chinese civilization. Pottery was the predecessor of porcelain, while glazed pottery was the basis for the emergence of porcelain. Around the first century, porcelain production first emerged in China, and by The Song Dynasty it had become mature. Song-Dynasty porcelain represented the acme of Chinese porcelain technique. Five famous kilns, the Jun, Ding, Guan, Ge, and Ru, were all creative and original in their respective products, and their porcelain ware has been imitated by later generations throughout the ages. In the Yuan Dynasty, Jingdezhen became the center of the Chinese Porcelain industry.Pure Blue-and-White PorcelainPure and elegant beauty is the goal that porcelain pursues, and this ideal is best explained in the production of blue-and-white porcelain.Blue-and-white porcelain is a typical artifact of porcelain in China. Among the porcelain exported during the Ming and Qing dynasties, 80 percent was blue-and-white. Chinese-made blue-and-white porcelain ware emerged long before the founding of the Tang Dynasty, but it was not until the Yuan Dynasty that this type of porcelain came to be produced in quantity, with the attendant masterpieces. The Ming Dynasty witnessed the maturity of the art, and a large number of valuable pieces were produced in this period. Jingdezhen, a small town that created the enchanting blue-and-white porcelain of the Yuan Dynasty, became its porcelain-producing center; and in the subsequent Ming Dynasty, the imperial kilns were established here. Blue-and-white porcelain is now the most representative of Chinese porcelain.To produce blue-and-white porcelain, cobalt oxide is requisite. It is employed to draw on the white roughcast before glaze is applied. After kilning at a high temperature, the roughcast turns into blue-and-white porcelain, since cobalt oxide turns blue with heat. The white surface with blue patterns and a shiny sheen of glaze produces a pure, elegant and transparent effect.Unit 8 Peking Opera: Artistry of PerformersThe Delights of Peking Opera MasksChina’s Peking Opera radiates with the beauty of resplendent color –vivid, intense and glamorous. This artistic beauty comes not only from the costumes but also from the masks of exaggerated, dazzling designs, gleaming with red, purples, whites, yellows, blacks, blues, greens, s .. t .....every diverse color imaginable.Masks, applied to the two roles of the “jing”or “painted-face role”and the “chou”or “clown”, serve two purposes. One is to indicate the identity and character of the role. For example, a “red face”means the person is loyal and brave; a “black face”signifies the person is straightforward; and “a white face”identifies the person as crafty and evil. The other purposeis to express people’s appraisal of the roles from a moral and aesthetic point of view, such as respectable, hateful, noble, ridiculous, etc.Peking Opera Performance: Sing, Speak, Act, and FightThe performance of a Peking Opera actor can be summarized into four basic aspects, of singing, speaking, acting, and fighting, the core of which is a combination of song and choreography.Singing is of utmost importance in the performance of Peking Opera, because first of all, Peking Opera is a singing art. Any famous Peking Opera boasts several wonderful arias that are well-known and popular with audiences. The charm of the melodies usually embodies the sublime realm of the art of Peking Opera. Unable to appreciate the magic of Peking Opera arias, one would fail to enjoy the profound beauty of the art itself.Speaking refers to character monologs and dialogs, which serve to propel the development of the story. Speaking, like singing, needs to be executed in an appealing way.Acting and fighting mean that actors employ physical movements to express the emotions of the characters and the circumstances. Acting includes body movements and eye movements, solo dancing or group dancing, etc. Most of the dancing is choreographed movements from everyday life. Fighting is choreographed martial arts and acrobatics to depict fight or battle scenes. As the art of Peking Opera depends on movement to depict events, actors are given much room to perform on the stage.In the opera Picking up the Jade Bracelet, the young woman Sun Yujiao and the young scholar fall in love with each other, their eyes affixed on each other as if a thread connected them. Then, as Matchmaker Liu uses her pipe to pull the “virtual” line up and down, the young couple’s eyes accordingly move up and down. These actions produce great humor andadd much significance to the performance.Acting and fighting serve the whole “play”or the “world of images”, but at the same time they are themselves a beautiful art in both form and skill. For example, in King Chu Bids Farewell to His Concubine, artist Mei Lanfang performed a sword s .. t .....dance in a miraculously skillful way, which became very popular with audiences. This is a type of beauty in form. As for the beauty of skill, this usually includes some very difficult acrobatic movements, often referred to as “superb skills”.The uniqueness of performances in Peking Opera lies in the fact that the singing, speaking, acting, and fighting, all focus on one or two actors in the play.These performers used to be called “jue’er”, hence “mingjue” was used to refer to famous actors or actresses. In this sense, the world of imagery created in Peking Opera mainly relies on the singing, speaking, acting, and fighting of actors, especially in the performance of the famous plays. This is the biggest difference between Peking Opera and other forms of performing arts in terms of aesthetic appreciation. And the remark –“Peking Opera is the art of performers”–well describes its quintessence.The Beauty of a “Visual World”Depicting a “visual world”is a distinctive feature of Peking Opera. Its virtually consists of two aspects: one is virtual movements, and the other virtual settings. Virtual movement refers to imitating actions onstage. For example, riding a horse. Onstage, an actor cannot ride a real horse, but can only hold a whip and imitate the movement of galloping by walking around the stage, turning the body, wielding the whip, and pulling the reins. A virtual setting means creating an imagined environment onstage. For example, rowing a boat. As there is no water or boat on the stage, an actor usually takes an oar and, through actions, makes the audience “see”the rowing of a boat on water.One is At the Crossroad. This opera describes the story of two yamen runners escorting Jiao Zan to prison. On the way they stay at an inn for the night. Ren Tanghui, whose task is to protect Jiao Zan, checks in at the same time. The owner of the inn, however, suspects Ren Tanghui is planning to murder Jiao Zan, so he gropes his way into Ren’s room at night. Thus a fight starts. What is special about the performance is that, although the fight happens at night, the stage is brightly lit; yet the audience is able to sense it is a pitch-dark night from the actors’performances, which feature stealthy movements typical of people in darkness. Sometimes, one man’ s sword swishes down, only a few inches away from the other’ s face, yet the latter feels nothing, thus producing a breathtaking yet meaningful and humorous effect.s .. t .....The other example is Autumn River, a play transplanted from Sichuan Opera. This story describes a young nun, Chen Miaochang who leaves the nunnery to pursue her lover Pan Bizheng. Onstage, there is neither water nor boat, but through the performance of the young woman andthe old boatman, the audience is able to obviously “see”that the stage is a river. The boat sways forward; all the way there the girl complains about the boat for being slow, while the old boatman keeps teasing her about her anxiety to see her lover. The performance is full of wit and humor.These examples describe the function of the “virtual world” in the art of Peking Opera, which provides limitless room for the performances of actors; and in return, performers present the audience with a world of images full of appealing wit. If in fact the stage of At the Crossroad was really all black to represent the dark night, and there was a real boat on the stage of Autumn River, what could the actors do? And what we still find as much wit and meaning in the performances? We doubt it.Part IV Folk CustomsUnit 9 Life with Fragrant TeaTea is a wonderful beverage originally produced in China about 4,000 years ago. During the Tang Dynasty, Japanese monks introduced tea seeds to Japan, and by combining tea with Zen Buddhism, created the world-famous Japanese tea ceremony. In the 17th century, the Dutch took to Europe the Chinese habit of tea drinking, which then became a tradition of the Europeans. In England in particular, people developed the custom of afternoon tea. Prior to the 19th century, allthe tea in the world was grown in China, and even the English word “tea”was a transliteration of the pronunciation of “tea”in the Fujian dialect of China. Tea is an important contribution of the Chinese people to the world.Ways of Savoring TeaThe Chinese people look to tea drinking as an art, which incorporates a wide range of knowledge; the taste of tea might be light, yet the meaning is rich and deep.The Chinese attach great importance to the water, tea leaves, tea set, and fire, when making s .. t .....。
外教社中国文化英语教程
外教社中国文化英语教程Chinese Culture: A Journey through History and TraditionIntroductionChinese culture is one of the world’s oldest and most complex cultures, with a rich history that dates back thousands of years. The influence of Chinese culture can be seen in various aspects of everyday life, including art, food, language, and customs. In this lesson, we will take a journey through the history and traditions of Chinese culture, exploring its key components and the impact it has had on the world.Ancient Chinese HistoryThe history of Chinese culture can be traced back to ancient times, with a civilization that dates back to over5,000 years. The earliest written records of Chinese history date back to the Shang dynasty, which ruled from around 1600to 1046 BCE. During this time, the Chinese developed a sophisticated writing system, advanced agricultural techniques, and intricate bronze casting skills. The Zhou dynasty, which succeeded the Shang, further contributed to the development of Chinese philosophy, literature, and art.Key Components of Chinese CultureChinese culture is characterized by a number of key components, including Confucianism, Taoism, and Buddhism. Confucianism, founded by Confucius in the 6th century BCE, emphasizes the importance of social relationships, morality, and filial piety. Taoism, on the other hand, focuses onliving in harmony with nature and the universe, while Buddhism, which originated in India, promotes spiritual enlightenment and the path to nirvana.Another key component of Chinese culture is the Chinese language, which is one of the most widely spoken languages in the world. The Chinese writing system, which consists ofthousands of characters, has a history dating back to ancient times and continues to be a significant aspect of Chinese cultural identity.Cultural Traditions and CelebrationsChinese culture is filled with rich traditions and celebrations that have been passed down through generations. One of the most well-known Chinese traditions is the celebration of the Chinese New Year, which marks the beginning of the lunar new year. During this time, families come together to enjoy special meals, exchange red envelopes filled with money, and participate in traditional lion and dragon dances.Another important tradition is the Mid-Autumn Festival, also known as the Moon Festival, which is celebrated with colorful lanterns, mooncakes, and family reunions. Additionally, the Dragon Boat Festival, the Lantern Festival, and the Qingming Festival are all important culturalcelebrations that reflect the values and beliefs of the Chinese people.Influence on Global CultureThe impact of Chinese culture extends far beyond its borders, with its influence seen in various aspects of global culture. Chinese cuisine, with its diverse flavors andregional specialties, has become popular all around the world. In addition, traditional Chinese medicine, martial arts, and classical Chinese literature have all made significant contributions to global culture and knowledge.ConclusionIn conclusion, Chinese culture is a rich tapestry of history, traditions, and influences that have shaped the wayof life for billions of people. Through its ancient history, key components, cultural traditions, and global influence, Chinese culture continues to be a fascinating and significant part of the world we live in today. By understanding andappreciating Chinese culture, we can gain a deeper insight into the complexities and beauty of human civilization.。
中国文化英语教程教材内容Unit1
Reading AA General Introduction to Chinese MythologyYang Lihui, An Deming1 By Chinese mythology, we mean the body of myths historically recorded and currently transmitted within the present geographic boundaries of China. It should include not only myths transmitted by people of the Han ethnic group but also those by the other fifty-five ethnic groups living in this broad area. Since almost every ethnic group has its own mythical gods and stories about their creative actions, there is not a systematic, integrated, and homogeneous “Chinese mythology” held and transmitted by all the Chinese people. Even among Han people, there is not an integrated system of myths.2 The earliest written records of ancient myths can be traced back to about 3,000 years ago, though other forms of designs and paintings on shells，bones, and bronzes probably relating to myth appeared earlier than this. Recently, researchers found a bronze vessel named “Suigongxu” (Suigong was a duke of the Sui State, now belonging to modern ShandongProvince; “Xu” is an ancient bronze vessel that h as a cover and two ears; it functions as a food container), which can date back to the 9th or 8th century BC, the middle of the Western Zhou Dynasty. The inscription on the inside bottom of the vessel consists of 98 Chinese characters, praising the achievements of the mythic hero Yu. It tells the story that heaven ordered Yu to scatter earth, so Yu went around all the mountains, cutting down the trees in the forests and deepening the seas and rivers to drain all the water on earth into the sea. This inscription shows that the technique of recording myth in Chinese characters had become relatively mature nearly 3,000 years ago. Additionally, it illustrates that at least as late as the middle of the Western Zhou Dynasty, the myth about Yu controlling the flood had already been spread, and it had been historicized into a legend about a great hero or a great king in the upper class of society.3 But these inscriptions recorded myths very simply. Sometimes the mythological stories they illustrate are hard to understand. Therefore, Chinese scholars rely primarily on accounts of myths recorded in later ancient writings after the Western Zhou Dynasty to study these myths.4 In China, there is no sacred canon recording myths, beliefs, or sacred history like the Bible or the Koran, nor were there any literati, troubadours, or shamans (sorcerer or sorceress) who collected myths from oral tradition and compiled them into a systematic and integrated mythology, like the Greek collections attributed to Homer and Hesiod. Rather, myths in ancient China were usually spread in scattered and fragmented forms in various written material. These sources contain information about archaeology, literature, philosophy, geography, history, witchcraft, ethnography, religion, folklore, and so on. Many of them preserve only a few myths, but some of them hold a comparatively large number of myths and thus become treasures of ancient Chinese myths. Among them, Shanhaijing (The Classic of Mountains and Seas), Chuci (The Songs of Chu) and Huainanzi are thought to be the major repositories of Chinese ancient myths.5 Myths are neither static nor separate from society. Rather, their existence and transmission are deeply influenced by their social and cultural contexts. On the other side, those myths that have been handed down for thousands of years and contain Chinese people’s philosophy, art, beliefs, customs, and value systems also have had a great influence on Chinese society and culture.homogeneous adj.类的Suigongxu遂公盥Yu controlling the flood大禹治水canon n.真经Koran (古兰经> ,伊斯兰教经典troubadours n.游吟诗人shaman n.巫师Homer荷马，希腊史诗作者Hesiod赭西奥德，希腊最旱的诗人之一ethnography n.人种志Shanhaijing (山海经》Chuci 《楚辞》Huainanzi《淮南子》repository n.宝库，宝藏Reading BNüwa Creates PeopleIrene Dea Collier1 Nüwa is briefly mentioned in several ancient Chinese texts, A Classic of History (8th century BC), A Classic of Mountains and Seas (3rd century BC), and Questions of Heaven (4th century BC).2 In addition, many images of Nüwa have been uncovered on ancient Chinese bronze sculptures and paintings. Like many of the early Chinese gods, Nüwa was half animal, half divine. Most often, Nüwa had the face and arms of a human but the body of a snake or dragon. She could change her shape at will. Modern Chinese books prefer to show her as a beautiful woman.3 It appeared that women in China had no social standing of their own. However, in their roles as mothers and wives, they were extremely powerful. Since women generally outlived their husbands, they often asserted themselves and ran the household after their spouses’ death. Even in politics，several women (empresses) became extremely powerful after the death of their husbands, the emperors.4 Although most gods were male, Nüwa is a very powerful female goddess in early mythology. She creates mankind and is responsible for repairing the heavens.5 The world was indeed a sparkling jewel. Sturdy pine trees dotted the mountains, and weeping willows lined the streams. Apple, quince, and plum blossoms burst into bloom and later yielded ripe, heavy fruit. Birds flitted about in the azure sky, leaving their black, crimson, and iridescent green feathers drifting in the wind. Silverfish and carp splashed gleefully in the waterways. Fierce beasts like tigers and gentle creatures like deer roamed with equal abandon across the rocky hills.6 Nüwa, a goddess, stumbled accidentally upon this vibrant world during her travels. The earth was humming and teeming with life. She marveled at its many wondrous creatures. Everywhere she looked, she found a creature more marvelous than the one before. She saw every type of fur and fin, feather and scale, horn, hoof, and stinger. Creatures lumbered, crawled, and slithered upon the earth. They jumped, darted, and roiled in the sea. Scented flowers like jasmine, hyacinth, and narcissus wrapped the entire world in their warm, strong perfume.7 But as she explored its niches and crannies, Nüwa began to feel strangely dissatisfied with the budding world. The goddess found it to be enchanting, but empty. It felt lonely to Nüwa, who sat by a river to ponder her feelings. She gazed at her reflection in the water, and suddenly she knew what was missing: She wanted the world to be filled with thinking, laughing creatures like herself.8 The river stretched out before her, its waves slapping the shore. The cloudy green waters left a rim of thick yellow earth along its banks. Nüwa felt its slippery texture with her fingertips and scooped out a ball of clay. The cool, sticky earth deposited by the river was perfect for her task，and she rolled the damp clay into a doll, giving it a head, shoulders, chest, and arms like her own. For the doll’s lower body，she hesitated. Nüwa considered giving it scales and claws like a lizard, or fins and tails like a fish. Both shapes were quite useful, since the goddess frequently changed the shape of her own lower body to be able to get around the oceans and the heavens quickly. Finally, she decided to attach legs to the new creature so it could both walk on land and paddle about in the sea.9 From the many shades of yellow earth, Nüwa made tall dolls and short dolls. She made thin dolls and fat dolls. She made curly-haired dolls and straight-haired dolls. She made dolls with eyes as round and large as cherries, some with eyes as long andnarrow as a mosquito’s wing. She made some with eyes so dark they loo ked like the midnight sky, others so light they looked like liquid honey. Each creature was different, so the goddess could recognize her creations. Then，as she breathed on each doll, it sprang to life, giggling and hopping about.10 Nüwa was so delighted with her handiwork that she wanted to make more. But she neededa quicker method. Along the riverbanks, slender reeds arched their graceful stems over the water. Nüwa rolled up her sleeves, cut a reed, and dipped it into the river mud like a spoon. Expertly, she flicked her wrist and dropped blobs of mud on the ground. When they dried, she breathed a huge puff of air into each blob, and instantly they became round, smiling creatures. The cheerful laughter of her creatures filled the goddess with happiness and pride.11 However, Nüwa was tired. As much as she loved her new creations, she knew she could not watch over these humans every second. What would happen to these creatures when they grew old and died? Nüwa did not relish making repairs, nor did she wish to repeat the tiring task of making new people. She thought and thought. How could these creatures reproduce without her?12 With a twist and a poke, she made some of the clay creatures male and some of them female. Then she gathered up all the noisy creatures who were slipping and falling in the mud. In the hubbub, she began to deliver her most important instructions. As Nüwa spoke, the clamor died down to a silent hush. The humans listened solemnly to her words. She spoke of the importance of marriage and a couple’s obligations to each other. She told them how to make children and how to raise them. She wished them a long and joyful existence on their earth. As the goddess left, she expressed her fervent hope that they would make new people and live happily without her. Then she ascended to the sky seated in a thundering chariot pulled by six winged dragons.13 To this day, people continue to marry and have children who brighten the world with their joyous laughter, just as the dancing mud dolls did in the days of Nüwa.A Classic of History《尚书》Questions of Heaven《天问》（屈原的代表作，收录于西汉刘向编辑的《楚辞》中）divine n.神social standing 社会地位outlive v.活得比……长assert oneself 坚持己见，表现出自信而受到注意和尊重sturdy adj.强健结实的weeping willow 垂柳quince n.揾悖(似梨)flit v.掠过iridescent adj.色彩斑斓的，闪亮的roam v.漫步abandon n.放纵，自由humming and teeming with life:活跃，富有生机niches and crannies:单数形式分别为niche和cranny，同义词叠加，意为“小小天地、一席之地、犄角旮旯”fin n.(鱼)鳍scale n.鳞片horn n.角hoof n.蹄stinger n.刺，螫针lumber v.缓慢地行走roil v. 搅浑hyacinth n.风信子a rim of 一圈scoop v.挖，舀，掏paddle v.划水，涉水reed n.芦苇arch v.弯，呈拱形flick v.快而轻地动blob n.(浓液的)一滴puff n. —口（气）relish v.享受,从……中获得乐趣poke n.捅，戳hubbub n.喧闹clamor n.嘈杂fervent adj.强烈的ascend n.升（天）thunder v.隆隆作响,呼啸而来chariot n.马车Reading CThe Chinese Dragon vs. The Western DragonZhu Beijing1 The Chinese dragon is a far different beast from its Western counterpart. Smaug from J. R. R. Tolkien’s “The Hobbit” is perhaps the most widely known dragon from recent Western fiction, a cruel, avaricious and bloodthirsty creature whose lair under the Lonely Mountain identifies him as a creature of the earth. Tolkien drew much of his inspiration for Smaug from the dragon in the Old English epic of “Beowulf”, penned more than a thousand years earlier, which gives some indication of the depth of the European tradition of portraying dragons as bad news.2 By contrast, the Chinese dragon is an auspicious creature, symbolizing strength, wisdom, good luck and power over the elements of wind and water. As such, Chinese people proudlyclaim they are the descendants of the dragon, a story that is firmly rooted in national folklore and history. For example, an anecdote in the “Records of the Grand Historian” (Shiji) traces the birth of Liu Bang, the first emperor of the Western Han Dynasty (206 BC-25 AD): One day, his mother falls asleep at a riverside and dreams of a dragon lying on her body, only to wake up and find herself pregnant. Traces of the anecdote survived in the belief that a dragon appearing in a pregnant mother’s dream was an auspicious sign indicating she would give birth to a future emperor.3 Indeed, China’s feudal rulers did everything they could to maintain this mythic association, surrounding themselves with dragon-related ornamentation, ruling from a Dragon Throne and waging war under a dragon flag. Pretty much everything related to the emperor would be tagged with the character “龙”, for example, “龙袍” (imperial robes embroidered with curling dragons), “龙椅” (the emperor’s seat), “龙床” (t he emperor’s bed) and “龙颜” (the look of an emperor).4 While Smaug and other European dragons have a solid, serpentine connection to the earth, Chinese dragons are indisputably rulers of the sky. The dragon was worshiped as the God of Rain, and in times of drought or flooding, locals would visit a dragon-king temple (龙王庙）and burn incense to pray for more favorable conditions. It is also said that natural disasters such as floods or tornados (龙卷风, literally, the dragon rolls up the wind) indicate the dragon king is in bad temper.5 Dragons’ association with thunder，lightning and rain may have prompted the widespread belief that there are more likely to be a flurry of natural disasters in a Dragon year, and Chinese New Year celebrations the world over will include ceremonies and prayers dedicated to warding off the possibility of such a calamity striking people’s homes.6 The dragon’s power to control rain and waves is also closely related to its rank in the pantheon of 12 zodiac animals (rat, ox, tiger, rabbit, dragon, snake, horse, sheep, monkey, cock, dog and pig). Various tales describe the race of these 12 animals to secure their place on the list, but the sequence is determined by the time of day the animal is most active, at least in the eyes of the ancient Chinese. The dragon corresponds to7 am to 9 am, when it is most likely to be foggy, allowing the dragon to ride atop clouds and mist. However, parts of the dragon are usually hidden in the heavy fog, giving rise to the phrase “神龙见首不见尾” (you see the head of the mystical dragon but not its tail), which now refers to someone who has no fixed whereabouts and is difficult for others to trace.7 In Chinese folk art paper-cuts, a typical pattern shows the dragon riding on clouds. Another depicts two dragons playing with a pearl (双龙戏珠), which is often inlaid with a dark, comma-like symbol running through the middle, thought to represent the unification of yin and yang. In Chinese calligraphy, the flying dragon is an aesthetically appealing analogy for cursive and elegant handwriting known as “龙飞凤舞”, literally, “dragons flying andphoeni xes dancing.” Given all the positive associations of “龙”, it’s no wonder the character is a top choice for people’s names, including martial arts superstars Jackie Chan (成龙）and Bruce Lee (李小龙). There is also the Chinese idiom, “望子成龙” (literally, hoping one’s son will become a dragon), which roughly means parents have high expectations of their children.8 However，few parents would want their children to be aggressive leaders involved in violence. Unfortunately, this is the image that struck many Chinese upon seeing the new dragon stamp issued by China Post in early January, 2012. “Evil and frightening”（凶神恶煞), “baring fangs and brandishing paws” (张牙舞爪）and “bristling with anger”（怒发冲冠）were just a few of the phrases people responded with when being asked for their first impression of the new stamp. The design has also triggered heated debates among micro bloggers on Sina Weibo，one of whom even compares the image to “China’s notorious city inspectors, who ar esometimes caught on camera beating up street vendors，” according to The Wall Street Journal’s China Real Time Report.9 People born in the year of the dragon are said to be natural leaders ——charismatic, innovative, free-spirited, and flamboyant, and as such Dragon years are notorious for coinciding with spikes in the birth rate. It remains to be seen whether modern Chinese remain as much in the thrall of dragon worship as their ancestors, and if the phenomenon holds true in the 21st century.counterpart n.对应的人或物Smaug《霍比特人》中的带翼火龙The Hobbit《霍比特人》 (小说、电影）avaricious adj.贪婪的lair n.巢穴epic n.史诗pen v.创作.撰写auspicious adj.吉祥的J. R. R. Tolkien: John Ronald Reuel Tolkien (约翰•罗纳德•待埃尔•托尔金）（1892-1973), was an English writer, poet, philologist, and university professor, best known as the author of the classic high fantasy works The Hobbit and The Lord of the Rings.Beowulf: heroic poem set in Scandinavia, the highest achievement of Old English literature and the earliest European vernacular epic.feudal adj.封建的ornamentation n.装饰tag v.貼标签serpentine adj.蜿蜒的.似蛇的incense n.香a flurry of 一阵(风、雨、雷等）ward off避幵，挡住calamity n.灾难,灾祸pantheon n.众神庙whereabouts n.下落,所在地inlaid adj.镶嵌的analogy n.类比fang n.长而尖的牙brandish v.挥舞notorious adj.臭名昭著的city inspector 城管charismatic adj.富有领袖魅力的flamboyant adj.神气的spike n.峰值thrall n.奴隶，束缚。
中国文化英语教程二单元课文
Unit 2Reading AWorld Cultural Heritage in ChinaPara. 1 Since China joined the International Convention Concerning the Protection of World Cultural and Natural Heritage in 1985, the number of world heritage sites in China has increased to 47 by September2014, next only to Italy that has 49 on the list. Of these 31 are cultural heritage sites, 10 are natural heritage sites, and 4 are cultural and natural (mixed) sites. Here are some iconic places on the list. The Summer PalacePara. 2 The Summer Palace in Beijing integrates numerous traditional halls and pavilions into the Imperial Garden conceived by Emperor Qianlong in the Qing Dynasty between 1750 and 1764 as the Garden of Clear Ripples. Using Kunming Lake, the former reservoir of the Yuan Dynastys capital and Longevity Hill as the basic framework, the Summer Palace combined political and administrative, residential, spiritual, and recreational functions within a landscape of lakes and mountains, in accordance with the Chinese philosophy of balancing the works of man with nature. As the culmination of several hundred years of Imperial garden design, the Summer Palace has had a major influence on subsequent oriental garden art and culture.Para. 3 The Summer Palace in Beijing is an outstanding expression of the creative art of Chinese landscape garden design, incorporating the works of humankind and nature in a harmonious whole. The Summer Palace epitomizes the philosophy and practice of Chinese garden design, which played a key role in the development of this cultural form throughout the East. The Imperial Chinese Garden, illustrated by the Summer Palace, is a potent symbol of one of the major world civilizations.Mogao CavesPara. 4 Situated at a strategic point along the Silk Route, at the crossroads of trade as well as religious, cultural and intellectual influences, the 492 cells and cave sanctuaries in Mogao are famous for their statues and wall paintings, spanning 1,000 years of Buddhist art.Para. 5a Carved into the cliffs above the Dachuan River, the Mogao Caves south-east of the Dunhuang oasis, Gansu Province, comprise the largest, most richly endowed, and longest used treasure house of Buddhist art in the world. It was first constructed in AD 366 and represents the great achievement of Buddhist art from the 4th to the 14th century. 492 caves are presently preserved, housing about 45,000 square meters of murals and more than 2,000 painted sculptures.Para. 5b Cave 302 of the Sui Dynasty contains one of the oldest and most vivid scenes of cultural exchanges along the Silk Route, depicting a camel pulling a cart typical of trade missions of that period. Caves 23 and 156 of the Tang Dynasty show workers in the fields and a line of warriors respectively and in the Song Dynasty Cave 61, the celebrated landscape of Mount Wutai is an early example of artistic Chinese cartography, where nothing has been left out mountains, rivers, cities, temples, roads and caravans are all depicted. Para. 6 The discovery of the Library Cave at the Mogao Caves in 1990, together with the tens of thousands of manuscripts and relics it contained, has been acclaimed as the worlds greatest discovery of ancient Oriental culture. This significant heritage provides invaluable reference for studying the complex history of ancient China and Central Asia.West Lake Cultural Landscape of HangzhouPara. 7 The West Lake Cultural Landscape of Hangzhou, comprising the West Lake and the hills surrounding its three sides, has inspired famous poets, scholars and artists since the 9th century. It comprises numerous temples, pagodas, pavilions, gardens and ornamental trees, as well as causeways and artificial islands. These additions have been made to improve the landscape west of the city of Hangzhou to the south of the Yangtze River.Para. 8 West Lake is surrounded on three sides by cloud-capped hills and on the fourth by the city of Hangzhou. Its beauty has been celebrated by writers and artists since the Tang Dynasty (AD 618-907). In order to make it more beautiful, its islands, causeways and the lower slopes of its hills have been improved by the addition of numerous temples, pagodas, pavilions, gardens and ornamental trees which merge with farmed landscape. Since the Southern Song Dynasty (13th century) ten poetically named scenic places have been identified as embodying idealized, classic landscapes that manifest the perfect fusion between man and nature. West Lake is an outstanding example of a cultural landscape that displays with great clarity the ideals of Chinese landscape aesthetics, as expounded by writers and scholars in Tang and Song DynastiesPara. 9 The West Lake has influenced garden design in the rest of China as well as Japan and Korea over the centuries and bears an exceptional testimony to the cultural tradition of improving landscapes to create a series of vistas reflecting an idealised harmony between humans and nature.Historic Ensemble of the Potala Palace, LhasaPara. 10 The Potala Palace symbolizes Tibetan Buddhism and its central role in the traditional administration of Tibet. The building complex, comprising the White and Red Palaces with their ancillary buildings, is built on Red Mountain in the centre of Lhasa Valley, at an altitude of 3,700m. Also founded in the 7th century, the Jokhang Temple Monastery is an exceptional Buddhist religious complex. Norbulingka, the Dalai Lamas former summer palace, constructed in the 18th century, is a masterpiece of Tibetan art. The beauty and originality of the architecture of these three sites, their rich ornamentation and harmonious integration in a striking landscape, add to their historic and religious interest.Para. 11 The Historic Ensemble of the Potala Palace is an outstanding work of human imagination and creativity, for its design, its decoration and its harmonious setting within a dramatic landscape. The three-in-one historic ensemble of the Potala Palace, with Potala the palace-fort complex, Norbulingka the garden residence and the Jokhang Temple Monastery the temple architecture, each with its distinctive characteristics, forms an outstanding example of traditional Tibetan architecture.Ancient City of PingyaoPara. 12 The Ancient City of Pingyao is a well-preserved ancient county-level city in China. Located in Pingyao County, central Shanxi Province, the property includes three parts: the entire area within the walls of Pingyao, Shuanglin Temple 6 kilometers southwest of the county seat, and Zhenguo Temple 12 kilometers northeast of the county seat. The Ancient City of Pingyao well retains the historic form of the county-level cities of the Han people in Central China from the 14th to 20th century.Para. 13 Founded in the 14th century and covering an area of 225 hectares, the Ancient City of Pingyao is a complete building complex including ancient walls, streets and lanes, shops, dwellings and temples. Its layout reflects perfectly the developments in architectural style and urban planning of the Han cities over more than five centuries.Para. 14 The Ancient City of Pingyao is an outstanding example of Han cities in the Ming and Qing Dynasties. It retains all the Han city features, provides a complete picture of the cultural, social, economic and religious development in Chinese history, and it is of great value for studying the social form, economic structure, military defense, religious belief, traditional thinking, traditional ethics and dwelling form. Reading CPassage-1Warriors Protect Hutong with CamerasPara. 1 They see themselves as warriors in a desperate battle to preserve old Beijing.Para. 2 After arranging to meet online, about 20 people gathered at exit B of the Qianmen metro station one recent Sunday morning, exchanging stories and talking about the photos they were going to take. Thewarriors are fans of hutong architecture and art, and Dashilan a famous concentration of small lanes which once filled Beijing, in the Qianmen area of the capital is one of their favorite areas. The targets of their cameras are ancient gates, courtyards, roofs and any detailed sculptures or paintings. These pictures arent intended for a photography contest, but rather a race against time to create a visual record of a piece of fading history. They plan to collect their images in an online hutong museum.Para. 3 According to media reports, the number of registered hutongs in Beijing has shrunk from 3,600 in 1980 to about 1,200 today. And the number is still falling. A government circular issued at the end of last year, the largest of its kind in terms of affected areas and number of people, said more hutongs would be removed, news that stung supporters of hutong culture.Passage-2Problems of HutongPara. 1 In recent years, hutongs in Beijing have had dramatic changes. Some turned into high buildings, some became colorful and prosperous commercial areas and some became wide roads. Only a small amount of hutongs have been kept. As an ancient relic in the modern society, hutong often faces some problems.Interview with a city planning expert and hutong residentsPara. 2 Many hutongs have existed for a long time. Some have a history of 100 years, some even more. It is natural for them to have problems such as old and aging equipment. They have some problems to face to fit in the modern society. It is the truth.100Para. 3 Employee: To live in hutongs is not so convenient as in an apartment building. Besides, the sanitation conditions are not so good.:Para. 4 Resident A: Why is it not convenient? Because there is no heating system. One must burn coal to heat. It is dirty.:?Para. 5 Host: Does a siheyuan have a toilet?:?Para. 6 Middle-aged woman: Normally, it doesnt have. We have to go to a communal toilet.:Para. 7 Resident B: Now the problems in siheyuan include water system, no toilet and no heating system in winter.:Para. 8 City planning expert Mr. Zheng Yiming: After a history of hundreds of years, hutongs in Beijing carry a great deal of important information of Beijing history. At the same time, hutong is also an importantsymbol of Beijing. Therefore, hutong is worth preserving.:Para. 9 Female worker: When spring comes, it is nearer to earth. It is more convenient for us to go outside than apartment buildings.:Para. 10 Middle-aged woman: It is hard for one to leave his or her home place. I have lived in siheyuan since my childhood. Now I still missed that period.:Para. 11 Teacher From Tsinghua University: In my childhood, I felt that the relationship between neighbors was very close. We could visit them at any time. But now, we all live in high buildings, it is difficult for us to visit our neighbors. I think it is a pity.Para. 12 I like Beijing hutong culture very much. I think it is not only a symbol of Beijing culture, but also a demonstration of Chinese national culture. Therefore, every time when I think that this hutong culture will get lost in the process of modernization, I always feel very sorry.Para. 13 Interview with an expert on folklore: There is a problem. Urban development conflict with the protection of cultural relics. If we want to preserve it, we should not remove it. We can renovate it, repair it. But once we remove it, it is hard for us to preserve it. This matter should be analyzed based on individual cases.Para. 14 In order to keep the style of Beijing as an ancient capital city, many famous hutongs have been preserved as cultural relics. In Beijing, more than 20 hutongs have been selected as streets of cultural and historical interests for preservation. The damages in those hutongs have also been repaired and their original appearances have been restored step by step. Therefore, the key issue is to find a rational way to balance between the preservation of an ancient city and modernization.Para. 15 Hutongs have witnessed the life of elder Beijingers and are also a part of the life of modern Beijing residents. Although many hutongs still keep their original names, their appearances have changed a lot. Should we remove or keep ancient aging buildings? To what extent should we preserve them? Conflicts like these do not only exist in the preservation of hutongs in Beijing.Translation(Philippe)(Mathilde)(Elio Di Rupo)Upon their arrival, Xi Jinping and his wife Peng Liyuan were warmly greeted by the Belgian King Philippe, Queen Mathilde and Prime Minister Elio Di Rupo. The state leaders of the two countries walked into the Chinese Garden together. It was like walking in a quiet, peaceful and harmonious Chinese painting of freehand brushwork, with the delicately painted and decorated pavilions, carved beams and painted rafters along the way, with birds twittering and flowers blooming with fragrance. The two heads of state and their wives walked along the winding corridor and path, through the green and luxuriant bamboo grove to the panda garden. They walked and talked on their way about the friendly exchanges between China and Belgium.。
(完整版)中国文化英语教程Unit13
Discovery of the Terracotta Army
It has 4 battle formations, including over 1,300 soldiers and horses, more than 80 war chariots and tens of thousands of bronze weapons.
Half-squatting, half-kneeling Hair tied in a knot Suits of armor over war robes
The posture clearly shows the tension of the process of shooting
Vivid Sculpture
Vivid Sculpture
Horses (over 600)
2 kinds: One for pulling chariots One for cavalry steeds
Exercises
Comprehension Communication Application
Comprehension
on the other
Discovery of the Terracotta Army
Formation 2 (To the right of Formation 1) • A formation of 64 war chariots in 8 rows. • Each chariot is drawn by 4 life-size horses. Behind each chariot stand 3 soldiers: The one in the middle-hold the reins; the other two on the sides hold long-staffed weapons
中国文化英语教程束定芳unit9课文
Unit 9 Chinese CultureIn this unit, we will explore the rich and diverse culture of China, one of the world's oldest civilizations. China has a long andplex history, and its culture has been shaped by a wide range of influences, including religion, philosophy, literature, art, and architecture. We will examine these influences and their impact on modern Chinese society.1. Historical BackgroundChina has a history that spans over 5,000 years, making it one of the world's oldest continuous civilizations. Throughout its history, China has experienced the rise and fall of numerous dynasties, each leaving its mark on the country's culture. The ancient civilization of China has made significant contributions to the fields of science, technology, and philosophy, and has greatly influenced other East Asian countries.2. Religion and PhilosophyReligion has played a significant role in Chinese culture, with various belief systems coexisting and influencing one another. Confucianism, Taoism, and Buddhism are the three m本人n pillars of Chinese religious and philosophical thought, each offering its own unique perspective on life, ethics, andspirituality. These belief systems continue to shape Chinese society and have a profound impact on Chinese art, literature, and d本人ly life.3. Literature and ArtChinese literature and art have a long and rich tradition that dates back thousands of years. Classical Chinese poetry, novels, and historical texts are celebrated for their intricate use of language and deep insights into human nature. Traditional Chinese p本人nting, calligraphy, and pottery are renowned for their beauty and craftsmanship, reflecting the natural world and the inner emotions of the artist. We will examine some key works of Chinese literature and art and explore their enduring influence on global culture.4. Architecture and HeritageChinese architecture is known for its unique blend of artistic expression and practicality. From the majestic Forbidden City to the graceful gardens of Suzhou, China's architectural heritage reflects the country's long history and diverse regional styles. We will explore the significance of key architectural landmarks and their role in preserving China's cultural identity.5. Modern Chinese CultureIn recent decades, China has undergone rapid social and economic change, leading to a dynamic and evolving cultural landscape. From the booming film industry to the thriving contemporary art scene, Chinese culture continues to adapt and innovate, while still drawing on its rich historical legacy. We will examine how traditional cultural values are being reinterpreted in the context of globalization and urbanization.In conclusion, China's rich and multifaceted culture epasses a wide range of traditions, beliefs, and artistic expressions. By delving into the historical, philosophical, and artistic dimensions of Chinese culture, we can g本人n a deeper appreciation for the enduring legacy of this ancient civilization and its impact on the modern world. As China continues to play a prominent role on the global stage, understanding its cultural heritage bes increasingly important for fostering mutual understanding and cooperation.。
中国文化英语教程Unit-7
Opening to the “West”
• The Silk Road exerted an inestimable influence on the lives of the Chinese people. 1) Chinese culture and technology, such as papermaking and printing, were introduced to countries to the west.
Zhang Qian, Trail Blazer
What is the history background of the Silk Road? What are the purposes?
• During the reign of Emperor Wu, there were 36 small kingdoms in the Western Regions. All of them were later conquered by the Huns, who then posed a direct threat to the Western Han and blocked the dynasty’s path west.
Lead-in
浅褐色菱纹罗地信期绣
Diamond-pattern embroidery of the Western Han Dynasty
Lead-in
缂丝紫鸾鹊谱
Bird-and-flower embroidery of the Northern Song Dynasty
Text study
valuable legacies along the Silk Road, such as the murals in the Gaochang, Kuche and Dunhuang grottoes.
中国文化英语教程unit1
中国文化英语教程unit1Unit 1 Introduction to Chinese Culture1.1 Overview of Chinese CultureChinese culture is one of the oldest and most complex cultures in the world. It has a rich history that dates back thousands of years and has been shaped by numerous cultural, social, and political factors. The unique customs, traditions, and values of the Chinese people have had a significant impact on the world and continue to shape modern society.1.2 Chinese PhilosophyThe Chinese philosophy is one of the most significant aspects of Chinese culture. It has played a critical role in shaping the beliefs and values of the Chinese people. Some of the key philosophical concepts in Chinese culture include Confucianism, Taoism, and Buddhism. These teachings have had a significant impact on various aspects of Chinese society, including politics, ethics, and spirituality.1.3 Chinese Language and WritingThe Chinese language and writing system is one of the most fascinating aspects of Chinese culture. Chinese characters are considered to be one of the oldest written languages in the world, with the first known evidence of Chinese writing dating back to the Shang dynasty (1600-1046 BCE). The Chinese language continues to be spoken by over a billion people worldwide and is asignificant part of Chinese cultural identity.1.4 Chinese Arts and LiteratureThe arts and literature in China have a long and storied history that dates back thousands of years. Chinese art encompasses a broad range of styles and mediums, including calligraphy, painting, sculpture, and ceramics. Additionally, classical Chinese literature is renowned for its poetry, novels, and philosophical writings.1.5 Chinese Festivals and HolidaysChinese festivals and holidays are an essential part of Chinese culture. The traditional Chinese calendar includes several important holidays, including Chinese New Year, Qingming Festival, Dragon Boat Festival, Mid-Autumn Festival, and the Winter Solstice. These holidays are celebrated with a wide variety of traditional customs, food, and decorations.1.6 Chinese CuisineChinese cuisine is one of the most diverse and popular cuisines in the world. It is known for its unique flavors, ingredients, and cooking techniques. Traditional Chinese cuisine includes a wide variety of dishes, including rice, noodles, soups, vegetables, meats, and seafood. Additionally, traditional Chinese cuisine is often associated with specific regions or provinces in China.1.7 Chinese Traditional MedicineChinese traditional medicine is one of the oldest and most well-developed systems of medicine in the world. It is based on the concept of balancing Qi (life force) in the body and includes various treatments such as acupuncture, herbal remedies, and massage. Chinese traditional medicine has had a significant impact on modern medicine and is often used alongside Western medicine for various health conditions.1.8 Chinese Martial ArtsChinese martial arts, also known as Wushu, is a traditional Chinese sport that involves physical combat techniques. It has a long and storied history in China and is known for its various styles, including Shaolin Kung Fu, Tai Chi Chuan, and Wing Chun. Chinese martial arts have become increasingly popular around the world for its physical, mental, and spiritual benefits.1.9 Modern Chinese CultureModern Chinese culture has been shaped by various social, economic, and political factors. Since the establishment of the People's Republic of China in 1949, there have been many changes in Chinese culture, including the growth of a modern economy, changes in social norms, and advancements in technology. Modern Chinese culture is increasingly influenced by global trends and Western culture, but the traditional values of Chinese culture remain an essential part of the country's identity.。
中国文化英语教程》的第230-234页
中国文化英语教程》的第230-234页Unit 8 Peking Opera: Artistry of PerformersThe Delights of Peking Opera MasksChina’s Peking Opera radiates with the beauty of resplendent color – vivid, intense and glamorous. This artistic beauty comes not only from the costumes but also from the masks of exaggerated, dazzling designs, gleaming with red, purples, whites, yellows, blacks, blues, greens, every diverse color imaginable.Masks, applied to the two roles of the “jing” or “painted-face role” and the “chou”or “clown”, serve two purposes. One is to indicate the identity and character of the role. For example, a “red face” means the person is loyal and brave; a “black face” signifies the person is straightforward; and “a white face” identifies the person as crafty and evil. The other purpose is to express people’s appraisal of the roles from a moral and aesthetic point of view, such as respectable, hateful, noble, ridiculous, etc.Peking Opera Performance: Sing, Speak, Act, and FightThe performance of a Peking Opera actor can be summarized into four basic aspects, of singing, speaking, acting, and fighting, the core of which is a combination of song and choreography.Singing is of utmost importance in the performance of Peking Opera, because first of all, Peking Opera is a singing art. Any famous Peking Opera boasts several wonderful arias that are well-known and popular with audiences. The charm of the melodies usually embodies the sublime realm of the art of Peking Opera. Unable to appreciate the magic of Peking Opera arias, one would fail to enjoy the profound beauty of the art itself.Speaking refers to character mono logs and day logs, which serve to propel the development of the story. Speaking, like singing, needs to be executed in an appealing way.Acting and fighting mean that actors employ physical movements to express the emotions of the characters and the circumstances. Acting includes body movements and eyemovements, solo dancing or group dancing, etc. Most of the dancing is choreographed movements from everyday life. Fighting is choreographed martial arts and acrobatics to depict fight or battle scenes. As the art of Peking Opera depends on movement to depict events, actors are given much room to perform on the the opera Picking up the Jade Bracelet, the young woman Sun Yujiao and the young scholar fall in love with each other, their eyes affixed on each other as if a thread connected them. Then, as Matchmaker Liu uses her pipe to pull the “virtual” line up and down, the young couple’s eyes accordingly move up and down. These actions produce great humor and add much significance to the performance. Acting and fighting serve the whole “play” or the “world of images”, but at the same time they are themselves a beautiful art in both form and skill. For example, in King Chu Bids Farewell to His Concubine, artist Mei Lanfang performed a sword dance in a miraculously skillful way, which became very popular with audiences. This is a type of beauty in form. As for the beauty of skill, this usually includes some very difficult acrobatic movements, often referred to as “superb skills”.The uniqueness of performances in Peking Opera lies in the fact that the singing, speaking, acting, and fighting, all focus on one or two actors in the play.These performers used to be called “jue’er”, hence “mingjue” was used to refer to famous actors or actresses. In this sense, the world of imagery created in Peking Opera mainly relies on the singing, speaking, acting, and fighting of actors, especially in the performance of the famous plays. This is the biggest difference between Peking Opera and other forms of performing arts in terms of aesthetic appreciation. And the remark – “Peking Opera is the art of performers” – well describes its quintessence.The Beauty of a “Visual World”Depicting a “visual world” is a distinctive feature of Peking Opera. Its virtually consists of two aspects: one is virtual movements, and the other virtual settings. Virtual movement refers to imitating actions onstage. For example, riding a horse. Onstage, an actor cannot ride a real horse, but can only hold a whip and imitate the movement of galloping by walkingaround the stage, turning the body, wielding the whip, and pulling the reins. A virtual setting means creating an imagined environment onstage. For example, rowing a boat. As there is no water or boat on the stage, an actor usually takes an oar and, through actions, makes the audience “see” the rowing of a boat on water.One is At the Crossroad. This opera describes the story of two yamen runners escorting Jiao Zan to prison. On the way they stay at an inn for the night. Ren Tanghui, whose task is to protect Jiao Zan, checks in at the same time. The owner of the inn, however, suspects Ren Tanghui is planning to murder Jiao Zan, so he gropes his way into Ren’s room at night. Thus a fight starts. What is special about the performance is that, although the fight happens at night, the stage is brightly lit; yet the audience is able to sense it is a pitch-dark night from the actors’ performances, which feature stealthy movements typical of people in darkness. Sometimes, one man’ s sword swishes down, only a few inches away from the other’ s face, yet the latter feels nothing, thus producing a breathtaking yet meaningful and humorous effect.The other example is Autumn River, a play transplanted from Sichuan Opera. This story describes a young nun, Chen Miaochang who leaves the nunnery to pursue her lover Pan Bizheng. Onstage, there is neither water nor boat, but through the performance of the young woman and the old boatman, the audience is able to obviously “see” that the stage is a river. The boat sways forward; all the way there the girl complains about the boat for being slow, while the old boatman keeps teasing her about her anxiety to see her lover. The performance is full of wit and humor.These examples describe the function of the “virtual world” in the art of Peking Opera, which provides limitless room for the performances of actors; and in return, performers present the audience with a world of images full of appealing wit. If in fact the stage of At the Crossroad was really all black to represent the dark night, and there was a real boat on the stage of Autumn River, what could the actors do And what we still find as much wit and meaning in the performances We doubt it.Part IV Folk CustomsUnit 9 Life with Fragrant TeaTea is a wonderful beverage originally produced in China about 4,000 years ago. During the Tang Dynasty, Japanese monks introduced tea seeds to Japan, and by combining tea with Zen Buddhism, created the world-famous Japanese tea ceremony. In the 17th century, the Dutch took to Europe the Chinese habit of tea drinking, which then became a tradition of the Europeans. In England in particular, people developed the custom of afternoon tea. Prior to the 19th century, all the tea in the world was grown in China, and even the English word “tea” was a transliteration of the pronunciation of “tea” in the Fujian dialect of China. Tea is an important contribution of the Chinese people to the world.Ways of Savoring TeaThe Chinese people look to tea drinking as an art, which incorporates a wide range of knowledge; the taste of tea might be light, yet the meaning is rich and deep.The Chinese attach great importance to the water, tea leaves, tea set, and fire, when making and drinking tea.Water is an element of priority in the making of tea. To make a good cup of tea, quality water is a must. The ancient Chinese commented on tea making thus: the tea must be new, and water must be live, or flowing. Lu Yu(陆羽) (733-804), the Saint of the Tang Dynasty, pointed out that, to make fine, water from high mountains is the best, followed by water from rivers and wells. In the cloud-enveloped high mountains, crystal clear spring water isthe best for making tea; water in the brooks though also good, is not pure because it smellsof the earth, therefore is only second best. Considered third is water from wells, as artificial springs from underground are often stagnant and tinted with the flavor of salt. It is thus no match at all for uncontaminated mountain spring water. Unluckily for us today, we do not even have the third type of water to make tea; we use either tap water or artificially purified water – a true pity indeed!As making good tea needs good water, Chinese people have long developed thetradition of valuing springs, while springs have become famous because of people’s love for tea. It is said that Lu Yu had traveled around the country, tasting different types of water in different places. He finally came to the conclusion that the Baotu Spring (趵突泉) In Ji’nan, Shandong Province, was the best for tea; the Huishan Spring (惠山泉) in Wuxi, Jiangsu Province was second best; and the Hupao Spring (虎跑泉) in Hangzhou of Zhejiang Province, came third.After water, the second most important factor for making good tea is tea leaves. China has a long history of cultivating miscellaneous tea leaves. From the perspective of processing, tea leaves fall into the categories of green tea, black tea, long tea, dark tea, and scented tea. Green tea is the main type of tea, and its output encompasses about 70 percent of tatal production each year. The famous green teas are Longjing of Hangzhou, Biluochun of Jiangsu, and Hangshan Maofeng and Liu’an Guapian of Anhui. Black tea is fermented tea, the most famous being Qimen Black tea of Anhui and Dian Black Tea of Yunnan. Oolong tea is mainly produced in Taiwan and in the Wuyi Mountains in Fujian. Dark tea is represented by Pu’er Tea of Yunnan. Dark tea is processed by adding water to dried green tea leaves, (晒青绿毛茶) which are then fermented. There are a variety of scented teas, including chrysanthemum and jasmine tea, the favorite of northern Chinese.Fine tea needs to be served in a fine tea set. The Chinese people pay particular attention to tea sets, which may be made of porcelain, ceramic, glass or wood. China, since it is the home of porcelain, provides a solid foundation for research into making quality porcelain tea set, though the tea sets the Chinese use are not necessarily porcelain ones. Instead, ceramic tea sets are gems in the eyes of tea lovers. One typical representative is the boccaro teapot produced in Yixing near Taihu Lake in Jiangsu Province, which has long been popular with people in both ancient and modern China.The fourth and final element in making good tea is the fire, which should be, first of all, “live”, as evidenced in the verse by the famous Song-dynasty poet Su Dongpo: “Flowing water needs a live fire.”(活水需得活火煎) A “live water” refers to a charcoal fire. Second,the fire should be slow, and a charcoal fire meets this requirement, as charcoal lights more slowly than other fuels do. Moreover, charcoal exudes a sense of the wild while not having that reek of smoke abhorred by tea lovers.。
中国文化英语教程Unit11
Concealed Contours of a Dragon
• South: the Meridian Gate (午门).
Concealed Contours of a Dragon
• North: the Gate of Divine Might (神武门)
Concealed Contours of a Dragon
• The Ming emperor had also commissioned a largescale redesign of the overall structure of his new capital.
Concealed Contours of a Dragon
• The Ming capital was built along an eight-kilometerlong axis running south to north.
Text study
Introduction Concealed Contours of a Dragon The Colors of the Forbidden City
Introduction
• The Forbidden City was the Chinese imperial palace from the Ming Dynasty to the end of the Qing Dynasty, where 24 emperors ruled China from the 15th century to the early 20th century.
• The buildings along the central line and on either side of it vary in design and rhythm.
中国文化英语教程unit3原文翻译程筱棠
中国文化英语教程unit3原文翻译程筱棠中国文化英语教程Unit 3原文翻译Unit 3: The Chinese LanguageIntroduction:China is a vast country with a long history and a rich cultural heritage. One of the most significant aspects of Chinese culture is the Chinese language. In this unit, wewill explore the Chinese language and its unique features.Chinese Characters:The Chinese language is written using Chinese characters. Each character represents a distinct concept or idea, and there are over 50,000 characters in total. Learning Chinese characters is a challenging task, but it is essential to understanding and reading Chinese texts.Pinyin:Pinyin is a Romanized phonetic system used to represent the pronunciation of Chinese characters. It was created in the 1950s to help foreigners learn and pronounce Chinese words. Pinyin uses the Roman alphabet and tone marks to indicate the tones of each syllable.Tones:Chinese is a tonal language, which means that the tone or pitch of a word can change its meaning. There are four main tones in Mandarin Chinese: the first tone (high and level), the second tone (rising), the third tone (low and falling-rising), and the fourth tone (falling).Radicals:Radicals are the building blocks of Chinese characters. They are character components that contribute to both the meaning and pronunciation of a character. Understanding radicals can help learners guess the meanings of unfamiliar characters.Grammar:Chinese grammar is relatively simple compared to Western languages. Chinese sentences follow a subject-verb-object word order, and there are no grammatical gender or articles. Verbs do not conjugate based on tense or person, but time expressions or context help clarify the time or person.Idioms:Chinese idioms, also known as chengyu, are a group of commonly used four-character expressions. Idioms often have a unique historical or cultural background and convey profound meanings. Learning idioms is an effective way to deepen one's understanding of Chinese culture and language.Characters in Action:Characters in Chinese culture often convey deeper meanings and symbolize various concepts. For example, the character for "love" (爱) represents two people, showing theconcept of affection between individuals. Understanding the cultural connotations of characters can enhance one's comprehension of Chinese language and culture.Cultural Notes:Learning the Chinese language involves more than just vocabulary and grammar. It is also important to be aware of cultural nuances and customs. For example, addressing someone by their full name is considered polite in China, and using their given name alone can be disrespectful.双语例句：1. Chinese characters are the building blocks of the Chinese language. （汉字是汉语的基石。
中国文化英语教程part1
中国文化英语教程part1China's rich cultural heritage has been a source of fascination for people around the world for centuries. From its ancient philosophies and traditions to its breathtaking landscapes and vibrant customs, China's cultural tapestry is truly a wonder to behold. In this first part of a comprehensive English language guide to Chinese culture, we will explore some of the fundamental elements that have shaped the country's enduring legacy.One of the most significant aspects of Chinese culture is its deep-rooted philosophical traditions. At the heart of this intellectual landscape are the teachings of Confucius, a revered thinker and social reformer who lived during the Spring and Autumn period (770-476 BC). Confucianism emphasizes the importance of social harmony, filial piety, and ethical conduct, and has had a profound influence on the way Chinese society is structured and governed.Another influential philosophical tradition in China is Taoism, which emerged during the same era as Confucianism. Developed by the legendary philosopher Lao Tzu, Taoism promotes the concept of "the Tao," or the natural order of the universe, and encourages followers to embrace simplicity, spontaneity, and a harmonious relationshipwith nature. The Taoist principles of yin and yang, which represent the complementary forces of the universe, have also become deeply ingrained in Chinese culture.Beyond these philosophical traditions, Chinese culture is also renowned for its rich artistic heritage. Chinese calligraphy, for instance, is considered one of the highest forms of artistic expression in the country. The graceful strokes and fluid movements of the calligrapher's brush have been honed over centuries, and the art form is deeply intertwined with Chinese literature and poetry.Equally captivating is the tradition of Chinese painting, which has evolved over millennia to encompass a wide range of styles and techniques. From the delicate ink wash paintings of the Song dynasty to the bold, expressive works of the modern era, Chinese art has consistently showcased the country's deep appreciation for beauty, harmony, and the natural world.Music and dance are also integral components of Chinese cultural identity. Traditional Chinese music, with its distinctive instruments like the guqin (a seven-stringed zither), the erhu (a two-stringed fiddle), and the pipa (a four-stringed lute), has a rich and varied history. Similarly, Chinese dance forms, such as the graceful movements of classical Chinese ballet and the dynamic acrobatic displays of Chinese opera, have captivated audiences both withinand beyond China's borders.Cuisine is another area where Chinese culture has left an indelible mark on the world. From the delicate flavors of Cantonese dim sum to the fiery spices of Sichuan cuisine, Chinese food is renowned for its diversity, complexity, and depth of flavor. The use of fresh, seasonal ingredients, the emphasis on balance and harmony, and the intricate techniques of preparation all contribute to the unique culinary traditions of China.In addition to these cultural pillars, China is also home to a vast and varied landscape, from the towering peaks of the Himalayas to the serene beauty of the Yangtze River. The country's natural wonders, such as the iconic Great Wall, the breathtaking Terracotta Warriors, and the stunning landscapes of Guilin, have become synonymous with China's enduring appeal and have drawn countless visitors from around the globe.As we delve deeper into the rich tapestry of Chinese culture, it becomes clear that the country's legacy is multifaceted and enduring. From its philosophical traditions to its artistic expressions, from its culinary delights to its natural splendor, China's cultural heritage continues to captivate and inspire people worldwide. In the following parts of this English language guide, we will explore these and otherfacets of Chinese culture in greater depth, offering a comprehensive understanding of this fascinating and dynamic civilization.。
关于中国文化英语教程原文及翻译的文章
关于中国文化英语教程原文及翻译的文章Chinese Culture: An English TutorialChina, with its rich history and diverse traditions, has always been a fascinating subjectfor people around the world. In this Englishtutorial, we will explore some key aspects of Chinese culture and provide a brief overview of its significance.Chinese culture is deeply rooted in Confucianism, which emphasizes the importance of respect for elders, family values, and social harmony. This philosophy has greatly influenced Chinese society and is still prevalent today. In Chinese families, filial piety is highly valued, and children are expected to take care of their parents as they age.Another significant aspect of Chinese culture is the concept of \"face.\" Face refers to one's reputation or social standing and is crucial in maintaining harmonious relationships. Saving face and avoiding embarrassment are important considerations in Chinese social interactions.Chinese cuisine is renowned worldwide for its variety and flavors. From spicy Sichuan dishes to delicate Cantonese dim sum, each region has its own unique culinary traditions. Traditional Chinese meals often consist of rice or noodles accompaniedby a variety of dishes that are shared among family members or friends.The art of calligraphy holds a special place inChinese culture. It is not just a form of writing but also an expression of beauty and elegance. Calligraphy requires skillful brushwork and an understanding of the balance between ink and paper. Many people practice calligraphy as a way to cultivate patience and inner peace.Chinese festivals are vibrant celebrations that showcase the country's cultural diversity. The Spring Festival, also known as Chinese New Year, is the most important festival in China. It marks the beginning of the lunar calendar year and involves various customs such as lion dances, firecrackers, and family gatherings.Traditional Chinese medicine (TCM) has been practiced for thousands of years and continues to be an integral part of healthcare in China. TCM focuses on maintaining balance within the body through herbal remedies, acupuncture, massage therapy, and other holistic approaches.In recent years, Chinese martial arts, such as Tai Chi and Kung Fu, have gained popularity worldwide. These ancient practices not only promote physical fitness but also cultivate mental discipline and spiritual growth.China's rich cultural heritage is also reflected in its architecture. The Great Wall, the Forbidden City, and the Terracotta Army are just a few examples of the country's architectural marvels. These structures not only showcase China'sengineering prowess but also serve as a testament to its historical significance.In conclusion, Chinese culture is a treasure trove of traditions, values, and customs that have been passed down through generations. From Confucianism to calligraphy, from Chinese cuisine to martial arts, each aspect contributes to the unique tapestry of Chinese culture. By understanding and appreciating these cultural elements, we can foster cross-cultural understanding and build bridges between different societies.。
【全文】中国文化英语教程Unit-12 (1)
Consoling the Mind with Music
Ambiance (氛围、环境) was an important aspect in playing the Chinese zither. • By a stream of the mountains; • In snow; • On moonlit nights, etc.
Governance Trough Music
According to ancient Chinese culture: • Rituals provided the norms of conduct for people.
The goal to maintain social order. • Music was for the mind’s cultivation and
Governance Trough Music
“Musical education enables people to purify their minds. Rituals are established to temper people’s conduct. With music and rituals, people are imbued with clearer, more intelligent and peaceful minds. They also improve their ways and manners. Thus the country enjoys peace, with beauty and compassion complementing each other.“
and became quite popular during the Western Zhou Dynasty.
中国文化英语教程unit2Reading-B全文
Unit 2 Places of Interest
Para. 2b I followed his suggestion and reached the top of the Bright Summit, where I saw the Celestial Capital Peak and the Lotus Peak standing side by side before me the Green Hill and the Gate of Three Seas encircling its backside. Down below were extremely high precipices and perpendicular peaks lying side by side on a ravine, the Prime Minister’s Col. A huge rock stood in front of the Bright Summit, falling and then rising abruptly, as if it were broken in half from the middle. It lay detached over the ravine, with grotesque pine trees growing all over it. I climbed the rock sideways and perched at its top while my uncle Xunyang squatted at the top of the Bright Summit, each commenting on the beauty of the magnificent views from our own perspectives.
中国文化英语教程Unit10讲述资料
“筑长城，自代并阴山下，至高阙为塞”
——《史记·匈奴列传》
Aspiration for Peace
Protection for the southerners from being attacked by the northerners
• The Great Wall prevented northern peoples on horseback from attacking people in the south who were mostly engaged in farming.
“Seen from today, if it had not been for the protection of the Great Wall, Chinese civilization would have been interrupted by the northern peoples in the late Qin or early Han dynasties, long before the Song and Ming dynasties. In that case, there would not have been the prosperity of the Han and Tang dynasties, or the integration of southern and northern peoples.”
Why did the Chinese build the Great Wall? • Military defense in the age of cold steel • Protection for the southerners from being
attacked by the northerners
中国文化英语教程U16-
refinement one senses the aesthetic propensities (倾向) of Confucianism; through its implicit and reserved artistic style one discovers the reserved nature of Confucian aesthetics.
• Porcelain garnered a good reputation for China for its sophistication and elegance.
• It played an important role in the wave of the European
idealization of China during the 17th and18th centuries.
• The Ming Dynasty witnessed the maturity of the art, and a large number of valuable pieces were produced in this period.
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Pure Blue-and-White Porcelain
Unit 16 Porcelain—Calling Card
of Chinese Culture
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Content
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Part I Wisdom and BeliefsUnit 1 Confucian thought on heaven and humanityConfucius (551-479 BC), known in China as Kongzi, given name Qiu and alias Zhongni, was a native of Zouyi (present-day Qufu in Shandong Province) of the State of Lu during the Spring and Autumn Period (770-476 BC). A great thinker, educator and founder of Confucianism, Confucius is an ancient sage to the Chinese people. His words and life story were recorded by his disciples and their students in The Analects (Lunyu).Confucius on Heaven: the source of EverythingIn the Shang (1600-1046 BC) and Zhou (1046-256 BC) dynasties, the prevalent concept of “Heaven”was that of a personified god, which influenced Confucius. Generally, however, Confucius regarded “Heaven”as nature. He said, “Heaven does not speak in words. It speaks through the rotation of the four seasons and the growth of all living things.” Obviously, heaven equaled nature, in the eyes of Confucius. Moreover, nature was not a lifeless mechanism separate from humans; instead, it was the great world of life and the process of creation of life. Human life was part and parcel of nature as a whole.Confucius on People: ren and liRen and Li are the two core concepts of Confucius’s doctrine about people.When his students Fan Chi asked him about ren, Confucius replied, “love people”. This is Confucius’ most important interpretation of ren. Love for the people is universal love. Confucius further emphasized that this kind of love should “begin with the love for one’s parents”. He believed no one could love people in general if they did not even love their own parents. Confucius regarded “filial piety and fraternal duty”as the essence of ren. The Doctrine of the Mean (Zhongyong) quotes Confucius as saying, “ The greatest love for people is the love for one’s parents.” He also said, “Children should not travel far while their parents are alive. If they have no choice but to do so, they must retain some restraint.” He did not mean that children should not leave their parents at all. What he meant was that children should not make the parents anxious about them while away from home. Confucius said again, “Children should think often of the age of their parents. They should feel happy for the health and longevity of their parents. They should also feel concern for the aging of their parents.”By ren, Confucius meant universal love based on love for one’s parents. How should people love one another then? Confucius said, “One should be aware that other people may have similar desires as oneself. While fulfilling one’s desires, allow others to fulfill their desires as well.” He further said, “Do not do toward others anything you would not want to be done to you.” Thus from oneself to one’s family, from family to society, one should extend love to all people. Mencius (c. 372-289 BC), a great Confucian scholar, best summarized ren as, “loving one’s parents, loving the people, loving everything in the world.”Li refers to rituals, traditions and norms in social life. Of these, Confucius regarded burial rituals and ancestral worship rituals as the most important, because they rose from human feelings. He said, “A child should not leave his parents’ bosom until he is three years old.” He naturally love his parents. The ritual of wearing mourning for a deceased parent for three years was an expression of the child’s love and remembrance.Confucius on the State of lifeBefore Confucius, only the nobility had the right to education. He was the first figure in Chinese history to initiate private education. According to historical records, Confucius taught for many years and trained 3,000 disciples. A total of 72 of them excelled in the “six arts”, i.e., ritual, music, archery, (carriage)driving, calligraphy, and mathematics. A great educator, Confucius has been admired by later generations as the “sage of sages”.Confucius believed the basic goal of education was to cultivate “persons of virtue”, who should have sound character and uplifted minds. Such people should be able to shoulder important social responsibilities and to make contributions to society. Confucius regarded lofty ideals, great virtue, love of people, and the “six arts” as the general principles of education. Of these, virtue was the most important. His students were involved in a variety of professions, including politics, trade, education, diplomacy, ritual ceremony, and classifying ancient books. Whatever they did, they all wanted to improve their learning of the humanities and to enhance their virtue.Unit 2 Laozi’s philosophy of Non-actionThe book Laozi was written around the sixth century BC. The author is generally believed to be Lao Dan, or Laozi – a recluse who lived during the Spring and Autumn Period. Few records have survived about Lao Dan, who was said to have once held a low civil position in the royal court, in chare of the archival records of the Zhou Dynasty. Yet, due to his great learning, even Confucius was said to have traveled miles to consult him.Laozi, also known as Classic of the Way and Virtue (Dao De Jing), consists of just over 5,000 Chinese characters. Its 81 chapters are divided into two parts, Dao (the Way) and De (Virtue). Short as it is, the book has played a tremendous role in the development of Chinese culture. It became the basis of Daoism, the school of philosophy parallel to Confucianism in ancient China. The thought of Laozi formed the foundation of Daoism, the most influential indigenous school of religion in China. It has also exerted a direct impact on the characteristics, trends of thought and aesthetic sensibilities of the Chinese nation. Today Laozi still plays a role in the development of Chinese thinking.Naturalness and Non-action“Naturalness” is an important concept of Laozi’s philosophy. It refers to a natural state of being, an attitude of following the way of nature. Laozi emphasized that everything in the world has its own way of being and development: birds fly in the sky, fish swim in the water, clouds float in the sky, flowers bloom and flowers fall. All these phenomena occur independently and naturally without following any human will, and humans should not try to change anything natural. Laozi admonished people to give up on any desire to control the world. Following the way of nature is the way to resolving conflicts between humans and the world.“Non-action”is another important concept of Laozi’s philosophy. It is the guarantee of “Naturalness”. Laozi said, “(Dao or the Way) acts through non-action,” by which he did no mean that one should do nothing and passively wait for something to be achieved. Neither did he deny human creativity. What he meant is that human enterprises should be built on the basis of naturalness, not on many attempts to interrupt the rhythm of nature. Human creativity should be in compliance with the ways of nature.The philosophy of Non-contentionOn the basis of “naturalness” and “non-action”, Laozi proposed the view of “overcoming the strong by being weak”. The era Laozi lived in was replete with endless wars. Therefore, war wasan important treme for philosophers, and ant-war thinking was the norm. Even the great strategist Sunzi advocated “winning a war without fighting it”, not to mention the great thinker Confucius, who strongly championed a government based on love. Their contemporary Mozi (c. 468-376 BC), founder of Mohism, also condemned wars while calling for “love for all”.According to Laozi, war springs from humanity’s bloated desires. Conflict arises out of people’s struggles to satisfy their desires, and conflict escalates into war. Therefore, Laozi’s philosophy is based on “non-contention”. To him, human striving and competitive strife is the root cause of decline; desiring nothing is the natural way of life.Laozi said, “The greatest virtue is like water.”He compared his philosophy of “non-contention” to water, to distinguish it from the law of the jungle. He said, “Water nourishes everything but contends for nothing.” To Laozi, humans tend to seek higher positions while water always flows to lower places. Driven by desire, humans like whatever they think is superior while despising whatever they think is inferior. Yet water always flows downward. As the source of life, water nourishes all living things on Earth. No life can exist without water. Water contributes to the world without regard for gain or loss. Remaining low, level and tranquil, water embraces and reflects everything under heaven. The way of water is completely different from the way of people with avid desires.But the philosophy of Laozi is by no means weak. On the contrary, it is full of strength. According to Laozi, water accumulates great strength in its weakness and quietude. Its strength can break down all barriers in the world. He said, “Nothing in the world is weaker than water. Yet nothing is stronger than water when it comes to breaking something strong.” Water is a typical example of the weak winning over the strong. Water is invincible because it desires nothing and contends for nothing.Unit 3 Chinese Buddhist CultureWho am I? Where am I from? Where am I going?Men are mortal. But death is not an once-and-for-all thing. They enter the rotating Wheel of Six Realms:Heaven, Human, Asura, Animal, Hungry Ghost, Hell.Documents stored in computer can be canceled at will, but what we have done in our life, and actually in our innumerable lives, cannot. What has been done has been done. The information is stored in your true “self”, not the physical one, and will accompany you life after life, and determines which Realm you enter.Only when we are completely free from lust, hatred, and folly, can we manage to break away from the capture of the rotating Wheel, and achieve perpetual enlightenment, discovering your true “self”.In Buddhism there isn’t any dominating god who controls your destiny. We are the maker of our own fate. What we are at present is a result of what we have done in the past; and what we will be in the future is decided by what we are doing at present. What we have done form the “karma”, which, like a gene, decides on your future story. But this “gene” can of c ourse be modified, by doing good deeds and obtaining healthy biological and spiritual energy, so as to change our future course of career. We are, therefore, our own master. What are the basic requirements for a Buddhist?Five Prohibitions for the laymen:1) Don’t kill;2) Don’t steal;。