The Implantation and Transmission of Plague Culture by the Five Plague Gods in Shuilu Murals

The Five Plague Gods(五瘟神) in the Shuilu(水陆) murals from the Ming and Qing dynasties exemplify a distinctive manifestation of plague gods image developed under the pedigree of Taoist gods.As a significant system for expelling disasters in Shuilu,the depiction of the Five Plague Gods prominently merges human beings and livestock.This shape form to a large extent,draws on the image of Nuo(傩),a figure reflecting an imagination of the host of plague pathogens.In terms of the numbers of gods,it aligns with the conceptual framework of Wu Xing(五行 the five elements),a foundational principle in traditional Chinese medicine.The internal cultural connection highlights the means of plague prevention and control in China,as well as the external reflection of plague culture.Through multi-dimensional interpretations with the double proof method,this article dissects the formation,core elements,and cultural characteristics of the beliefs in the Five Plague Gods reflected in the Shuilu murals,and transcends mere visual semantics,offering a deeper understanding of these complex cultural symbols.

A Motherland That One Cannot Return to An Interpretation on Song of The Chu From a Perspective of Cultural Security

Song of The Chu, a novel written by LAN Zi-- a Chinese Australian writer, recounts the struggle in Australia over 20 years （1988-2008） of a group of Chinese young people. Cultural difference or even conflict is one of the inevitable issues in terms of migration. The Chinese （Han） culture which belongs to the continental civilization and the Australian （Western） culture which belongs to the maritime one are both mighty and cannot be conquered or assimilated by each other. This means that the Chinese immigrants to Australia, compared to the ones from a less mighty culture, are more sensitive and resistant to the impact of an alien culture, which leads to a conscious or unconscious sense of security of the mother culture. Cultural security, not unidirectional, also refers to the worry by the locals of the impact brought by the immigrants. The protagonist resorts to converting to Buddhism as a solution to the cultural schizophrenia

Development of Chu-Han Culture and Contemporary Folk Dance in Xuzhou

Contemporary folk dance in Xuzhou is deeply influenced by Chu- Han culture,presenting some clear regional characteristics of Chu-Han culture like valuing ritual,grandeur,humanist spirit of enterprising and pursuing novelty.In order to promote the healthy development of contemporary folk dance in Xuzhou,and realize the interaction with Chu-Han culture,it is of great significance to create Chu-Han brand culture,to build dialogue mechanism with folk dancing culture in Xuzhou,to make connection with Chu- Han culture industry,and to fully express the artistic features of dance then in this area etc.

Connotations and Internal Cultural Meanings of Chinese Jade in Chu Culture at Pre-Qin Period

The thesis conducts its analysis fromthe perspective of cultural characteristics of Chu state of Pre-Qin period in ancient China.The culture of Chu,usually focusing on ceremony sacrifice and several other activities,presents unique characteristics of the development of Chinese society and culture.Actually,the jade artifact at that time shows cultural features both at artistic and spiritual level and bears prominent cultural connotations like national spirit of solemnness and generosity.Chinese jade of Chu state of Pre-Qin period due to its abundant cultural connotations and meanings,poses to be an essential element of traditional Chinese culture,which shows artistic and national features of traditional jade culture and can directly influence development of modern society and culture.

The Influence of Miao Nationality’s Culture in Yuan Xiang Region on the Later Poetry Creation of Qu Yuan

Miao culture is one of the minority cultures in China.It also has a certain impact on the development of Chinese literature and poetry.Chu ci is a new poetic style created by Qu Yuan,an ancient poet in China.It is the first collection of romantic poetry in the history of Chinese literature.Qu Yuan’s poetry creation is related to his life experience.Qu Yuan was exiled to Yuan Xiang region,and he had been in contact with the Miao ancestors in Yuan Xiang area during the exile.Therefore,the Miao land culture in Yuan Xiang area has a profound influence on Qu Yuan’s later poetry creation.This paper,taking Qu Yuan’s later poetry as an example,analyzes the influence of Miao culture on Chu ci in Yuan Xiang area,introduces Qu Yuan’s life and how to contact Miao culture,and probes into the influence of Miao nationality’s religious thought,customs,language and culture,oral folk song and pan song on the later poetry creation of Qu Yuan.

Propagation of Abies beshanzuensis by Water Cultured Medium

[Objective] The experiment aimed to explore the influences of phytohormones (ABT and IAA) and nutrient solution on rooting of Abies beshanzuensis M.H.Wu by water cultured medium. [Method] The Abies beshanzuensis M.H.Wu were treated by water (CK), 10 mg/L ABT+ water, 10 mg/L IAA+ water, 10 mg/L ABT+ hoagland solution, 10 mg/L IAA+ hoagland solution, then the rooting process was observed and the formation rate of callus, rooting rate, number of rooting, and root length were investigated and analyzed. [Result] ABT and IAA had obvious influences on callus induction, rooting rate and the number of root of Abies beshanzuensis M.H.Wu by water culture, so they were suitable to be used in water propagation of Abies beshanzuensis M.H.Wu. The treatments of phytohormones had no regular influences on the longest root length and average root length. The nutrient solutions would not generate obvious influence on propagation of Abies beshanzuensis M.H.Wu at firstly stage, but they generated influence on root growth after rooting. [Conclusion] The research provided new ideas for propagation of Abies beshanzuensis M.H.Wu, which could make it out of endangerment situation quickly.

Research on Development of Architectural Culture in Meizhu Town,Anhui Province of China

From the perspective of formation,development and connotation of Wu-Yue cultures cultural characteristics of Wu-Yue architecture were systematically summarized as integrated architectural layout and water,proper combination of architecture,religion and culture,unified architectural language,elegant colors,plain building materials and exquisite craft;spiritual peculiarity of Wu-Yue Culture was concluded as inclusive and tolerant,simple but clever;practical and truthful,pioneering and self-transcending.Orientations for architectural style of Meizhu Town were proposed as orderly and rhythmic layouts,abandoning redundancy and pursuing concision,elegant and comfortable,natural and harmonious,proper innovations.

新安医家吴楚辨治中风特色探析

整理分析《宝命真诠》《吴氏医验录》及相关文献,探讨吴楚治疗中风病的特色。吴楚主张将中风分为真中风和类中风两大类,认为内虚风中是真中风的基本病机特点,主张从脏腑、血脉、闭脱三方面进行辨别,并以汗、下、养血顺气三法进行论治。对于类中风的治疗,吴楚认为其基本病机特点为元阳虚衰、痰火内动,主张采用八因素法辨别,重视采用攻痰祛积,甘温补虚法治疗。

吴文化元素在苏州地铁公共空间中的表达与应用

[目的]以城市地域文化传承为背景,探讨吴文化元素在苏州地铁公共空间中的融合与运用,总结吴文化元素在地铁公共空间的应用价值及策略。[方法]由吴文化兼收并蓄、崇文重教、柔中蓄劲、人巧天工等内涵出发,从典型性提炼、抽象化法则、文化符号重构三方面提出了吴文化元素的提取方法;利用案例分析法从设计说明、材料工艺、工艺施工及技术要求层面对苏州地铁出入口、站内公共艺术、车厢厢体吴文化元素的运用展开分析,详细介绍了吴文化建筑元素、园林元素、文化性格、餐饮文化、宗教信仰、语言文化、戏曲文化等方面对构建独特苏州地铁文化景观的具体做法。[结果及结论]通过吴文化元素提取的法则,建立吴文化符号设计系统、赋予吴文化符号功能及文化语义、运用现代设计手段实现传统文化在地铁公共空间转译传达,对传承城市文脉、塑造新时代城市精神,提升城市文化软实力具有推动意义。

《马桥词典》中地理意象研究

韩少功《马桥词典》中存在诸多地理意象,其具有多维象征意蕴。从敬畏自然的哲思、灵性生物的隐喻、生存景观的表征,到历史记忆的见证,这些地理意象展现了万物有灵的浪漫思维与物我相融的理性认知;其作为展现乡村中国深厚文化根脉和复杂社会生活的重要载体,复苏了巫楚文化和农耕文化的古老韵味,揭示了传统乡村在现代化冲击下的生存挑战与文化转型,为理解乡村社会的复杂文化现象提供了宝贵的视角。

由物象到寓象:楚式青铜鼎文化基因的鼎新与守俗

楚式青铜鼎作为楚国造物艺术的典型代表,蕴含着楚文化的深厚内涵,继承与延续着楚文化基因。本文基于文化结构层次理论对楚式青铜鼎进行“物象、法象、寓象”的结构梳理,尝试总结“鼎新”与“守俗”的楚文化基因,并从“意象创新”与“制度僭越”的角度进行阐释。通过构建一个全面、多元、特色的楚文化知识体系逻辑框架,为楚式青铜鼎的研究和传承提供了理论基础。

襄阳邓城区域周代考古学文化的嬗变

以邓城城址为中心的邓城区域发掘了自西周中期至战国晚期的30余处考古学文化遗存,其文化面貌分别在春秋早、中期之际和战国中、晚期之际经历了两次突变,各以楚灭邓、秦拔邓为标志。同时,文化的突变也伴随着文化的渐变,并经历了文化交流、影响到主体文化控制的变化过程。此外,不同时期的文化面貌还与统治者及其治下的人群族属相关。

湘潭漆艺口述史研究

春秋时期,湘潭属楚国黔中郡。战国时期,长沙郡从黔中郡分出,包含了湘潭全境。湘潭作为楚文化的重要属地,有较深的楚文化基础,而漆艺也是楚文化不可或缺的重要组成部分。本文以湘潭老艺人为对象,取口述史视角,以点带面,通过对其口述采录整理和教学演示,探讨湘潭漆艺的生存、嬗变、发展轨迹与历程。

场景赋能文化空间建设——以东湖楚文化体验区为例

中国城市出现新的发展方式——以文化产业成为推动城市发展,公共文化空间作为具象的地理空间位置,为人类社会文化记忆的储存和符号价值提供载体。湖北省武汉市作为楚文化的传承地,致力于打造以楚文化为基调的特色文化场景,但效果不佳。该文将文化场景理论引入,尝试从场景理论视角来优化武汉现有的公共文化空间建设,并以东湖文化体验区为例,提出具体的优化策略,旨在通过对空间场景提供建设方法指导,实现以文化需求为导向的场景打造,满足人们日益增长的文化需求。

层台累榭--楚国建筑形制特征探讨

两周时期楚国作为南方长江流域的霸主国家独领风骚,楚文化源于北方中原的商周文化,发展壮大于南方楚地,得天独厚的自然环境是孕育楚文化的重要基础。基于此,该文首先分析了楚文化及其自然环境的独特特征。其次,推论影响楚建筑形制的因素,提出其在楚文化与楚地自然环境影响下产生发展了楚高台建筑与干阑建筑。最后以文献和考古记载中的楚宫建筑为例,探讨楚国建筑“层台累榭”之形制特征。

楚式青铜器的当代文创设计转化研究

楚人在长期的生产劳动实践中创造和发展出了灿烂的文化,更以深厚的文化底蕴和造物智慧积淀出独树一帜的物质文化遗存与制器思想,而各类器物中尤以青铜器的成就最高。本文基于此,分析归纳了楚式青铜器的三种文创设计转化方法:器形纹饰的提取与凝练、历史典故的解读与应用和文物活化的转换与诠释,阐述具体产品的显性特点以及深层的文化内核,对其设计转化方法进行分析,以期为传统文物“活起来、火起来”提供新思路、新方法,激发更多设计人才创造具有民族文化风格的文创产品,拉近广大人民群众与文物的距离,并从中体悟中华文化,增强文化自信和民族自信。

楚漆器的艺术特征探究

楚漆器是楚文化中的重要代表和支柱,是楚国艺术的结晶。随着近些年来对楚墓葬考古发掘的不断深入,大量精美的楚漆器出现在人们的视野中,通过对楚漆器艺术特征中的造型、色彩、装饰进行研究和分析,挖掘楚漆器深厚的文化和艺术内涵,对了解楚艺术和发扬传承楚漆器文化有着重要的意义。而在设计层面来说,通过对楚漆器艺术特征的探究,有利于将楚人的艺术智慧运用到现代的漆器设计上,让现代漆器设计与传统文化更好地结合,既丰富了设计文化内涵,也起到了宣扬传统文化的作用。

楚地家园的建构、回望与寻找——生态美学视域下的《楚辞》研究

生态美学视域下的《楚辞》研究旨在以生态维度审视楚地人民的美好生存与诗意栖居。“家园”是人与自然万物共生的根基与依托,而《楚辞》通过“回望”的独特视角探寻“家园”的本源意义;通过独特的“返乡”场域探寻“家园”的情感意义;通过“招魂”的独特美学特性探索“家园”的生存意义。在建构、回望与寻找家园的书写中,既有求觅大地、家园与家国的现实意义,更有精神层面的寻觅与救赎。本文拟基于楚地独特的文化生态与文化风貌,深入剖析《楚辞》在建构、回望与寻找家园书写中的独特理解与表达。

隋代文武二舞述论

文武二舞是在周代礼乐制度下形成的雅乐舞,自周代“六代乐舞”始分文武二舞至历代相沿,虽历经秦汉时期的嬗变又陷于魏晋南北朝时的更迭却一直成为宫廷雅乐舞的主体与典范。隋代作为结束南北战乱和分裂局面,进而使国家走向大一统的朝代,在恢复汉魏旧俗重塑礼乐制度的治国理念下开展了一场具有深远意义的乐议,这场被称为“开皇乐议”的音乐讨论直接促成了隋代文武二舞的建制。隋代文武二舞的构建虽追溯周礼之源,但在规制上寻求了一种兼容南北文化传统又经世致用的路径,使得唐代乃至后世文武二舞的发展皆是在其舞制规范和理念上的延伸与创制。

传承“五常”教育,激发学生内驱力--以高职院校为例

儒家“五常”教育是中华民族独有的精神财富。在新时代要求之下,高职院校弘扬“仁、义、礼、智、信”为核心的教育观具有重要意义,引领青年大学生树立正确的价值观、责任感、使命感,也是实现中国梦的精神力量。弘扬儒家“五常”教育之下对新问题所作的探索与应对,尤其是传统教育之下学生学习方式的变化,颠覆了以往仅从书本获取知识的途径。该文从学生出发剖析高职院校传承弘扬儒家“五常”教育的对策。主要通过重视学团活动,与新媒体深度融合,以知促行、以行求知和完善评价机制等方式来激发学生兴趣,提高学习能力,提升学生学习的积极性和主观能动性,提高学生整体素质,为社会主义现代化建设培养有为青年。