中国文化英语教程文本

PartIWisdomandBeliefsUnit1ConfucianthoughtonheavenandhumanityConfucius(551-479BC),knowninChinaasKongzi,givennameQiuandaliasZhongni,wasanativeofZouyi(present-dayQufuinShandongProvince)oftheStateofLuduringtheSpringandAutumnPeriod(770-476BC).Agreatthinker,educatorandfounderofConfucianism,ConfuciusisanancientsagetotheChinesepeople.HiswordsandlifestorywererecordedbyhisdisciplesandtheirstudentsinTheAnalects(Lunyu).ConfuciusonHeaven:thesourceofEverythingIntheShang(1600-1046BC)andZhou(1046-256BC)dynasties,theprevalentconceptof“Heaven”wasthatofapersonifiedgod,whichinfluencedConfucius.Generally,however,Confuciusregarded“Heaven”asnature.Hesaid,“Heavendoesnotspeakinwords.Itspeaksthroughtherotationofthefourseasonsandthegrowthofalllivingthings.”Obviously,heavenequalednature,intheeyesofConfucius.Moreover,naturewasnotalifelessmechanismseparatefromhumans;instead,itwasthegreatworldoflifeandtheprocessofcreationoflife.Humanlifewaspartandparcelofnatureasawhole.ConfuciusonPeople:renandliRenandLiarethetwocoreconceptsofConfucius'sdoctrineaboutpeople.WhenhisstudentsFanChiaskedhimaboutren,Confuciusreplied,“lovepeople”.ThisisConfucius'mostimportantinterpretationofren.Loveforthepeopleisuniversallove.Confuciusfurtheremphasizedthatthiskindofloveshould“beginwiththeloveforone'sparents”.Hebelievednoonecouldlovepeopleingeneraliftheydidnotevenlovetheirownparents.Confuciusregarded“filialpietyandfraternalduty”astheessenceofren.TheDoctrineoftheMean(Zhongyong)quotesConfuciusassaying,“Thegreatestloveforpeopleistheloveforone'sparents.”Healsosaid,“Childrenshouldnottravelfarwhiletheirparentsarealive.Iftheyhavenochoicebuttodoso,theymustretainsomerestraint.”Hedidnotmeanthatchildrenshouldnotleavetheirparentsatall.Whathemeantwasthatchildrenshouldnotmaketheparentsanxiousaboutthemwhileawayfromhome.Confuciussaidagain,“Childrenshouldthinkoftenoftheageoftheirparents.Theyshouldfeelhappyforthehealthandlongevityoftheirparents.Theyshouldalsofeelconcernfortheagingoftheirparents.”Byren,Confuciusmeantuniversallovebasedonloveforone'sparents.HowshouldpeopleloveoneanotherthenConfuciussaid,“Oneshouldbeawarethatotherpeoplemayhavesimilardesiresasoneself.Whilefulfillingone'sdesires,allowotherstofulfilltheirdesiresaswell.”Hefurthersaid,“Donotdotowardothersanythingyouwouldnotwanttobedonetoyou.”Thusfromoneselftoone'sfamily,fromfamilytosociety,oneshouldextendlovetoallpeople.Mencius(c.372-289BC),agreatConfucianscholar,bestsummarizedrenas,“lovingone'sparents,lovingthepeople,lovingeverythingintheworld.”Lireferstorituals,traditionsandnormsinsociallife.Ofthese,Confuciusregardedburialritualsandancestralworshipritualsasthemostimportant,becausetheyrosefromhumanfeelings.Hesaid,“Achildshouldnotleavehisparents'bosomuntilheisthreeyearsold.”Henaturallylovehisparents.Theritualofwearingmourningforadeceasedparentforthreeyearswasanexpressionofthechild'sloveandremembrance.ConfuciusontheStateoflifeBeforeConfucius,onlythenobilityhadtherighttoeducation.HewasthefirstfigureinChinesehistorytoinitiateprivateeducation.Accordingtohistoricalrecords,Confuciustaughtformanyyearsandtrained3,000disciples.Atotalof72ofthemexcelledinthe“sixarts”,.,ritual,music,archery,(carriage)driving,calligraphy,andmathematics.Agreateducator,Confuciushasbeenadmiredbylatergenerationsasthe“sageofsages”.Confuciusbelievedthebasicgoalofeducationwastocultivate“personsofvirtue”,whoshouldhavesoundcharacterandupliftedminds.Suchpeopleshouldbeabletoshoulderimportantsocialresponsibilitiesandtomakecontributionstosociety.Confuciusregardedloftyideals,greatvirtue,loveofpeople,andthe“sixarts”asthegeneralprinciplesofeducation.Ofthese,virtuewasthemostimportant.Hisstudentswereinvolvedinavarietyofprofessions,includingpolitics,trade,education,diplomacy,ritualceremony,andclassifyingancientbooks.Whatevertheydid,theyallwantedtoimprovetheirlearningofthehumanitiesandtoenhancetheirvirtue.Unit2Laozi'sphilosophyofNon-actionThebookLaoziwaswrittenaroundthesixthcenturyBC.TheauthorisgenerallybelievedtobeLaoDan,orLaozi–areclusewholivedduringtheSpringandAutumnPeriod.FewrecordshavesurvivedaboutLaoDan,whowassaidtohaveonceheldalowcivilpositionintheroyalcourt,inchareofthearchivalrecordsoftheZhouDynasty.Yet,duetohisgreatlearning,evenConfuciuswassaidtohavetraveledmilestoconsulthim.Laozi,alsoknownasClassicoftheWayandVirtue(DaoDeJing),consistsofjustover5,000Chinesecharacters.Its81chaptersaredividedintotwoparts,Dao(theWay)andDe(Virtue).Shortasitis,thebookhasplayedatremendousroleinthedevelopmentofChineseculture.ItbecamethebasisofDaoism,theschoolofphilosophyparalleltoConfucianisminancientChina.ThethoughtofLaoziformedthefoundationofDaoism,themostinfluentialindigenousschoolofreligioninChina.Ithasalsoexertedadirectimpactonthecharacteristics,trendsofthoughtandaestheticsensibilitiesoftheChinesenation.TodayLaozistillplaysaroleinthedevelopmentofChinesethinking.NaturalnessandNon-action“Naturalness”isanimportantconceptofLaozi'sphilosophy.Itreferstoanaturalstateofbeing,anattitudeoffollowingthewayofnature.Laoziemphasizedthateverythingintheworldhasitsownwayofbeinganddevelopment:birdsflyinthesky,fishswiminthewater,cloudsfloatinthesky,flowersbloomandflowersfall.Allthesephenomenaoccurindependentlyandnaturallywithoutfollowinganyhumanwill,andhumansshouldnottrytochangeanythingnatural.Laoziadmonishedpeopletogiveuponanydesiretocontroltheworld.Followingthewayofnatureisthewaytoresolvingconflictsbetweenhumansandtheworld.“Non-action”isanotherimportantconceptofLaozi'sphilosophy.Itistheguaranteeof“Naturalness”.Laozisaid,“(DaoortheWay)actsthroughnon-action,”bywhichhedidnomeanthatoneshoulddonothingandpassivelywaitforsomethingtobeachieved.Neitherdidhedenyhumancreativity.Whathemeantisthathumanenterprisesshouldbebuiltonthebasisofnaturalness,notonmanyattemptstointerrupttherhythmofnature.Humancreativityshouldbeincompliancewiththewaysofnature.ThephilosophyofNon-contentionOnthebasisof“naturalness”and“non-action”,Laoziproposedtheviewof“overcomingthestrongbybeingweak”.TheeraLaozilivedinwasrepletewithendlesswars.Therefore,warwasanimportanttremeforphilosophers,andant-warthinkingwasthenorm.EventhegreatstrategistSunziadvocated“winningawarwithoutfightingit”,nottomentionthegreatthinkerConfucius,whostronglychampionedagovernmentbasedonlove.TheircontemporaryMozi(c.468-376BC),founderofMohism,alsocondemnedwarswhilecallingfor“loveforall”.AccordingtoLaozi,warspringsfromhumanity'sbloateddesires.Conflictarisesoutofpeople'sstrugglestosatisfytheirdesires,andconflictescalatesintowar.Therefore,Laozi'sphilosophyisbasedon“non-contention”.Tohim,humanstrivingandcompetitivestrifeistherootcauseofdecline;desiringnothingisthenaturalwayoflife.Laozisaid,“Thegreatestvirtueislikewater.”Hecomparedhisphilosophyof“non-contention”towater,todistinguishitfromthelawofthejungle.Hesaid,“Waternourisheseverythingbutcontendsfornothing.”ToLaozi,humanstendtoseekhigherpositionswhilewateralwaysflowstolowerplaces.Drivenbydesire,humanslikewhatevertheythinkissuperiorwhiledespisingwhatevertheythinkisinferior.Yetwateralwaysflowsdownward.Asthesourceoflife,waternourishesalllivingthingsonEarth.Nolifecanexistwithoutwater.Watercontributestotheworldwithoutregardforgainorloss.Remaininglow,levelandtranquil,waterembracesandreflectseverythingunderheaven.Thewayofwateriscompletelydifferentfromthewayofpeoplewithaviddesires.ButthephilosophyofLaoziisbynomeansweak.Onthecontrary,itisfullofstrength.AccordingtoLaozi,wateraccumulatesgreatstrengthinitsweaknessandquietude.Itsstrengthcanbreakdownallbarriersintheworld.Hesaid,“Nothingintheworldisweakerthanwater.Yetnothingisstrongerthanwaterwhenitcomestobreakingsomethingstrong.”Waterisatypicalexampleoftheweakwinningoverthestrong.Waterisinvinciblebecauseitdesiresnothingandcontendsfornothing.Unit3ChineseBuddhistCultureWhoamIWhereamIfromWhereamIgoingMenaremortal.Butdeathisnotanonce-and-for-allthing.TheyentertherotatingWheelofSixRealms:Heaven,Human,Asura,Animal,HungryGhost,Hell.Documentsstoredincomputercanbecanceledatwill,butwhatwehavedoneinourlife,andactuallyinourinnumerablelives,cannot.Whathasbeendonehasbeendone.Theinformationisstoredinyourtrue“self”,notthephysicalone,andwillaccompanyyoulifeafterlife,anddetermineswhichRealmyouenter.Onlywhenwearecompletelyfreefromlust,hatred,andfolly,canwemanagetobreakawayfromthecaptureoftherotatingWheel,andachieveperpetualenlightenment,discoveringyourtrue“self”.InBuddhismthereisn'tanydominatinggodwhocontrolsyourdestiny.Wearethemakerofourownfate.Whatweareatpresentisaresultofwhatwehavedoneinthepast;andwhatwewillbeinthefutureisdecidedbywhatwearedoingatpresent.Whatwehavedoneformthe“karma”,which,likeagene,decidesonyourfuturestory.Butthis“gene”canofcoursebemodified,bydoinggooddeedsandobtaininghealthybiologicalandspiritualenergy,soastochangeourfuturecourseofcareer.Weare,therefore,ourownmaster.WhatarethebasicrequirementsforaBuddhistFiveProhibitionsforthelaymen:1)Don'tkill;2)Don'tsteal;3)Don'tseekaberrantsensualpleasures;4)Don'ttalkirresponsibly;5)Don'tdrinkalcohol.PartIICreativityandExchangeUnit4TheSilkRoadThesilkroadreferstoatransportrouteconnectingancientChinawithCentralAsia,WestAsia,Africa,andtheEuropeancontinent.ItappearedasearlyasthesecondcenturyBCandwastraveledmainlybysilkmerchants.Theterm“SilkRoad”,or“dieSeidenstrasse”inGerman,wasfirstnoteddownbytheGermangeographerFerdinandVonRichthofenattheendofthe19thcentury.ThesilkroadbeganinChang'an(present-dayXi'an,capitalofShaanxiProvince),passingthroughGansuandXinjiangtoCentralAsia,WestAsia,andtolandsbytheMediterranean.TherewerenosignsofcommunicationbetweenancientChinesecivilizationandMediterraneancivilizationinearlierhistory.InabouttheseventhcenturyBC,theancientGreeksbegantolearnaboutanancientcivilizationtotheeast,yetknewlittleaboutit.BeforetheSilkRoad,accordingtoarcheologicalfindings,therehadalreadyexistedanintermittenttraderouteonthegrasslandsfromtheYellowRiverandtheIndusRiverdrainageareastotheEuphratesandtheTigris,andtheNiledrainageareas.YetrealcommunicationbetweenChina,CentralandWestAsiancountries,AfricaandtheEuropeancontinentdidnotdevelopuntiltheopeningoftheSilkRoad.ZhangQian,TrailBlazerThepioneerwhoblazedthetrailoftheSilkRoadwasZhangQian(c.164-114BC).InZhangQian'stime,theChinesehaslittleknowledgeaboutCentralandWestAsiancountries,AfricaorEurope,althoughtheywereawareoftheexistenceofmanydifferentcountriesandculturesinfarawayplacestothewest.DuringthereignofEmperorWu(r.140-135BC),therewere36smallkingdomsintheWesternRegions(present-dayXinjiangandpartsofCentralAsia).AllofthemwerelaterconqueredbytheHuns,whothenposedadirectthreattotheWesternHanandblockedthedynasty'spathwest.Underthesecircumstances,EmperorWuappointedZhangQiantoleadateamofmorethan100envoystotheWesternRegions.ThemissionwastounitetheIndo-ScythicpeopleagainsttheHuns,whooncekilledtheirchieftain.ZhangQian'steamsetoutin138BC.NosoonerhadtheyenteredtheHexiCorridor(northwestofpresent-dayGansuProvince),thantheywerecapturedbytheHuns.Afterbeingheldunderhousearrestforovertenyears,ZhangQianandonlyoneotherremainingenvoymanagedtoescapeandreturntoChang'anin126BC.TheiraccountsabouttheWesternRegionswerearevelationtoHunemperorandhisministers.Inthenexttwodecades,EmperorWulaunchedthreemajorcampaignsagainsttheHuns,forcingthemtoretreatfromtheWesternRegions.In119BC,theemperorsentZhangQianonasecondmissiontotheWesternRegions.ThistimeZhangQianwentfurtherwest,whilehisdeputiesreachedmorethanadozencountriesinSouthandWestAsia,andtheMediterranean.ZhangQian'stwomissionstotheWesternRegionsopeneduptheroadtothewest.EmperorWuadoptedaseriesofmeasurestostrengthentieswiththeWesternRegions,includingencouragingHanPeopletotradethere.Soontheroutewasbustlingwithcaravansofcamelscarryinggoodsofalltypesandreverberatingwiththetinklingoftheirbells.ThroughtheSilkRoad,tradeflourishedbetweenChinaandCentral,SouthandWestAsiancountries,AfricaandEurope.In166,envoysfromRomearrivedviatheSilkRoadinChang'an,weretheysetupanembassy.PartIIIArtandAestheticsUnit5Music:GoverntheCountry,NourishtheMindThetraditionofChinesemusicdatesbacktoremoteantiquity.Governingthecountryandnourishingthemindthroughmusicaretwoofthemainfunctionsofthistradition.GovernanceThroughMusicAccordingtoancientChineseculture,ritualsprovidedthenormsofconductofpeople.Thegoalwastomaintainsocialorder.Musicwasforthemind'scultivationandexpression.Itspurposewastoenhancepeople'soutlookonlifeandimbuethemwithenergyandcreativity,suchthattheycouldenjoyamoreharmoniousandhappierspirituallife.Individualcontentmentwouldthenleadtosocialharmony,aswellastoamoreharmoniousrelationshipbetweenpeopleandnature.ThehighestlevelofancientChinesemusicwastorepresentspiritualwithnature.TheprominentstatureofmusicinancientChinaexplainstheemergenceofsophisticatedinstrumentsfromearlytimes.Chimebellswereoneexample.FirstusedintheShangDynasty,theybecamequitepopularduringtheWesternZhouDynasty(1046-771BC).In1978,afinesetofchimebellswasunearthedinHubeiProvince,fromthetombofMarquisYi,alocallordinasmallstatecalledZengduringtheWarringStatesPeriod.TheMarquisYichimebellsconsistof65bellsarrangedinthreerows.Thefirstrowincludes19niubells,andthesecondandthirdrowsinclude45yongbells.Thebellsineachrowdifferfromoneanotherinshapeandsize,emanating(发出)differenttones.Inaddition,thereisaseparateandmuchlargerbellusedtoadjustpitch.Likethebells,thefromismadeofbronze,weighingasmuchasfivetonsormore.Thetotalweightofthebellsismorethan440kilograms.Whilethebellsbearinscriptionstotalingmorethan2,800Chinesecharactersrelatingtomusicandthemakingoftheinstrument,theframeiscarvedwithexquisitepatternsinrelief(浮雕)andfretwork(回纹细工).Instrumentsofsuchascaleandsuchfinecraftsmanshipwerequiterateintheworldatthetime.Fivemusicianswereneededtoplaytheinstrument.Eachbellproducestwotoneswhenstruckattherespectivesoundpointsasmarked.Theentiresetofchimebellsisabletoproduceallthetonesofamodernpiano.ConsolingtheMindwithMusicWildGeeseLandingontheTheChinesezithertendstocreateatranquilair.ThecompositionShallowShoreissuchanexample.Witharelaxedrhythm,thefirstpartofthepiecedepictsacalmYangtzeRiverunderaclearautumnsky.Thesecondpartprogressesintolivelierrhythmstoimitatethechirpingofmanybirds.ThethirdpartpresentsathematicsceneofwildgeeseleisurelylandingontheshallowshoresoftheYangtze,asagentlebreezemakesthewaterripple.ToChinesemusiciansandmusiclovers,thecontentmentofthewildgeeserepresentsthehumanheart.Thezitherwasalsoinstrumentalincommunicationbetweenancientscholarsandartist.TheThreeStanzasofPlumBlossoms,wasbasedonanEasternJinDynastyfamouszithercomposition,One)(-383).桓伊王子猷storyofthepoetWangZiyou()(c.338-386)andthefluteplayerHuanYi(daythepoetwastakingaboattripwhenheoverheardsomeoneontheriverbanksayHuanYiwaspassingby.Althoughthetwohadnevermetbefore,theyadmiredeachotheraspoetandfluteplayer.Despitehislowerrankofoffice,ZiyousentafamilymembertorequestHuanYitoplaytheflute.ThreeStanzasofPlumplayedandYidismountedfromhiscarriageWithouthesitation,HuanBlossoms,whileZiyoulistenedfromhisboat.Afterfinishing,HuanYimountedhiscarriageanddroveon.Ziyou,too,continuedwithhisboatjourney.Thetwoofthemexchangednotasingleword,sthree'yetbothwerecontentwiththecommunicationoftheirheartsthroughthemusic.TheflutestanzaswerelaterconvertedintoacompositionfortheChinesezither,whichhasbecomeoneofthetheofitseulogyexpressionofotherworldlyfeelingsthroughbest-knownmusicalworks–asanspurity,fragranceandresistancetothecold.'plumflowerUnit6FlyingstrokesofCalligraphyTheevolutionofChinesecharactersfont甲骨文theOraclebonescript→金文Jinwen(Inscriptionsonbronze)→篆书Sealscript→隶书Officialscript→楷书Regularscript→草书Cursivescript→行书runningscriptWangXizhiandPrefacetotheLantingPavilionCollectionIntheHallforCultivationofMindofthePalaceMuseum,thereisaThree-treasurerStudy,whichderivesitsnameforthethreemostvaluablecalligraphicworkshousedhere.Thesethreetreasures,mostvaluedandadoredbyEmperorQianling(r.1736-1795)oftheQingDynasty,wereASunnySceneafteraQuickSnowbyWangXizhi,Mid-AutumnbyWangXianzhiandBoyuanbyWangXun(349-400).Asfatherandson,WangXizhiandWangXianzhihaebeenknownasthe“TwoWangs”,theirworksuniversallyrecognizedasthepeakofChinesecalligraphy.Unit7Porcelain–CallingCardofChineseCultureInEnglish,thecountryand“porcelain”sharethesamename–“China”.ThisprovesthatEuropeanshavelongknownofChina'srelationshiptoporcelain.PorcelainfounditswaytoEuropeinthe15thcentury,occupyinganimportantpositionintheexchangesbetweenChinaandothercountries.TheKeiselRandyMuseuminGermanyhousesablue-and-whitebowldatingbacktotheMingDynasty.Throughouthistory,China,alongwithotherAsiancountries,andEuropemaintainedabusyandvasttradeinporcelain.From1602to1682,theDutchEastIndiaCompanytransportedmorethan16millionarticlesofporcelaintoEurope.PorcelaingarneredagoodreputationforChinaforitssophisticationandelegance,andplayedanimportantroleinthewaveoftheEuropeanidealizationofChinaduringthe17thand18thcenturies.IntherococostylepopularinEuropeofthattime,onecouldsense,fromtimetotime,theinfluenceof“Chinesevogue”representedbyChina'sstylesofporcelainandgardens.PorcelainisofgreatsignificanceinthehistoryofChinesecivilization.Potterywasthepredecessorofporcelain,whileglazedpotterywasthebasisfortheemergenceofporcelain.Aroundthefirstcentury,porcelainproductionfirstemergedinChina,andbyTheSongDynastyithadbecomemature.Song-DynastyporcelainrepresentedtheacmeofChineseporcelaintechnique.Fivefamouskilns,theJun,Ding,Guan,Ge,andRu,wereallcreativeandoriginalintheirrespectiveproducts,andtheirporcelainwarehasbeenimitatedbylatergenerationsthroughouttheages.IntheYuanDynasty,JingdezhenbecamethecenteroftheChinesePorcelainindustry.PureBlue-and-WhitePorcelainPureandelegantbeautyisthegoalthatporcelainpursues,andthisidealisbestexplainedintheproductionofblue-and-whiteporcelain.Blue-and-whiteporcelainisatypicalartifactofporcelaininChina.AmongtheporcelainexportedduringtheMingandQingdynasties,80percentwasblue-and-white.Chinese-madeblue-and-whiteporcelainwareemergedlongbeforethefoundingoftheTangDynasty,butitwasnotuntiltheYuanDynastythatthistypeofporcelaincametobeproducedinquantity,withtheattendantmasterpieces.TheMingDynastywitnessedthematurityoftheart,andalargenumberofvaluablepieceswereproducedinthisperiod.Jingdezhen,asmalltownthatcreatedtheenchantingblue-and-whiteporcelainoftheYuanDynasty,becameitsporcelain-producingcenter;andinthesubsequentMingDynasty,theimperialkilnswereestablishedhere.Blue-and-whiteporcelainisnowthemostrepresentativeofChineseporcelain.Toproduceblue-and-whiteporcelain,cobaltoxideisrequisite.Itisemployedtodrawonthewhiteroughcastbeforeglazeisapplied.Afterkilningatahightemperature,theroughcastturnsintoblue-and-whiteporcelain,sincecobaltoxideturnsbluewithheat.Thewhitesurfacewithbluepatternsandashinysheenofglazeproducesapure,elegantandtransparenteffect.Unit8PekingOpera:ArtistryofPerformersTheDelightsofPekingOperaMasksChina'sPekingOperaradiateswiththebeautyofresplendentcolor–vivid,intenseandglamorous.Thisartisticbeautycomesnotonlyfromthecostumesbutalsofromthemasksofexaggerated,dazzlingdesigns,gleamingwithred,purples,whites,yellows,blacks,blues,greens,everydiversecolorimaginable.Masks,appliedtothetworolesofthe“jing”or“painted-facerole”andthe“chou”or“clown”,servetwopurposes.Oneistoindicatetheidentityandcharacteroftherole.Forexample,a“redface”meansthepersonisloyalandbrave;a“blackface”signifiesthepersonisstraightforward;and“awhiteface”identifiesthepersonascraftyandevil.Theotherpurposeistoexpresspeople'sappraisaloftherolesfromamoralandaestheticpointofview,suchasrespectable,hateful,noble,ridiculous,etc.PekingOperaPerformance:Sing,Speak,Act,andFightTheperformanceofaPekingOperaactorcanbesummarizedintofourbasicaspects,ofsinging,speaking,acting,andfighting,thecoreofwhichisacombinationofsongandchoreography.SingingisofutmostimportanceintheperformanceofPekingOpera,becausefirstofall,PekingOperaisasingingart.AnyfamousPekingOperaboastsseveralwonderfulariasthatarewell-knownandpopularwithaudiences.ThecharmofthemelodiesusuallyembodiesthesublimerealmoftheartofPekingOpera.UnabletoappreciatethemagicofPekingOperaarias,onewouldfailtoenjoytheprofoundbeautyoftheartitself.Speakingreferstocharactermonologsanddialogs,whichservetopropelthedevelopmentofthestory.Speaking,likesinging,needstobeexecutedinanappealingway.Actingandfightingmeanthatactorsemployphysicalmovementstoexpresstheemotionsofthecharactersandthecircumstances.Actingincludesbodymovementsandeyemovements,solodancingorgroupdancing,etc.Mostofthedancingischoreographedmovementsfromeverydaylife.FightingPekingofarttheAsscenes.battleorfightdepicttoacrobaticsandartsmartialchoreographedisOperadependsonmovementtodepictevents,actorsaregivenmuchroomtoperformonthethePickinguptheJadeBracelet,theyoungwomanSunYujiaoandtheyoungscholarfallinloveoperawitheachother,theireyesaffixedoneachotherasifathreadconnectedthem.Then,asMatchmakerLiuusesherpipetopullthe“virtual”lineupanddown,theyoungcouple'seyesaccordinglythesignificancetoandaddmuchanddown.Theseactionsproducegreathumormoveup“worldofimages”,butattheorthe”“playperformance.ActingandfightingservethewholeKingChuBidssametimetheyarethemselvesabeautifulartinbothformandskill.Forexample,inFarewelltoHisConcubine,artistMeiLanfangperformedasworddanceinamiraculouslyskillfulway,whichbecameverypopularwithaudiences.Thisisatypeofbeautyinform.Asforthebeautyofskill,.”thisusuallyincludessomeverydifficultacrobaticmovements,oftenreferredtoas“superbskillsspeaking,singing,factthatthePekingOperaliesintheofTheuniquenessperformancesinacting,andfighting,allfocusononeortwoactorsintheplay.“mingjue”wasusedtorefertofamous,henceer”jueTheseperformersusedtobecalled“'actorsoractresses.Inthissense,theworldofimagerycreatedinPekingOperamainlyreliesonthesinging,speaking,acting,andfightingofactors,especiallyintheperformanceofthefamousplays.ThisisthebiggestdifferencebetweenPekingOperaandotherformsofperformingartsintermsofwell–artofperformers”“Andtheremark–PekingOperaistheaestheticappreciation.describesitsquintessence.VisualWorld“”TheBeautyofaisadistinctivefeatureofPekingOpera.Itsvirtuallyconsistsoftwo”Depictinga“visualworldaspects:oneisvirtualmovements,andtheothervirtualsettings.Virtualmovementreferstoimitatingactionsonstage.Forexample,ridingahorse.Onstage,anactorcannotridearealhorse,butcanonlyholdawhipandimitatethemovementofgallopingbywalkingaroundthestage,turningthebody,wieldingthewhip,andpullingthereins.Avirtualsettingmeanscreatinganimaginedenvironmentonstage.Forexample,rowingaboat.Asthereisnowaterorboatonthestage,anactorusuallytakestherowingofaboatonwater.”anoarand,throughactions,makestheaudience“seeAttheCrossroad.ThisoperadescribesthestoryoftwoyamenrunnersescortingJiaoOneisZantoprison.Onthewaytheystayataninnforthenight.RenTanghui,whosetaskistoprotectJiaoZan,checksinatthesametime.Theowneroftheinn,however,suspectsRenTanghuiisplanningtosroomatnight.Thusafightstarts.Whatisspecialm