Who will help me answer these questions about China's traditional culture? Go, go, go. ! urgent

1. A gentleman strives for self-improvement.

2. Happiness lies in it, and disaster lies in it.

3. People are old and young.

Never regret it, but get rid of it.

5 punch through, pat the shore and roll it up.

6. Historical records. The book is divided into biographies, biographies, tables, books and * * *, with 526,500 words, 130 volumes, recording the history of 3,000 years.

7. Author Zhang Zeduan. 12 The buildings and people's livelihood in the suburbs of Bianjing, the capital of Huizong in the 20th century, and on both sides of the Bianhe River in the city were recorded with exquisite meticulous brushwork.

8. The Beijing-Hangzhou Grand Canal, together with the Great Wall of Wan Li, the Egyptian Pyramid and the Indian stupa, is one of the four most magnificent ancient projects in the world, running through Hebei, Shandong, Jiangsu and Zhejiang provinces, with a total length of about 1700 km. It has been more than 2500 years since it was opened and discovered. It is the earliest artificial canal with the longest route and the largest project in the world.

Two. Short answer

1. Including: ancient prose, poetry, music, fu, national music, national drama, folk art, Chinese painting, calligraphy, couplets, riddles, shot put, wine, two-part allegorical sayings, etc. Traditional festivals, ancient natural sciences in China, including traditional calendars, and traditional cultures of various regions and ethnic minorities living in the big family of the Chinese nation.

The 24 solar terms are divided according to the position of the sun on the ecliptic. Of course it is valuable. Twenty-four solar terms are the original cultural heritage of the working people in China. They can reflect the changes of seasons, guide agricultural activities, and affect the food, clothing, housing and transportation of thousands of families. Since 2000, the main political activity center in China has been concentrated in the Yellow River Basin, and the 24 solar terms have been established on the basis of the climate and phenology in this area.

Flying in Dunhuang is the business card of Dunhuang Mogao Grottoes and the symbol of Dunhuang art. As long as you see the beautiful flying, people will think of the art of Dunhuang Mogao Grottoes.

Almost all of the 492 caves in Dunhuang Mogao Grottoes are painted with flying sky. According to the preface of Mr. Chang Shuhong's "Flying in Dunhuang" art album, "there are more than 4,500", which can be said to be the most complete preserved grottoes among Buddhist grottoes and temples in the world.

3. What is the symbol of the world-famous Dunhuang murals? What are its characteristics?

The origin of the name of Dunhuang Tian Fei

In terms of origin and function, Tian Fei is not a god, but a combination of dry donkey and Kinnara. Ganlvpo is a transliteration of ancient Sanskrit in India, literally translated as the god of heavenly songs. Because he smells all over, he is also known as the god of nature. Kinnara is a transliteration of ancient Indian Sanskrit, which literally means God of Music. Manna and Kinnara were originally the entertainment gods and dance gods in ancient Indian mythology and Brahmanism. They are inseparable, live in harmony and are loving couples. Later, it was absorbed by Buddhism and became the Er Shen in Ba Shen. Hui Lin's "Sound and Meaning" in the Tang Dynasty explained: "True Tara, ancient Kinnara, full of music, low voice, can sing and dance well. Men are horseheads and can sing; Women are upright and can dance. Next time, my daughter will marry her godmother. " With the development of Buddhist theory, artistic aesthetics and artistic creation, Ganlupo and Kinnara gradually evolved from the ugly face of the horse's head to the beautiful and graceful natural face.

There is a difference between the original functions of the godmother and Kinnara in Tian Long Ba Bu. The task of Ganlu Po-Xiangyin God is to distribute fragrance in the pure land of Buddhism, offer flowers, treasures and praises to the Buddha, live among flowers and fly in the sky. Kinnara —— The mission of Tianle God is to play music and dance for Buddha, Bodhisattva, gods and heaven in the pure land of Buddhism, and to live in the Heavenly Palace, but not to fly in the clouds. Later, the functions of Ganweipo and Kinnara were mixed: Ganweipo also played musical instruments, sang and danced; Kinnara also rushed out of the Heavenly Palace and flew into the sky. Manna and Kinnara, regardless of gender, merged into one, and became flying in the Buddhist art of later generations. During the Western Wei Dynasty, there were shriveled women singing and dancing with musical instruments in the Mogao Grottoes. After the Sui Dynasty, Ganlupo and Kinnara became one and could not be distinguished. Only when writing an article in the music and dance circle, in order to distinguish it from musicians, Kinnara, who played music in the early days of Heaven, was named Tiangong Yue Ji, and Yue Ji, Tian Fei, who later merged music and dance, was named Tian Fei Yue Ji.

From the artistic image, Dunhuang Feitian is not a cultural and artistic image, but a synthesis of many cultures. Although Tian Fei's hometown is in India, Tian Fei in Dunhuang was bred by Indian culture, western culture and Central Plains culture. It is the result of long-term communication and integration between Indian Buddhist Heaven and Man and China Taoist Feather and Chivalrous Man. It flies to the Western Regions and the Central Plains, with China cultural characteristics. It has no wings, no feathers and no headlights. With the help of colorful clouds instead of relying on colorful clouds, flying in the air mainly depends on fluttering dresses and fluttering ribbons. Flying in Dunhuang can be said to be one of the most talented creations of China artists and a miracle in the world art history.

Characteristics of Dunhuang Tian Fei Times

Flying in Dunhuang murals and the creation of grottoes appeared at the same time. Starting from sixteen countries and going through ten dynasties, it lasted for more than a thousand years. Until the end of the yuan dynasty, it disappeared with the suspension of Dunhuang grottoes construction. In this long history of more than 1000 years, Tian Fei's image, posture, artistic conception and style are constantly changing due to dynasty change, political power transfer, economic development and prosperity, and frequent exchanges between Chinese and Western cultures. Its evolution history is roughly consistent with the whole history of Dunhuang art development, and it is divided into four stages.

1. Rising period. It took about 170 years from the Sixteen Kingdoms Beiliang to the Northern Wei Dynasty (366 ~ 535). The Dunhuang flight in this period was deeply influenced by India and the flight in the western regions, and it was generally a flight in the western regions. However, the flight characteristics of the two dynasties were slightly different during this period.

Flying in the northern cool period of Mogao Grottoes is mostly painted on the top of the grottoes, the decoration of algae wells on the top of the grottoes, the upper edge of the niches and the heads of the main characters in bunsen burner's story paintings. Its modeling and artistic features are: round head, oval face, straight nose and big eyes, big mouth and big ears, earrings with rings, a bun on the head, or a Hua Teng or a five-treasure crown of India, short stature, half-naked upper body, long skirt wrapped around the waist and a large towel on the shoulders. Due to the color change of smudge technique, it has become a white nose and white eyes, which is very similar to Tian Fei in caves such as Qiuci in the Western Regions in terms of modeling, face, posture, color and painting techniques. When the Mogao Grottoes were first built, the painters in Dunhuang area were not familiar with Buddhist themes and foreign art, and were in the stage of imitation, bold in pen and color, which seemed rough and simple. Such as flying in caves 275 and 272 of Beiliang in Mogao Grottoes.

The scope of Tian Fei's paintings in the Northern Wei Dynasty in Mogao Grottoes has been expanded. It is not only painted on the top of the cave, the top of the cave, the story painting and the niche, but also painted on the narrative map and inside and outside the niche. Generally speaking, the image of flying in the Northern Wei Dynasty still retains the characteristics of flying in the western regions, but in some grottoes, the image of flying in the sky has changed obviously and gradually changed to China. Tian Fei's face has changed from plump to slender, with fine features, a plump nose, a small mouth and symmetrical facial features. Have a round head, or wear five jewelry crowns, or a bun. The proportion of the body is gradually slender, and some legs are equivalent to twice the waist. There are all kinds of flying postures, some of which swim through space, some soar with their arms, some fly with their hands, heroic and generous, like flying clouds and cranes. Flying up and down, fragrant flowers falling, quite poetic. For example, Tian Fei in Cave 25 1 of the Mogao Grottoes and Cave 260 of the Northern Wei Dynasty.