readseasonalwinds

Teacher'sGuideVISIBLETRACESTheQueensBoroughPublicLibraryandpresent:VisibleTracesTeacher'sGuideTheVisibleTracesClassroomKit,includingposterandTeacher'sGuide,isproducedbytheAsiaSocietyincollaborationwiththeQueensBoroughPublicLibrary,withfundsprovidedthroughtheQueensLibraryFoundation.
Theexhibitiononwhichthesematerialsarebased,VisibleTraces:RareBooksandSpecialCollectionsfromtheNationalLibraryofChina,isacollaborativeeffortoftheQueensBoroughPublicLibraryandtheNationalLibraryofChina.
AmajorpartoftheVisibleTracesexhibitionisfundedbygrantsfromTheHenryLuceFoundationandTheE.
RhodesandLeonaB.
CarpenterFoundation.
AdditionalsupportfortheexhibitionwasprovidedbytheHimalayaFoundationandtheDecentralizationProgram,aregrantprogramoftheNewYorkStateCouncilontheArts,administeredbytheQueensCouncilontheArts.
2000AsiaSocietyImagesCourtesyoftheNationalLibraryofChinaPrefaceandAcknowledgementsiPrefaceandAcknowledgementsWeliveinanagedenedbyconnections.
Thepossibilitiesforcommunica-tion,interaction,andexchangeincreasedaily.
VisibleTraces:RareBooksandSpecialCollectionsfromtheNationalLibraryofChinaisbothaproductof,aswellasanimportantparticipantinsuchconnections.
TheexhibitionbeganasacollaborationbetweentheQueensBoroughPublicLibraryinNewYorkandtheNationalLibraryofChinainBeijingtobringrarebooks,mapsandrubbingstotheAmericanpublic.
TheQueensBoroughPublicLibrarytheninvitedtheAsiaSociety'sEducationDivisiontodevelopteachingmaterialsthatwouldintroducetheseimportantobjectsandimagestoU.
S.
classroomsaswellaslinkthemtovariouscurriculumstandards,notablySocialStudies,Geography,LanguageArts,andVisualArts.
VisibleTraceshasforgedconnectionsacrossspaceandcultures,bringingpeoplefromChinaandtheUnitedStatestogether,yetitalsoconnectsthepresenttothepast.
Oraclebonesdatingtothesecondmillenniumb.
c.
e.
,aBuddhistsutrafromthetwelfthcentury,andaNaxicreationmythwritteninpictographicscriptfrom1950preservethethoughtsandvoicesofthepastandmakethemtangible.
Inexaminingthem,webetterunderstandthehistoryofhumancommunication,interaction,andexchangeinadditiontoourownplaceinthiscontinuum.
TherearemanyorganizationsandindividualswithoutwhomtheVisibleTracesClassroomKitsandWebsitewouldnothavebeenpossible.
First,wewishtothanktheQueensLibraryGalleryandparticularlyMindyKrazmien,ExhibitionManager,forinitiatingourinvolvementandensuringthatwereceivedallessentialmaterialsfromtheQueensBoroughPublicLibraryandtheNationalLibraryofChina.
TheQueensLibraryFoundationanditsExecutiveDirector,StanleyGornish,raisedthefundsfortheproduc-tionoftheClassroomKitsandWebsite.
PhilipK.
Hu,whocompiledandeditedtheVisibleTracesexhibitioncatalogue,sharedhisextensiveresearchwithus.
WealsowanttothanktheNationalLibraryofChinaforinvitingU.
S.
classroomstolearnabouttheimportantobjectsinitscollectionandforofferingitsexpertiseinthereviewofthematerialswedeveloped.
Thecontentofthekitswasacollaborativeeffortamongmanyindividuals.
WewishtothankJeanJohnsonofNewYorkUniversityforwritingtheintroductionstoeachchapter,JoanArnoofGeorgeWashingtonHighSchoolinPhiladelphia,JoanBarnattoftheCapeCodLighthouseCharterSchool,Nancy-JoHereford,andKellyLongoftheColoradoStateUniversityforcontributingtoanddevelopingtheclassroomactivities;andKeithDedeoftheUniversityofWashington,GeoffFoyoftheGraduateTheologicalUnioninBerkeley,CharlesLachmanoftheUniversityofOregon,IreneS.
LeungoftheUniversityofMichigan,RobertMcColloftheUniversityofKansas,JerryNormanoftheUniversityofWashington,andKellyLongforthebackgroundessays.
StephenDurrantoftheUniversityofOregonkindlytranslatedtheWangWeipoeminchapterfive.
ThanksalsogototheSociety'sEducationDivisionstaffmembers:ElisaHolland,KerrieLorenzo,GraceNorman,RobertaSalvador,andHomerWilliamsaswellasNancyBlume,EducationProgramsCoordinatorfortheSociety'sCulturalProgramsDivision,fortheirgeneralassistanceandhelpfuladvice.
HeatherClydesdale'soutstandingworkontheVisibleTracesprojectdeservesspecialmention.
Heatherspearheadedthiseffort,leadingintheoveralldevelopmentoftheproject.
Thisprojectwouldnotbewhatitiswithoutheracademicinsight,programmingknow-how,andfollow-through.
WealsowishtothankStorehouseCo.
fordesigningthelookandlayoutoftheclassroomkits.
PatEmersonalsodeservesmentionforhertirelesscopyediting.
And,wewouldliketoacknowledgethegenerosityoftheStanfordProgramonInternationalandCross-CulturalEducation(spice),aprogramoftheInstituteforInternationalStudies,StanfordUniversity,forallowingustoreprinttheirPinyinPronunciationguideandtoadapttheirOrderinLanguagehandout.
ThanksalsotoDigitalWisdomforallowingustoadapttheirterrainmaps.
Finally,wewishtorecognizethedynamicteamatVanguardMedia,par-ticularlyMichaelPintoandNaveraDurrani.
TheircreativityandtechnologyexpertisewereindispensableinlaunchingVisibleTracesontheWebviatheSociety'sAskAsiaWebsiteat,whereitisavailableworld-wideandwhereitwillcontinuetoformcross-culturalconnectionsaswellaslinksbetweenthepastandthepresent.
NamjiKimSteinemannVicePresidentEducationDivisionPrefaceandAcknowledgementsiiTableofContentsTableofContentsiPrefaceandAcknowledgmentsiiiIntroductiontoTeachersivMapofChinavChronologyviPinyinPronunciationGuideTracesofBoundaries:MappingOne'sPlaceintheWorld1IntroductionBackgroundEssay:3"UnderstandingtheGeographyofChina:AnAssemblageofPieces"byRobertW.
McColl,UniversityofKansasClassroomActivities:13MappingPerceptions15BuildinganEmpireTracesofIdeas:CommunicatingThroughWritingandTechnology20IntroductionBackgroundEssays:23"TraditionandTransformationintheChineseWritingSystem"byJerryNorman,UniversityofWashington27"WritingandTechnologyinChina"byIreneS.
Leung,UniversityofMichiganClassroomActivities:32CreatingCharacters37WoodblockPrinting40WritingTimelineTheme1Theme2TracesofBelief:MakingValuesTangibleThroughWordandImage44IntroductionBackgroundEssay:47"ChineseBeliefSystems:FromPasttoPresentandPresenttoPast"byGeoffE.
Foy,GraduateTheologicalUnion,BerkeleyClassroomActivities:52ThePoweroftheImage56ASageofChinaTracesofIdentity:ReectingDiversityThroughLanguageandWriting59IntroductionBackgroundEssay:63"EthnicMinoritiesinChina:TheMongols,Tibetans,Manchus,andNaxi"byKeithDede,UniversityofWashingtonClassroomActivities:68DiscoveringPictographs70ExploringMultipleLanguageUseTracesoftheSelf:ExpressingIndividualityThroughPoetryandCalligraphy73IntroductionBackgroundEssays:76"WritingasaMeanstoExpressandCultivatetheSelf"byKellyAnnLong,ColoradoStateUniversity81"ChineseCalligraphy"byCharlesLachman,UniversityofOregonClassroomActivities:85ExpressingtheSelfThroughWordandImage93TheExpressiveBrush97AbouttheAsiaSociety99AbouttheQueensBoroughPublicLibraryTableofContentsTheme4Theme5Theme3IntroductiontoTeachersiiiIntroductiontoTeachers:UsingVisibleTracesinYourClassroomThisVisibleTracesClassroomKitlinksraretreasuresfromtheNationalLibraryofChinatovariouscurriculumstandards.
Itincludesaposterfea-turingselectedworksfromtheVisibleTracesexhibitionandthisTeacher'sGuide.
Thelatterisdividedintovechapters,eachexploringadistincttheme.
TheyarecalledMappingOne'sPlaceintheWorld,CommunicatingThroughWritingandTechnology,MakingValuesTangibleThroughWordandImage,ReflectingDiversityThroughLanguageandWriting,andExpressingIndividualityThroughPoetryandCalligraphy.
Eachchapterconsistsofanintroduction,oneortwobackgroundessays,andtwoorthreeclassroomactivities.
TheintroductionsfocusontheobjectsfromtheVisibleTracesexhibi-tion.
Theseintroductorypagescanbephotocopiedanddistributedtoyourclassfordiscussion,oryoumaychoosetousethevisualsintheVisibleTracesposter.
TheessaysexplainthelargerhistoricalcontextrelatingtotheVisibleTracesobjectsandareintendedforyourownbackgroundreading,thoughyoumaywishtogivethesetoolderstudentsasreadingassignments.
Theclassroomactivitiesineachchapteraretieredfordifferenteduca-tionallevels,withvariationssuggestedifyouwishtoadjustthelessonforaparticulargrade.
EachactivityinvolvesexaminingoneoftheVisibleTracesobjectsandtheninvestigatingthelargerhistorical,cultural,analytical,orartisticissuesitembodies.
Handoutsforactivitiescanbefounddirectlyfol-lowingtheactivitytheysupport.
Allactivitiesaredesignedtosupportcur-riculumstandards.
TheVisibleTracesexhibition,ClassroomKits,andinteractivefeaturesareavailableontheWorldWideWeb.
OnAskAsia,theAsiaSociety'saward-winningK–12WebsiteyouwillndtheentireVisibleTracesexhibition,whichwasorganizedbytheQueensLibraryGalleryofNewYorkandtheNationalLibraryofChina,Beijing.
TheVisibleTracesClassroomKits,includingdownloadablelessonplansandnewinteractivefeaturesforstudents,arealsoonAskAsia.
FormoreinformationaboutlocationsanddatesoftheVisibleTracesexhibitionandtheexhibitioncatalogue,pleasegototheQueensLibraryGalleryhomepage.
MapofChinaivMapofChina2000AsiaSocietyChronologyvChronologyNeolithicperiodca.
7000–ca.
2000b.
c.
e.
Xiadynasty(protohistoric)ca.
2100–ca.
1600b.
c.
e.
Shangdynastyca.
1600–ca.
1100b.
c.
e.
Zhoudynastyca.
1100–256b.
c.
e.
WesternZhouca.
1100–771b.
c.
e.
EasternZhou770–256b.
c.
e.
SpringandAutumnperiod770–476b.
c.
e.
WarringStatesperiod475–221b.
c.
e.
Qindynasty221–207b.
c.
e.
Handynasty206b.
c.
e.
–220c.
e.
Periodofdisunity220–589Suidynasty589–618Tangdynasty618–907Fivedynasties907–960Liaodynasty916–1125Songdynasty960–1279NorthernSong960–1127SouthernSong1127–1279Jindynasty1115–1234Yuandynasty1279–1368Mingdynasty1368–1644Qingdynasty1644–1911RepublicofChina1911–1949People'sRepublicofChina1949–presentNote:AlthoughtheSuidynastywasdeclaredin581,Chinawasnotunifiedbyconquestuntil589.
PinyinPronounciationviPinyinPronounciationVisibleTracesusesthePinyinsystemofromanizationthroughout.
ThePeople'sRepublicofChinaintroducedPinyinin1957.
InitialSoundsPinyinsymbolApproximatesoundb(devoiced)bayppaymmayffaird(devoiced)dayttakennosellowg(devoiced)gatekkitehhayj(palatal)jeerq(palatal)cheerxshezh(retroflex)judgech(retroflex)churchsh(retroflex)shirtrleisurezaddscseatsssayyyeawwayFinalSoundsPinyinsymbolApproximatesoundafatherosaweughiseeurudeüGerman"u"erhurtaiaisleeieightaonowousoulanah+nenunderangah+ngengsungongdoe+ngiaAsiaieyesiaomeowiufeudianyenininiangee+youngingsingiongu+younguaGuamueiwayunwentuangoo+anguengoo+engueu+ehuanu+anunu+nuaiwifeuiweuanoneDevoicedmeansthatthevocalchordsdonotvibrate.
Retroflexmeansthatthetipofthetongueisslightlycurledagainstthepalate.
Palatalmeansthatthetipofthetonguetouchesthehardpalate.
ThisPinyinPronunciationGuidehasbeenreprintedwithpermissionfromtheStanfordProgramonInternationalandCross-CulturalEducation(SPICE).
DemystifyingtheChineseLanguage.
Theme1TracesofBoundaries:MappingOne'sPlaceintheWorld1TracesofBoundaries:MappingOne'sPlaceintheWorldHowmanydifferentusescanyouthinkofformapsWeuseroadmapstondourwaytootherplaces.
Physicalmapsshowdifferentlandformsandelevationsaswellasthelocationofriversandotherbodiesofwater.
Historicmapshelpusunderstandpoliticalboundariesandthemovementofpeople,goods,andideas.
Militaryleadersneedmapsastheyplantheircampaigns,andtouristsneedmapsinordertogureoutinterestingplacestovisit.
Manymapsshowbothnaturalandman-madefeatures.
Theyoftenreflectvaluesofthepeoplewhocreatethemanddenetheirplaceintheworld.
Maps,suchastheonefromtheMingdynasty(1368–1644)wereusedformilitaryandpoliticalpurposesandshowhowChinavieweditselfinrela-tiontotherestoftheworld.
Manymapsdepictsmallerterritories.
InChinaownershipofamapindicatedsovereigntyoverthelanditdepicted.
Infact,iftherewasadisputeoverterritory,thepossessorofthemapwascorrect.
TracesofBoundariesusestheMingmaptointroducestudentstothediversityofChina'snaturalandman-madefeatures,aswellastherelativepopulationofitsvariousareas.
Studentscanidentifyvariousfeaturesonthemapandinferpossiblereasonsforthedifferencesinsettlementpatterns.
Thebackgroundessay,"UnderstandingtheGeographyofChina:AnAssemblageofPieces,"offersinformationaboutChina'sactualandpossi-bleinteractionsbetweengeographyandlifestyle.
Twolessonsfollow.
UsingtheChinesemapasamodel,therstactivity,MappingPerceptions,asksstudentstoidentifyamap'skeyelements,suchaskindsoffeatures,symbolsofman-madeobjects,scale,andorientationandthentoapplywhattheyhavelearnedbycreatingamapoftheirownneighborhood.
Thesecondactivity,BuildinganEmpire,invitesstudentstostudyspecificinformationaboutChina'sregionaldifferencesbycreatingamapofthenation,regionbyregion.
Theme1MapofImperialTerritoriesTracesofBoundaries:MappingOne'sPlaceintheWorld2Theme1IntroductoryQuestionsMapofImperialTerritoriesOriginallydrawnduringtheMingdynasty(1368–1644),Jiaqingperiod(1522–1566),dated1526;postscriptbyYangZiqi(1458–1513).
Moderncopyoforiginalmadein1983.
Hangingscroll,ink,color,andwhitepigmentontwowidthsofsilkstitchedtogether,160.
2x182.
6cm.
WhatnaturalfeaturesaredepictedonthismapWhatman-madefeaturesaredepictedWhatsymbolsareusedWhatmightdifferentsymbolsstandforBystudyingthismap,canyoudeterminewhatdefinesChina'sbordersWhicharenatural,whichareman-madeWhichpartsoftheimperialterritoriesinthismapseemtobemostdenselypopulatedWhichpartsaremostsparselypopulatedWhatmightbethereasonsforcertainplacesbeinglesspopulatedthanothersWhomighthaveusedthismapandforwhatpurposeTheme1TracesofBoundaries:MappingOne'sPlaceintheWorld3UnderstandingtheGeographyofChina:AnAssemblageofPiecesRobertW.
McCollUnderstandingtheinteractionbetweenanaturalenvironmentandvarioushumanandculturalpatternsisanessentialaspectofgeography.
TofullyappreciateChina'sbroadgeographicandculturaldiversity,oneneedstoidentifygeneralcharacteristicsthatactasguidelines.
Thetechnicaltermusedtodescribedistinctiveareasis"homogeneousregions.
"Today"finger-print"carriesthesameidea,namelysomethingorplacethatisdistinctive.
Justasfingerssharegeneralcharacteristics,eachhasaunique"print"orpat-tern.
Thissameprinciplecanbeusedtofacilitateunderstandingcomplexculturesandsocieties,suchasthoseinChina.
Adistinctgeographicprintmightincludethefollowingvariables:physicalandenvironmentalfeatures,suchasclimates,soils,topography,andlocation;historicpatternsandtheirrelationshiptothenaturalenvironment;theeconomicactivitiesandresourcesthatdefinetheareatoday.
Anaidtocreatinganunderstandingofthenatureofsuchfingerprintswouldbetablesshowingeachregion'scommon(yetdistinctive)characteris-tics.
Animportantcharacteristicisvernacularhousing(housesbuiltwithoutarchitectsandthatreflectlocalmaterialsandconditions),buttodaymanypeopleliveinapartmentbuildings,especiallyinurbanareas.
Socialorgani-zation,transportation,andfoodareotherimportantaspectsofafingerprint.
TheNorthChinaPlainPhysicalcharacteristics:Asitsnameindicates,thisisanareaofgentlyrollingtopography.
Itissubjecttoflooding,andwateroftenstandsinlargepoolsand"lakes,"asthereisnoplacefordrainage.
Thiscreatesmarshesandshallow,reed-filledlakes,whicharegoodforthatchingandweavingaswellasmigratorybirds,fish,andsnails.
Winterandsummertempaturescanbeextreme,andduststormsarecommon.
Highlyvariableweathermeansgoodharvestsforonlythreeoutofeveryfiveyears.
History:TheNorthChinaPlainwasoneofthecradlesofChinesecivi-BackgroundEssaylization.
China'searliestagriculturalsocietiesaswellasdynastiesformedthere.
Peopletraditionallylivedindispersedcommunitiesratherthannucle-atedsettlementsbecausefoodandwaterwereavailableeverywhere.
Thepri-maryneedtonucleatewasasadefenseagainstinvadersandraiders.
Theear-liestarchaeologicalsitesof"cities"areatthefootoftheTaihangMountains,wheretherearemineralsaswellasmanageablewaterresourcesforallseasons.
Economicactivitiesandresourcestoday:EventodaytheNorthChinaPlainisalandofdispersedagriculturalsettlements.
Thereislittleornoindustryotherthandistinctiveindigenoushandicrafts.
Freshwatermustcomefromwellsthatoftenaresaltybecauseofpoordrainage.
Thelackoftopographicreliefmeansseasonalwindsarestrongandoftendestructive.
Theresultisthatmanyareashaveplantedwindbreakstoprotectthesoilofthefieldsfromerosion.
LifeontheNorthChinaPlainisoneofself-sufficiencyandsubsistence.
Wheat,cotton,tobacco,peanuts,persimmons,andotherseason-alfruitsandvegetablesaregrownthere.
Housing:mud-based,single-storystructureswithflatroofsSocialorganization:villagesandclansTransportation:walking,wheelbarrows,bicycles,carsFoodstaples:wheat-basedfoodsTheLoessPlateauPhysicalcharacteristics:TheoverwhelmingdistinctivecharacteristicoftheLoessPlateauisthewind-blownalluvium(dust)thathasaccumulatedtodepthsofover1,000meters(3,300feet)insomeplacesandisknownasloess.
Whileloessisrichincalciumandthusfertile,theoverallaridityoftheregioncoupledwiththefactthatloessdoesnotholdwatermakestraditionalmethodsofirrigationandfarminguseless.
Environmentalconditions,includinghighlyvariablerainfall(whenitdoesoccur),meansthatfarmersseldomexpecttoharvestmorethantwocropseverythreeyears.
History:TwoculturalpatternsresultedfromthephysicalenvironmentandlocationoftheLoessPlateau.
Onewashumanpovertyandisolatedcommunities;theotheradependencyupontradewithnomadicpeoplesandtheempiresbeyondtheGreatWall.
EconomicallytheLoessPlateauhasbeendominatedbytradeandcommercialcitiesthathaveflourishedanddiedasroutesandthedirectionoftradehaveshifted.
Ithasneverbeenastrongfood-producingregion.
Economicactivitiesandresourcestoday:Asinthepast,keycitiesintheLoessPlateauarethosethatfacilitatetradeandtransporttoandfromeast-ernChinaandtheNorthChinaPlain.
CitiessuchasXi'anandLanzhouaretradehubsstemmingfromareinvigoratedeconomyinXinjiangandthefor-TracesofBoundaries:MappingOne'sPlaceintheWorld4UnderstandingtheGeographyofChina:AnAssemblageofPiecesEssayTheme1merSovietcountriesofcentralAsia.
Today,however,oilhasreplacedsilkasthemajoreconomiccommodity.
OilisamajorresourceinGansu,Xinjiang,andthecontiguouscountryofKazakhstan.
Housing:cavescarvedintotheloesscliffsandmud-brickhousesinruralareas,apartmentsinurbanareasSocialorganization:nuclearfamiliesTransportation:walking,mule,andhorseinruralareas;cars,buses,andbicyclesinurbanareasFoodstaples:wheat-noodlesandsourcabbageTheSoutheastCoastandShanghaiPhysicalcharacteristics:ThisregionsharestheentireYangziValley'sdomi-nantcharacteristicsofwater,wetlands,andhotandhumidsummers.
However,theinfluenceofthePacificOceanaswellasaccesstheretomaketheareadistinctive.
Theocean'swarmcurrentcreatesmilderwintertemper-aturesthanintheinterior.
Inadditionthenearbymountains(HuangshanandWuyi)arefavorableforcropsotherthanaquaculture(rice,shrimp,ducks,andsoon),whichisprominentinthelowlands.
Mildclimatesandabundantrainfallmeanfarmersinthisareagenerallyexpecttoobtainthreeormorecropseveryyear.
Someformoffood,whetherfromlandorsea,isalwaysabundantandinsurplus.
History:ThiswasthefirstregiontofeeltheimpactoftheWestthroughtheOpiumWarand"TreatyPorts"oftheeighteenthcentury.
IthashadthegreatestnumberofChristianmissionaries,ChineseChristians,andChristianchurchesinChina.
LikesomanyofChina'sdistinctphysicalenvi-ronments,itisdominatedbyethnicpeoplesnotfullyidentifiableas"Han,"whospeakdistinctlanguagesandoftenhaveclosertiestoChineseoverseas.
Economicactivitiesandresourcestoday:Shanghaiisthemajorcityofthisregion.
LocatedatthemouthoftheYangzi,itisathrivingportandacenterforsteel,telecommunications,automobiles,powerproductionequipment,petrochemicalsandelectricappliances.
Havingastrongserviceindustry,thecityisalsofocusedonfinanceandinsurance,commerce,realestate,tourism,andinformation.
Onthecoastfishingandshippingareimportantindustries.
Othercitiesalongthecoastalsohavebeendesignated"specialeconomiczones.
"Intheinteriorregionsriceisanimportantcashcrop,exceptinthemountainousareas,wherefishingandforestrytakeplace.
Otherspecialtycrops,suchasteaandcitrusfruits,aregrown,butthecoastissubjecttotyphoons.
Housing:plasterorbricktooffsetraininruralareas,apartmentbuildingsinurbanareasTracesofBoundaries:MappingOne'sPlaceintheWorld5UnderstandingtheGeographyofChina:AnAssemblageofPiecesEssayTheme1Socialorganization:class,family,orbusinesscompoundsTransportation:boatsandshipsonriversandcanals,cars,buses,andbicyclesFoodstaples:rice,seafood,andtropicalfruitsTheYangziValleyPhysicalcharacteristics:SeparatedfromotherregionsbymountainsandextensivewetlandsistheYangzi(YangtzeorChangjiang—"longriver");itstributariesandlakesarethefocusoflifeandeconomicsinthevalley.
Summerstendtobehot,humid,andrainyalongtheriver,whilewintersarebriefbutcold.
History:TheYangziValleyhastraditionallybeenanimportantfoodpro-ducer.
Theriverhasbeenthecenterofeconomiclife,bringingtradeandinfluencesfromdistantplaces.
Duringthetwentiethcentury,initiativestodamtheYangzihavebroughtaboutdrasticchangesinthelandscape,econo-my,andlivesofthepeoplelivingintheYangziValley,forcingmanytorelo-cate.
Economicactivitiesandresourcestoday:Fishingandboatcommercedomi-natelifeandculture.
Cities,suchasChongqing(inSichuanprovince),Wuhan,andNanjiang,aredrivenbyeconomiestiedtowater-bornetrans-portationandcommerce—notagricultureorevenfoodprocessing.
Majormanufacturingcentersexistalongtheriverbecauseitisacheapmeansoftransport.
Therearelargenumbersofpeoplewhospendtheirentirelivesonsmallormediumboats,makingalivingmovinggoodsandpeopleviathenumerouslakes,canals,andriversoftheentireYangzivalley.
Housing:white-plastered,multistoriedhouseswithblacktiledroofs,houseboats,apartmentsincitiesSocialorganization:commercial/trade"families"Transportation:riverandcanalboats,trucks,cars,bicyclesincitiesFoodstaples:riceandfishTheSichuanBasinPhysicalcharacteristics:ThedefiningphysicalfeatureofthisregionisthelargeSichuanBasin,whichisdividedintotwoparts,ChengduandChongqing.
Highanddifficultmountainssurroundthebasin.
PrimaryaccesstoeasternChinaisviatheYangziRiver,whichtraversesthefamousThreeGorges.
Thisgeographicsettingcreatesamildclimate.
Extremelyfer-tilesoilsarelargelyderivedfromoldlakesediments.
Farmersnotonlycancountonseveralcropseveryyear,theycandependonadiversityoffoodcropsaswellasspecialties.
History:Itisoftensaidthat"SichuaninthefirstprovincetodeclareTracesofBoundaries:MappingOne'sPlaceintheWorld6UnderstandingtheGeographyofChina:AnAssemblageofPiecesEssayTheme1independenceandthelasttobereunitedafterthereispeace.
"Locatedinahighlyprotected,productivesettingandadjacenttovirtuallyeverymajorregionofhistoricChina,SichuaniscapableofbeingwhollyindependentfromtherestofChina.
Yet,controlofSichuananditsagriculturalrichesprovidedaccesstoeveryothermajorpoliticalandeconomicrealm,makingitthetargetofmanyoutsidewarlordsandemperors.
Economicactivitiesandresourcestoday:Sichuanhasalwaysbeenknownforitstea,silk,flowers,medicinalherbs,anddiversewildlife,includingpan-das,deer,andtigers.
Theseresourcesremainamajorstapleofitsmoderneconomyasdotheraisingofsheep,pork,andgrain.
TourismisalsocrucialtoSichuan'seconomy.
PopulartouristsitesincludetheThousand-BuddhaCliff,QingchengMountain,theBambooForest,theCorridorofCypresses,WoolongNatureReserve(forpandaconservation),andXilingNationalForestPark.
TheYangziRiverisathoroughfareoftrade,meaningthatSichuanisrapidlychangingwiththeinfluxofforeigninvestorsanddevelop-ers.
Housing:timber,stone,orstrawhousesinruralareas;largeapartmentbuildingsinthecitiesSocialorganization:villageclustersinruralareasTransportation:walking,mule,horses,inthemountains;bicyclesandcarsontheplains,boatsonriversFoodstaples:variedSouthwestUplandsPhysicalcharacteristics:NothingsodominatesanddefinessouthwestChinaasitsrugged,highlyerodedtopography.
BecauseitisclosetothetropicalcyclonesoftheBayofBengalandtheSouthChinaSeaithasabun-dantrainfall(oftencausingerosionordenudedslopes).
Thislocationandterraincreatenumerousdistinctivelocal"niches"thatoftenareself-sufficient,whichinturnsupportanabundanceofdistinctethnicgroups,manyofwhichalsoliveintheneighboringcountriesofLaos,Vietnam,Burma,andevenThailand.
History:ThisregionfirstcameintotheChinesesphereduringtheMongolYuandynasty(1279–1368).
ItshistoryreflectsbothitsruggedtopographyaswellasitsproximitytothemoderncountriesandpeoplesofsoutheastAsia,suchasVietnam,Laos,Thailand,andMyanmar(Burma).
TradebetweenthesecountriesandtheSouthwestUplandsoftenhasbeenillegalandgenerallyconsistedofsmallitemsofgreatvalue,suchasjadeoropium.
Economicactivitiesandresourcestoday:Landforgrazingandthecultiva-TracesofBoundaries:MappingOne'sPlaceintheWorld7UnderstandingtheGeographyofChina:AnAssemblageofPiecesEssayTheme1WarlordsSuprememilitarycommandersthatexercisecivilpowerbyforceusuallyinalimitedarea.
tionofrice,winterwheat,tea,andbeansisavailableintheregion.
ThetropicalplateaualongtheborderofVietnamandLaosisidealforcultivatingrubberandbananas.
Theminingoftin,anothermajorindustryofthisregion,istheonlydistinctiveeconomythatisbothtraditionalandmodern.
Morevaluable,however,hasbeenthecultivationandexportofopium,anactivitydevelopedasaresultofBritain'sOpiumWarwithChina.
Housing:cavescarvedintotheloesscliffsandmud-brickhousesinruralareas;apartmentsinurbanareasSocialorganization:nuclearfamiliesTransportation:walking,mule,andhorseinruralareasFoodstaples:vegetables,rice,ducks,andgeeseXinjiangPhysicalcharacteristics:China'slargestprovinceisalandscapeofdeserts,mountains,andoases.
MostoftheregionisdominatedbytheTarimBasin,whichisfilledmostlybytheformidableTaklamakanDesertandrimmedbyhighmountains—theKunlunShantothesouth,theKarakorumtothewest,andtheTianShantothenorth.
ThealpinebeautyoftheTianShanseparatestheTarimBasinfromthesmallerJunggarBasin,whichischarac-terizedbymoremoistureandgrass.
History:TheinhabitantsoftheJunggarBasinhavealongassociationwithvariousMongolpeoples,buttheyaremorepastoralthannomadic.
LocatedbetweentheculturalempiresofChinaintheeastandcentralAsiainthewest,XinjiangwasanimportanthistoriclinkalongtheSilkRoads.
ThepeopleslivingalongoasesaroundtherimoftheTarimBasinhadclosertiestoPersiaandtheIslamicinfluencesoftheMiddleEast.
TheUighurs,Xinjiang'slargestminority,arepredominantlyMoslemandTurkicinethnic-ityandlanguage.
Theireconomichistoryismorecloselylinkedtothemer-cantilecitiesandtradeoftheancientSilkRoadthantotheirrigationprac-ticesofeasternChina.
Thetradeandtrafficalongthisfamousrouteinte-gratedpeopleandculturesandintroduceddistinctivestylesofmusicandmusicalinstruments,especiallythesuonaandpipa,orChinese-stylelute.
ThebeginningofthetwentiethcenturyfoundtheBritish,Germans,American,Japanese,andRussiansvyingforcontrolofthisstrategicallyimportantlocation.
Economicactivitiesandresourcestoday:Xinjiangisrichinoil.
TheTaklamakanistoobarrenforagriculturebutisoftenusedasanucleartestsite.
Despitethefactthattherailroaddoesnotextendveryfarwestintotheprovince,tourismisgaininginthisremoteregionofspectacularscenerywithawealthofarchaeologicaltreasures,includingBuddhistcavetemples,TracesofBoundaries:MappingOne'sPlaceintheWorld8UnderstandingtheGeographyofChina:AnAssemblageofPiecesEssayTheme1ruinedcitiesandfortresses,petrogylphs,and4,000-year-oldmummies.
Housing:earth/adobehouses,two-storiedwithflatroofs.
Nomadsliveintents,whileapartmentsarecommoninurbanareas.
Mosquesandsomeresi-dentialarchitecturehaveCentralAsianorPersian-styleinfluences.
Socialorganization:nuclearfamiliesinurbanareas;groupsoffamiliesfornomadsTransportation:long-distancetrucksandbusesinruralareas;bicycleswithincities.
Mulesareusedincities,andhorsesandcamelsinruralareas.
Foodstaples:wheatnoodles,flatwheatbread(nan),andmuttonNortheast(Manchuria)Physicalcharacteristics:Thedominantphysicalfeatureofthisregionisitswintercoldandice.
Equallydistinctiveandimportantareitstwoextensivewetlands—thenorthernmostassociatedwiththeSongariRiverandthesouthernwiththeLiaoRiver.
Nevertheless,itsbasicnaturalresourcesofironoreandcoalhavemadeiteconomicallyvitaltotherestofChina.
History:TheManchusinvadedChinaintheseventeenthcentury,estab-lishingtheQingdynastyin1644.
ThelandsofManchuria,however,werenotopentoHansettlementuntilthedynasty'sendin1911.
MostChinesemigrantsworkedinexistingindustryandonlargecommercialfarmspro-ducingmostlysoybeansandcorn.
Economicactivitiesandresourcestoday:ManchuriaisChina'smostimpor-tantregionforheavyindustry.
Coalandironminingarealsocentraltotheregion'seconomy,andginseng,soybeans,andtimberaremajorproducts.
Housing:cavescarvedintotheloesscliffsandmud-brickhousesinruralareas;apartmentsinurbanareas.
SomeRussianinfluenceinthearchitecture.
Socialorganization:nuclearfamiliesTransportation:walking,mule,andhorseinruralareasFoodstaples:meatandsoybeancurdsQinghaiandtheTibetanPlateauPhysicalcharacteristics:Altitude,whichcanaverage3962.
4meters(13,000feet),bestdefinesthephysicalenvironmentoftheQinghai-Tibetanplateau.
Exceptinthebrightsunlight,italwaysisverycold.
LocatedmostlyintherainshadowoftheHimalayas,theregionisaridtosemi-arid.
ThismeansthatdespitealatitudeclosetotheTropicofCancer,QinghaiandTibetarenontropicalforthemostpart.
Still,thereareareasalongitssouth-ernandwesternboundaries,whererhododendronandbananatreesgrowintheshadowofactiveglaciers.
ThisisattributabletotheheavyrainfallandtemperaturesassociatedwiththeIndianmonsoon.
TracesofBoundaries:MappingOne'sPlaceintheWorld9UnderstandingtheGeographyofChina:AnAssemblageofPiecesEssayTheme1History:Becauseoftheregion'sadjacencetoIndiaandcentralAsia,thepeople,economies,andevenreligionofQinghaiandTibethaveseldombeenaffectedbythoseofChinaintheeast.
EvenMongoliahadclosercul-turallinkstothisregionthandidChinaproper.
Animalhusbandryandnomadismaretraditionalwaysoflife.
Untilthe1950s,oneoutofeveryfiveTibetanswasaBuddhistnunormonk.
Monasterieshavebeenatthecenterofsocietysinceatleasttheeighthcentury.
Economicactivitiesandresourcestoday:QinghaiandTibetremainremoteandlargelyunpopulated.
Whereconditionspermit,theChinesehaveencouragedthewestwardmigrationoffarmersfromoverpopulatedareastotheeast.
Animalscontinuetoberaised,andwoolweavingsareanotherimportantproduct.
Goodsarealsoproducedfromindigenousgoldandturquoise.
Housing:nomadsliveinyak-felttents.
Homesaretwostorieswithinward-slantingmud,earthenbrick,orstonewallsandearthenfloors.
Socialorganization:monasteriesplayaroleinBuddhistcommunities,mosquesinIslamicones.
Nomadsgatherinfamilyclusters.
Transportation:walking,caravans,trucksandbuses,horsesinruralareas;bicyclesandcarsinurbanareasFoodstaples:yakbutter,tea,barley,vegetables,yak,orlambTyingItAllTogether:FromEmpiretoStateClearly,tocreatepolitical"China,"itisstillimportanttotiethesedifferentregionstogether.
Transportationremainsthemostcrucialfactor.
Asthemeansoftyingthecountryanditsregionstogetherproceeded,acommonwrittenlanguageandsharedculturalvaluesevolved.
ThewrittenlanguageandthebureaucraticclassthatuseditwerepivotalincreatinganetofasharedexperienceandculturalvaluesthatbondedthedisparategeographiesandspokenlanguagesofChinaandlinkedthepasttothepresent.
BecausetheoriginsofChina'sempirelayinitsinterior,imperialhigh-wayswereinitiallythemostimportantfeaturesofthetransportationsystem.
ThenetworkofimperialhighwayswasfirstestablishedbyQinShihuangdi(258–210b.
c.
e.
),whounitedthekingdomsofChinain221b.
c.
e.
Healsoinitiatedtheconstructionofacanalsystem.
BytheSongdynasty(960–1279c.
e.
),canalslinkedthelowerYangziValleyandregionssouthofittotheNorthChinaPlain.
NaturallakesandriversalsohelpedunifytheChineseEmpire,withtheYangzianditstributariestyingtogethercoastalandinteri-orregions.
ExceptinQinghaiandtheTibetanPlateauandXinjiang,anextensiverailsystemlinksChinaandisthemostcommonformoflong-dis-tancetravel.
TracesofBoundaries:MappingOne'sPlaceintheWorld10UnderstandingtheGeographyofChina:AnAssemblageofPiecesEssayTheme1AnimalhusbandryBranchofagricultureconcernedwithraisingdomesticanimals,likecowsorlambs.
OnecannotunderestimatetheimportanceoftelevisionandtelephonesaswellastheairlinesinpromotingtheChineseviewofthemselvesasonepeopleandculture.
TheirvalueinpoliticalcontrolwasdemonstratedinJune1997whenthereunificationofHongKongbecameanethnicrallyingpoint.
TheimagesandissuesweresimultaneouslysharedwithHanChinesethroughoutthePeople'sRepublicaswellasinotherpartsoftheworld.
TheInternetisgainingpopularity,thoughchieflyinurbanareas.
However,thecentralgovernment'sinabilitytomonitorandcontrolsuchcommunicationposessomechallenges.
PoliticalOrganizationPoliticalorganizationhasbeenasimportantincreatingacommonculture.
Noempireorstatecanexistwithoutbothcooperationandmeansofenforc-ingorderamongdisparategeographicareasandpeoples.
Thiswasthepri-maryachievementofQinShihuangdi.
Thisfirstemperordefinedtheempire'sborderswithincentralAsiaandestablishedcommonlawsforevery-onewithineverygeographicsectorofthecountry.
InmoderntimesthereunificationofChina'sgeographicregions(oftenhistoricallyindependentkingdomsor"states")underacommonCommunistideologywasamajorachievementoftheChineseCommunistsandthePeople'sLiberationArmy.
PoliticalorganizationinChinahasbeensuccessfulinpartbecauseitrec-ognizesthedistinctivenessofvariousgeographicareas.
Largecities,suchasShanghai,Beijing,Tianjin,Chongqing,andHongKong,havespecialpoliti-calstatus.
Likewise,keyeconomiccitieshavebeencreatedandaccordedsuchstatustoprovidecontrolledaccesstominoreconomicsandworldtrade.
Finallygeographicareasdominatedbynon-Hanculturesandpeoples,suchasXinjiang,Ningxia,Tibet,InnerMongolia,andGuangxi,havebeendeclared(atleastonpaper)"AutonomousRegions.
"Evenatthelocallevel,specialstatusiscommonlygiventocitiesorevengeographicareasthatrequireittomaintainpoliticalpeaceandorder—atypeofgeopolitical"ger-rymandering.
"GiventhattheChinesehavelongrecognizedtheirgeographicdistinc-tions,itseemsonlyreasonablethatweshouldteachaboutChinawiththesameawarenessandsensitivitytodiversity.
RobertW.
McCollisProfessorandChairmanoftheDepartmentofGeographyattheUniversityofKansasinLawrence.
HeisanhonorarymemberoftheInstituteofGeography,MongolianAcademyofSciences,andhasdoneextensivefieldworkinbothChinaandMongolia.
HiscurrentinterestsfocusontheapplicationofremotesensingandGIS(GeographicInformationSystems)toregionalanalysisininnerAsia.
TracesofBoundaries:MappingOne'sPlaceintheWorld11UnderstandingtheGeographyofChina:AnAssemblageofPiecesEssayTheme1Selectedsourcesandsuggestedfurtherreadings:Buxton,LeonardH.
China:TheLandandthePeople.
NewYork:GalleryBooks,W.
H.
Smith,Pub.
,1988.
Agreatcollectionofphotographsandshortdescriptionsofpeopleandplaces.
HsiehChiao-minandJeanKanHsieh.
China:AProvincialAtlas.
NewYork:MacmillanPublishing,U.
S.
A.
,1995.
Knapp,RonaldG.
China'sVernacularArchitecture:HouseFormandCulture.
Honolulu:UniversityofHawaiiPress,1989.
———.
TheChineseHouses.
HongKong:OxfordUniversityPress,1990.
———,ed.
ChineseLandscapes.
TheVillageasPlace.
Honolulu:UniversityofHawaiiPress,1992.
McColl,RobertW.
"HouseandFieldintheKarakorams.
"FOCUS37,no.
4(1989).
———.
"ByTheirDwellingsShallWeKnowThem—AnAnalysisofHousingFormandFunctionAmongInnerAsians.
"FOCUS39,no.
4(1989).
———.
"China'sModernSilkRoad.
"FOCUS44,no.
2(1991).
Sivin,Nathan,ed.
TheContemporaryAtlasofChina.
Boston:HoughtonMifflin,1988.
Containsexcellentregionalmapsshowingtopographyandcities;lotsofphotographsdefineeachregionandprovideasenseofplace.
Whitehouse,Patrick,andMaggyWhitehouse.
ChinabyRail.
NewYork:VendomePress,1989.
Zhao,Songqiao.
GeographyofChina:Environment,Resources,Population,andDevelopment.
NewYork:JohnWileyandSons,1994.
TracesofBoundaries:MappingOne'sPlaceintheWorld12UnderstandingtheGeographyofChina:AnAssemblageofPiecesEssayTheme1Theme1TracesofBoundaries:MappingOne'sPlaceintheWorld13MappingPerceptionsIncreatingtheirownmaps,aswellasanalyzingtheMapofImperialTerritories,studentswillidentifykeyelementsofamap(scale,kindsoffea-tures,symbols,orientation),functionsthatinuenceitscreation,andhowitservesasaresource.
3–5WhatcanmapstellusabouthowitsmakerperceiveshisorherplaceintheworldWhatdoesaMingdynastymaptellusabouthowtheChineseatthattimesawtheircountryinrelationtotherestoftheworldSocialStudiesWorldHistoryStudyingaboutdifferentworldculturesandcivilizationsGeographyDrawingmapsanddiagramsthatrepresentplaces,physicalfeatures,andobjectsIdentifyingandcomparingaregion'sphysical,human,andculturalcharacteristicsAskingquestionsaboutwhereplacesarelocated,whytheyarelocatedwheretheyare,whatisimportantabouttheirlocations,andhowtheirlocationsarerelatedtothoseofotherpeopleandplacesGatheringandorganizinggeographicinformationfromavarietyofsourcesanddisplayingitinanumberofwaysLanguageArtsLanguageforInformationandUnderstandingGatheringandinterpretinginformationindependentlyfromcharts,graphs,maps,anddiagramsReectingonwhatisheardorreadanddescribingotherrelevantideasandexperiencesOneclassperiodfordrawingmaps;oneclassperiodfordiscussion,compar-isons,andwrittenanalysisActivity1.
1PerformanceObjectivesGradeLevelEssentialQuestionsStandardsTimeRequiredActivity1.
1PhotocopiesoftheMapofImperialTerritoriesandIntroductoryQuestionsfromthebeginningofthissectionortheVisibleTracesposterColoredmarkers11"x14"sheetsofwhitedrawingpaperformapsPaperandpencilforpeeranalysisNeighborhoodmaps,discussionresponse,writtenanalysisofclassmate'smap1.
DistributetheMapofImperialTerritoriesanddiscusstheIntroductoryQuestions.
2.
Havestudentsusecoloredmarkerstodrawamapoftheirneighborhood.
3.
Postneighborhoodmapsaroundtheroomandaskstudentsthefollowingquestionsinrelationtoseveralmaps:WhatisatthecenterofthemapAresomethingsdepictedlargerthanothersWhichpartofthemapisdepictedindetailWaseverythinginyourneighborhoodincludedinthemapHowdidyoudecidewhatshouldbeincluded4.
ReturntotheMapofImperialTerritoriesanddiscussthefollowing:WhatisatthecenterofthismapArecountriesotherthanChinashownInlookingatthemap,wouldonebeabletogathermuchinformationaboutcountriesoutsideofChinaWhatmightthissayabouthowthepeoplethatmadeandusedthismapfeltaboutcountriesoutsideofChinaTheChinesewordforChinaisZhongguo,meaning"centralstates"or"middlekingdom.
"DoesthismapconveythesemeaningsHow5.
Havestudentswriteananalysisofoneoftheirclassmates'maps,identifyingthekindofinformationthatseemstobevaluabletothestudentwhomadeit.
Havestudentsdescribehowthemapmakerdepictedhisorherhomeinrelationtotheneighborhood.
Havestudentslookatothergroups'mapsoftheworld(madeduringdiffer-entperiodsifpossible)andanalyzehowthesegroupsseethemselvesinrelationtotherestoftheworld.
MappingPerceptionsTracesofBoundaries:MappingOne'sPlaceintheWorld14Theme1AssessmentPieceProcedureExtensionMaterialsTheme1TracesofBoundaries:MappingOne'sPlaceintheWorld15BuildinganEmpireNinegroupswillanalyzeChina'sphysicalfeaturestodividethenationintoregions;eachgroupisthenassignedtocreateatravelbrochureforeachregion.
GroupsthencombinetheirbrochuresintoabulletinboardmapofChina,discussingcommonalitiesanddistinctivefeatures.
6–9HowhavevariationsinlandformsandclimateaffectedtheChineseofeacheraWhathavebeenkeyissuesfortheChinese,giventhevastnessanddiversityoflandSocialStudiesGeographyMappinginformationaboutpeople,places,andenvironmentsUnderstandingthecharacteristics,functions,andapplicationsofmapsInvestigatingwhypeopleandplacesarelocatedwheretheyareandwhatpatternscanbeperceivedintheselocationsDescribingtherelationshipsbetweenpeopleandenvironmentsaswellastheconnectionsbetweenpeopleandplacesFormulatingquestionsanddefininggeographicissuesandproblemsUsinganumberofresearchtools(electronicdatabases,periodicals,censusreports,maps,standardreferenceworks,interviews,surveys)tolocateandgathergeographicinformationaboutissuesandproblemsPresentinggeographicinformationinavarietyofformatsInterpretinggeographicinformationbysynthesizingdataanddevelopingconclusionsandgeneralizationsaboutgeographicissuesandproblemsLanguageArtsLanguageforInformationandUnderstandingIndependentlyselectingandapplyingstrategiesforcollectingandsynthe-sizinginformation,suchasnotecardsandbibliographiesUsingavarietyofreferencebooksandotherdatasourcestogatherinfor-mationandgenerateindependentunderstandingaboutatopicTakingresearchnotesandcomposingareportActivity1.
2PerformanceObjectivesGradeLevelEssentialQuestionsStandardsAllowthreeclassperiodsforresearch,writing,andmapbuilding.
Anaddi-tionalclassperiodshouldbereservedforpresentationsandfinaldiscussion.
TransparencyofRegionalMapofChinahandout(createusingaphotocopier)OverheadprojectorWhite(orlightcolored)butcherpaperPhotocopiesoftheblankTerrainMapofChinahandoutforeachgroupPhotocopiesoftheRegionalMapofChinahandoutPhotocopiesoftheDestinationChina!
handoutMarkers/coloredpencilsformakingmapsandbookletsTravelguidebooks(suchasLonelyPlanet,Fodor's)andpossiblyreferencebooks,atlases,andInternetaccessRegionalmapofChina,travelbrochures,oralpresentations1.
UsingthetransparencyoftheRegionalMapofChinahandoutandanoverheadprojector,makeanenlargedversionofthemaponbutcherpaper(aboutthesizeofabulletinboard).
CutthemapintothenineregionsofChina.
2.
PhotocopyanddistributetheblankTerrainMapofChinahandout.
3.
Dividetheclassintoninesmallgroups(twotofourstudents)andaskstudentstodivideChinaintoregionsbasedonthenaturalfeatures.
4.
DistributetheRegionalMapofChina,andtheDestinationChina!
handoutsmarkingtheninegeographicregionsofChina.
5.
Assignoneregiontoeachgroup.
Havestudentsusetravelguides,aug-mentedwithatlases,referencebooks,orresourcesontheWebtoresearchtheirassignedregion'smajorfeaturesandcreateatravelbrochureaccordingtothehandout.
7.
HavegroupsreassemblethemapofChinaandpresentresearchinforma-tion,attachingtheirbrochurestotheirregionHavestudentslookataterrainmaptodividetheirhomeintosubregions.
Askthemtocreatecollagesthataddresstheterrain,climate,industryandeconomy,housing/shelter,anddietoftheirhomeregion.
Leadtheclassinadiscussionofthesimilaritiesanddifferencesamongtheindividualcollages.
Considerstaginganationalconference,wherebyeachgroupservesasrepre-sentativesoftheirregion.
Theypresent,asanopenlettertothenation,alistofthreetofiveofitssignificantcontributionsandoutlinetworesources/commodities/servicesforwhichtheirregionisdependentonothers.
BuildinganEmpireActivity1.
2TracesofBoundaries:MappingOne'sPlaceintheWorld16Theme1TimeRequiredMaterialsAssessmentPieceProcedureExtensionsTheme1TracesofBoundaries:MappingOne'sPlaceintheWorld17RegionalMapofChinaHandoutMountainHighMaps2000DigitalWisdomandAsiaSocietyTracesofBoundaries:MappingOne'sPlaceintheWorld18Theme1TerrainMapofChinaHandoutMountainHighMaps2000DigitalWisdomandAsiaSocietyDestinationChina!
YouwillbeleadingatourgrouptoexploreoneoftheninegeographicalregionsofChinaandmustdesignabrochure.
Usetravelguides,atlases,ref-erencebooks,orresourcesontheWebtoresearchyourregion'smajorfea-turesandcreateatravelbrochureforatwoweek-tour.
Yourbrochureshouldincludethefollowing:TheprovincesthatareinyourregionofChina.
Youritinerary(Researchwhatmajorcityyouwillhaveyourgroupflyinto,andhowyouwilltraveltoyourdestinations.
Besuretofactorintraveltimeonyouritinerary.
Provideabriefdescriptionofthemajorattractionsthatyouwillvisit.
)Whattimeofyearthetourgroupwilltravelandwhythatisthebestseasontovisitthatregion.
Whatshouldthetravelerspack(Considerthetypicalweatherconditionsforthattimeofyear,themodesoftravel,andyouractivities--willyoubetakinghorsetreks,climbingintoBuddhistcaves,orexperiencingthenight-lifeofthebigcities)WhatregionalfoodsmightyourtourexpecttoeatWhatsouvenirsorregionalspecialtiesmighttheyexpecttobuyBasedonexchangeratesaswellasthecostoftravelinChina,whatisthepriceofyourtourHowmuchspendingmoneydoyourecommendthetravelersbringTracesofBoundaries:MappingOne'sPlaceintheWorld19Theme1HandoutTheme2TracesofIdeas:CommunicatingThroughWritingandTechnology20TracesofIdeas:CommunicatingThroughWritingandTechnologyTrytoimagineaworldwithoutwriting:noInternet,noE-mail,nonewspa-pers,nosportspage,nobaseballscores,noloveletters,nomessagessneakedtoone'sneighborduringclass,noon-linetrading,nobest-sellers,nocollegeorjobapplications.
Writingiscentraltooureverydaylivesaswellastoourunderstandingofthepast.
Howcanwestudyhistorywithoutwrittenrecords(Weevencallthetimebeforewritingprehistory.
)HowcanwetransmitthewisdomofthepasttofuturegenerationswithoutwritingTheearliestexamplesofChinesewritingwereusedbyShangrulerstotrytoprojectwhatwouldhappeninthefuturesotheywouldknowhowtorule;thisearlywritingwasveryimportantbothrituallyandpolitically.
WrittenChinesealsoplayedasignicantroleinunifyingdiverseareasandpeoplewhospokemanydifferentdialects.
Becauseitscharactersarelogo-graphic—thatis,theyrepresentwordsoraminimalunitofmeaning,notsounds—literatepeople,nomatterwhatdialecttheyspoke,couldreadthecharacters(aswereadinternationalroadsigns,suchasNoRightTurn).
TheChineseinventedpaperandcreatedprinting,whichdevelopedfrominkrubbingsonstonesandmetals.
TracesofIdeasintroducesstudentstowrittenChineseandwoodblockprinting.
Therstbackgroundessay,"TraditionandTransformationintheChineseWritingSystem,"providesinformationaboutthecharacteris-ticsofwrittenChineseandhowithaschangedovertime.
Thesecondessay,"WritingandTechnologyinChina,"focusesontechnologiesforwritingandprinting.
Intheactivities,CreatingCharacters,WoodblockPrinting,andWritingTimelines,studentsareintroducedtotheconceptofalogo-graphiclanguagebycreatingtheirownsymbolsforwordsandtothecon-ceptofblockprintingbyprintingposters.
Theme2Oxscapulafragments(oraclebone)TracesofIdeas:CommunicatingThroughWritingandTechnology21Theme2Oxscapulafragments(oraclebone)Shangdynasty(ca.
1600–ca.
1100B.
C.
E.
),undated,fromthereignofthekingWuDing(ca.
1198–ca.
1189B.
C.
E.
).
Twofragments;dimensionsvary(a:4.
8x7.
5cm;b:27.
7x15.
2cm).
PeopleinearlyChinatriedtotellthefuturebycommunicatingwithspirits.
Theywouldinscribequestionsontoananimalboneorturtleshell.
Afterboringholesthroughtheboneorshell,theywouldinsertastickintoit,whichtheywouldthenheat.
Asthestickexpanded,thebonecrackedandashaman,orpersonwhocouldcommunicatewithspirits,interpretedthecrackstoreadthefuture.
Findthewritingonthebone.
WhereisitinrelationtothecracksLookatthewritingontheshoulderbladeofanox,above.
HowmightthecharactershavebeeninscribedintothehardbonesurfaceWhatwouldhavebeentheadvantagesandlimitationsofwritingonboneandshellMorecasualformsofwritingfromthisperiodhavenotbeenfound.
DoesthismeanthattheydidnotexistWhyorwhynotIntroductoryQuestionsGreaterSutraofthePerfectionofTranscendentWisdom(Mahaprajnaparamita-sutra),600juanfromtheJinTripitakaatZhaochengJindynasty(1115–1234),Huangtongperiod(1141–1148)throughDadingperiod(1161–1189),print-edbetween1149and1173.
TranslatedfromtheSanskritbyXuanzang(602–664).
FromtheTripitakadepositedatGuangshengTemple,ZhaochengCounty,Shanxiprovince.
Handscrollcontainingjuan103,woodblock-printedinkonpaper,29.
8x1,320.
0cm.
AsutraisaBuddhistsermon.
Manysutraswerewrittenonhandscrolls.
Afterwritingscrollsinink,artistsmightcarvewholesectionsofascrollinmirrorimageonablockofwood.
Applyinginktotheblock,theywouldthensmoothpaperontoptoproduceaprint.
WrittenChinesehasover50,000characters(thoughknowledgeofbetweenthreeandfourthousandisrequiredforliteracy).
AlthoughtheChineseinventedprintingbymovabletypeinthetwelfthcentury,manyprintersstillpreferredthewoodblockmethod.
Thissutraoriginallywastranscribedwithabrushandink.
Describehowthecharactersdifferfromthoseontheoracleboneandshell.
Whatstylisticcharacteristicsdothewrittencharacterssharewiththepaint-ingoftheBuddhaontheright-handsideWhymightmakingprintsbeimportantforBuddhisttextsWhatareotherinstancesinworldhistorywhereabeliefsystemhasbenetedfromprintingandcommunicationtechnologyWhataretheadvantagesanddisadvantagesofusingwoodblockprintingMovabletypewasinventedinChinainthemid-eleventhcentury.
Individualcharactersmadeofredclaywereassembledandgluedontoaplatetocreateaprintingblock.
Thenumberofuniquecharactersinabookmightreachintothethousands,meaningthataprinterwouldhavetostockfrom20,000toupto400,000charactertypesinordertomeetthedemandofabook.
WoodblockprintingwaslessexpensiveandmorepopularthanmovabletypeinChina.
InEurope,however,movabletypeprovedverypop-ularafteritwasintroducedduringthefteenthcentury.
WhymightthishavebeenthecaseGreaterSutraofthePerfectionofTranscendentWisdomTracesofIdeas:CommunicatingThroughWritingandTechnology22Theme2IntroductoryQuestionsTheme2TracesofIdeas:CommunicatingThroughWritingandTechnology23TraditionandTransformationintheChineseWritingSystemJerryNormanMostoftheworld'slanguagesarewrittenalphabetically;inanalphabeticwritingsystemthebasiccomponentsrepresentsoundsonlywithoutanyreferencetomeaning.
Forexample,theletter"b"inEnglishrepresentsavoicedbilabialstop,butnoparticularmeaningcanbeattachedtoitinitsfunctionasaletterofthealphabet.
Chinesewritingislogographic,thatis,everysymboleitherrepresentsawordoraminimalunitofmeaning.
WhenIwritethecharacter,itnotonlyhasasound,niu,ithasameaning,"cow.
"Onlyasmallnumberofsymbolsisnecessaryinanalphabeticsystem(generallyunder50),butalogographicsystem,suchasChinesewritingrequiresthousandsofsymbols.
Fromtheaspectsofsound,everyChinesecharacterrepresentsonesylla-ble.
Manyofthesesyllablesarealsowords,butweshouldnotthinkthateverywordinmodernChineseismonosyllabic.
Thewordfor"television,"forexample,is,dianshi;sincethiswordhastwosyllables,itisneces-sarytowriteitwithtwocharacters.
Eachofthesecharactershasaninde-pendentmeaning:dianmeans"electric,"andshimeans"vision";inthispar-ticularcaseneitherofthecharacterscanbeusedaloneinmodernChineseasaword;however,intheChineseoftwoandahalfmillenniaago,bothcharacterswereindependentwords.
So,whenwesaythatChinesehasalogographicwritingsystem,oneinwhicheachbasicsymbolrepresentsanindependentsyllable,wearespeakingoftheChineseofamuchearlierperi-od.
HowmanycharactersdoestheaverageliterateChinesepersonknowStudiescarriedoutinChinahaveshownthatfullliteracyrequiresaknowl-edgeofbetweenthreeandfourthousandcharacters.
Learningsomanycharactersisverytime-consumingandplacesaheavyburdenonstudents.
ThishasledmanyChineseinthepasttoadvocatetheabolitionofcharac-tersinfavorofanalphabeticsystem,butsuchprogramshavemetwithlittlesuccess.
Wewillreturntothequestionofscriptreformbelow.
Althoughliteracyrequirestheknowledgeofafewthousandcharacters,thetotalnumberofcharactersismuchgreater.
Adictionaryproducedintheeleventhcenturycontainedmorethanfifty-threethousandcharacters.
Evenwhenonetakesintoaccountthatmanyofthesecharactersrepresentedrarewordsandmanyothersweremerelydifferentwaysofwritingthesameword,thenumberstillseemsstaggering.
Fortunately,theaveragepersonisrequiredtoknowonlyasmallpercentageofthisenormousnumber.
ItisBackgroundEssayinterestingthatbothprintingandmovabletypewereinventedinChina.
Thelatter,however,waslittleuseduntilmoderntimes.
Mostprintingusedwoodenblocksonwhichcharacterswerecarvedindividuallyinmeticulousdetail.
Undoubtedlythereasonforthiswasthelargenumberofcharactersusedinordinaryprinting;itwaseasiertocarveindividualblocksthanitwastocreateastockofseveralthousandtypeandsetitbyhand.
Ontheotherhand,movabletypeiseminentlysuitedtoalphabeticwritingsystems.
Nowadayscharacterscaneasilybewrittenonacomputer,andoldermeth-odsofprintingarerapidlydisappearing.
Chinesewritinghasahistoryofsomethreethousandfivehundredyears.
ItisnotasoldasSumerianorEgyptianwriting;thereisnocertainevidence,however,thattheinventionofwritinginChinawasinanywaystimulatedbytheearlierexistenceofwritingintheNearEast.
TheearliestexamplesofChinesewritingaredivinatorytextswrittenonbonesandshells.
Theseusu-allyconsistofaquestionputtoadivineralongwithhisanswer.
ThisearliestChinesescriptshowsthatinitsearliesthistory,Chinesewritingwasbasedonpictures.
Thewordfor"cow"wasclearlythepictureofacow'shead;"togo"waswrittenwiththepictureofafoot.
However,alittlereectionshowsthatitisimpossibletohaveafullypictorialsystemofwriting.
Howwouldonedepict,forexample,someabstractgrammaticalnotionsuchas"comple-tionofanaction"Itwouldseemthatfromtheverybeginningofwritingcertainsymbolsthatoriginatedaspictogramswereusedfortheirsoundalone,anditwasonlywhenthisphoneticuseofcharacterswasintroducedthatacompletegraphicrecordoflanguagewaspossible.
InthehistoryofChinesewritingthenumberofcharactersthatcontainedaphoneticelementgrewprogressively,butChineseneverabandonedtheprincipleofonechar-acterperword(oratleastonecharacterforeachmeaningfulelement).
IntheearliestChinesewritingitspictographicoriginsarestillquiteobvious.
Overthecourseoftime,however,thescriptunderwentmanychanges,sothatbytheHandynasty(206b.
c.
e.
–220c.
e.
),thescripthadlostmostofitspictorialquality.
Thepresent-daystandardscript(calledkaishuinChinese)tookshapeduringthethirdandfourthcenturiesc.
e.
Afterthattheformofthescriptremainedsurprisinglyunchangeduntilmoderntimes.
Inadditiontostandardforms,therearealsoseveralcursiveformsofthescript;thetwomostcommonarecaoshuandxingshu.
Caoshu,whichmeanssomethinglike"draftingscript,"ishighlycursiveanddifficultforpeoplewithoutspecialtrainingtoread.
Xingshuisasortofcompromisebetweenthehighlycursivecaoshuandthestandardscript.
ItiswidelyusedbyordinaryChinesewhenwritinglettersorengaginginotherinformalsortsofwriting.
TracesofIdeas:CommunicatingThroughWritingandTechnology24TraditionandTransformationintheChineseWritingSystemEssayTheme2DivinatoryThepracticeofpredictingthefutureusingomensorsupernaturalpowers.
PhoneticSymbolsrepresentingthesoundsofspeech.
TheartofcalligraphyishighlydevelopedinChina.
Forthispurposeatraditionalwritingbrushisemployed,andthecalligraphermayspecializeinoneofseveraldifferentstyles.
CalligraphyisoneofChina'smajorvisualarts,manypaintersandscholarswerealsoaccomplishedcalligraphers.
Theculti-vationofartisticwritingisonlyoneofmanypracticesthatshowhowdeeplythewritingsystemisrootedinChineseculture.
Despiterecurrentsugges-tionstoreplacethetraditionalscriptwithalphabeticwriting,withallitsobviousconveniences,theChinesewritingsystemremainsintegraltoChineseself-definition.
Inacountrywithhundredsofdifferentdialectsacommonscriptthatisindependentofthisdialectaldiversityisapowerfulsymbolofnationalunity.
Inthe1920sand1930s,manyChineseintellectualsviewedthescriptasaseriousprobleminChina'sattempttobecomeapartofthemodernworld.
Itwasportrayedascumbersome,difficulttolearnandoutofdate.
Asaresult,manyadvocatedtheoutrightabandonmentofthetraditionalscriptinfavorofanalphabeticsystem.
Contrarytowhatmanyhaveclaimed,thereisareasonthatChinesecannotbewrittenalphabetically,andanum-berofpracticalorthographieshavebeenproposed.
Oneproblemthattheproponentsofalphabeticwritingwerenotabletoovercomewasthatforsuchawritingsystemtobepractical,itwouldhavetobeadaptedtovariousregionaldialects;suchamovewasviewedaspotentiallydivisiveandharmfultotheideaofasingleChinesenation.
Ultimatelyallsuchideaswereaban-doned,andattentionturnedtosimplificationofthetraditionalscript,theideabeingthatthewritingsystemwouldbeeasiertolearn.
Itwasnotuntilthe1950sthateffectivestepsweretakentocarryoutsuchaplan.
In1956andagainin1964,listsofsimplifiedcharacterswereofficiallyadoptedinthePeople'sRepublicofChina.
ComplexandSimplifiedFormsofChineseCharactersEnglishChineseComplexSimplifiedpronunciationhorsemˇatoreaddúcountryguóbookshuTracesofIdeas:CommunicatingThroughWritingandTechnology25TraditionandTransformationintheChineseWritingSystemEssayTheme2OrthographyTheartofrepresentingalanguageusinglettersandspelling.
HongKongandTaiwancontinuedtousethetraditionalcharacters,asituationthatstillprevails.
In1957analphabeticsystemcalledPinyinwasintroducedinthePeople'sRepublicofChinaasanauxiliarysystemtobeusedinteachingcorrectpronunciationinschoolsandforuseinvarioussortsofreferenceworks,chieydictionaries.
Note,however,thattherehavebeennopracticalstepstakentousePinyinasanofficialorthographyinChinese.
Fortheforeseeablefuture,thereseemstobenoprospectofaban-doningthetraditionallogographicscript.
AtdifferentpointsinhistorytheChinesescriptwasadaptedbyseveralneighboringcountries—Vietnam,Korea,andJapan.
ForcenturiesclassicalChinesewastheofficialwrittenlanguageinthesecountries.
VietnamhasnowadoptedtheLatinalphabet,and,whileKoreahashaditsownscript,hangul,sincethefifteenthcentury,ithasonlycomeintowidespreaduseinthelastonehundredyears.
ChinesecharactersstillenjoyofficialstatusinJapan,and,asinChina,thereseemstobelittlechancethattheywillbeabandonedanytimesoon.
JerryNormanisProfessorEmeritusintheDepartmentofAsianLanguagesandLiteratureattheUniversityofWashington.
HeistheauthorofChinese(CambridgeUniversityPress,1988)andmanyarticlesonChineselinguistics.
.
TracesofIdeas:CommunicatingThroughWritingandTechnology26TraditionandTransformationintheChineseWritingSystemEssayTheme2AuxiliaryFunctioninginasupplementaryrole.
Theme2TracesofIdeas:CommunicatingThroughWritingandTechnology27WritingandTechnologyinChinaIreneS.
LeungEarlyWritingTechnologiesTheearliestwritingsinChinawerefoundonoxscapulae,tortoiseshells,andbronzesduringtheShangdynasty.
Datedfromaround1400–1200b.
c.
e.
,theinscriptionsonbonesandshells—called"oraclebones"—recordeddiv-inationusedbytheShangroyalhouse.
Thewordswerecarvedwithastylus,somewerewrittenwithbrushandinkmadeoflampblackorcinnabar.
Onbronzes,inscriptionswerecastonsacricialvessels,ritualbells,andseals.
Theseinscriptionsrangefromafewtoasmanyasvehundredcharacters.
Thebrushpenwasusedasearlyastheseventhorsixthcenturyb.
c.
e.
Theholderismadeofbamboo,andthetipismadeofwolf,rabbit,orgoathair.
Brush-pointsizedependsuponitsuseinexecutingdifferentstylesofcharacters.
Thebrushwasusedinconjunctionwithink,apermanentblackpigmentthatcouldnotbewashedoutafterbeingapplied.
Thebasicingre-dientsforinkarepinesootorlampblackandglue(asabindingagent)withanyothermiscellaneousadditives,suchasgoldakes,musk,andcamphor.
Inkiskeptasasolid,drystickuntilreadyforuse.
Awriterthengrindsthedryinkstickagainstan"inkstone,"apolishedandoftendecorativepieceofstonewithashallowbowlcarvedintooneend.
Waterisaddedtotheshal-lowbowl,whilethewritermovestheinkstickinacircularmotiontoformdark,liquidink.
Whenadesiredblacknessofinkisreached,thewriterthenuseshisorherbrushtolifttheinkdirectlyfromtheinkstone.
Inkisjudgedbyitsinsolubility,lusterofpigment,andhardness.
Archaeologicalevidenceshowspaperwasinventedaroundtherstcen-turyb.
c.
e.
Bythethirdcenturyc.
e.
,paperwasalreadywidelyusedformakingbooks.
Sincepaperwasmadeofreadilyavailablematerials,suchasrawhempandtreebark,itwasinexpensivetoproduce.
Thefourimplementsofbrush,ink,inkstoneandpaper,werelaterdubbedthe"FourTreasuresoftheScholar'sStudio.
"Thescholar-ofcialclass,anoutgrowthofthebureaucraticgovernment,usedthesetreasuresastoolsofcommunicationandself-expressionthroughcalligraphy.
(SeeSection5,TracesoftheSelf.
)ChineseBooksandPrintingTechnologiesChinesebooksbeganasthinslipsofbambooorwoodconnectedbythongsandusedlikepagedbooksorscrolls.
Recoveredfromtombs,theoldestofBackgroundEssayStylusAhard-pointed,pen-shapedinstrumentusedtowriteonclaytablets.
LampblackBlackcarboncompoundsproducedbyburningoil.
CinnabarAredorethatisapartofmercury.
Itisusedasapigmentforpainting.
PinesootAfineblackpowdercompoundproducedbyburningpinewood.
MuskAnoilwithasharp,lastingodortakenfromtheglandofamuskdeer.
Itisusedasaperfumefixativeorglueforliquids.
CamphorAtough,gummy,unstable,scentedsubstancefoundinthewoodandbarkofthecamphortree.
thesedatesbacktothirdorfourthcenturyb.
c.
e.
Theywereusedforofcialdocuments,privateletters,calendars,lawsandstatutes,prescriptions,literarytexts,andmiscellaneousrecords.
Thesebambooorwooddocumentsweresometimesconsidereddrafts,thenaleditionswerewrittenonsilk,whichhadbeenusedforwritingsincethesixthorseventhcenturyb.
c.
e.
Sincesilkprovidedlargercontinuouswritingsurfacesthatcouldbetailoredtotheneedsofeachpatron,itwasusedformaps,illustrations,andmoreformalinscriptions,suchasreligioussacrices,quotationsofkings,andachieve-mentsofgreatstatesmenandmilitaryheroes.
Survivingsilkfragmentsalsoshowthatthismaterialwasusedforlettersbecauseitwaslightweightandeasytotransport.
Printingdevelopedfromengravingonstonesandmetalsaswellastakinginkrubbingsfromstonereliefs.
Inkrubbingsareimpressionsofreliefdesignsoftextorpictures.
Asheetofpaperislaidonthestoneandmois-tenedwithwater.
Thepaperisthensqueezedagainstthesurfaceandpressedlightlyintoeverydepressionwithabrush,andinkisappliedtoitwithapad.
Whentherubbingispeeledoffandpressedat,thepartsofthepaperwheretherearecharactersorpictureswillappearwhite,whiletherestwillappearblack.
Woodblockprintingusesasimilarmethodandisaverysimpleandinexpensiveprocess.
Asheetofpaperuponwhichtexthasbeenwrittenininkwithabrushisinvertedandpastedonawoodentablet.
Anengraverthencarvesthetabletwherethepartsofthepaperarewhite.
Asaresult,onlythepartsbearingcharacters(inreverse)standoutinrelief.
Theprinterthenbrushesinkontheprintingblocktowhichblanksheetsofpaperarepressed.
Askilledprintercouldturnoutasmanyas1,500copiesaday.
Technically,asingleblockcouldbeusedtoprintthousandsofcopies,thoughmosteditorsranafewhundredcopies.
Woodblockprintingbegantoreplacehandcopyingaround700c.
e.
ItgrewoutofreligiousdemandforcopiesofBuddhistandDaoistscripturesandseculardemandforthereproductionofclassicaltextusedinthecivilserviceexaminations.
Theexistenceoftheseexaminations,basedonthestudyoftopicssuchasphilosophy,history,andliteraturethroughoutthehistoryofpremodernChina,assuredtheprimacyofprintculture.
TheSongdynasty(960–1279c.
e.
)sawagreatproliferationofpublish-ing.
Governmentofces,schools,monasteries,privatefamilies,andprivatebookshopsparticipatedintheprintingbusiness.
Theadventandspreadofcommercialprintingtransformedpopularcultureandsociety.
Publishedbookscoveredawiderangeoftopicsandinterests,includinghistory,geography,philosophy,poetryandprose,divination,archaeology,scienticandtechnicalwriting,andmedicine.
Movabletypewasinventedinthemid-TracesofIdeas:CommunicatingThroughWritingandTechnology28WritingandTechnologyinChinaEssayTheme2eleventhcentury.
Itwasbasedonaprincipleofassemblingindividualchar-actersmadeofredclaytocomposeatextthatwouldthenbegluedontoaplatetocreateaprintingblock.
Commoncharactersneededtwentyormoretypesincasemanywerecalledforonthesamepage.
Charactersnotbeingusedwerekeptinwoodencases,accordingtotheirrhymegroup.
Movabletypedidnotprovetobepopular.
AsopposedtoEurope,wheremovabletypewassuitableforalphabeticlanguageswithlimitednumbersofsymbols,China,wherethenumberofuniquecharactersinabookmightreachintothethousands,founditlesspracticalandcost-efcient.
Aprinterwouldhavetostockfrom20,000toupto400,000charactertypesinordertomeetthedemandofabook—atremendousinitialinvestment.
Theprint-erwouldhavetomakehundredsofthousandsofcopiesinordertomakeaprot.
Therefore,printingfrommovabletypecomparedveryunfavorablywiththelowcostofwoodblockprinting.
Aprintercouldchoosetomakeunderahundredcopiesofanedition.
Theblockcouldthenbestoredforprintingagainatalaterdate,dependingondemand.
Becausethewrittenlanguagewasstandardized,bookpublishingwasnotaffectedbyregionaldialects.
SinceruralareasandurbansectorswerelesssharplydifferentiatedthantheircounterpartsinpremodernEuropeandtheliteratepopulationresidedbothinthecountrysideandthecities,bookpub-lishingourishedinsmallerlocalesaswell.
Expandededucationandincreasedeconomicprosperityinthesixteenthcenturycontributedtoanevengreaterriseinthedemandforbooks.
Furthermore,thereweremoreeducatedindividualswhowantedtoworkforthestatebureaucracythantherewereavailablepositions.
FailedexaminationcandidatesmadeupalargeliteratesocialclassbytheMingdynasty(1368–1644c.
e.
).
Inadditiontothescholar-ofcials,theseindividualsbecameconsumersandproducersofprintculture.
Modernization,thePress,andPublicOpinionAttheendofthenineteenthcentury,Europeanmissionariesandbusiness-menintroducedmechanizationandvariousprintingforms.
Duringthistime,politicalinformationandnewideasweredisseminatedexclusivelythroughprint.
Atrstgovernmentedictswereprintedandcirculatedthroughouttheempiretoseveraltensofthousandsoflocalofcials.
Later,sensationalnewswasreportedonnewssheetsprintedirregularlyinthecities.
Thepaperswererstboughtforentertainment.
Soontimelynewsaboutpoliticalevents,war,andpeacenegotiationsspurredexpansionofnewspaperprinting.
Duringthisperiod,treatyportsweresetupbyWesternpowersincoastalChina.
SomeperiodicalsweresponsoredbymissionariesbutwrittenbyTracesofIdeas:CommunicatingThroughWritingandTechnology29WritingandTechnologyinChinaEssayTheme2Chineseeditors.
Theseweekliesormonthliesalsobegantoreportinternationalnews.
Withtheexpansionofreadership,modernprintingmachinesbecameessentialtotherapidproductionofwidelycirculatedperi-odicals.
Thisnationwideprintculturegraduallygavetheeducatedclassagreatersenseofnationalidentity.
Theyalsobecameawareofthepress'spotentialtoeducateandmobilizethepeopleagainstthecentralgovernment.
FollowingtheoverthrowoftheQingdynasty,theRepublicofChinawasestablishedin1911.
Thevisionofamodernsocietybegantobeputforthinalargenumberofnewspapersandperiodicals.
Thesewereoftenwritteninsimplevernacularlanguage,ratherthaninclassicalChinese,whichhadbeenthelanguageusedinearlynewspapers.
Thearticlesaddressedarangeofsocialandculturalproblems,bridgingclassaswellasregionalandoccupa-tionallines,drawingmillionstogether.
Bythe1930sthegovernmentcontinuedtofacetheenormoustaskofnationalreunicationandeconomicreconstruction.
Itbegantocensornewspapers,journals,andbooksinordertocrackdownonCommunism.
Someintellectualstooktheirideasunderground.
Theseactivistslookedtowardwoodcutasaswift,inexpensivemeansofcreatinggraphicsorpam-phletstospreadtheirideas.
Theprintscelebratedthecourageofstudentswhoevadedthepoliceorprotestedagainstcensorshipandpublicizedtheplightoftheurbanandruralpoor.
AftertheCommunistRevolutionin1949,thePartycontrollednewspa-persandjournalsthroughstate-ownedenterprises.
Forthenextdecadestheprintmediawasusedtopublicizegovernmentpoliciesandpropagandaduringcollectivizationmovementsandideologicalcampaigns.
DuringtheCulturalRevolution(1966–1976),RedGuardsturnedtoamoresponta-neousmediumtodenounceallegedcounterrevolutionaries.
Theywrote"bigcharacterposters"andpostedthemoutsidepeople'shousesorschoolstopubliclyexposetheirallegedcrimes.
BytheendoftheCulturalRevolution,however,therolewasreversed.
Thesameprintmediainturnkeptthebureaucracyincheckthroughjournalistswhoinvestigatedabusesofgovern-mentunitsandofcials.
Thesemediaalsobecameaforumforcitizenstovoicegrievances.
TheycirculatedstoriesaboutthehorrorsandtragediesexperiencedbymanyduringtheCulturalRevolution.
Thiscriticismandself-criticismstimulatednewdebatesandreectionsonChina'spastanditsfutureprospects.
Economicinnovationandgrowthinthe1980sbegantoraisequestionsofpoliticalreformbeyondthebasicprinciplesoftheChineseCommunistParty.
Whilethegovernmentwasabletocontrolprintmedia,andtoacertainextentradio,television,andsatelliteaccess,theadventoftelecommunicationtechnologiesandtheInternetrevolutioninthe1990smakeitincreasinglyTracesofIdeas:CommunicatingThroughWritingandTechnology30WritingandTechnologyinChinaEssayTheme2VernacularThenormalspokenformofalanguage.
ClassicalChineseAliterary,formallanguageusedbyeducatedpersonsthroughoutChinauntilwellintotheearlytwentiethcentury.
impossibleforthegovernmenttocontrolandmonitornewsandpublicopinion.
DespitethefactthatInternetaccessisstillavailableonlyinurbanareas,ithasenjoyedspectacularsuccessinChinainthelastveyears.
OnerecentgureshowsthatthenumberofInternetusersgrewto8.
9millionin1999andtheChinesegovernmentpredictsthatby2003Internetusewillreach20million.
MostInternetusersarepeoplebetweentheagesof20and40.
About85percentofusersaremale,andmanyearnaboveaverageincome.
TheyusetheInternettondoutaboutnewsandcurrentaffairsaswellasforentertainment.
Technologicalinnovationhasnotonlyprovidedfasterandeasieraccesstoprintmedia,ithastransformedpeople'srelation-shiptoeachotherandthegovernment'srelationshiptoitsconstituents.
IreneS.
LeungisaPh.
D.
candidateofChinesearthistoryattheUniversityofMichigan.
SheiscompletingherdissertationonthefrontierimageryintheSongdynasty.
TracesofIdeas:CommunicatingThroughWritingandTechnology31WritingandTechnologyinChinaEssayTheme2Theme2TracesofIdeas:CommunicatingThroughWritingandTechnology32CreatingCharactersStudentswillidentifysimplypictographsandideographsfromChinesewrit-ing.
Aftercreatingtheirownimages,theywillcombinecharacterstocom-municateideastooneanother,introducingbasicfoundationsoftheChinesewritingsystem.
Elementary,middleschoolHowdidtheChinesewritingsystemdevelopovertimeHowistheChinesewritingsystemuniquelysuitedtotheChineselanguageAstheChinesewritingsystemdeveloped,whateffectdidithaveonsocietyWhataretheadvantagesanddisadvantagesoftheChinesewritingandpho-neticsystemsLanguageArtsLanguageforInformationandUnderstandingUsinglanguagetoexplainhowaproblemwassolvedorataskwasconductedLanguageforSocialInteractionUnderstandinghowtotaketurnsandrespondtoothers'ideasinconversa-tionsonfamiliartopicsSocialStudiesWorldHistoryStudyingaboutdifferentworldculturesandcivilizations,focusingontheiraccomplishments,contributions,values,beliefsandtraditionsUnderstandingtherolesandcontributionsofindividualsandgroupstosocial,political,economic,cultural,scientific,technological,andreligiouspracticesandactivitiesViewhistoriceventsthroughtheeyesofthosewhowerethere,asshownintheirart,writing,music,andartifactsOneclassperiodPhotocopiesoftheOracleBoneandIntroductoryQuestionsfromthebeginningofthissection,theOrderofLanguagehandout,ortheVisibleTracesposterPencilsChalkboardandchalkActivity2.
1PerformanceObjectivesGradeLevelEssentialQuestionsStandardsTimeRequiredMaterialsPictograph/Ideographsheetandcharacterconstructions1.
Asaclass,examinetheOracleBone(eitherasahandoutorontheposter)anddiscusstheIntroductoryQuestions.
2.
Discussthenotionofpowerandwriting,consideringthefollowing:TheChinesewrittenlanguageunderwentmuchdevelopmentduringtheShangdynasty(ca.
1600–ca.
1100b.
c.
e.
).
TheShangdynastyisalsoknownforitshighlystratifiedsocialstructurewithafewpeoplerulingmany.
HowmightwritingberelatedtothisWhathappensinasocietyifonlyafewareallowedaccesstoinformationandknowledge3.
GivetheOrderofLanguageshandouttostudents.
IntroducetheconceptsofpictographsandideographsinChinesecharacters.
4.
Havestudentscompletethesheet,drawingalinetotheappropriatemod-ernformofthecharacterslisted.
Discussthefollowing:Writingwithabrushonwoodstripswasdevelopedasearlyastheseventhorsixthcenturyb.
c.
e.
whilepaperwasinventedaroundthefirstcenturyb.
c.
e.
AretheseinventionsrelatedtothewayChinesecharactersdevelopedWhichformsofcharactersdostudentsthinkwouldbeeasiertolearnandquickertowriteWhatmighttheeffectbeonsocietyifwritingbecomeseasiertolearnandexecute[DuringtheHandynasty(206b.
c.
e–220c.
e.
)Chinesesocietywasgreatlyrestructuredastheeducatedbureaucraticclassbecameadominantforceinsocietyandgovernment.
]5.
Workingingroupsofthreetofive,havestudentsgeneratetheirownpic-tographsforseveralconcreteobjects.
(Examplesmightbeapple,man,horse,chair,book.
)Havestudentsshareoneoftheobjectsanditspictographwiththeclassbydrawingitonatransparencyfortheclasstoguesswhatitmightstandfor.
Remindstudentsthatsinceourgoaliseffectivecommunication,theyshouldmakethesymbolsaseasytorecognizeaspossible.
Identifythesecharactersaspictographs.
6.
Nowhavestudentsattempttocreateasymbolforabstractconcepts.
Giveeachgroupalistofthreeconcepts(examples:love,happy,life,smart,yellow,school).
Againtheyshouldsharetheircharacterwiththeclass,havingotherstudentsguesswhatitrepresents.
7.
Whenallstudentshavesharedoneoftheirconceptswiththeclass,discussthedifferencesbetweentheobject-basedpictographsandtheideo-graphsthatrepresentconcepts.
Askstudents:WhichwashardertorepresentandidentifyWhyHowdidthisaffectthewayyouwereabletocommunicateWhatareotherwaysthatwecommunicateanidea(spoken,written,pictures,gestures)CreatingCharactersActivity2.
1TracesofIdeas:CommunicatingThroughWritingandTechnology33Theme2ProcedureAssessmentPiece8.
Havetheclassdevelopcriteriaforselectingsymbolsthatbestconveyanobjectoridea.
Considersimplicityandeaseinreproducingthesymbol.
Havestudentsgenerateenoughcharacterstoformasimplesentence.
Forexample,"Iwilleatlunchatnoon.
"Havethempresenttheirsentancestotherestoftheclass.
Askthestudents:Wereyousuccessfulincommunicat-ingHowmanysymbolsdidyouneedtouseWhatproblemsdidyoufaceasyoucombinedobjectsandconceptsBasedonthisexperience,whatadvantagesmightacharacter-basedlanguagehaveWhatadvantagesmightaphonetic-basedsystemhaveCreatingCharactersActivity2.
1TracesofIdeas:CommunicatingThroughWritingandTechnology34Theme2ExtensionOrderinLanguageOverthecenturies,Chinesecharactershaveevolvedandcanbegroupedintosixdifferentcategories.
Theoldestcharacterscomprisethefirstandsmallestgroup,calledpictographs—simpledrawingsthatlookliketheobjecttheyrepresent,e.
g.
,sun,horse,ortree.
Thecharactersyouwillbeexaminingbelowarepictographs.
Lookatthemandseeifyoucanmatchtheolderformofthecharacterwithitsmodernform.
However,aspictographshadcertainlimitations,suchasnotbeingabletoconveyabstractideas,asecondcategory,calledideographs,wascreated.
Herearesomeexamplesofideographs:abovebelowTracesofIdeas:CommunicatingThroughWritingandTechnology35Theme2Handoutmeaningsuntreepersoneldmouthcart/vehiclegradualevolutionmodernformAmorecomplexformofideographsiscalled"compoundideographs"wheretwopictographscometogethertomakeanideograph.
sun+moon=brightperson+person=toagree/tofollowsun+tree=east(sunrisingabovethetreesintheeast.
)Trytoguessthemeaningofthesecompoundideographs:tree+tree=person+anenclosure=orconfineThemostcommontypeofcharacter,however,isknownasa"phoneticcompound.
"Oneparthintsatthesoundofthecharacter,theotherparthintsatthemeaning.
(ke)+watersignifier=(he)river(fu)+handsignifier=(fu)supportwiththehand(min)+eyesignifier=(mian)sleepThishandouthasbeenadaptedwithpermissionfromtheStanfordProgramonInternationalandCross-CulturalEducation(SPICE)DemystifyingtheChineseLanguage(1980).
OrderinLanguageHandoutTracesofIdeas:CommunicatingThroughWritingandTechnology36Theme2Answers:*grove/forest,**prisoner***Theme2TracesofIdeas:CommunicatingThroughWritingandTechnology37WoodblockPrintingStudentswillbecomefamiliarwiththetraditionaltechniquesofwoodblockprintingdevelopedinChinaandhowitwasusedforcommunication.
Studentswillidentifyamessageofimportancetothem,developawood-block,makeprints,anddistributetheir"messages.
"Theywillassesstheeffectivenessoftheircommunicationeffortsbyconductingaschoolsurvey.
9–123–5HowhaveformsofcommunicationevolvedandaffectedwaysoflivingHowhasChinaexporteditsideastootherpeoplesoverthecourseofhistoryHowdoestechnologyassistinthedisseminationofinformationWhatChinesebreakthroughsandinnovationshavemadeasignicantimpactonworldcultureSocialStudiesWorldHistoryKnowingimportanthistoriceventsanddevelopmentsofpastcivilizationsInterpretingandanalyzingdocumentsandartifactsrelatedtosignicantdevelopmentsandeventsinworldhistoryStudyingmajorturningpointsinworldhistorybyinvestigatingthecausesandotherfactorsthatbroughtthemaboutaswellastheirresultsStudyingaboutdifferentworldculturesandcivilizations,focusingontheiraccomplishments,contributions,values,beliefs,andtraditionsUnderstandingtherolesandcontributionsofindividualsandgroupstosocial,political,economic,cultural,scientic,technologicalandreligiouspracticesandactivitiesViewinghistoriceventsthroughtheeyesofthosewhowerethere,asshownintheirart,writing,music,andartifactsCivics,Citizenship,andGovernmentParticipatinginschool/classroom/communityactivitiesthatfocusonanissueorproblemPreparingaplanofactionthatdenesanissueorproblem,suggestsalter-nativesolutionsofcoursesofaction,evaluatestheconsequencesofeachalternativesolutionorcourseofaction,prioritizesthesolutionsbasedonActivity2.
2PerformanceObjectivesGradeLevelVariationGradeLevelEssentialQuestionsStandardsestablishedcriteria,andproposesanactionplantoaddresstheissueorresolvetheproblemVisualArtsUnderstandingandapplyingmedia,techniques,andprocessesTakingadvantageofthequalitiesoftechniquesandprocessestoenhancecommunicationofexperiencesandideasChoosingandevaluatingarangeofsubjectmatter,symbols,andideasIntegratingvisual,spatial,andtemporalconceptswithcontenttocommu-nicateintendedmeaningUnderstandingthevisualartsinrelationtohistoryandculturesAllowatleasttwoclassperiodsfordesigningandcuttingtheblocks.
Anadditionalclassperiodisneededforinkingandpressingprints.
Oneclassperiodwillbeneededtodevelopasurvey,andanotherwillberequiredtointerprettheresults.
PhotocopiesoftheGreaterSutraofthePerfectionofTranscendentWisdomandIntroductoryQuestionsfromthebeginningofthissectionortheVisibleTracesposterPaper,pencil,andpenfordesigningblocksLinoleumblocksforeachstudentCuttinginstrumentsforeachstudentRollers,inkpans,andbrushesforapplyinginkInkandpaperforpressingprintsBlockprints1.
BlockprinttechnologywasusedinChinaasameansofspreadingtheBuddhistdoctrineortodistributepoliticalinformation.
Disseminatingblocksoftextthroughthisinexpensiveprocedurehadadeepculturalimpact.
DistributephotocopiesoftheGreaterSutraofthePerfectionofTranscendentWisdomanddiscusstheIntroductoryQuestions.
Havestu-dentsgeneratealistoftopicsrelatingtooursocietythatmightbecirculatedbysimilarmeans.
Theymightincludesignsprohibitingdrugs,alcohol,orsmoking;politicalpostersforupcomingcampaigns;sloganspromotingrespectandresponsibilityissuesforstudents;orcommunityactionpostersrelatedtolocalissues.
2.
DistributewritingimplementstostudentsandhavethemcreateapagefeaturinganimageandwordsexpressinganimportantideaorgoaltheyWoodblockPrintingActivity2.
2TracesofIdeas:CommunicatingThroughWritingandTechnology38Theme2TimeRequiredMaterialsAssessmentPieceProcedurewouldliketoshare,inkeepingwiththetraditionofwoodblocksutraprints.
AdvancedstudentsmightcreateamessageinChinesecalligraphyforacloserrenditionoftheprintedsutra.
3.
Rememberthatallimagesmustbeproducedinreverseontheblockinordertotransferwhenprinted.
Havestudentsuseasoftleadordrawingpenciltoshadeareastobecutoutoftheblock.
Theseareaswillremainwhiteafterprinting.
4.
Studentsshouldthentransferimagesbyplacingthemfacedownonblocksandgentlyrubbingontheothersideofthepaper.
Theyshouldthenremovethepaperanduseapentodetailtheimagepermanentlybeforecut-ting.
5.
Nextstudentsshouldcutoutareasofblocksaroundwordsandimages.
Bladesoncuttingimplementsshouldalwaysmoveawayfromthebody.
6.
Havestudentslayblockindrippan.
Theyshouldthenapplyinktotheroller.
Inkshouldbespreadonaatsurface,rolleduntilevenlyapplied,andspreadoverblockimage.
7.
Studentsshouldhandleblockscarefullybyedgestoinvertandpressontopaper.
Theycanexperimentwithcolorvariationsandthicknessofapplica-tioninproducingaseriesofimages.
8.
Theyshouldthenallowimpressionstodry,layingthemat.
9.
Havestudentsposttheirworksinacommunityareaoftheschoolandthendevelopasurveytodeterminetheimpactoftheircampaign.
10.
Questionsmightinclude:DidyouseetheblockprintmessagesHowoftenineachschooldayDidyouthinkaboutthemessageDidthisprovidenewinformationWouldthisinuenceyouropinionIsthisaneffectivemeansofgettingoutamessageorprovidinginformationInsteadoflinoleumblocksuseStyrofoamblocks(4x6in.
)foreachstudent(containersfromgrocerystoresworkwell,butneverrecyclethoseusedformeatproducts,astheymaycarrybacteriaevenafterwashing).
Substituteclaysculptingtoolsordullpencilsforcuttinginstrumentsforeachstudent.
Havestudentsdesigntheirimagesasnotedabove.
Theninsteadoftransfer-ringtheimageontolinoleumblocks,havestudentspresstheimageintoStyrofoamsquaresusingdullpencilorclaysculptingtools.
Next,havethemapplyinkwithrollersandpressasperdirectionsabove.
WoodblockPrintingActivity2.
2TracesofIdeas:CommunicatingThroughWritingandTechnology39Theme2VariationforGrades3–5Theme2TracesofIdeas:CommunicatingThroughWritingandTechnology40WritingTimelinesTheclasswillgeneratetimelinesofthedevelopmentofcommunicationtechnologiesfromwritingsystemstotheInternet.
Avarietyofwritingsys-tems,meansofcommunicating,factorsthatbroughtaboutadvances,andtheresultingsocietalchangeswillbehighlightedinthisactivity.
Thesetime-linesoffertheadvantageofprovidingstudentswiththeopportunitytoreflecttheirknowledgethroughvariousmodalitiesinsequencing,writing,models,andoralinterpretationsoftheirwork.
6–89–12WhatChinesebreakthroughsandinnovationshavemadeasignificantimpactonworldcultureHowmightoneexplainthesimilaritiesanddifferencesbetweenChinesetechnologicalinnovationsandthesignificantcontributionsofothercul-turesSocialStudiesWorldHistoryDevelopingtimelinesbyplacingimportanteventsanddevelopmentsinworldhistoryinchronologicalorderMeasuringperiodsintermsofyears,decades,centuries,andmillenniaStudyingmajorturningpointsinworldhistorybyinvestigatingthecausesandotherfactorsthatbroughtthemaboutaswellastheirresultsInvestigatingimportanteventsanddevelopmentsinworldhistorybypos-inganalyticalquestions,selectingrelevantdata,distinguishingfactfromopinion,hypothesizingcause-and-effectrelationships,testinghypotheses,andformingconclusionsLanguageArtsLanguageforInformationandUnderstandingFollowingdirectionsthatinvolveaseriesofactionsLocatingandusinginformationonawiderangeoftopicsfromgeneralreferencematerialsIndependentlyselectingandapplyingstrategiesforcollectingandsynthe-sizinginformationActivity2.
3PerformanceObjectivesGradeLevelVariationGradeLevelEssentialQuestionsStandardsIfcompletedinclass,constructionandresearchrequiresaboutaweek.
Homeworktimecanbeusedforresearchorconstructingmodelsinordertoreduceclasstimeortodevelopmoredetailedwork.
PhotocopiesoftheWritingTimelinesInstructionSheethandoutPosterboardoroaktagPencilsRulersColoredpencils,markers,crayonsScissorsIllustrations,pictures,WebsiteaddressestodownloadpicturesScannertoduplicatepictures(optional)Timelinesandoralpresentation1.
Assigngroupsofthreetofivestudents.
DistributetheWritingTimelinesInstructionSheetandreviewprojectrequirementswiththeclass.
Brainstormideastobeincludedasthree-dimensionaladditionstothetime-lines.
Reviewavailableclassroommaterialsandencouragestudentstobringadditionalmaterialsandresourcesfromhome.
2.
Havestudentsbeginbydecidingonascale,stressingthatperiodsofequalyearsmustbeofequallength.
Sincetimelineswillextendforseveralthousandyears,ascaleof10inchesforeach1,000yearsshouldbesufficient.
3.
Studentsshouldthenmeasureandcutoaktagorposterboardintoeight-inch-widestripsforeachperiod.
Carefullyfoldthestripsinhalfalongtheirlength,sothatwhenopenedtheycanstandfreelyinanA-frameshape.
Havestudentsusepencilandrulertomarkthelengthofeachstriptorepre-sentaperiod.
Materialsmaybearrangedalongthetimeline,connectedbystringtoindicatespecificdates,orplacedonthetimelineitself.
Thisworkswellasaportabletimelineframe,thoughambitiousstudentsmaychoosetoconstructtheirtimelineofothermaterials.
4.
Allowstudentstoresearch,write,andbuildmodelsforrequiredelementsofthetimeline.
Attheendofeachworkday,itishelpfultoallowafewmin-utesforthegroupstoevaluatetheirprogressandsetgoalsforthefollowingday.
5.
Onthelastdayoftheproject,groupsshouldtaketurnsinmakinganoralpresentationoftheirtimelinetotheclass.
6.
Remindstudentsthatimprovingtechnologyexposesgreaternumbersofpeopletoideasatacostthatismanageable.
Ideasaresharedinwaysthatchangelives.
Sharingorcontrollingideashavebeenconcernsofbothreli-giousgroupsandpoliticalleadersthroughouthistory.
ChinahasbeennoWritingTimelinesActivity2.
3TracesofIdeas:CommunicatingThroughWritingandTechnology41Theme2TimeRequiredMaterialsAssessmentPieceProcedureexception.
Discussthefollowingpointswithstudentsinendingtheproject.
Fromyourtimelines,whatweresomeofthereasonsthatwritingwasdevel-opedorwhatweresomecommunicationsproblemssolvedbytechnologyWhowereusuallythefirstpeopleinacivilizationtopracticetheskillsofreadingandwritingWhyHowdoeswritingconsolidateacultureorgroupofpeopleHowdogovernmentsorreligiousgroupsuseandcontrolcommunicationfortheirbenefitDoesthisstilloccurHowhastheuseofmoderntechnology—phone,fax,andespeciallytheInternet—changedtheavailabilityandourmethodsofgettinginformationHowcanwetesttheaccuracyofwhatwereadMakeanoversizedclassroomtimelineofposterboardlengthsthatcanaccommodatestudents'contributionsthroughouttheschoolyear.
Postcom-municationentriesonthetimelineasstudentslearnaboutavarietyofcivi-lizations.
Addinformationinsuchcategoriesasgovernance,beliefsystems,culturaldevelopments,waysofliving,transportation,defense,andtechnology.
Postbiographiesofinfluentialfiguresalongthetimelineandadddepictionsofartandartifactsasappropriate.
Atkeypointsholdaclassdiscussionnot-ingglobaltrends,periodsofsignificantchange,advancementanddecline,andinnovation.
Havestudentswriteapaperaboutoneofthewritingdevelopmentsinthetimeline.
Studentsmustshowhowthedevelopmentdirectlyaffectedanoth-erareaofsociety,suchasgovernance,beliefsystems,culturaldevelopments,waysofliving,transportation,ordefense.
WritingTimelinesActivity2.
3TracesofIdeas:CommunicatingThroughWritingandTechnology42Theme2ExtensionVariationforGrades9–12WritingTimelinesInstructionSheetThehistoryoflanguageandwritingtechnologiesisanimportantpartofhumankind'shistory.
Tounderstandtheimpactofwritingonculture,youwillbemakingatimeline,ingroupsofthreetofivestudents,thatwillshowthediversityofwritingsystemsandchangethatadvancesincommunicationbringtoaculture.
Teammemberswillshareresearch,writing,buildingmodels,andconstructingthetimelinetohelpyouorganizeyourknowledge.
Beginbyidentifyingfourcivilizationswhosehistoryofwritingandcommunicationyouwouldliketohighlightinyourtimeline.
EachgroupshouldincludethehistoryofChinesewritingsystems,asthisisacentralthemeinourproject.
Foreachcivilizationthatwillappearonyourtimeline,includethefollowingelements.
1.
Anexampleofthewritingform.
Ifpossible,includeexamplesofchangesovertime.
Giveabrief(oneparagraph)descriptionofthestructureofthelanguage.
2.
Amaporwrittendescriptionofwherethesystemoriginated.
3.
Reasonsthatawritingsystemdevelopedwhenitdid,whowasresponsi-bleforitsdevelopment,anditseffects.
Thisshouldbeabriefparagraphincludedwithyourtimeline.
4.
Identifyotherculturesthatwereinfluencedbythiswritingsystem.
5.
Onepersonfromeachperiodmustappearonthetimeline.
Thiscouldbeaninventor,writer,publisher,orpoliticalfigure.
Brieflydescribethisindi-vidual'sinfluenceonandcontributiontohistoryasitrelatestolanguageandcommunication.
Includeillustrationsormodelsappropriatetotheproject.
Thesevisualsmaybescannedphotos,picturesfrommagazines,yourownillustrations,ormodelsofanyappropriateartifactsfromtheperiod.
Includefourinventionsthathavechangedlanguageandcommunication.
Identifywheretheyoriginated,whowasresponsiblefortheircreation,andtheirimpact.
Arrangethematerialonyourtimeline.
Clearlylabeldatesandbecertainthatyouareconsistentinyouruseofscale:equaldistancesonyourtimelinewillalwayscoverequalperiodsoftime.
Usethissheetasachecklistforitems.
AlltimelineswillbedisplayedandpresentedbythegrouptotheclassTracesofIdeas:CommunicatingThroughWritingandTechnology43Theme2HandoutTheme3TracesofBelief:MakingValuesTangibleThroughWordandImage44TracesofBelief:MakingValuesTangibleThroughWordandImageSymbolicrepresentationsofone'sfaithorimagesofsaintsorgodsandgod-desseshelpdevoteesrememberteachings,focustheirworship,andgaincomfort.
Imagesofpeopleweadmireandwanttoremembercanserveasimilarfunction.
ThroughimagesofboththebodhisattvaGuanyinandConfucius,TracesofBeliefoffersstudentsachancetobegintoappreciatethepluralismofbeliefsoftheChineseaswellaswaystheyhavebeenabletoharmonizeseeminglyconictingideas,particularlyConfucianismandDaoism,twoindigenousbeliefs,alongwithBuddhism,whichbecamepreeminentinChinaduringtherstmillenniumC.
E.
ThisunitallowsstudentstoexaminenotonlywhatConfuciustaughtbutalsotheideasofsomeofthecontemporarycompetingschoolsofthoughtandhowtheywerelaterreconciled.
StudyingGuanyin'simage,andthewaythisbodhisattvawho"Hearsthecriesoftheworld"changedfromamantoawomanashe/shetraveled,illustrateshowideastravelandareadaptedbydifferentcultures.
Thebackgroundessay,"ChineseBeliefSystems:FromPasttoPresentandPresenttoPast,"brieysummarizesvariousChinesebeliefsincludingancestralritesanddivination,Confucianism,Daoism,Buddhism,aswellasbeliefsystemsinChinatoday.
InlookingcloselyatGuanyin,therstactivi-ty,ThePoweroftheImage,asksstudentstoconsidersymbolism,includ-ingwaysofvisuallyexpressingsacredtimeandspaceaswellasBuddhistval-ues.
Thesecondactivity,ASageofChina,introducesstudentstothebasicteachingsofConfucius.
Theme3PortraitoftheBodhisattvaGuanyin(left)PurportedlyTangdynasty(618–907),undated.
Woodcutillustration;traditionallyattributedtoWuDaozi(689–759),probablyMing(1368–1644)orQing(1644–1911)dynasty.
Hangingscroll,inkrubbedonpaper,109.
1x54.
9cm.
Dateofrubbingunknown,Qingdynasty.
PortraitofConfucius(right)PurportedlyTangdynasty(618–907),undated.
AttributedtoWuDaozi(689–759).
Hangingscroll,inkrubbedon2joinedsheetsofpaper,194.
0x62.
1cm.
Dateofrubbingunknown.
Thesetwoimagesarerubbings.
Aftertheoriginalpaintingswereexecuted,someonetracedthelinesinawoodcut,thenappliedink,andlaidthepaperontoptocreatearubbing.
WhataretheadvantagesofthismethodWhatarethesimilaritiesinthewaythesetwofiguresarepresentedWhatarethedifferencesinpresentationWhatdoeseachfigureappeartobefeelingPortraitoftheBodhisattvaGuanyin,PortraitofConfuciusTracesofBelief:MakingValuesTangibleThroughWordandImage45Theme3IntroductoryQuestionsDoyoufeeloneortheotherismoreapproachableWhyBothoftheseimagesarethoughtbysometobebythefamousTangpainterWuDaozi,knownforhisuseofdynamic,fluidline.
DoyouthinkoneimagelooksmoredynamicandfluidthantheotherWouldanartistinChinabelikelytopaintbothaConfucianandaBuddhistimage(Seebackgroundessay.
)PortraitoftheBodhisattvaGuanyin,PortraitofConfuciusTracesofBelief:MakingValuesTangibleThroughWordandImage46Theme3Theme3TracesofBelief:MakingValuesTangibleThroughWordandImage47ChineseBeliefSystems:FromPasttoPresentandPresenttoPastGeoffE.
Foy"Beliefsystems"referstohowpeoplethinkandbehave,philosophicallyandreligiously.
KeyChinesepracticesthisessaywillcoverareancestralritesanddivination,theteachingsofthephilosophersConfuciusandLaozi,andBuddhism.
InunderstandingthevariousChinesebeliefsystems,it'simpor-tantnottotaketermsatfacevalue;theword"religion"(zongjiao),forexample,didnotevenexistintheChineselexiconuntilthenineteenthcentury.
AppreciatingthecomplexityofthisrichandenduringcultureiscrucialtounderstandingthebeliefsthathavehelpedtoshapeChina'sbehaviorandhistory.
AncestralRitesandDivination(ShangandZhouDynasties,ca.
1600–256b.
c.
e.
)Twopracticesthatextendfromtheseancientdynastiestothepresentareancestralrites,performedinconjunctionwiththeancestralcult,anddivina-tion.
AlthoughtheyarenotuniquetoChineseculture–RomansandHebrewsalsoreveredtheirancestorsanduseddivinationtodiscerntheworkingsofthesupernaturalworld–bothhaveoutlivedmanyotherbeliefsystems.
Moreover,fortheChinesetoday,thevenerationofthedeadconstitutesameetinggroundforpast,present,andfutureaswellasfordifferentbeliefsystems,suchasConfucianism,Daoism,andBuddhism.
Theancestralcultwasbasedonfivekeypremises.
Firstwasthebeliefthattheworldwasdividedintothreetiers:heaven,earth,andtheunderworld.
Thethreelevels,thoughdistinct,wereviewedasaninterconnectedreality.
Secondwastheimportanceoflineage.
AChinesefamilywasconnectednotonlytotheirfathersandmothersoftherecentpastbutthosefromthedistantpast.
AcommonbeliefofthetimewasthateveryfamilytraceditsorigintoHuangDi(theYellowEmperor),themythologicalprogenitoroftheHanpeople.
Thelineagesystemwasvitalforansweringquestionsaboutoriginandidentity.
Thethirdpremisestatedthatthehumanbodyhadtwosouls:thesoulthatascendsatdeath,thehun,andtheonethatstayswiththecorpse,thepo.
Thehuneventuallybecomesaspirit(shen),whilethepobecomesaghost(gui).
Thetwo-soultheoryconfirmedthemultilayeredrealityinwhichtheChineselived.
BackgroundEssayRitesAsetwayofactingorspeakingduringaceremony.
DivinationThepracticeofpredictingthefutureusingomensorsupernaturalpowers.
Fourthwastheofferingofsacrificestotheircounterpartsinheaventoshowfilialrespect(xiao)andprocurefavorsforthemaintenanceofthemiddlerealm,earth.
Generallysacrifice(ji)referstogiftsofwineandmeattoaspiritthatwasinhumanformoranobjectinnature,suchasamountain,tree,orriver.
Themostimportant–atleasttotheelite–weretheritesper-formedbykingsand,later,emperors.
Providedtheseritualsweredonecorrectly,thekingdomwasassuredofaprosperousyearortheabatementofacalamity,suchasafamine.
Mistakesmightleadtonaturaldisastersandthreatentheruler'sthrone.
Ancestralritesalsowereperformedatthelocalandfamiliallevels.
Itwascommonthen,asitistoday,tofindancestraltemplesandshrinesintownsandvillagesdedicatedtoindividuals,whobecamedeitiesthroughlegendssurroundingtheirlivesanddeaths.
Inmosthomestherewasanaltarforwoodplaquesorpaperwiththenamesofdeceasedrelatives.
Thefifthfeatureoftheancestralcultembodiedtherolesplayedbymediators,suchasshamans(wu)andritualspecialistsorpriests(zhu).
Boththeshamanandtheritualspecialistcouldrecognizethesignsofacosmosinoroutofbalanceandthemethodsrequiredtoensureharmony.
Kingsandmaleheadsoffamiliesalsowereconsideredmediators;however,shamansandpriestshadmoreexpertiseintheartsofdivinationandperformanceofrites,andtheywereoftenrecruitedforservicesatboththeroyalandlocallevels.
Whenministeringtothenewlydeceased,inparticular,shamansandpriestswerecalledupontoperformcertainrituals,includingdivination,toassureproperburialandtreatmentofthehunandposouls.
Divination,theartofusingomensormagicpowerstodiscernmove-mentsinthesupernaturalworld,haslongbeenanimportantdecision-makingtoolfortheChinese.
Whetheritmeansconsultinginscriptionsonanimalbonesortortoiseshells(seetheShangOracleBoneinSection2,TracesofIdeas)duringtheShangandZhouperiodsorusingwoodblockstolearntheresponseofanancestorordeityinmoderntemplesandhomes,negotiat-ingthethreelevelsofheaven,earth,andtheunderworldthroughdivinationconstitutesapointofcontinuityinChinesereligiousculture.
Confucius(Kongzi,or"MasterKong,"ca.
551–479b.
c.
e.
)ConfuciuslivedinChinaduringthelatterhalfoftheZhoudynasty(eleventhcentury–256b.
c.
e.
).
Asaphilosopherandteacher,MasterKonginfluencesfarmorepeopletodaythroughclassicwritings,suchastheAnalects(Lunyu),thanhedidduringhislifetime.
HecreatedaphilosophythatlaterbecameamajorinfluenceintheorganizationofImperialAgeChinaandwasadoptedandmodifiedinothercountriessuchasKorea,Japan,andVietnam.
TracesofBelief:MakingValuesTangibleThroughWordandImage48ChineseBeliefSystems:FromPasttoPresentandPresenttoPastEssayTheme3FilialProperbehaviorforaperson,especiallyasonordaughter.
ShamanApriestorpriestesswhousesmagicforthepurposeofcuringthesick,predictingthefuture,andcontrollingevents.
Confuciusemphasizedprinciplesforself-guidance.
Thekeytoproducingaharmoniouslife,hewrote,isinhowwetreatothers–ourancestors,leaders,parents,spouses,neighbors,andfriends.
Thefoundationforharmoniousrelationshipsisfoundintheprinciplesofren(benevolence),li(ritual/cere-mony,oftenrenderedaspropriety/politeness),shu(reciprocity–"Dountoothersandxiao(filialpiety–showingrespectforone'selders).
TwootherconceptsthatwerepredominantinConfucius'sworldviewwereTian(Heaven)andDao(Way).
Hisheavenrepresentedacelestialpowerconnectedwiththewillofmightyancestors,suchasthewidelyknownYao,Shun,andYü.
TheWay,ontheotherhand,constitutedanaturalpathforhumanity.
WhereasHeavenemphasizedchoice,theWayrequiredayieldingheart-mind(xin);bothwerecrucialforachievingharmonyintheearthlyrealm.
Laozi("OldMaster,"sixthorthirdcenturyb.
c.
e.
)TheconceptofDaoismoreoftenassociatedwiththefigureLaoziandtheclassicDaodeJing(TheBookoftheWayandItsPower)thanwithConfucius.
Itisnotcertainwhethertheywerecontemporaries.
Theirphilosophies,though,areliketwosidesofacoin.
Laoziemphasizedharmo-nywiththeDao–areferenttosomethingthatcannotbenamed–inordertoachievebalanceinlife.
Toassistthisprocess,Laozitaughthisfollowerstheconceptsofnon-action(wuwei)andshadeandlight(yin/yang–primordial,dynamicbalancingofopposites).
Theprincipleofnon-actionmeantthatoneshoulddiscernthenaturalcourseofthingsandcooperatewiththatmovement.
Thus,ifapersonwasgoodatmakingclothes,heorsheshouldn'tbecomeacook.
Theconceptofyin/yangremindedLaozi'sstudentstolookforthebalancingforcesofoppositesandlearnhowtocooperatewithandembodythem.
TheteachingsofLaoziandConfuciuswerenotincorporatedintoareligiousmovementuntiltheHandynasty(206b.
c.
e.
–220c.
e.
).
Theresultwasamixofphilosophyandreligion.
Overthecenturiesthatfol-lowed,bothConfucianism(Rujiao—theteachingsofthescholars)andDaoism(Daojiao—theteachingoftheWay)developedelaborateritualsandsacredwritings.
TothisdaythephilosophiesofLaoziandConfucius,andthereligiousmovementstheirlivesandteachingsinspired,existinvibrantformsinChinese,Korean,Japanese,andVietnamesecultureaswell.
BuddhisminChina(secondcenturyc.
e.
)(Fojiao-theteachingofBuddha,theEnlightenedOne)Buddhism,aculturalsystemofbeliefsandpracticesbasedonprinciplesofcompassionandnon-attachment,originatedinthesixthcenturyb.
c.
e.
inwhatistodayNepal.
ItwasbroughttoChinabyBuddhistmonksfromTracesofBelief:MakingValuesTangibleThroughWordandImage49ChineseBeliefSystems:FromPasttoPresentandPresenttoPastEssayTheme3PrimordialExistingsincethebeginningoftheworld.
IndiaduringthelatterpartoftheHandynasty(ca.
150c.
e.
)andtookoveracenturytobecomeassimilatedintoChineseculture.
OneofthekeyforcesofBuddhism'ssuccesswasDaoism.
TohelptheChinesecomprehendBuddhistconcepts,BuddhistsborrowedideasfromDaoismviatheChineselanguage.
BothBuddhismandDaoismbenefitedfromthisexchange.
Daoistsexpandedtheirideasaboutthecosmosandwaystostructuretheirmonasticorders.
Buddhistsgainedalexiconthatmadeiteasiertoteachtheirtradition.
OvertimeBuddhismbecameapopularforceinthelivesoftheChinese,fromthecommonpeopletotheemperorhimself.
Infact,bythesixthcen-tury,BuddhismrivaledDaoisminpopularityandpoliticalinfluence.
Itwasduringthistime,andoverthecourseofthenextthreecenturies,thatmajorschoolsofChineseBuddhismformed.
Twoschoolsthatretaintheirinflu-encetodayarePureLandBuddhismandChan(Zen)Buddhism.
EveninmainlandChina,wherereligionisoftensuppressedbythegovernment,therearepractitionersofthesetwoschoolsofChineseBuddhism.
BuddhisminChina–asisthecasewithreligiousDaoismandConfucianism–alsounderwentmanychangesthroughoutthecountry'shistoryandwasvariedinitssocialandreligiousmanifestationsandphilo-sophicalbeliefs.
MostscholarsthinkofBuddhismasmanyBuddhisms.
Intheso-calledclassicalperiodofBuddhisminChina(Tangdynasty,618–907c.
e.
),therewereanumberofschoolsofBuddhismthattaughtandpromotedtheirownphilosophiesandmeditationpractices.
TheHuayenandTiantaischools,forinstance,variedinphilosophy,location,andpoliti-calinfluence.
TheteachingsofvariousschoolsinfluencedandwereadaptedbyKoreaandJapan.
OneofthemostpopularfiguresinChineseBuddhismistheBodhisattvaGuanyin(theonewhoperceivesthelamentsoftheworld–Guanshiyin).
HavingoriginatedfromIndianBuddhismasasuperiorbeingwhoaidsthesufferingoftheworld,GuanyinhasbecomeakeyfigureinthedevotionalpracticesofChineseBuddhistsandDaoistsalike.
PopularReligionandSyncretism:ThePresentReachingBacktothePastPopular,orfolk,religiouspracticeinChinatodayhaselementsasoldastheancestralritesoftheShangandZhoudynastiesand,datingfromtheSongdynasty(960–1279c.
e.
),ismarkedbyapropensityforsyncretism–thecombiningofdifferentformsofbelieforpractice.
Agoodexampleistheconstructionoftemplealtars.
It'snotuncommontofindBuddhistandConfucianfiguresinaDaoisttemple.
Norisitextraordinarytoseeaself-professedBuddhistofferincenseataDaoisttempletoahistoricalfigureknownforhisConfucianvirtues.
FormostpeopleinChina,thereisnoproblemwithmixingreligiousTracesofBelief:MakingValuesTangibleThroughWordandImage50ChineseBeliefSystems:FromPasttoPresentandPresenttoPastEssayTheme3practices.
Unlikesomeothercultures,wherereligioussyncretismandeventoleranceareviewedwithskepticismorcondemnation,theChinesehavealwayshadtheabilitytoselectthereligiouspracticesandteachingsthatworkbestforthematthemoment.
Ifacertaindeitydoesn'tanswerasupplicant'spetition,thenit'sontothenexttempleanddeity.
IngeneralreligiouspluralismsimplyaddstothemanyoptionsfromwhichtheChinesecanchooseontheirjourneytowardaharmoniouslife.
GeoffE.
FoyisaPh.
D.
candidateattheGraduateTheologicalUnioninBerkeleyandspecializesinContemporaryChineseReligiousCulture.
Suggestedfurtherreadings:GeneralChineseHistoryCotterell,Arthur.
China:ACulturalHistory.
NewYork:Mentor,1990.
Gernet,Jacques.
AHistoryofChineseCivilization.
Cambridge,England,andNewYork:CambridgeUniversityPress,1982.
ChineseReligionsChing,Julia.
ChineseReligions.
Maryknoll,NY:OrbisBooks,1993.
Wolf,ArthurP.
,ed.
ReligionandRitualinChineseSociety.
Stanford:StanfordUniversityPress,1974.
Confucianism(InadditiontotheConfucianclassics,e.
g.
,TheAnalects,etc.
)Tu,Wei-ming.
CentralityandCommonality:AnEssayonConfucianReligiousness.
Albany:StateUniversityofNewYorkPress,1989.
Wu,Pei-yu.
TheConfucian'sProgress:AutobiographicalWritingsinTraditionalChina.
Princeton,NewJersey:PrincetonUniversityPress,1990.
Daoism(inadditiontotheclassicsDaoDeJingandthewritingsofZhuangzi)Saso,Michael.
BlueDragon,WhiteDragon:TaoistRitesofPassage.
Washington,D.
C.
:TheTaoistCenter,1990.
BuddhismCh'en,Kenneth.
BuddhisminChina:AHistoricalSurvey.
Princeton:PrincetonUniversityPress,1964.
Kitagawa,JosephM.
andMarkD.
Cummings,eds.
BuddhismandAsianHistory(Religion,History,andCulture:ReadingsfromtheEncyclopediaofReligion).
NewYork:MacmillanPublishingCompany,1987.
TracesofBelief:MakingValuesTangibleThroughWordandImage51ChineseBeliefSystems:FromPasttoPresentandPresenttoPastEssayTheme3SupplicantApersonwhopraystoadeity.
Theme3TracesofBelief:MakingValuesTangibleThroughWordandImage52ThePoweroftheImageStudentsexamineanimageofcompassionintheBuddhisttradition,analyz-ingcomponentsoftheconcept,thenproducetheirownimageofcompas-sionthroughart.
3–8HowdosymbolsfunctioninanimageWhyisknowledgeofaculture'ssymboliclanguageimportanttounder-standinganimageHowareabstractideasshowninvisualimagesSocialStudiesWorldHistoryStudyingaboutdifferentworldculturesandcivilizations,focusingontheiraccomplishments,contributions,values,beliefs,andtraditionsExploringthelifestyles,beliefs,traditions,rulesandlaws,andsocial/cultur-alneedsandwantsofpeopleduringdifferentperiodsinhistoryandindif-ferentpartsoftheworldViewinghistoriceventsthroughtheeyesofthosewhowerethere,asshownintheirart,writing,music,andartifactsVisualArtsChoosingandevaluatingarangeofsubjectmatters,symbols,andideasUnderstandingthevisualartsinrelationtohistoryandculturesOneclassperiodPhotocopiesofthePortraitoftheBodhisattvaGuanyinandIntroductoryQuestionsfromthebeginningofthissectionortheVisibleTracesposterPhotocopiesoftheIconographyforthePortraitoftheBodhisattvaGuanyinhandoutColoredmarkers/coloredpencils/crayonsSculptingclayPaperStudents'verbalresponses;illustrationActivity3.
1PerformanceObjectivesGradeLevelEssentialQuestionsStandardsTimeRequiredMaterialsAssessmentPiece1.
ManyobjectsinVisibleTracesrepresentthetransmissionofideasthroughawrittenlanguage.
Abodhisattvaisonewhohasachievedenlight-enmentbutchoosestodelaytherewardsofnirvana,inordertohelpothersachievetheirownenlightenment.
DistributephotocopiesofthePortraitoftheBodhisattvaGuanyinanddiscusstheIntroductoryQuestions.
ThisportraitofGuanyin,thebodhisattvaassociatedwithcompassionandmercy,offersavividexampleofhowideasanddoctrinesarecommunicatedandsharedthroughimages.
Continuethedialoguewithstudentsbyaskingthemhowtheconceptofcompassionisrepresentedinthisrubbing.
Pointoutthatthisisnotafixedrepresentationofthegoddess.
Itisbelievedthatthereareasmanyasthirty-threedifferentimagesofGuanyin—bothmaleandfemale,youngandold—inChineseiconography.
2.
Asaclass,makealistontheblackboardoffeaturesthatstudentsseeintheimage.
(plants,waves,achild,circlesbehindtheheadsofGuanyinandthechild,andsoforth)Explainthatinart,somefeaturesareuniversal,meaningthattheycanbereadilyunderstoodbyanyone,whereasothersarespecifictoaparticularculture.
3.
DistributetheIconographyforthePortraitoftheBodhisattvaGuanyinhandoutandseeif,knowingthepropertiesofsomeofthesymbolsintheimageofGuanyin,studentscanguesstheirmeaning.
4.
Howwouldstudentsdepictanabstractnotion,suchascompassion,free-dom,orstabilityinanimageAskstudentstoincludesymbolsfromtheirownexperience.
Providematerialsforcreatingdrawingsorsculptures.
5.
Displaytheartworksanddiscussthesymbolismandtreatmentofabstractconcepts.
ThePoweroftheImageAcitivity3.
1TracesofBelief:MakingValuesTangibleThroughWordandImage53Theme3ProcedureIconographyforthePortraitoftheBodhisattvaGuanyinInBuddhism,abodhisattvaisonewhohasattainedenlightenmentbutchoosestodelaytherewardsofnirvana.
Instead,heorshehelpsordinarypeoplereachenlightenmentmoreeasilyandquickly.
Thewiseandcompas-sionatebodhisattvaknownasAvalokitesvarainSanskrit,andGuanyininChina,wasfrequentlyprayedtoforassistance.
Iconographyisthereadingofsymbolsinapaintingorsculpture.
BeanartdetectiveandusethecluesbelowtoreadthepictureofGuanyin.
Bamboo:Bamboohashollowstalks,whichallowittobendandendureheavywinds.
ItisasymbolcommonlyusedinChinesepainting.
Givenitsproperties,whatmightbamboosymbolizeGuanyinfloatingonwater:Guanyinisstandingonalotusleaf.
Rootedatthebottomofapond,thelotussurfacesonmuddywatertoflower.
ItisanimportantsymbolinBuddhism.
HowmightitbeinterpretedThechildnexttoGuanyin:HeistheboypilgrimSudhana(ShancaiinChinese).
AccordingtotheGarlandSutra,Sudhanavisitsfifty-threeteacherstolearnabouttheteachingsofBuddhism.
Guanyinisthetwenty-eighth.
WhyisheprominentinthisimageTracesofBelief:MakingValuesTangibleThroughWordandImage54Theme3HandoutEnlightenmentTheultimatewisdomattainedinBuddhism.
NirvanaTheBuddhisttermfortheultimatereleasefromearthlydesires,andtheattainmentofdisinterestedcompassionandwisdom.
ThecirclesbehindtheheadsofGuanyinandSudhana:Thesearemandalas.
MandalaisaSanskrit(anancientIndiclanguagethatistheclassicallanguageofIndia)wordthatliterallymeans"circle.
"InBuddhismitsigni-fiesmeditationthroughwhichenlightenmentisoftenachieved.
InsomeschoolsofBuddhism,onecanachieveenlightenmentquicklybyappealingtoabodhisattva.
WhymightGuanyinandSudhanahavemandalasbehindtheirheadsWhatotherculturesdepictreligiousfigureswithcirclesbehindtheirheadsWhatabouttheserepresentationsandtheirsymbolismissimilartothemandalasinthisimageWhatisdifferentThenotionofcompassion:Guanyinisassociatedwithcompassion.
HowiscompassionconveyedinthisimageIconographyforthePortraitoftheBodhisattvaGuanyinHandoutTracesofBelief:MakingValuesTangibleThroughWordandImage55Theme3Theme3TracesofBelief:MakingValuesTangibleThroughWordandImage56ASageofChinaStudentsread,analyze,andparaphrasetranslationsfromTheAnalectsasameansofunderstandingkeyelementsofConfucianism.
6–89–12WhatdothesayingsattributedtoConfuciustellusaboutthevaluesinherentinConfucianismInthesesayings,whatisspecifictoZhouChinaandwhatisuniversalSocialStudiesWorldHistoryExplainingtheimportanceofanalyzingnarrativesdrawnfromdifferenttimesandplacestounderstandhistoricaleventsInvestigatingkeyeventsanddevelopmentsandmajorturningpointsinworldhistorytoidentifythefactorsthatbroughtthemaboutaswellastheirlong-termeffectsExaminingthesocial/cultural,political,economic,andreligiousnormsandvaluesofWesternandotherworldculturesInterpretingandanalyzingdocumentsandartifactsrelatedtosignificantdevelopmentsandeventsinworldhistoryCivics,Citizenship,andGovernmentAnalyzinghowthevaluesofanationandinternationalorganizationsaffecttheguaranteeofhumanrightsandprovideforhumanneedsLanguageArtsLanguageforCriticalAnalysisandEvaluationAnalyzingoralandwrittentextsintermsoftheevidence,attitudes,andassumptionstheyconvey,identifying,forexample,significantideas,whetherstated,implied,oromitted,andmeansofemphasizingparticularinterpretationsApproachingwithusefullinguisticandinterpretivestrategiesthereadingoftextsacrosstopicareas—includingthosethataredenselywrittenorvisu-allyforbidding.
Activity3.
2PerformanceObjectivesGradeLevelVariationGradeLevelEssentialQuestionsStandardsOneclassperiodforworkwithhandout;writingassignmentsmayrequireoneclassperiodofeditingandrevisingroughdrafts,andafinalclassperiodwillbeneededtosharepapersSayingsofConfuciushandoutWritingmaterialsforessayPhotocopiesofthePortraitofConfuciusandIntroductoryQuestionsfromthebeginningofthissectionortheVisibleTracesposter.
BoardandchalktorecordtranslationsColoredmarkersPaperbanners(cutstandard81/2x11sheetsofpaperinhalflengthwise;tapetogether,endtoend,tocreatebanners)Tape1.
NodoubtstudentshaveheardofConfuciusandhiswisesayings.
CanvasstheclassfortypicalphrasesattributedtoConfucius.
2.
HavestudentsreadtheSayingsofConfuciushandout.
3.
Havestudentsworkindividuallyorinpairs,totranslatethephrasesintotheirownwordsorworkthroughthesayingsasaclass,recordinginterpretationsontheboardastheyaregiven.
4.
Discussstudents'interpretationsandhowtheythinkConfucius'sphilosophiesapplytolifetoday.
5.
Havestudentsmakebannersorbumperstickersofasayingintheirownwords.
6.
LookingatthePortraitofConfucius,discusswiththeclasstheIntroductoryQuestions.
FurtherdiscussthefollowinginrelationtothePortraitofConfuciusbyaskingstudentsthefollowingquestions:WhatisConfuciuswearinginthisportraitIshecharacterizedasparticularlyhandsomeDoeshelookproudorhumbleWhyDoesthisrepresentationseemtoembodytheideaofwisdomWhyHavestudentsgenerateafableleadingtoamoralthathighlightsoneofthesayingsonthehandout.
Sharefableswiththeclass,emphasizingtheele-mentsofConfucianismreflectedtherein.
AskstudentstodofurtherresearchonthesayingsofConfuciusandchooseonetowriteaboutinapositionpaper.
Studentsshoulddefendthestate-menttheywriteaboutandusespecificexamplestosupporttheirposition.
Confuciushadagreatdealtosayaboutboththerightsandresponsibilitiesofindividualsandsociety.
YoumaychoosetonarrowthepapertopicbyassigningananalysisofhumanrightsaccordingtoConfucius.
ASageofChinaAcitivity3.
2TracesofBelief:MakingValuesTangibleThroughWordandImage57Theme3TimeRequiredMaterialsProcedureExtensionVariationforGrades9–12SayingsofConfucius5:5Wealthandrankarewhatmendesire,butunlesstheybeobtainedintherightwaytheymaynotbepossessed.
Povertyandobscurityarewhatmendetest;butunlessprosperitybebroughtaboutintherightway,theyarenottobeabandoned.
Ifamanofhonorforsakesvirtuehowishetoful-filtheobligationsofhisnameAmanofhonorneverdisregardsvirtue,evenforthespaceofasinglemeal.
Inmomentsofhastehecleavestoit;insea-sonsofperilhecleavestoit.
5:11WhatIdonotwishotherstodotome,thatalsoIwishnottodotothem.
15:20Thenoblemanseekswhathewantsinhimself;theinferiormanseeksitfromothers.
11:11Whilestillunabletodoyourdutytotheliving,howcanyoudoyourdutytothedeadNotyetunderstandinglife,howcanyouunderstanddeath2:15Learningwithoutthinkingisuseless.
Thinkingwithoutlearningisdangerous.
2:17ShallIteachyouthemeaningofknowledgeWhenyouknowathingtorecognizethatyouknowit;andwhenyoudonot,toknowthatyoudonotknow—thatisknowledge.
15:38Inteachingthereshouldbenoclassdistinctions.
Confucius.
TheAnalects.
TranslatedbyWilliamEdwardSoothill.
NewYork:DoverPublications,Inc.
,1995.
TracesofBelief:MakingValuesTangibleThroughWordandImage58Theme3HandoutSourceNote:NumbersindicatechapterandversewherethesayingisfoundinTheAnalects.
Theme4TracesofIdentity:ReectingDiversityThroughLanguageandWriting59TracesofIdentity:ReflectingDiversityThroughLanguageandWritingMulticulturalismisnotanewphenomenon.
Eversincethefirstcitiesandkingdoms,diversepeopleshavetriedtocommunicatewithoneanother,andleadershavehadtofigureoutwaystointegratethem.
Onestrategyistoestablishacommonlanguage.
Anotheristouseseveraldifferentlanguages.
Chineseencompassessevendifferentlanguagesandnumerousdialects.
Thesystemofwriting,usingcharactersratherthanletters,providedameansofcommunicationforliteratepeoplethroughoutthecountry.
YetChinaalsoencompassesnon-HanpeopleswhospeaklanguagesthatarefundamentallydifferentfromChinese.
Languagehasbecomeawayofexertingpowerandsolidifyingagroup'sidentity.
ThevisualsintroducedinTracesofIdentityshowhowlanguagereflectsandevenplaysanactiveroleindiversity.
TheyalsoreinforcetheideaofChina'sethnicdiversitybecausefourdifferentscriptsareused.
Theback-groundessay,"EthnicMinoritiesinChina,"introducesfourdifferentminoritiesinChina:theMongols,Tibetans,Manchus,andNaxi.
Thefirstactivity,DiscoveringPictographs,exploresthepictographicwritingsystemoftheNaxiandshowshowthisuniquewritingsystemhelpstomaintainthegroup'sidentity.
Thesecondactivity,ExploringMultipleLanguageUse,looksatthereasonsforandeffectsofmultiplelanguageuse.
Theme4AnnalsofCreationinPictographicScriptwithAccompanyingTranslationinChinesePeople'sRepublic(1949–present),dated1950.
Manuscriptof18doubleleaves,inkandcoloronpaper;eachleafapproximately20.
1x28.
0cm.
Naxipictographicscriptonupperregisterofeachleaf.
Chinesetranslationonlowerregister.
Thistextwaswrittenin1950bytheNaxiinsouthwesternChina.
Therearefewerthan300,000Naxipeople,mostlivinginYunnanprovinceinsouth-westernChina.
Fromtheeleventhtothirteenthcenturies,theydominatedtheregion.
However,whentheMongolarmiesarrivedin1253,theNaxiwerequicktosubmittotheirauthority.
Fromthattimeonward,theyruledsouthwesternChinaonbehalfofwhateverimperialdynastywasinpowerinBeijing.
Naxireligiousleaders,calledDongba,havelongusedauniqueformofpicturewritingtorecordthestoriesandmythscentraltotheirreligiousteachings.
Thisscript,knownasDongbawritingandsaidtohavebeeninventedbyKingMoubaoAzonginthethirteenthcentury,ismadeupoftinystylizeddrawingsofpeople,animals,andplantsrepresentingconceptsinsteadofsoundsorwords.
AsystemofRomanlettersrecentlyhasbeendevelopedfortheNaxilanguage,providingamoreefficientmethodofwrit-ing.
However,theDongbascriptcontinuestobeapowerfulsymbolofNaxiethnicity.
AnnalsofCreationinPictographicScriptwithAccompanyingTranslationinChineseTracesofIdentity:ReectingDiversityThroughLanguageandWriting60Theme4WhichwritingwouldyouguessispictographicWhyCanyouguesswhatsomeofthepictographsmightstandforTheNaxiaretheonlypeoplewhocurrentlyuseapictographicscript.
WhydoyouthinkmostpeopledonotWhatmightbetheadvantagesofapictographicscriptThistextistheAnnalsofCreation,oneoftheNaxi'sthreegreatepicpoemsthatexplaintheoriginsoftheworldandtheNaxipeople.
WhymighttheNaxifeelstronglyaboutusingpictographicDongbascriptforthisThisdocumentisalsotranslatedintoChinese.
WhymightthisbePortraitoftheBodhisattvaGuanyin,PortraitofConfuciusTracesofIdentity:ReectingDiversityThroughLanguageandWriting61Theme4IntroductoryQuestionsPalaceMemorialinManchuandChineseScriptsQingdynasty(1644–1911),Qianlongperiod(1736–1795),dated1760.
ComposedbyZhuangYougong(jinshiof1739;d.
1767).
Documentwith21accordion-stylefolds;overalldimensionsofdocumentcompletelyunfolded,23.
5x247.
8cm;eachleafapprox.
23.
5x11.
8cm.
ChinawasinvadedbytheManchus,whoestablishedtheQingdynastyin1644.
Theirrulelasteduntil1911.
AmongthereasonsforthesuccessoftheManchugovernmentwereitsadoptionofmanyoftheChinesesystemsofgovernmentandadministrationandemploymentofmanyChineseascivilservantsinthegovernment.
WoulditbeusefultohaveofficialdocumentsinChinese,Manchu,orbothWoulditsometimesbeadvantageoustouseonlyManchuWhyPalaceMemorialinManchuandChineseScriptsTracesofIdentity:ReectingDiversityThroughLanguageandWriting62Theme4IntroductoryQuestionsTheme4TracesofIdentity:ReectingDiversityThroughLanguageandWriting63EthnicMinoritiesinChina:TheMongols,Tibetans,Manchus,andNaxiKeithDedeChinaisacountryofimmensediversityinterrain,climate,andespeciallypeople.
Thereare56ofciallyrecognizedethnicgroups.
ThelargestistheHanChinese,numbering900million,whoresideineveryregionofthecountry.
ThesmallestgroupistheHezhen,livinginthefarnortheast,withfewerthan2,000people.
Thisessayintroducesfourgroups—Mongols,Tibetans,theManchus,andtheNaxi—whosewritingsareintheBeijingNationalLibrary.
ItisimportanttonotethatChina,likemanyplacesintheworld,faceschallengesabouthowtoreconcilenationalborderswithethnicones.
PreciselywhenandhowregionssuchasMongoliaandTibetcametobepartofChinaarepointsthataredisputedbygroupsbothwithinandoutsideofChina.
Theargumentssurroundingthesedebatesareverycom-plex,withgroupsinvokinghistoryindifferentwaystolegitimizetheiropposingstances.
MongolsWesternimagesofMongolsoftendepicthorse-ridingnomads,livinginyurts,ortents,andfollowingtheirherdsofsheep,horses,andcattleoverthegrassyplainsofcentralAsia.
LiketheAmericancowboy,Mongolsembodythepastoralimageoffree-spiritedpeoplelivinginharmonywiththeirani-malsandtheenvironment.
Thereisagrainoftruthtothisstereotype.
SomeMongolpeoplemaketheirlivingtendingherdsofanimalsandmovingwiththeseasons,apracticeknownasnomadicpastoralism.
However,thisimagedoesnotcapturethediversityfoundamongMongolpeople.
Therearesedentaryfarmersraisingcorn,wheat,oats,chickens,andpigs.
StillotherMongolpeoplecombineaspectsofnomadicpastoralismwithsedentaryagri-culture.
Onefamilymaydividethetasksamongdifferentmembers,withsomemovingtothesteppesandtendingthefamilyherds,whileothersstayonthefarmtoraisecrops.
TherearealsoMongoldoctors,lawyers,politi-cians,andprofessors.
SomeMongolsliveinlargecities,tradinginstocksandbondsoninternationalmarketsanddesigningWebpages.
InshortMongolsareasvariedasanypeoplesintheworldtoday.
TherearethreeprimarymeansofdeterminingMongolidentity.
Theyarehistory,language(writtenandspoken),andreligion.
Startingin1206c.
e.
,BackgroundEssayYurtAcirculardomedtentofskinsorfeltstretchedoveraframethatcanbecollapsed.
PastoralArurallife,usuallyassociatedwithpeopleraisinganimals.
Itisoftenusedtomeanacalmlife,incontrasttothebustlinglifeofacity.
SedentaryStayinginoneplace.
SteppesAlargeareaoflandthatisusuallyflat,dryandtreeless.
ledbythegreatChingisKhan,MongolarmiesspreadoutoverAsia.
By1275,underChingis'sgrandson,KhubilaiKhan,theMongolshadestab-lishedthelargestland-basedempireinthehistoryoftheworld,stretchingfromKoreatosouthernChina,throughcentralAsiaandwhatisnowRussia.
MongolrulewasestablishedinPersia(todayIran),and,forabrieftime,MongolarmiesoccupiedpartsofEasternEurope,nearwhatisnowPolandandHungary.
AsthisempireexpandedfromitscoreareainMongolia,itstationedarmiesinvariousplacesthroughoutAsia.
ThedescendantsofthoseforcesnowresideasfarsouthasYunnan(insouthwesternChina),asfarnorthasLakeBaikalinRussia(theBuriats),asfarwestassouthwesternRussia(theKalmyks),Afghanistan(theMoghols)andXinjiang(theOirats),andofcourse,intheInnerMongolianAutonomousRegioninChinaandMongolia.
Thoughthesegroupslivethousandsofmilesapart,thereisrecog-nitionofacommonheritagegoingbacktothethirteenthcentury.
Acom-monlanguagealsounitesMongols.
AllspeakMongolian,withminorlin-guisticdifferences,andusethesameuniquescript.
Writtenfromtoptobot-tom,lefttoright,thescriptwasadaptedinthethirteenthcenturyfromtheUighurscript,whentheexpandingMongolEmpireneededameanstocommunicate.
ThePeople'sRepublicofMongolia,whatisnowknownasMongolia,usedtheCyrallicalphabettowritetheMongolianlanguagewhilethecountrywasundertheinuenceoftheSovietUnion.
Inrecenttimes,however,attemptshavebeenmadetoreintroducethetraditionalscript.
ReligionisanotherunifyingforceforMongolsociety.
Shortlyaftercon-queringmostofAsiainthetwelfthandthirteenthcenturies,MongolswereintroducedtoBuddhism,particularlyTibetanBuddhism.
Monasterieswereestablishedtoservethereligiousneedsoftheircommunities,andtothisday,BuddhistmonasteriesinMongolcommunitiescontinuetoteachtheholyscripturesbymeansoftheMongolscript.
Forthe3.
5millionMongolslivinginChinatoday,thereismuchintheirculturewithwhichtoidentify.
History,language,andreligioninteractwithotherculturalpractices,suchasmusicandart,toformarichtapestry.
TibetansLikeMongolia,Tibetwasthecenterofavastempire.
Beginninginthesev-enthcentury,Tibetanarmiesmovednorth,east,andwestfromtheareaaroundtheYaluRiverintheregionnearpresent-dayLhasa.
Withinafewdecades,theyhadconqueredmuchofcentralAsia,includingtheimportantroutesthroughXinjiangusedbyChinatotradewithWesternneighbors.
IntheeighthcenturytheTibetanEmpirewasthemostfearedpoliticalpowerinAsia.
Forashortperiodin755,TibetansevencapturedChang'an,thenTracesofIdentity:ReectingDiversityThroughLanguageandWriting64EthnicMinoritiesinChina:TheMongols,Tibetans,Manchus,andNaxiEssaySutraoftheGoldenRadienceoftheMostVictoriousKingsinMongolianScriptQingdynasty(1644–1911C.
E.
),undated,ca.
18thcentury.
TraslatedfromtheTibetanbySesrabSenge(14thcentury)duringtheYuandynasty(1270–1368C.
E.
).
151foliosbetweentopandbottomcarvedwoodsutracovers,andbetweentopandbottomcarvedwoodcovers,approximately17.
0x63.
7x13.
7cm.
Theme4thecapitalofChina,chasingtheChineseemperorandhiscourtfromthecity.
InternaldisputeseventuallydividedtheTibetanEmpireandthecourt'sauthoritygavewaytolocalleaders.
However,therearelastinglegaciesofthisimperialperiod.
Oneislanguage.
InmodernChinatherearethreedialectgroups,allcloselyrelatedtooneanotheranddescendedfromthelanguageoftheempire'sarmies.
TherstisCentralTibetan,spokenaroundLhasa,inanareanowcalledtheTibetanAutonomousRegion(tar).
ThesecondisKhams,spokeneastofthetarinSichuan,Yunnan,andinsomepartsofQinghai.
ThethirddialectgroupisAmdo,spokennorthofthetar,inQinghai,Sichuan,andGansuprovinces.
TibetanlanguagesarealsospokeninNepal,Bhutan,andIndia.
Alloftheselinguisticvarietiesusethesamewrittenlanguage,whichisbasedonanalphabetinventedinTibetduringthereignofSrongbstanSgampo(627–650).
AnotherlastinglegacyofimperialTibetisBuddhism.
TherstTibetanemperorsinvitedBuddhistmonksfromIndiaandChinatoteachthereli-giontocourtiersandaristocrats.
TheemperorsalsosentlearnedmentoIndiaandChinatogatherBuddhistscripturesandtranslatethemintoTibetan.
TheteachingsofBuddhismtookrmroot,quicklypermeatingTibetansociety.
BuddhismcametoourishinTibetasithadnowhereelse.
OnedifferenceintheBuddhismofTibetistheimportanceofthelama,orteacher,withwhoseassistancethedisciplewillreachspiritualenlighten-ment.
Therefore,TibetanBuddhismissometimesreferredtoasLamaism.
MonasteriesplayakeyroleinTibetansociety.
Ascentersofreligion,theynotonlyministertothespiritualneedsoftheirlaycommunitiesbutalsopreserveandpropagatereligiousandscholarlytraditions.
InthecaseofTibet,withawrittenhistoryofoverthirteenthousandsyearsandthousandsofreligioustexts,thescholarlytraditionisofgreatsignicance.
InrecenttimesTibet'speopleandtheirculturehavegainedincreasingattentionastheywrestlewiththeproblemofndingapoliticalspaceintherapidlychangingmodernworld.
ThereisconcernoverwhetherthenearlyfourmillionTibetanslivinginChinatodaywillbeabletoholdontotheirheritageandallowittoproliferateinthefuture.
TheManchusTheManchusofferacautionaryexampleoftheimportanceoflanguageasameansofpreservingapeople'sheritage.
Whilearound4.
2millionManchusliveinChinatoday,it'sestimatedthatonlyaround50individualsstillspeakthelanguage.
ThevastmajorityspeakandwriteChinese.
WiththenearextinctionoftheManchulanguage,agreatdealofculturehasbeenlost.
TheManchushaveaproudhistory.
In1644theyoverrantheMingdynasty,whichhadruledChinafornearlythreehundredyears.
ManchuTracesofIdentity:ReectingDiversityThroughLanguageandWriting65EthnicMinoritiesinChina:TheMongols,Tibetans,Manchus,andNaxiEssayTheme4ThreeHundredIconsofTibetanLamaismQingdynasty(1644–1911C.
E.
),Qianlongperiod(1736–1795),undatedAttributedtoLcan-skyaQutytuRol-p'ai-rdo-rje(1717-1786)110folios,eachwithperfora-tionsalongtopedgeforbindingwithstring,approximately9.
0armiesthengainedcontrolofpresent-dayMongolia,Xinjiang,andTibet.
TheManchusestablishedadynasty,calledtheQing,whichruledmuchlikeaChinesedynasty,withanextensivemilitaryandcivilianbureaucracy.
However,theirempireincludedlandsthatnoChinesedynastyhadevercontrolled.
Bytheeighteenthcentury,theQingdynastywasthelargest,richest,andmostpowerfulempireinAsiaand,possibly,theworld.
FromthebeginningthereweresignsthattherelativelysmallgroupofManchuswhowerenowrulersofChinawouldbegreatlychangedbytheexperienceofgoverningsuchavastland.
Originally,theylookedtoshamans—individualswhohadaspecialrelationshipwiththenaturalworld—forreligiousguidance.
Throughtrances,shamanscommunedwithspiritswhoprovidedthemwithpowerstohealthesick,ridanareaofevilspirits,orseethefuture.
OvertimethispracticelargelygavewaytoBuddhism,Daoism,andtheotherreligioustraditions.
Similarly,Manchulanguagegraduallylostitsplace.
AtthebeginningoftheQingdynasty,Manchuwasusedforallwrittendocumentsatcourt.
ThewritingsystemwasmodiedfromtheMongolianalphabettottheneedsoftheManchulanguage.
ManyoftheearliestscribesfortheManchurulerswere,infact,Mongolianshiredfortheirabilitytowrite.
OvertimeitbecamecourtpolicythatalldocumentsshouldbewritteninbothManchuandChinese.
EventuallyfewerManchulearnedtowritetheirownlanguage.
TheemperorQianlong,whoruledfrom1736to1796,repeatedlyorderedhiscourtierstolearnManchu,suggestingthatmanywereusingChineseexclusively.
Bythedynasty'send,in1911,eventheemperorcouldnotreadorwritetheManchulanguageandprobablydidnotspeakiteither.
(SeethePalaceMemorialinManchuandChineseScriptsatthebeginningofthissection.
)TheNaxiTherearefewerthan300,000Naxipeople,mostlivinginYunnanprovinceinChina'ssouthwest.
UnliketheMongols,Tibetans,andManchus,theNaxiwereneverapoliticalforceofinternationalimportance.
Fromtheeleventhtothirteenthcenturies,theywerearegionallydominantpeople.
However,whentheMongolarmiesarrivedin1253,theNaxiwerequicktosubmittotheirauthority.
Fromthattimeonward,theyruledsouthwestChinaonbehalfofwhateverimperialdynastywasinpowerinBeijing,fromtheYuandynasty,throughtheMingandQingdynasties.
TodaytheNaximostlyoccupyhighmountainvalleysandthefoothillstotheHimalayanplateau.
Althoughitisatropicalregion,thealtitudemakestheseasonsgenerallymild.
MostNaxiarefarmers,growinggrainandvegetablesinthevalleys.
Sometendlivestock,suchasyaks,goats,andsheep,TracesofIdentity:ReectingDiversityThroughLanguageandWriting66EthnicMinoritiesinChina:TheMongols,Tibetans,Manchus,andNaxiEssayTheme4inthemountaingrasslands.
ThemostimportanturbancenterofNaxicul-tureisLijiang,amid-sizedtownthatishometobusinesspeople,doctors,andartists.
TheNaxilanguageisdistantlyrelatedtotheTibetanlanguage.
Naxireligiousleaders,calledDongba,havelongusedauniqueformofpic-turewritingtorecordthestoriesandmythsthatarecentraltotheirreligiousteachings.
This"script"isknownasDongbawriting.
AsystemofRomanlettershasrecentlybeendevelopedforwritingtheNaxilanguage,providingamoreefcientmethod.
However,theDongbascriptcontinuestobeapowerfulsymbolofNaxiethnicity.
(SeetheAnnalsofCreationinDongbaScriptatthebeginningofthissection.
)KeithDedeisalecturerintheChineseLanguageattheUniversityofWashington.
HisresearchinterestsincludetherelationshipoftheChineselan-guagetothelanguagesofChina'sethnicminorities.
TracesofIdentity:ReectingDiversityThroughLanguageandWriting67EthnicMinoritiesinChina:TheMongols,Tibetans,Manchus,andNaxiEssayTheme4YakAwildortameoxthathaslonghair.
ItisnativetoTibetandsurroundingareasofcentralAsia.
Theme4TracesofIdentity:ReflectingDiversityThroughLanguageandWriting68DiscoveringPictographsLanguagecanbeawindowthroughwhichculturalidentitycanbeglimpsed.
Itcanplayakeyroleindeningandmaintainingculturalidentity.
StudentswillusetheNaxipictographicscripttogenerateandtranslatesto-ries,exploringtheadvantages,challenges,anduniquequalitiesofthiswrit-ingsystem.
K–12(easilyadaptabletoall)WhatroledoeslanguageplayinrelationtoculturalidentityHowdoesthelanguageoftheNaxireecttheircomplexhistoryasagroupSocialStudiesWorldHistoryKnowingthesocialandeconomiccharacteristics,suchascustoms,traditions,child-rearingpractices,waysofmakingaliving,educationandsocializationpractices,genderroles,roots,andreligiousandspiritualbeliefs,thatdistinguishdifferentculturesandcivilizationsKnowingsomeimportanthistoriceventsanddevelopmentsofpastcivilizationsInterpretingandanalyzingdocumentsandartifactsrelatedtosignicantdevelopmentsandeventsinworldhistoryInvestigatingtherolesandcontributionsofindividualsandgroupsinrelationtokeysocial,political,cultural,andreligiouspracticesspanningworldhistoryViewinghistorythroughtheeyesofthosewhowitnessedkeyeventsanddevelopmentsbyanalyzingtheirliterature,diaryaccounts,letters,artifacts,art,music,architecturaldrawings,andotherdocumentsInvestigatingimportanteventsanddevelopmentsinworldhistorybypos-inganalyticalquestions,selectingrelevantdata,distinguishingfactfromopinion,hypothesizingcause-and-effectrelationships,testinghypotheses,andformingconclusionsLanguageArtsLanguageforInformationandUnderstandingListeningtoorreadinganaccountofhowsomethingisdoneandthenincorporatingthosetechniquesintotheirownworkFollowingdirectionsthatinvolveaseriesofactionsActivity4.
1PerformanceObjectivesGradeLevelEssentialQuestionsStandardsLanguageforSocialInteractionListeningattentivelytoothersandbuildingontheirideasinconversationsofgeneralinteresttopeersandadultsExpressingtheirideasandconcernsclearlyandrespectfullyinconversa-tionsandgroupdiscussionsOneclassperiodtoreviewartifactsandwritestories;oneclasstoshareanddiscussPhotocopiesofDongbaTextsoftheNaxiPeopleandIntroductoryQuestionsatthebeginningofthissectionortheVisibleTracesposterPaperandwritingmaterials(pencilsand/orcoloredpencils)Pictographicstories,translations,oralpresentations1.
ReviewDongbatexts,handingoutphotocopiesofDongbaTextsoftheNaxiPeople.
DiscusstheIntroductoryQuestionsasaclass.
2.
Havestudentsworkindividuallyorinpairstogenerateaone-pagestoryusingpictographsoftheirowndesign.
3.
Whenstudentshavecompletedtheirstories,havethemexchangepicto-graphrenditionsandofferatranslationofeachothers'stories.
4.
Returnpictographstotheirowners.
Presentthestoriesandhavethetranslatorsdescribetheirinterpretations.
5.
Asaclass,discussthefollowingquestions:WhatweretheadvantagesofwritinginpictographsWhatwerethechallengesandlimitationsWerethetranslatorscorrectIftheyhadbeenlookingataphonetic-basedlanguage,wouldtheyhavebeenmoreorlesscorrectwithoutknowledgeofthesystemHowmighttheuseofthiskindofwritingsystembeimportantasameansofidentifyingapeopleHowdoesthiskindofwritingsysteminuencethewaypeopleshareideasUsingpictographs,olderstudentsmightmakejournalentriesforseveraldaystofurtherexploretheiradvantagesandlimitations.
HavestudentscompareNaxipictographstosignsusedtocommunicatesto-riesofrulers,gods,andhistoricaleventsinothercultures,suchasEgyptianhieroglyphics.
HowarethesignssimilarHowaretheydifferentDiscoveringPictographsActivity4.
1TracesofIdentity:ReflectingDiversityThroughLanguageandWriting69Theme4TimeRequiredMaterialsAssessmentPieceProcedureExtensionsTheme4TracesofIdentity:ReflectingDiversityThroughLanguageandWriting70ExploringMultipleLanguageUseStudentswillexplorethereasonsthatgovernmentdocumentswerewritteninbothManchuandChineseduringtheQingdynasty(1644–1919).
Theywillalsoexaminereasonsthatmultiplelanguagesareusedintheirownenvi-ronments.
Further,theywillconsidertheconsequencesofunderstandingandcontrollingaculture'slanguage.
K–12(easilyadaptabletoall)HowdidtheManchususebilingualismtocontrolChinaHowandwhyisbilingualismpracticedtodaybydifferentculturesHowandwhyaresymbolssometimesusedtoreplaceanalphabet-basedwritingsystemSocialStudiesWorldHistoryDeningcultureandcivilization,explaininghowtheydevelopedandchangedovertimeInvestigatingthevariouscomponentsofculturesandcivilizations,includ-ingsocialcustoms,norms,values,andtraditions;politicalsystems;economicsystems;religionsandspiritualbeliefs;andsocializationoreducationpracticesKnowingthesocialandeconomiccharacteristics,suchascustoms,traditions,child-rearingpractices,waysofmakingaliving,educationandsocializationpractices,genderroles,roots,andreligiousandspiritualbeliefs,thatdistinguishdifferentculturesandcivilizationsKnowingimportanthistoriceventsanddevelopmentsofpastcivilizationsInterpretingandanalyzingdocumentsandartifactsrelatedtosignicantdevelopmentsandeventsinworldhistoryInvestigatingtherolesandcontributionsofindividualsandgroupsinrelationtokeysocial,political,cultural,andreligiouspracticesspanningworldhistoryViewinghistorythroughtheeyesofthosewhowitnessedkeyeventsanddevelopmentsbyanalyzingtheirliterature,diaryaccounts,letters,artifacts,art,music,architecturaldrawings,andotherdocumentsInvestigatingimportanteventsanddevelopmentsinworldhistorybypos-inganalyticalquestions,selectingrelevantdata,distinguishingfactfromActivity4.
2PerformanceObjectivesGradeLevelEssentialQuestionsStandardsopinion,hypothesizingcause-and-effectrelationships,testinghypotheses,andformingconclusionsLanguageArtsLanguageforInformationandUnderstandingFollowingdirectionsthatinvolveaseriesofactionsObtainingessentialinformationfromprintedandnonprintedmaterialsonacademicandappliedtopicsanddrawingconnectionsamongstrandsofinformation,makingdistinctionsconcerningtherelativesignicanceofspecicdata,facts,andideasPreparingoralandwrittenpresentations,supportingdecisionsaboutinter-pretationsandtherelativesignicanceofinformationwithexplicitstate-ment,evidence,andappropriateargumentLanguageforSocialInteractionEngaginginconversationsanddiscussionsrelatingtoacademic,technical,andcommunitysubjects,anticipatingwhatlistenerswillneedtoknowtounderstandanideaandstructuringconversationsanddiscussionstoprovidethatinformationListeningattentivelytoothersandbuildingontheirideasinconversationsofgeneralinteresttopeersandadultsExpressingtheirthoughtsandviewsclearlywithattentiontotheperspec-tivesandvoicedconcernsofthelisteneroraudienceOneclassperiodPhotocopiesofthePalaceMemorialinManchuandChineseScriptsandIntroductoryQuestionsatthebeginningofthissectionortheVisibleTracesposterPaperandpencilsChalkandboardStudentrecordsofmultiplelanguageuse,discussion1.
ExaminethePalaceMemorialinManchuandChineseScriptsanddiscussIntroductoryQuestionswithstudents.
Discusswhytheywereexe-cutedintwolanguages.
Askstudents:WhataretheconsequencesofnotunderstandingeverydaywrittenlanguageHavestudentsconsiderhowinformationisprovidedinmorethanonelanguageintheirenvironment.
2.
Writethefollowingquestionsontheboard:ExploringMultipleLanguageUseActivity4.
2TracesofIdentity:ReflectingDiversityThroughLanguageandWriting71Theme4TimeRequiredMaterialsAssessmentPieceProcedureWheredoyoundexamplesoftheuseofmorethanonelanguageWhyarethingswritteninmorethanonelanguageInwhatinstancesaresymbols,ratherthanlanguage,usedWhyaresymbolsusedintheseinstances3.
Dividetheclassintogroupsofthreetovestudents.
Havegroupsgener-ateexamplesoftypesofinformationfoundinmorethanonelanguage.
Theyshouldnotethepurposeoftheseexamples.
Remindthemthatbrailleandsignlanguagearealsoconsidered"languages.
"Symbolscouldincludestopsigns,dangerwarnings,orsignsrepresentingfoodorrestareasonhigh-ways.
4.
Havestudentssharetheirlists.
5.
Havetheclasscomparetheuseofbilingualisminancienttimeswiththeirmodernexamples.
AskstudentshowthepurposesmightbesimilarordifferentfromthatofthePalaceMemorial.
Havestudentsproduceawritingsample(elementarystudents,aparagraph;olderstudents,ashortessay)onwhattheconsequencesofnotunderstand-ingtheofciallanguageofone'scountrymightbe.
Havethemsharewhattheywriteinclass.
Discusstheconsequencesofalimitednumberofpeoplehavingaccesstotheofciallanguage.
Askstudentshowthismightleadtopower,prestige,orwealth.
Haveolderstudentsconsiderhowtechnologyprovidescommunicationopportunitiesthatseparategroupsofpeopleandtheiraccesstoknowledge.
Havestudentscollectfurtherexamplesofbilingualcommunicationsoverthecourseofseveraldays,tobepostedonaclassroombulletinboard.
ExploringMultipleLanguageUseActivity4.
2TracesofIdentity:ReectingDiversityThroughLanguageandWriting72Theme4ExtensionsTheme5TracesoftheSelf:ExpressingIndividualityThroughPoetryandCalligraphy73TracesoftheSelf:ExpressingIndividualityThroughPoetryandCalligraphyHowcanyou"paintapoem"That'sexactlywhatChinesecalligrapherstriedtodo.
Writingexpressednotonlythemeaningofthewordsbuttheinnerfeelingsandpersonalityofthewriter,whosepoembecameaworkofvisualaswellastextualbeauty.
Symbolizingtheefforttowardintegrationandharmony,writtentextsandpaintingsalsotriedtoexemplifybothConfucianandDaoistvalues.
TracesoftheSelfintroducesstudentstoseveralbeautifulChinesepoemsandimpartstheimportanceofcalligraphyinChineselife.
Theback-groundessay,"WritingasaMeanstoExpressandCultivatetheSelf,"providesspecificinformationaboutthepoemsstudentswillbeaskedtoconsiderandexaminestheminahistoricalcontext.
Thesecondessay,"ChineseCalligraphy,"notonlyexplainshowacalligrapherworksbutoffersinsightintohowandwhycalligraphyhasbeensoimportant.
ExplaininghowaChineseviewerlooksataworkofcalligraphyteachesustodothesame.
Thefirstactivity,ExpressingtheSelfThroughWordandImage,asksstudentstoanalyzeseveralpoemscarefullyandthentotranslatethemintopaintings.
Studentsarethenaskedtowritetheirownpoemsandmakepaintingsofthem.
Thesecondactivity,TheExpressiveBrush,leadsstudentstolookforexamplesofhowwriting,notwhatiswritten,carriesmeaning.
Theme5TheExemplarsoftheBeautifulandtheRefinedinTangPoetryTracesoftheSelf:ExpressingIndividualityThroughPoetryandCalligraphy74Theme5TheExemplarsoftheBeautifulandtheRefinedinTangPoetryMingdynasty(1368–1644),Tianqiperiod(1621–1627).
CompiledandeditedbyYangZhaozhi(17thcentury).
Wucheng,Zhejiangprovince;WuchengMinYishi,1621.
8columnsperhalffolio;single-lineborders;printedinblackandredink;overalldimensionsofvol-umes:30.
0x18.
2cm.
Englishtranslationofpoemfromthismanuscript:Fromaswifthorseprancingproudlythroughfallenpetals,Hebrusheshiswhipagainstacloud-coveredchariot.
Alovelywoman,smiling,raisesthepearlcurtain—"Myhomeisthere,"shesays,pointingoffataredtower.
–TranslationbyProfessorStephenDurrantWhataretheadjectivesinthispoemDoesthepoetseemtobedescribingrealorfantasticeventsWhatmightbelostinthetranslationfromChinesetoEnglishIntroductoryQuestionsManualofPaintingsbyFamousMastersoftheSuccessivePeriodsTracesoftheSelf:ExpressingIndividualityThroughPoetryandCalligraphy75Theme5ManualofPaintingsbyFamousMastersoftheSuccessivePeriodsMingdynasty(1368–1644),Wanliperiod(1573–1619).
CompiledbyGuBing(fl.
1594–1603);proofreadandeditedbyXuShuhui;engravedbyLiuGangxin.
Hulin(Hangzhou),Zhejiangprovince;Shuangguitang,1603.
Whitefoldingmarginatcenteroffolio;single-lineborders;overalldimensionsofvolumes:33.
4x22.
7cm;blocksizesoftext:approx.
27.
1x19.
2cm;blocksizesofillustrationsirregular;stitchedbinding.
Intheexampleofcalligraphyontheleft,whatmaterialsdidthecalligrapherneedWhatmaterialsdidtheartistneedinordertocreatethepaintingontheleftfromthesamebookMightthesehavebeendonebythesamepersonDoyouthinkitwouldbepossibletocorrectamistakewhileonewaswrit-ingorpaintingDoyouthinkthatthesamepersoncouldhavedoneboththecalligraphyandthepaintingIntroductoryQuestionsTheme5TracesoftheSelf:ExpressingIndividualityThroughPoetryandCalligraphy76WritingasaMeanstoExpressandCultivatetheSelfKellyAnnLongThewrittenword—whetherasinglecharacter,apoem,oraproseessay—playedakeyroleinChinesehistoryandintheself-expressionoftheculturedindividual.
China'swritingsystemextendsbackthousandsofyearstothebeginningsofShangcivilizationintheseventeenthcenturyb.
c.
e.
,providingculturalcontinuityandlinkstothepast.
Theappreciationandexecutionofpoetryandcalligraphy,andlaterpainting,becamethemeansbywhichtheChinesehaveunderstoodandexpressedthemselvesasindivid-ualsandasmembersofasociety.
Confucius(551–479b.
c.
e.
)shapedthestandardsandtextsthatformedthefoundationofChinesescholarship,education,andartisticaspirationforcenturies.
Hiswritingsdescribedthemodelruler,amoralmanwhodemon-stratedproperbehavior(li)andrelationshipswithothers(jen)andwhotherebyhelpedtocreateanorderlyandgoodsociety.
Confuciusthoughtthateverymanshouldcultivatehisowntalentsandseektofulfillhispoten-tialbycommuningwithothersthroughthearts.
Byreading,writing,andpracticingthearts,thesuperiormancouldelevatehimselfandgiverisetovirtuousself-expression.
OvertimeConfucianclassicsbecamethebasisofthecivilserviceexami-nationsystem,whichchangedthroughthedynastiesbutprovidedacoherentfabrictoChineselifeforcenturies.
Thesetextsconnectedthescholartohisintellectualancestors.
Thosewhosucceededinthearduouscivilexamswererewardedwithpositionsingovernment.
Yet,alongwiththestudyofpolicyandgovernmentaltracts,theseexamsemphasizedliteraryskills.
Yearsofeducationandexaminationsmarkedthejourneytobecomingascholar-official.
Typicallyonlysonsreceivedformaleducation,whichbeganataveryearlyage.
AyoungboypracticedbrushstrokesinaConfuciansayingbycopyingoverexamples.
Overtimethestudentmemorizedthou-sandsofcharactersinlongpassagesfromtheclassics.
Inadditionhereadcommentariesupontheclassicsandmodeledhisownessaysandpoemsuponthem.
Thiscurriculumaccomplishedmuchmorethanmereliteracy—itforgedamoralrationaleandinstilledasharedsetofpersonalvaluesamongscholar-officials.
Becausetrainingintheliteraryartscomprisedsuchalargeportionoftherequiredlearning,scholar-officialswereoftenpoetsandgiftedartistsaswell.
Itisnosurprisethattheseeducatedelite,orliteratiastheywerecalled,BackgroundEssaygatheredtoappreciatetheartsandoneanother'sintellect.
Theyformedcommunitiesoffriendsandcultivatedtheirbestinnercharacterbysharingconversation,poetry,andart.
Intheirwritingtheliteratialludedtoancientsages,places,andpoemstoexpressthemselvesandtherealitiesoftheircircumstances,makingthepastintegraltotheirself-cultivation.
Self-CultivationThroughPoetryPoetrywasconsideredtheheightofliteraryaccomplishmentfortheChinesescholar.
FromthetimeofConfucius,educatedChinesereferenced,collected,andwrotepoetry,embracingitasacrucialpartoftheirlives.
Poeticformsdifferedthroughtimeandwithregardtoplace.
Theearliestcollectionofpoems,compiledaroundthesixthcenturyb.
c.
e.
,istheShiJing,ortheBookofSongs.
Thesepoeticformsweremadeoffour-wordversesandincludedfolksongsaswellasdynasticandcourtpoems.
Poeticformscontinuedtodevelop,andduringtheHandynasty(206b.
c.
e.
–220c.
e.
),fu,orprosepoems,emerged.
AfterthefalloftheHan,theshiform,charac-terizedbytherepetitionofthegrammaticalstructuretoexpresssimilarideas,evolvedfromthefour-wordverseoftheShiJing.
ThisbecameoneofthemostrecognizableandpracticedstylesofChinesepoetry.
PoeticstylescontinuedtoevolveduringtheTangdynasty(618–907c.
e.
),oftenregardedasChina'sgoldenageofpoetry.
(SeetheExemplarsoftheBeautifulandtheRefinedinTangPoetryatthebeginningofthissection.
)Manyofthebest-lovedpoetsofChinalivedduringthisperiod,andnewpoeticstylesemerged.
Duringthistimetheliteratiwerejoinedbyemperors,Daoisther-mits,Buddhistmonks,andcourtladiesinreveringandwritingpoetry.
Moreover,theartsofpainting,music,andpoetrywereintegratedtocreatesomeofChina'sfinestexamplesofartisticself-expression.
Tangpoemsevokethemood,scene,andspiritofnature.
Beautiful,nat-uralsurroundingswerethoughttoproducepeopleofstrongcharacter.
AgoodConfucian,however,wasobligatedtoserveingovernmentandcouldnotliveasecludedlife,wanderinginnature.
Yethenourishedhisspiritbytakingimaginaryjourneysthroughlandscapepaintingsordescriptivepoems.
ManyTangpoemsdescribebriefmomentsofintensefeelingcausedbythesightofnaturalbeauty.
AsinChinesepainting,whereblankspacehasvalue,inChinesepoetrytheunspokenalsospeaks.
WhilethesubjectisoftenunstatedinChinesepoetry,thepoetinfusesnaturewithapersonalityasameansofexpressinghisinneremotions,attributingthemtothesceneorthingbeingdescribed.
AnunparalleledmasteroftheseartswasWangWei(701–761c.
e.
),whosemonochromelandscapesareaswellknownandreveredashispoems.
WangWeiwasanofficial,yetitisnottherecordofhisofficialactsbutratherhispoetryandpaintingthathaveleftalastinginfluenceonChina.
TracesoftheSelf:ExpressingIndividualityThroughPoetryandCalligraphy77WritingasaMeanstoExpressandCultivatetheSelfEssayTheme5MonochromeApainting,drawing,orphotographinasinglecolor.
Hisstyleoflandscapepaintingbecameamodelforliteratipaintersforoverfourhundredyears.
Hebelievedthathandwritingandpaintingshouldofferevidencenotofone'sskillwiththebrushbutofone'squalityasaperson.
Heusedchoiceexpressionstocreateimageswithinhispoems,justasheusedafewstrokesofthebrushtocreatehislandscapepaintings.
AfollowerofBuddhism,hispoemsaresaidtoevokethesenseofquiet,solitude,emptiness,andfreedomfromdesirethatcorrespondtoBuddhistdoctrine.
Hisdescriptivepoemscreatestrongpictorialeffects,andheoftendepictedhimselfwithinscenesofnature.
Forexample,thepoetplaceshimselfinthepoem"BambooLodge.
"Isitaloneinthedarkbamboogrove,Playingthezitherandwhistlinglong.
Inthisdeepwoodnoonewouldknow–Onlybrightmooncomestoshine.
1AcontemporaryofWangWei,LiBo(701–762c.
e.
),wrotefromaDaoistperspective,expressinghisownthoughtsandemotionsaswellasloveofnature.
Hisworkscelebratedfriendship,nature,andsolitude.
Healsowrotepoemspraisingthequalitiesandexpressingthelamentsofwomenhemetduringhistravels.
Hisstyleisbold,spontaneous,andoriginal.
One,"TheBeautifulWomanofYangShang,"isincludedinExemplarsoftheBeautifulandtheRefinedinTangPoetry.
Fromaswifthorseprancingproudlythroughfallenpetals,Hebrusheshiswhipagainstacloud-coveredchariot.
Alovelywoman,smiling,raisesthepearlcurtain–"Myhomeisthere,"shesays,pointingoffataredtower.
2LiBo'scontemporary,DuFu(712–776c.
e.
),engagedintheworld,usinghistalentstoworkforitsbetterment.
ClearlytheConfucianmoralist,hiswell-regulatedpoemsexpressconcern,criticizesocialwrongs,railagainstthesenselessnessofwar,andvoicecompassionforthepoor.
Hedrewuponnaturetoevokeemotionsaswellastocommentindirectlyuponeventsinhisworld.
Heisconsideredasocialhistorianbecausehispoemsdescribechangeshepersonallyexperiencedduringaperiodofdeteriorationandwar.
Concernedwithinequity,eventhoughhewaspartofthescholar-officialclass,hewasatruehumanitarianinhiscompassionforhisfellowman.
InthiswayheexemplifiedtheConfucianidealofthecultivatedmanwhoTracesoftheSelf:ExpressingIndividualityThroughPoetryandCalligraphy78WritingasaMeanstoExpressandCultivatetheSelfEssayTheme5DoctrineAruleorideathatispartofasystemofbelief.
ZitherAstringedinstrumentwith30to40stringsoverapieceofwoodthatisplayedhorizontallywithapick.
1.
WangWei,translatedbyLiu,Wu-chi,AnIntroductiontoChineseLiterature(Bloomington:IndianaUniversityPress,1966),p.
722.
TranslationbyProfessorStephenDurrant.
servestobettersociety.
Hispoetryrevealstheseaspectsofhischaracter.
SilkthatwasbestowedatthevermilioncourtCameoriginallyfromsomepoorshiveringwomen;TheirhusbandswerewhippedandfloggedSothatitcouldbeleviedasatributetotheimperialcity.
Insidethevermiliongatewineandmeatarestinking:Ontheroadsideliethebonesofpeoplefrozentodeath.
3PoeticformscontinuedtodevelopinthedynastiesfollowingtheTang.
TheformknownastheciwasintroducedduringtheTangandwasperfectedandpopularizedduringtheSongdynasty(960–1279).
Called"longandshortverse"todescribeitslinesofvaryinglength,itusescolloquialexpres-sionsandwasoriginallywrittentobesungtothemelodyofpopulartunes.
OneofChina'sbestknownfemalepoets,LiQingchao(1081–1141c.
e.
)livedduringtheSongdynasty.
Shewrotevolumesofpoemsandessaysinwhichshecelebratedthejoysoflifeandexpressedintenselypersonalemotionsaboutseparationfromherhusband.
Hepoemsareunsurpassedinrevealingtheintimacy,delicacy,andimmediacyoffeelingevokedbylifeevents.
ExceptionalformsofpoetrycontinuedtoemergeduringtheYuan(1279–1368c.
e.
),Ming(1368–1644c.
e.
),andQing(1644–1911c.
e.
)dynasties,butthetwentiethcenturywitnessedabreakwithtradition.
Theexamsystemwasabolished,andinthewakeoftheMay4th,1919,studentprotestsagainstprovisionsoftheTreatyofVersaillesgrantingChineseterritorytoJapan,thebaihuawen(clearspeech,orvernacular)movementreplacedtheclassicalChinesewenyanwenformsofwriting.
Regionaldialectsemergedinnovelsandshortstories,manyinfluencedbyWesternlit-eraryformsandtopics.
Poetryremainedanimportantformofself-expression.
Asthecommunistmovementspreadacrossthemainland,socialistrealismintheartsandliteraturebecamestandard.
TheMaoistgenre(Maowenti)encouragedrigid,stockphrasesandpoliticaltracts.
Maohimselfwasanacclaimedpoet,continuingthetraditionofthepolitician-poet.
Avarietyofmovementsemergedsincehisdeath.
AftertheOpenPolicyof1978,"scarliterature"documentedtheCulturalRevolution,whileNewRealismfocusedoncontemporaryproblems.
TheMistyPoetrygroupsusedprivateimagerytomakeveiledpoliticalreferences.
Nevertheless,linkstothepastcontinue.
PoetssuchasBeiDao,oneofthemostpopularfiguresoftheMistyPoetrygroup,stillformsconnectionstothepast.
Hewritespoemswithstrong,pic-TracesoftheSelf:ExpressingIndividualityThroughPoetryandCalligraphy79WritingasaMeanstoExpressandCultivatetheSelfEssayTheme5VermilionAbrightreddishorangecolor.
LeviedSomethingthatisrequiredbyanauthority,astaxesarerequiredbythegovernment.
3.
DuFu,"MyTripfromtheCapitaltoFeng-hsien,"TranslatedbyWu-chiLiu,AnIntroductiontoChineseLiterature(Bloomington:IndianaUniversityPress,1966),p.
82tographicqualitiesandthuscontinuesthetraditionsofself-expressionandcultivationthroughpoetry.
KellyAnnLongwasahighschoolteacherfor18years.
ShereceivedherPh.
D.
in1998fromUniversityofColoradoandisnowanAssistantProfessoratColoradoStateUniversity.
Selectedsourcesandsuggestedfurtherreadings:Liu,Wu-chi.
AnIntroductiontoChineseLiterature.
Bloomington:IndianaUniversityPress,1966.
Owens,Stephen.
Remembrances:TheExperienceofthePastinClassicalChineseLiterature.
Cambridge:HarvardUniversityPress.
1986.
Sullivan,Michael.
TheArtsofChina,3ded.
Berkeley:UniversityofCaliforniaPress,1984.
Whincup,Greg.
TheHeartofChinesePoetry.
NewYork:AnchorPress,Doubleday,1987.
TracesoftheSelf:ExpressingIndividualityThroughPoetryandCalligraphy80WritingasaMeanstoExpressandCultivatetheSelfEssayTheme5Theme5TracesoftheSelf:ExpressingIndividualityThroughPoetryandCalligraphy81ChineseCalligraphyCharlesLachmanCalligraphy,literally"beautifulwriting,"hasbeenappreciatedasanartforminmanydifferentculturesthroughouttheworld,butthestatureofcalligra-phyinChinesecultureisunmatched.
InChina,fromaveryearlyperiod,calligraphywasconsiderednotjustaformofdecorativeart;rather,itwasviewedasthesupremevisualartform,wasmorevaluedthanpaintingandsculpture,andrankedalongsidepoetryasameansofself-expressionandcul-tivation.
Howonewrote,infact,wasasimportantaswhatonewrote.
Tobetterunderstandhowcalligraphycametooccupysuchaprominentposi-tion,itisnecessarytoconsideravarietyoffactors,suchasthematerialsusedincalligraphyandthenatureoftheChinesewrittenscriptaswellastheesteeminwhichwritingandliteracyareheldintraditionalChina.
TheearliestextantexamplesofChinesewritingaretheinscriptionsthatappearonso-calledoraclebones(animalbonesandturtleshells—seetheShangOracleBoneinSection2,TracesofIdeas)andonbronzevessels,theoldestofwhichdatebacktotheShangdynasty(ca.
1600–ca.
1100b.
c.
e.
).
Shangkingsusedtheseobjectsinimportantdivinationrituals,andsomescholarshavearguedthatthisearlyassociationofwritingwithritualandpoliticalauthorityhelpstoaccountforthespecialstatusconferreduponthosewhocouldreadandwrite.
Theseearlyinscriptionsweremadeonthesurfaceofanoracleboneorabronzemoldwithasharp,pointedinstrument.
Asaresultofthisprocess,thecharacters(or"graphs"astheyarealsocalled)generallylackthekindsoflinearvariationandotherattributesconsideredprerequisitesoftruecalligra-phy.
ThosequalitiesbegantoemergeveryclearlyduringtheHandynasty(206b.
c.
e.
–220c.
e.
),whenChineseartisansperfectedthemanufactureofthebasicmaterialsstillusedbycalligrapherstoday:brush,ink,paper,andinkstone.
AlthougharchaeologicalevidenceconrmsthatbrusheswereknowninChinaatamuchearlierdate,itwasduringtheHanperiodthattheirusebecamewidespread.
Atypicalbrushconsistsofabundleofanimalhairs(blackrabbithair,whitegoathair,andyellowweaselhairwereallverypop-ular)pushedinsideatubeofbambooorwood(thoughjade,porcelain,andothermaterialswerealsooccasionallyused).
Thehairsarenotallofthesamelength;rather,aninnercorehasshorterhairsaroundit,whichinturnarecoveredbyanouterlayerthattaperstoapoint.
Brushescomeinawidevarietyofshapesandsizesthatdeterminethetypeoflineproduced.
WhatBackgroundEssayallsuchbrusheshaveincommon,however,istheirexibility.
Itisthisfea-turemorethananyotherthatallowsthecalligraphiclinetobesouidandexpressive.
Theinkemployedincalligraphyisusuallymadefromlampblack,asootyresiduecreatedbyburningpineresinoroilunderneathahood.
Afterbeingcollected,thelampblackismixedwithglueandthenpressedintomolds.
Theresultinghardenedcakesorstickscanthenbegroundagainstastoneandmixedwithwater,aprocessthatallowsthecalligraphertocontrolthethicknessoftheinkanddensityofthepigment.
Eventuallyinkcakesandinksticksthemselvesbecameadecorativeartform,andmanywell-knownartistscreateddesignsandpatternsfortheirmolds.
TheinventionofpaperiswidelyappreciatedasoneofChina'smajortechnologicalcontributionstotheworld.
TraditioncreditsthediscoveryoftheprocesstoCaiLunin105c.
e.
,thoughrecenttombndingsdemon-stratethatpaperwasknownatleastacenturyearlier.
Paperwasmadefromvariousbers,suchasmulberry,hemp,andbamboo,andprovidedaninex-pensivealternativetosilkasagroundmaterialforcalligraphyandpainting.
Togetherwiththeinkstone—acarvedstoneslabwithareservoirforgrindinginkandmixingitwithwater—brush,ink,andpaperareknowninChinaastheFourTreasuresoftheStudy(wenfangsibao),indicatingthehighesteeminwhichthematerialsofcalligraphyareheld.
TheseFourTreasuresarethesamematerialsemployedbytraditionalChinesepainters.
SomecriticshavepointedtothisasawayofexplainingwhycalligraphyhasahigherstatusinChinathanelsewhere.
Theargumentgoessomethinglikethis:InEurope,forinstance,paintingisahighart;calligraphydoesnotusethesamematerialsaspainting;therefore,calligraphyisnotaccordedthesamehighstatusaspainting.
InChinapaintingandcalligraphyusethesamematerials;therefore,calligraphyisconsideredtobeahighartakintopainting.
TheproblemwiththisargumentisitsbasisupontheunfoundedassumptionthatpaintinginChina,asinEurope,wasthemostvaluedvisualartform.
InfactpaintinginChinapracticallyfromitsinceptionwasconsid-eredsecondarytocalligraphyasavisualart.
Moreovertheargumentthatpaintingandcalligraphysharethesamematerialswasusedintheeleventhandtwelfthcenturiestoelevatethestatusofpainting,ratherthantheotherwayaround.
Intryingtounderstandwhycalligraphycametooccupysuchapromi-nentpositioninChina,itisusefultoconsiderthefeaturesthatwereprizedwhencalligraphybegantoemergeasanartformdistinctfrommerewriting;thatistosay,whenspecimensofhandwritingbegantobevalued,collected,TracesoftheSelf:ExpressingIndividualityThroughPoetryandCalligraphy82ChineseCalligraphyEssayTheme5andtreatedasart.
Oneoftheearliestrecordedinstancesconcernstherst-centuryemperorMingoftheHan,who,uponhearingthathiscousinwasonhisdeathbed,dispatchedamessengertoobtainapieceofhiswritingbeforehepassedaway.
Bysodoing,EmperorMingwashopingtobeableto"commune"withhisrelative,evenafterdeath,throughthetracesofhisper-sonalityembodiedbyhiscalligraphy.
Morethananyotherfactor,itistheclaimthatcalligraphycanserveasamediumofrevelationandself-expressionthatbestaccountsforwhyitbecamesohighlyesteemed.
Abriefconsiderationofhowcalligraphictech-niqueismasteredmightshedsomelightonthequestionofwhysuchexpressivepotentialwasseenasintrinsictocalligraphyintherstplace.
Asdiscussedelsewhere,theChinesewrittenscriptismadeupofseveralthousandindividualgraphs.
Eachconsistsofaninvariablegroupofstrokesexecutedinasetorder.
Oneofthetrulyuniquefeaturesofcalligraphythatresultsfromtheseapparentlyrestrictiveguidelinesisthattheviewerisabletomentallyretrace,strokebystroke,theexactstepsbywhichtheworkwasmade.
Thevieweralsoisabletoobserveextremelysubtlenuancesofexecu-tion—whereastrokewasmadeswiftlyorslowly,whetherthebrushwasputtothepaperwithgreatdelicacyorforce,andsoon.
Theabilitytoperformthisretracingpersonalizestheviewingexperienceandgeneratesintheviewerthesenseofinteractingorcommuningwiththeabsentcalligrapher.
Atthesametimeitispreciselythenuancesofexecution,thoseindividualizeddeviationsfromthesetform,thatseparategoodcallig-raphyfrombadhandwriting.
Furthermore,sinceeveryonewhoistaughttoreadandwritelearnsthesamebasicprocedures,oftenbyliterallytracingfamousexamplesofcalligraphy,everyeducatedpersonistoasignicantextentabletoperceiveandappreciatetheachievementsofagreatcalligrapher.
Theevaluationofcalligraphythusclearlyhadanobvioussocialdimen-sion,butitalsohadanimportantnaturaldimensionthatshouldnotbeoverlooked.
Forexample,earlycriticsandconnoisseursoftenlikeneditsexpressivepowertoelementsofthenaturalworld,comparingthemovementofthebrushtotheforceofaboulderplummetingdownahillsideortothegracefulnessoftheeetingpatternsleftonthesurfaceofapondbyswim-minggeese.
Writingalsowouldfrequentlybedescribedinphysiologicaltermsthatinvokedthe"bones,""muscles,"and"esh"ofaline.
Inshort,whilecalligraphyinvolvestheConfucianemphasisonthesocial,thiscannotbeseparatedfromamoreDaoistemphasisontheworkingsofnature.
Althoughthepracticeandappreciationofcalligraphyareoftenpresentedasessentiallytraditionalpursuits,calligraphyispresentinmodernChinainvariousways.
Indeed,thesinglemostcommonlyreproducedexampleofcal-TracesoftheSelf:ExpressingIndividualityThroughPoetryandCalligraphy83ChineseCalligraphyEssayTheme5ligraphyisundoubtedlythefourcharacterphrase(RenminRibao,"ThePeople'sDaily")thattothisdayappearsonthemastheadofeverycopyoftheofcialnewspaperofthePRC—fourcharactersoriginallybrushedbyChairmanMaohimself.
Also,asseveralrecentexhibitionsofmodernChinesearthavedemonstrated,manycontemporaryavant-gardeartistscon-tinuetoengageandquestiontheculturalauthorityassociatedwiththe"beautifulwriting"ofthepasttwothousandyears.
CharlesLachmanisAssociateProfessorofArtHistoryattheUniversityofOregonandCuratorofAsianArtattheUOMuseum.
HerecentlyorganizedTheRealmofRevelation:VisionandImaginationinLaterKoreanArt.
Suggestedfurtherreadings:Billeter,JeanFranois.
TheChineseArtofWriting.
NewYork:Skira/Rizzoli,1990.
Harrist,Robert,andWenFong.
TheEmbodiedImage:ChineseCalligraphyfromtheJohnB.
ElliottCollection.
Princeton:ArtMuseum,PrincetonUniversityinassociationwithHarryN.
Abrams,1999.
Kraus,RichardCurt.
BrusheswithPower:ModernPoliticsandtheChineseArtofCalligraphy.
Berkeley:UniversityofCaliforniaPress,1991.
Sullivan,Michael.
TheThreePerfections:ChinesePainting,Poetry,andCalligraphy.
Rev.
ed.
NewYork:GeorgeBraziller,1999.
Yee,Chiang.
ChineseCalligraphy:AnIntroductiontoItsAestheticsandTechnique.
Cambridge,MA:HarvardUniversityPress,1973.
TracesoftheSelf:ExpressingIndividualityThroughPoetryandCalligraphy84ChineseCalligraphyEssayTheme5Theme5TracesoftheSelf:ExpressingIndividualityThroughPoetryandCalligraphy85ExpressingtheSelfThroughWordandImageStudentswillreadandanalyzepoems,payingspecialattentiontotheuseofimagery,andthencreatetheirownpoemsandcorrespondingimagesinhandscrollformat.
6–123–5WhataresomethemesofTangpoetryHowisimageryusedinChinesepoetryWhatistherelationshipbetweenwordandimageinChinesepoetryandpaintingHowcanpoeticandartisticimagerybecharacterizedasuniversal,culturallyspecic,orpersonalSocialStudiesWorldHistoryKnowingthesocialandeconomiccharacteristics,suchascustoms,tradi-tions,child-rearingpractices,waysofmakingaliving,educationandsocial-izationpractices,genderroles,roots,andreligiousandspiritualbeliefs,thatdistinguishculturesandcivilizationsViewinghistorythroughtheeyesofthosewhowitnessedkeyeventsanddevelopmentsbyanalyzingtheirliterature,diaryaccounts,letters,artifacts,art,music,architecturaldrawings,andotherdocumentsLanguageArtsLanguageforLiteraryResponseandExpressionSelectingtextsandperformancesfromawiderangeofauthors,subjects,andgenres,includingpoetryReadingliteraryworkssetindifferentperiodsandplacesandusingappro-priatewrittenforms,suchasessaysorreviews,toexploretheconnectionsbetweenthemandaspectsofhumanexperience,includingthosethatarecommonandthosethatareculturallydistinctActivity5.
1PerformanceObjectivesGradeLevelVariationGradeLevelEssentialQuestionsStandardsLanguageforCriticalAnalysisandEvaluationAssessingthecontentandpresentationofwrittenandoraltextsusingcrite-riadrawnfromelementsspecictoagenre,fromknowledgeofthesubjectmatterandpurpose,andfrompersonalperspectivesComparingandcontrastingdifferentliterarystylesOneclassperiodtoanalyzeandwritepoems;twoadditionalclassestocom-pletehandscrollsandpresentnalproductsCopiesoftheUseofImageryinTangPoemshandoutCopiesoftheSourcesofChineseArthandoutWoodendowels(5/16x10in.
),twoforeachhandscrollStripsofwhitepaper;cutting11x14in.
sheetsofwatercolorsheetsinhalf,horizontally,workswellWallpaperremnantsorsturdywrappingpaper,cutintoapproximately9x21in.
piecesforborderGlueWatercolorPaintbrushesWaterincontainersPapertowelsEmbroideryosscutinto6in.
lengthsandknottedatoneendPoem;handscrolls1.
ReadthepoemsintheUseofImageryinTangPoemshandoutwithstudentsanddiscussthefollowing:ThesepoemswereallwrittenintheTangdynasty(618–907c.
e.
).
Whatarethethemesofeachpoem(WangWeireectsuponsolitudeandthecelebra-tionofnature;LiBo'sworkisafantasypiecethatfocusesonpeople;andDuFuismakingasocialcomment.
)Considerwhatmightbelostthroughtranslationofthepoems(rhythm,rhyme,consonance,depthofmeaningofparticularwords).
Considerwhatmightbetranslatedbutstillnotfullyunderstoodforsome-oneunfamiliarwithChineseculture(e.
g.
,imagerythatmayalludetoChinesemyths,stories,historicalgures,andplaces).
2.
Havestudentschooseoneoftheexcerptstouseasamodelforwritingtheirownshortpoems,consideringthemebutcreatingorusingimagerythatisrelevanttotheirowntimeandculture.
3.
HavestudentsmakeahorizontalhandscrollthatincorporatestheirpoemExpressingtheSelfThroughWordandImageActivity5.
1TracesoftheSelf:ExpressingIndividualityThroughPoetryandCalligraphy86Theme5TimeRequiredMaterialsAssessmentPieceProcedurewiththeirwritingstyleandart.
RemindthemthatintraditionalChineseart,poetry,painting,andcalligraphycomplementedoneanotherinahand-scroll—thegures,form,andwordsactedasawholeincreatingasenseofharmony.
HavethemstudyexamplesofChinesehandscrollpaintingsasfoundinmuseumWebsitesorbooksandaskthemthefollowing:Notethesenseofbalance—theuseofemptyspaceaswellasforminthepaintings.
Considerthewayindividualsaredepicted—sizeinrelationtosurroundingsisespeciallyimportant.
ArethenaturallandscapesdepictedtoscaleAliteralrepresentationisnotasimportantastheimpressionitcreates.
WheredoyoundcalligraphyonthehandscrollHaveotherpeopleaddedtothewritingonthepainting,recordingimpressions,comments,orreectionsaboutthepaintingWhatsubjectsareshowninthehandscrollsDoyoundcertainimagesandthemesfrequentlyrepresentedWhatimagesandthemesmightstudentsusetoenabletheirclassmatestounderstandthepaintingthattheywillcreate4.
Setupartmaterialsforstudents,includingpaper,watercolor,paintbrushes,water,andpapertowels.
Tosetthepropermood,considertakingafewmin-utesforstudentstopracticesittingupright,breathingdeeplywitheyesclosedtoclearthemindandprepareforwork.
Thisfostersthemeditativestatethatartistsstrivetoincorporateintheirundertakingsandhastheeffectofcalmingandfocusingstudents.
5.
Havestudentsbeginbycopyingtheirpoemontherightsideofthehandscroll.
Thiswillprovideaconstantreminderofthepoem'sthemesandimages,aswellasguaranteeroomfortheplacementandbalanceofimages.
6.
Havestudentscompletetheirwatercolorpaintings.
Allowpaintingstodry,weightingtheendsofthepapertolieat.
7.
Usewallpaperremnants,orwrappingpaper,tocreateframesforthepic-tures.
Addinga2in.
borderaroundthepaintingiseffective,leavingaddi-tionallengthfordowels.
(Thistranslatestoa91/2x20in.
sheet.
)Centerthepaintingontheborderandmarkcornerswithpencilforplacement.
Removepainting,applygluealongtheborder,andresetpainting,aligningtothecornermarks.
8.
Foldonehalfinchofeachendoftheborderback(awayfromthepaint-ing)andinsertthedowel.
Insertunknottedendofossontherightside,sothatitextendshorizontallyawayfromthehandscroll,andgluealonglengthofborder.
9.
Gentlyrollthehandscrollsfromlefttoright.
Windossaroundhand-scrolls,tuckingtheknottedendsthroughtoholdthemclosed.
ExpressingtheSelfThroughWordandImageActivity5.
1TracesoftheSelf:ExpressingIndividualityThroughPoetryandCalligraphy87Theme510.
Eitherinsmallgroups,orasaclass,havestudentspresenthandscrollsandpoems.
Discusstheuseofimageryinthepoemsandpaintingsandaskstudentsthefollowingquestions:HowdotheycomplementoneanotherWhichimagesinthepoemsandpaintingsareuniversal,readilyunderstand-abletoanyoneWhichareunderstandableonlytosomeoneversedinthesamecultureasthepoet-artistWhichimagesarepersonalandhaveacer-tainmeaningtothepoet-artistanddifferentmeaningsforothersHavestudentsbringinlyricstooneoftheirfavoritesongsandanalyzetheuseofimagery,identifyingtheuniversal,theculturallyspecic,andtheper-sonal.
Havestudentsconcentrateonmakinghandscrolls.
Explainthathandscrollsrelateanarrative.
Muchlikeacomicstrip,inahandscrollthenarrativeisrenderedinindividualscenes.
Thereaderunrollsthehandscrollonesceneatatime,pausingtoexamineeach.
Ratherthandrawingboxesaroundeachscene,Chineseartistsusedverticalobjects,suchasatreeorscreen,todistin-guishscenes.
Referringtothestepsabove,askstudentstocreateanarrativehandscroll.
Itcanbeanaccountoftheirdayorastorytheyhaveread.
ExpressingtheSelfThroughWordandImageActivity5.
1TracesoftheSelf:ExpressingIndividualityThroughPoetryandCalligraphy88Theme5VariationforGrades3–5ExtensionUseofImageryinTang(618–907C.
E.
)PoemsIsitaloneinthedarkbamboogrove,Playingthezitherandwhistlinglong.
Inthisdeepwoodnoonewouldknow—Onlybrightmooncomestoshine.
–WangWei(701–761c.
e.
)SilkthatwasbestowedatthevermilioncourtCameoriginallyfromsomepoorshiveringwomen;TheirhusbandswerewhippedandoggedSothatitcouldbeleviedasatributetotheimperialcity.
Insidethevermiliongatewineandmeatarestinking:Ontheroadsideliethebonesofpeoplefrozentodeath.
–DuFu(712–776c.
e.
)Fromaswifthorseprancingproudlythroughfallenpetals,Hebrusheshiswhipagainstacloud-coveredchariot.
Alovelywoman,smiling,raisesthepearlcurtain—"Myhomeisthere,"shesayspointingoffataredtower.
–LiBo(701–762c.
e.
)ChinesePaintingandPoetryThehistoryofChineseartisverydynamic,butthereareconsistenttrendsaswell.
IntraditionalChineseart,poetry,painting,andcalligraphycomple-mentedoneanotherinahandscroll—thegures,form,andwordsactedasawholeincreatingasenseofharmony.
HavestudentsstudyexamplesofChinesehandscrollpaintingsasfoundinmuseumWebsitesorbooksandaskthemthefollowing:Notethesenseofbalance—theuseofemptyspaceaswellasforminthepaintings.
Considerthewayindividualsaredepicted—sizeinrelationtosurroundingsisespeciallyimportant.
ArethenaturallandscapesdepictedtoscaleAliteralrepresentationisnotasTracesoftheSelf:ExpressingIndividualityThroughPoetryandCalligraphy89Theme5Handoutimportantastheimpressionitcreates.
WheredoyoundcalligraphyonthehandscrollHaveotherpeopleaddedtothewritingonthepainting,recordingimpressions,comments,orreectionsaboutthepaintingWhatsubjectsareshowninthehandscrollsDoyoundcertainimagesandthemesfrequentlyrepresentedWhatimagesandthemesmightyouusetoenableyourclassmatestounderstandthepaintingthatyouwillcreateUseofImageryinTang(618-907C.
E.
)PoemsHandoutTracesoftheSelf:ExpressingIndividualityThroughPoetryandCalligraphy90Theme5SourcesofChineseArtPrintSourcesChina,5000Years:InnovationandTransformationintheArts.
SelectedbyShermanLee.
NewYork:SolomonR.
GuggenheimMuseum,1998.
(ManyimagesthatarenotavailableontheWebsiteareinthisbook.
)Clunas,Craig.
ArtinChina.
OxfordHistoryofArt.
NewYork:OxfordUniversityPress,1997.
Rawson,Jessica,etal.
TheBritishMuseumBookofChineseArt.
EditedbyJessicaRawson.
London:BritishMuseumPress,1992.
Silbergeld,Jerome.
ChinesePaintingStyle:Media,Methods,andPrinciplesofForm.
Seattle:UniversityofWashingtonPress,1982.
Sullivan,Michael.
TheArtsofChina.
Revisededition.
Berkeley:UniversityofCaliforniaPress,1977.
SelectedChinesePaintingsontheInternetNight-ShiningWhiteAttributedtoHanGan(Chinese,active742–56)Tangdynasty(618–960)Handscroll;inkonpaperhttp://www.
metmuseum.
org/collections/view1.
aspdep=6&full=0&item=1977%2E78Five-ColoredParakeetonBlossomingApricotTreeAttributedtoEmperorHuizong(reigned1101–1125,died1135)Songdynasty(960–1279)Handscroll;inkandcoloronsilkhttp://www.
boston.
com/mfa/chinese/parakeet.
htmPureandRemoteMountainsandStreamsXiaGui(activeca.
1195–1224)Songdynasty(960–1279)Handscroll;inkandcoloronsilkhttp://www.
npm.
gov.
tw/destore/dp00045.
htmTracesoftheSelf:ExpressingIndividualityThroughPoetryandCalligraphy91Theme5HandoutAutumnColorsontheCh'iaoandHuaMountainsZhaoMengfu(1254–1322)Yuandynasty(1279–1368)Handscroll;inkandcoloronpaperhttp://www.
npm.
gov.
tw/destore/dp00025.
htmDwellingintheFu-ch'unMountainsHuangKongwang(1268–1354)Yuandynasty(1279–1368)Handscroll;inkonpaperhttp://www.
npm.
gov.
tw/destore/dp00026.
htmSourcesofChineseArtHandoutTracesoftheSelf:ExpressingIndividualityThroughPoetryandCalligraphy92Theme5Theme5TracesoftheSelf:ExpressingIndividualityThroughPoetryandCalligraphy93TheExpressiveBrushStudentswillexpressemotionusingbrushstrokes,demonstratingthatideascanbecommunicatedthroughstyleaswellassubjectmatter.
ThisactivityoffersstudentstheexperienceofworkingwiththetoolsofChinesecalligra-phyandexploringvisualeffectsmadebybrushandink.
6–123–5HowdideducatedChinesestudycalligraphyHowisChinesecalligraphyexpressiveWhatistheroleofthedynamiclineincalligraphySocialStudiesWorldHistoryKnowingthesocialandeconomiccharacteristics,suchascustoms,tradi-tions,child-rearingpractices,waysofmakingaliving,educationandsocial-izationpractices,genderroles,roots,andreligiousandspiritualbeliefs,thatdistinguishculturesandcivilizationsKnowingimportanthistoriceventsanddevelopmentsofpastcivilizationsViewinghistorythroughtheeyesofthosewhowitnessedkeyeventsanddevelopmentsbyanalyzingtheirliterature,diaryaccounts,letters,artifacts,art,music,architecturaldrawings,andotherdocumentsLanguageArtsLanguageforInformationandUnderstandingFollowingdirectionsthatinvolveaseriesofactionsUsingdiscussiontoexplorecomplexconceptsandideas,clarifyingtheuseofcomparisons,analogies,andtheelaborationofideasVisualArtsUnderstandingandapplyingmedia,techniques,andprocessesSelectinganalyzingandreectingoneffectivenessofchosenmedia,tech-niquesandprocesses;takingadvantageofthequalitiesoftechniques,andprocessestoenhancecommunicationofexperiencesandideasUnderstandingthevisualartsinrelationtohistoryandculturesActivity5.
2PerformanceObjectivesGradeLevelVariationGradeLevelEssentialQuestionsStandardsOneclassperiodforartactivity,oneforreviewinglogosoradvertisingPhotocopiesoftheManualofPaintingsbyMastersoftheSuccessivePeriodsandIntroductoryQuestionsfromthebeginningofthissectionortheVisibleTracesposterPaintbrushesforeachstudent(standardcamelhair,round,no.
12,workswell)Blackink(atleastonecontainerforeverytwostudents)Water(onecontainerforrinsingbrushesforeverytwostudents)PapertowelsforcleanupPaper(newsprintorwatercolor)Brushpaintings,studentreections1.
Arrangeartmaterialsforstudents.
2.
Allowstudentsafewminutestopracticethedifferentwaystheinkandbrushcanbeusedtoproduceavarietyofstrokes,especiallyintermsofpres-sureonthebrush,lengthordirectionofstrokes,amountofinkonbrush,orthicknessofcurvesandlines.
Thesetechniquesproducewhatisknownas"dynamicline"—aprominentfeatureofChinesecalligraphyandpainting.
3.
IntroducetheactivitybybrieyreviewingtheroleofcalligraphyinChineseculture(seebackgroundessay,"ChineseCalligraphy,"assigningthereadingtoolderstudentsifdesired),emphasizingthatbeforeonecouldstarttoexpressoneselfthroughcalligraphy,onehadtostudythemastersforyears.
Thisstudywasrepetitive—copyingfamousexamplesofcalligraphyoverandover.
DistributeandexaminephotocopiesoftheManualofPaintingsbyMastersoftheSuccessivePeriodsanddiscusstheIntroductoryQuestions.
Continuethedialoguewithstudentsbyaskinghowthismanualmighthavebeenused.
4.
Inordertofosterstudents'appreciationofthiskindofstudy,askthemtoselectahandwritingsampleandpracticeexecutingseverallettersofthealphabetanumberoftimes,veryslowly,totrytoreplicatethem.
ExplainthataChinesescholarwouldhavepracticedinsuchamannerforyearsbeforedevelopinghisorherownexpressivestyle.
5.
Moveontotheideaofexpression,discussingwithstudentswhatitmeans.
Raisethequestion:Howmightdynamiclinebeexpressive6.
Havestudentsfoldafreshpieceofpaperintoeightsections(onefoldfromtoptobottomandtwofromsidetoside).
Openthepaper.
7.
Havestudentsnumberthesections,startingatthetop,proceedingfromlefttoright.
Explainthatyouwillgivethemawordorphraseforeachblockonthepaper.
Whenthewordisgiven,theywillhavetwotothreesecondsTheExpressiveBrushActivity5.
2TracesoftheSelf:ExpressingIndividualityThroughPoetryandCalligraphy94Theme5TimeRequiredMaterialsAssessmentPieceProceduretomakeavisualimpressionofthewordinablock.
8.
Readthefollowingwordstothestudentsatasteadypace—theirrstimpulsewillproducethebestresults:1.
Anger2.
Peacefulness3.
Joy4.
Humanenergy5.
Woman6.
Depression7.
Solitude8.
ConfusionBecertainthatstudentsareusingthesameblockfortheirsketches(angerisinblock1,forexample)foreaseincomparingtheresultslater.
9.
Postthecompletedpapersaroundtheroom.
Havestudentscomparetheirwork.
Therewillbemanyremarkablesimilaritiesamongrepresenta-tions.
Forexample,angergeneratesangles,hardlines,sharpness.
Peacefulnessisoftenexpressedthroughlong,horizontallines,joythroughupwardmotion,humanenergythroughanexplosion,womanthroughcircles,depressionthroughdownwardmotionorsomethingheavybearingonsome-thingsmall.
Solitudeisfrequentlyasmallisolatedpointorlineandconfu-sionajumbledimage.
1Discusstheresultsandaskstudentsthefollowingquestions:WhatdifferenttechniqueswereusedtocommunicatethefeelingsbehindthewordsCanyousuggestreasonsthattherearesimilaritiesHowmightthisinformationbeusedbyanartistwhenpaintingCouldanartistcommunicateideasthroughthestyleofpaintingaswellasthesubjectmatter11.
ReexaminetheManualofPaintingsbyMastersoftheSuccessivePeriods.
Askstudents:HowarethelinesinthecalligraphydynamicWhatdoyouthinkthepersonwhowrotethismighthavebeenfeelingLookathowwritingstylesareusedinourculture,usingadvertisingandlogosasexamples.
Forhomework,havestudentscollectsamplesoflogosoradvertisementsthatuseparticularstylesofwritingtopromoteafeelingorconceptassociatedwiththeircompanyorproduct.
Boeing'slogo,forexam-ple,isbothstrongandslanted,givingasenseofstabilityandmovement.
Havestudentspresenttheirsamples,offeringananalysisofthequalitiessug-gestedbythestyleofwriting.
HavestudentswriteapoemfromtheactivityExpressingtheSelfThroughWordandImageinastylethatevokestheimagetheyareprojectingtoTheExpressiveBrushActivity5.
2TracesoftheSelf:ExpressingIndividualityThroughPoetryandCalligraphy95Theme5Extensions1.
Thisconceptisborrowedfrom:BettyEdwards.
DrawingontheRightSideoftheBrain:ACourseinEnhancingCreativityandArtisticConfidence.
LosAngeles:J.
P.
Tarcher;1979.
theiraudience.
Youngerstudentsmaywritetheirnamesinastylethatevokesqualitiestheyassociatewiththemselves.
Havethemwritetwotothreesentencesexplain-ingwhattheirstyleisintendedtoevoke.
Haveeachstudentwearasmocktoprotecttheirclothing.
Insteadofblackinkusewatercolorsthatwillwashofftheskineasily.
Coverdeskswithnews-paperorrecycledpaper.
TheExpressiveBrushActivity5.
2TracesoftheSelf:ExpressingIndividualityThroughPoetryandCalligraphy96Theme5VariationforGrades3–5AbouttheAsiaSociety97Foundedin1956,theAsiaSocietyisanonprofit,nonpartisan,publicedu-cationorganizationdedicatedtodeepeningAmericanunderstandingofAsiaandfosteringcommunicationbetweenAmericansandAsians.
ToassistyouinteachingaboutAsia,theAsiaSocietyoffersthefollowingprograms:AskAsia:AneducationalWebsiteforteachersandstu-dentsandthewinneroffifteentopeducation-industryawards.
Thesitefea-turesdownloadablelessonplans,readings,artexchanges,andmuchmore.
ThroughAskAsia,studentsandteachersareabletojoinavirtualcommuni-ty,sharingexperiences,discoveringnewsourcesofmaterialsandexchangingideaswithothersaroundtheworld.
AsiaInteractive:FromthenewJourneysAlongtheSilkRoadsprototypeCD-ROMtotheaward-winningvideoseriesTuneinJapanandTuneinKorea,theSocietyproducesavarietyofinnovativemultimediaresourcesforuseclassrooms.
TeachAsia:ThisprofessionaldevelopmentprogramprovidessupporttomiddleschooleducatorsthroughnewinformationandmethodologiesforteachingaboutAsiaplusongoingsupportviaanationalelectronicnetworkofeducatorsandscholars.
MajorfundingforAskAsia,AsiaInteractive,andTeachAsiahasbeenprovid-edbyTheFreemanFoundation,withadditionalsupportfromMerrillLynchandCo.
Foundation,Inc.
TheJapanFoundationCenterforGlobalPartnership(cgp)alsoprovidedmajorfundingforthedevelopmentandimplementationofTeachAsia.
OthersthathaveprovidedsupportforAskAsiahaveincludedtheAT&TFoundationandtheMCIFoundation.
Additionally,theSociety'snewlylaunchedAsiaintheSchoolsWebsiteprovidesinformationabouttheSociety'snewlylaunchedAsiaintheSchoolsanditsNationalCommissionactivities,madepossiblebythegeneroussupportofTheFreemanFoundation.
TheSociety'snew,dynamicportalsiteAsiaSourceisagatewaytoallthingsAsian—fromthearts,culture,religion,andsociety,tobusiness,economics,policy,andgovernment—withdailynewsbulletins,aninternationalcalendarofevents,featuredarticles,annotatedlinks,coun-tryprofilesandotherAsia-relateditems.
TheinstitutionalWebsitehasnewsabouttheSociety,hostsinformationontheinstitutioníspublications,departments,andactivities,offersusersaviewofselectSocietyexhibitions,andprovidestranscriptsofmajorspeechesfromAsiaSocietypolicyandbusinessevents.
TheSociety'sCulturalProgramsdivsionofferseducationalmaterialsrelatedtoartexhibitions.
Theseincludeschoolvisitstoexhibitions,teachertrain-ingmaterials,andteacherworkshopstohelpeducatorsintegrateAsianartintotheirschoolcurriculum.
AsiaSocietyisheadquarteredat725ParkAvenue,NewYork,NewYork,withregionalcentersinHouston;LosAngeles;Washington,D.
C.
;HongKong;andMelbourne,Australia.
RepresentativeofficesarelocatedinSeattle,SanFrancisco,Shanghai,andManila.
TofindoutmoreaboutK–12educationalprograms,materials,andinitia-tives,visittheSocietyonlineatorbyusingourtoll-freehotlines1-888-ASK-ASIA(1-888-275-2742)or1-888-FAX-ASIA(1-888-329-2742),orbywritingtotheEducationDivision,AsiaSociety,725ParkAvenue,NewYork,NY10021.
AbouttheAsiaSociety98AbouttheQueensBoroughPublicLibrary99TheQueensBoroughPublicLibraryTheQueensBoroughPublicLibraryservesabook-hungrypopulationoftwomillionfrom63librarylocationsplus6AdultLearningCenters.
Itcir-culatesmorebooksandotherlibrarymaterialsthananyotherlibrarysysteminthecountry,andislocatedinNewYorkCity'smostethnicallydiverseborough.
Establishedin1995,theQueensLibraryGalleryisanadjuncttotheQueensBoroughPublicLibrary,andislocatedintheCentralLibrary,89–11MerrickBoulevard,Jamaica.
ExhibitionsattheQueensLibraryGalleryexplorearangeofsubjectsthatmaycombinehistory,art,literature,children'sthemesandethnicculture,reectingthediversepopulationandinterestsofQueens'communities.
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Thestudentalsobecomesacquaintedwithsomeoftherolesthatmuseumshaveincontemporarysociety.
FormoreinformationaboutLibraryprograms,services,locations,eventsandnews,visittheQueensLibraryWebsiteatorphone718–990–0781.
In1997,GaryE.
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AbouttheQueensBoroughPublicLibrary100