china culture essay

Chinese Culture

China is one of the Four Ancient Civilizations (alongside Babylon, India and Egypt), according to Chinese scholar Liang Qichao (1900). It boasts a vast and varied geographic expanse, 3,600 years of written history, as well as a rich and profound culture. Chinese culture is diverse and unique, yet harmoniously blended — an invaluable asset to the world.

Our China culture guide contains information divided into Traditions, Heritage, Arts, Festivals, Language, and Symbols. Topics include Chinese food, World Heritage sites, China's Spring Festival, Kungfu, and Beijing opera.

China's Traditions

China's heritage.

China's national heritage is both tangible and intangible, with natural wonders and historic sites, as well as ethnic songs and festivals included.

As of 2018, 53 noteworthy Chinese sites were inscribed on UNESCO's World Heritage List: 36 Cultural Heritage, 13 Natural Heritage, and 4 Cultural and Natural Heritage .

China's Performing Arts

Chinese Kungfu
Chinese Folk Dance
Chinese Traditional Music
Chinese Acrobatics
Beijing Opera
Chinese Shadow Plays
Chinese Puppet Plays
Chinese Musical Instruments

Arts and Crafts

Chinese Silk
Chinese Jade Articles
Ancient Chinese Furniture
Chinese Knots
Chinese Embroidery
Chinese Lanterns
Chinese Kites
Chinese Paper Cutting
Chinese Paper Umbrellas
Ancient Porcelain
Chinese Calligraphy
Chinese Painting
Chinese Cloisonné
Four Treasures of the Study
Chinese Seals

China's Festivals

China has several traditional festivals that are celebrated all over the country (in different ways). The most important is Chinese New Year, then Mid-Autumn Festival. China, with its "55 Ethnic Minorities", also has many ethnic festivals. From Tibet to Manchuria to China's tropical south, different tribes celebrate their new year, harvest, and other things, in various ways.

Learning Chinese

Chinese is reckoned to be the most difficult language in the world to learn, but that also must make it the most interesting. It's the world's only remaining pictographic language in common use, with thousands of characters making up the written language. Its pronunciation is generally one syllable per character, in one of five tones. China's rich literary culture includes many pithy sayings and beautiful poems.

Symbols of China

Every nation has its symbols, but what should you think of when it comes to China? You might conjure up images of long coiling dragons, the red flag, pandas, the Great Wall… table tennis, the list goes on…

Top Recommended Chinese Culture Tours

China's classic sights
A silent night on the Great Wall
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China's past, present, and future
The Terracotta Amy coming alive
Experience a high-speed train ride
Feed a lovely giant panda
Explore China's classic sights
Relax on a Yangtze River cruise
Walk on the the Great Wall.
Make a mini warrior with a local family.
Pay your respects at the pilgrim's holy palace.

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Chinese Culture: Customs & Traditions of China

China is an extremely large country — first in population and fifth in area, according to the CIA — and the customs and traditions of its people vary by geography and ethnicity.

About 1.4 billion people live in China, according to the World Bank, representing 56 ethnic minority groups. The largest group is the Han Chinese, with about 900 million people. Other groups include the Tibetans, the Mongols , the Manchus, the Naxi, and the Hezhen, which is smallest group, with fewer than 2,000 people.

"Significantly, individuals within communities create their own culture," said Cristina De Rossi, an anthropologist at Barnet and Southgate College in London. Culture includes religion, food, style, language, marriage, music, morals and many other things that make up how a group acts and interacts. Here is a brief overview of some elements of the Chinese culture.

Statue of Confucius at Confucian Temple in Shanghai, China.

The Chinese Communist Party that rules the nation is officially atheist, though it is gradually becoming more tolerant of religions, according to the Council on Foreign Relations . Currently, there are only five official religions. Any religion other than Buddhism, Taoism, Islam, Catholicism and Protestantism are illegal, even though the Chinese constitution states that people are allowed freedom of religion. The gradual tolerance of religion has only started to progress in the past few decades.

About a quarter of the people practice Taoism and Confucianism and other traditional religions. There are also small numbers of Buddhists, Muslims and Christians. Although numerous Protestant and Catholic ministries have been active in the country since the early 19th century, they have made little progress in converting Chinese to these religions.

The cremated remains of someone who may have been the Buddha were discovered in Jingchuan County, China, with more than 260 Buddhist statues in late 2017. Buddha was a spiritual teacher who lived between mid-6th and mid-4th centuries B.C. His lessons founded Buddhism. [ Cremated Remains of the 'Buddha' Discovered in Chinese Village ]

There are seven major groups of dialects of the Chinese language, which each have their own variations, according to Mount Holyoke College . Mandarin dialects are spoken by 71.5 percent of the population, followed by Wu (8.5 percent), Yue (also called Cantonese; 5 percent), Xiang (4.8 percent), Min (4.1 percent), Hakka (3.7 percent) and Gan (2.4 percent).

Chinese dialects are very different, according to Jerry Norman, a former professor of linguistics at the University of Washington and author of " Chinese (Cambridge Language Surveys) " (Cambridge University Press, 1988). "Chinese is rather more like a language family than a single language made up of a number of regional forms," he wrote. "The Chinese dialectal complex is in many ways analogous to the Romance language family in Europe. To take an extreme example, there is probably as much difference between the dialects of Peking [Beijing] and Chaozhou as there is between Italian and French."

The official national language of China is Pŭtōnghuà, a type of Mandarin spoken in the capital Beijing, according to the Order of the President of the People's Republic of China . Many Chinese are also fluent in English.

Like other aspects of Chinese life, cuisine is heavily influenced by geography and ethnic diversity. Among the main styles of Chinese cooking are Cantonese, which features stir-fried dishes, and Szechuan, which relies heavily on use of peanuts, sesame paste and ginger and is known for its spiciness.

Rice is not only a major food source in China; it is also a major element that helped grow their society, according to " Pathways to Asian Civilizations: Tracing the Origins and Spread of Rice and Rice Cultures ," an 2011 article in the journal Rice by Dorian Q. Fuller. The Chinese word for rice is fan , which also means "meal," and it is a staple of their diet, as are bean sprouts, cabbage and scallions. Because they do not consume a lot of meat — occasionally pork or chicken — tofu is a main source of protein for the Chinese.

Chinese calligraphy. Chinese writing is based on symbols.

Chinese art is greatly influenced by the country's rich spiritual and mystical history. Many sculptures and paintings depict spiritual figures of Buddhism, according to the Metropolitan Museum of Art .

Many musical instruments are integral to Chinese culture, including the flute-like xun and the guqin, which is in the zither family.

Eastern-style martial arts were also developed in China, and it is the birthplace of kung fu. This fighting technique is based on animal movements and was created in the mid-1600s, according to Black Belt Magazine .

Ancient Chinese were avid writers and philosophers — especially during the Ming and Qing dynasties — and that is reflected in the country's rich liturgical history.

Recently, archaeologists discovered detailed paintings in a 1,400-year-old tomb in China. "The murals of this tomb had diversified motifs and rich connotations, many of which cannot be found in other tombs of the same period," a team of archaeologists wrote in an article recently published in a 2017 issue of the journal Chinese Archaeology. [ Ancient Tomb with 'Blue Monster' Mural Discovered in China ]

Science & technology

China has invested large amounts of money in science advancements and currently challenges the United States in scientific research . China spent 75 percent of what the United States spent in 2015, according to the journal JCI Insight .

One recent 2017 development in Chinese science is teleportation. Chinese researchers sent a packet of information from Tibet to a satellite in orbit, up to 870 miles (1,400 kilometers) above the Earth's surface, which is a new record for quantum teleportation distance. [ Chinese Scientists Just Set the Record for the Farthest Quantum Teleportation ]

Another 2017 advancement is the development of new bullet trains. Dubbed "Fuxing," which means "rejuvenation," these trains are high-speed transportation systems that run between Beijing and Shanghai. The trains can travel at speeds of up to 350 km/h (217 mph), making them the world's fastest trains. [ China's 'Rejuvenation' Bullet Trains Are the World's Fastest ]

Customs and celebrations

The largest festival — also called the Spring Festival — marks the beginning of the Lunar New Year. It falls between mid-January and mid-February and is a time to honor ancestors. During the 15-day celebration, the Chinese do something every day to welcome the new year, such as eat rice congee and mustard greens to cleanse the body, according to the University of Victoria . The holiday is marked with fireworks and parades featuring dancers dressed as dragons.

Many people make pilgrimages to Confucius' birthplace in Shandong Province on his birthday, Sept. 28. The birthday of Guanyin, the goddess of mercy, is observed by visiting Taoist temples. It falls between late March and late April. Similar celebrations mark the birthday of Mazu, the goddess of the sea (also known as Tianhou), in May or June. The Moon Festival is celebrated in September or October with fireworks, paper lanterns and moon gazing.

Additional resources

Princeton University: The Spirits of Chinese Religion
University of Mississippi: Ming and Qing Dynasties
University of Minnesota: What is Culture?

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Kim Ann Zimmermann is a contributor to Live Science and sister site Space.com, writing mainly evergreen reference articles that provide background on myriad scientific topics, from astronauts to climate, and from culture to medicine. Her work can also be found in Business News Daily and KM World. She holds a bachelor’s degree in communications from Glassboro State College (now known as Rowan University) in New Jersey.

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Table Of Contents

How big is China?

China, the largest of all Asian countries, occupies nearly the entire East Asian landmass and covers approximately one-fourteenth of the land area of Earth, making it almost as large as the whole of Europe.

China, which has the largest population of any country in the world, is composed of diverse ethnic and linguistic groups. The Han are the largest group in China, while the Zhuang is the largest minority group. In some areas of China, especially in the southwest, many different ethnic groups are geographically intermixed, including Buyi, Miao, Dong, Tibetans, Mongolians, and others.

Does China have an official language?

The official language of China is Mandarin, or putonghua , meaning “ordinary language” or “common language.” There are three variants of Mandarin—Beijing, Chengdu, and Nanjing. Of these, the Beijing dialect is the most widespread Chinese tongue and has officially been adopted as the basis for the national language.

How long has China existed as a discrete politico-cultural unit?

What crops are grown in China?

China is the world’s largest producer of rice and is among the principal sources of wheat, corn (maize), tobacco, soybeans, peanuts (groundnuts), and cotton.

China , country of East Asia . It is the largest of all Asian countries. Occupying nearly the entire East Asian landmass, it covers approximately one-fourteenth of the land area of Earth , and it is almost as large as the whole of Europe . China is also one of the most populous countries in the world, rivaled only by India , which, according to United Nations estimates, surpassed it in population in 2023.

China has 33 administrative units directly under the central government; these consist of 22 provinces , 5 autonomous regions, 4 municipalities ( Chongqing , Beijing , Shanghai , and Tianjin ), and 2 special administrative regions ( Hong Kong and Macau ). The island province of Taiwan , which has been under separate administration since 1949, is discussed in the article Taiwan . Beijing (Peking), the capital of the People’s Republic, is also the cultural, economic, and communications center of the country. Shanghai is the main industrial city; Hong Kong is the leading commercial center and port.

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Within China’s boundaries exists a highly diverse and complex country. Its topography encompasses the highest and one of the lowest places on Earth, and its relief varies from nearly impenetrable mountainous terrain to vast coastal lowlands . Its climate ranges from extremely dry, desertlike conditions in the northwest to tropical monsoon in the southeast, and China has the greatest contrast in temperature between its northern and southern borders of any country in the world.

The diversity of both China’s relief and its climate has resulted in one of the world’s widest arrays of ecological niches , and these niches have been filled by a vast number of plant and animal species. Indeed, practically all types of Northern Hemisphere plants, except those of the polar tundra, are found in China, and, despite the continuous inroads of humans over the millennia, China still is home to some of the world’s most exotic animals.

Flags of all nations of the world. Grouping of various country flags on a world map.

Probably the single most identifiable characteristic of China to the people of the rest of the world is the size of its population. Some one-fifth of humanity is of Chinese nationality. The great majority of the population is Chinese (Han), and thus China is often characterized as an ethnically homogeneous country, but few countries have as many diverse Indigenous peoples as does China. Even among the Han there are cultural and linguistic differences between regions; for example, the only point of linguistic commonality between two individuals from different parts of China may be the written Chinese language. Because China’s population is so enormous, the population density of the country is also often thought to be uniformly high, but vast areas of China are either uninhabited or sparsely populated.

With more than 4,000 years of recorded history , China is one of the few existing countries that also flourished economically and culturally in the earliest stages of world civilization. Indeed, despite the political and social upheavals that frequently have ravaged the country, China is unique among nations in its longevity and resilience as a discrete politico-cultural unit. Much of China’s cultural development has been accomplished with relatively little outside influence, the introduction of Buddhism from India constituting a major exception. Even when the country was penetrated by such foreign powers as the Manchu , these groups soon became largely absorbed into the fabric of Han Chinese culture .

This relative isolation from the outside world made possible over the centuries the flowering and refinement of the Chinese culture, but it also left China ill prepared to cope with that world when, from the mid-19th century, it was confronted by technologically superior foreign nations. There followed a century of decline and decrepitude, as China found itself relatively helpless in the face of a foreign onslaught. The trauma of this external challenge became the catalyst for a revolution that began in the early 20th century against the old regime and culminated in the establishment of a communist government in 1949. This event reshaped global political geography, and China has since come to rank among the most influential countries in the world.

Central to China’s long-enduring identity as a unitary country is the province, or sheng (“secretariat”). The provinces are traceable in their current form to the Tang dynasty (618–907 ce ). Over the centuries, provinces gained in importance as centers of political and economic authority and increasingly became the focus of regional identification and loyalty. Provincial power reached its peak in the first two decades of the 20th century, but, since the establishment of the People’s Republic, that power has been curtailed by a strong central leadership in Beijing. Nonetheless, while the Chinese state has remained unitary in form, the vast size and population of China’s provinces—which are comparable to large and midsize nations—dictate their continuing importance as a level of subnational administration.

China stretches for about 3,250 miles (5,250 km) from east to west and 3,400 miles (5,500 km) from north to south. Its land frontier is about 12,400 miles (20,000 km) in length, and its coastline extends for some 8,700 miles (14,000 km). The country is bounded by Mongolia to the north; Russia and North Korea to the northeast; the Yellow Sea and the East China Sea to the east; the South China Sea to the southeast; Vietnam , Laos , Myanmar (Burma), India , Bhutan , and Nepal to the south; Pakistan to the southwest; and Afghanistan , Tajikistan , Kyrgyzstan , and Kazakhstan to the west. In addition to the 14 countries that border directly on it, China also faces South Korea and Japan , across the Yellow Sea, and the Philippines , which lie beyond the South China Sea.

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Education About Asia: Online Archives

Bringing traditional chinese culture to life.

This issue of Education About Asia addresses the question, “What should we know about Asia?” Based on my experiences teaching courses on China and East Asia, traditional Chinese culture is one of the most important topics in understanding both past and present Asia. China has one of the world’s oldest civilizations. This poses many challenges to teachers who desire to make this rich and complex tradition accessible to their students. On both a temporal and spatial level, traditional China may seem far removed to Western students of the modern world. To bridge these gaps in time and space, and to make it more relevant to my students, I often connect its significance to contemporary society by highlighting the current appeal of learning about traditional Chinese culture in modern China. To demonstrate this process, this article examines examples from three cultural fields: Chinese philosophy, focusing on Confucius and his thought; Chinese history, with an illustration from the Shiji ; and Chinese literature, with a case study on plum blossom poems. Moreover, this article discusses how to develop course questions that are relevant to the students’ needs, as well as how to update teaching styles by incorporating multimedia sources, such as current news and films, in the classroom in order to appeal to students of the digital age. Furthermore, the examples and approaches outlined in this article are applicable to a wide variety of courses, including, but not limited to, Chinese literature, history, philosophy, or world history. It is hoped that this article may therefore encourage teachers across many disciplines to incorporate these techniques, as well as their own innovations, in their classrooms.

Confucius and His Thought

Confucian thought played an important role in shaping Chinese culture and identity. In order to make this complex philosophy more engaging, I utilize the “What Did Confucius Say?” articles from the Asia for Educators website, which is hosted by Columbia University.1 This reading material is concise and contains seven major sections grouped according to various topics, including primary sources and discussion questions. The first two sections cover the life and major ideas of Confucius, and provide the background and main features of the Analects of Confucius . For instance, the reading informs users that the Analects of Confucius is not a single work composed by Confucius (551–479 BCE) during his lifetime, but rather multiple writings compiled by Confucius’s disciples after his death. The Analects are also a useful starting point for students to encounter traditional Chinese culture due to the format of the text itself. Students frequently perceive that in many of these stories, Confucius engages in either a monologue or a conversation with his disciples or a ruler to articulate his ideas. Moreover, Confucius’s words are terse and concise, leaving room for various interpretations, thereby promoting a lively class discussion.

When designing class activities, I include some of the discussion questions from the reading material on the website into my own questions in order to unpack both the meaning of his sayings in their own cultural context, as well as their current appeal in contemporary society. These questions are well-designed for high school and undergraduate instructors. The first few questions come from the website and are always based on a primary source in order to ensure the students understand the text. I then follow up these general comprehension questions with my own questions in order to place Confucius’s sayings into a larger intellectual and social context by asking students to apply Confucian thought to modern and contemporary issues. To prepare for class discussion, I may ask students to read some passages together or invite individual students to take turns reading them aloud, followed by their interpretations of the text’s meaning and broader significance. For example, one primary source comes from “On Confucius as Teacher and Person,” which includes Confucius’s sayings on education. I assign students the following discussion questions:

Why is Confucius often called a great teacher? Please note several qualities of Confucius’s teaching philosophy as demonstrated by his sayings.
If Confucius were your teacher today, how would you evaluate his teaching approaches and methods? Would you want to attend his class? Why or why not? Students are then able to discuss these questions based on a close reading of the document itself. For instance, the students learn that Confucius broke away from the traditional education system of his time, which had been limited to teaching the sons of noble families. In contrast, he allegedly would teach anyone who was willing to learn. In addition, he taught students with different approaches according to their own situations and characters. As a teacher, he showed his eagerness to learn from other people and improve his knowledge and skills, stating that “Walking along with three people, my teacher is sure to be among them.”2

Another important Confucian thought is the concept of ren (humanity). In this section, I demonstrate that some of Confucius’s sayings possess universal value, and thus, everyone can relate Confucius’s primary beliefs regardless of their own personal knowledge and backgrounds. The discussion questions below are used to facilitate students’ understanding of this concept and allow them to compare it to other traditions:

Based on the reading section, what qualities does humanity include? Could you use some examples to illustrate Confucius’s ideas on humanity?
Humanity is a universal value in many philosophies and religions. Please discuss the similarities and differences between Confucians’ humanity and other traditions that you are familiar with, such as Christianity or Buddhism. Although Confucius’s beliefs, such as humanity, have many similarities with other philosophical and religious traditions, some of Confucius’s values, such as filial piety, are different from Western cultural traditions. Filial piety is the core of Confucian moral philosophy, but it may be difficult for students outside of the Chinese tradition to understand, thus instructors must explain it and similar concepts in detail. To this end, I provide the following discussion questions:
What are the major ideas of Confucius’s filial piety?
Why do Chinese rulers promote and advocate this concept?
If you were to apply filial piety to your family, what would happen? Do you think that filial piety applies to modern Western society? Why or why not?

To make these abstract concepts more concrete, I also ask students to offer specific examples to explain filial piety and its reciprocity. For instance, Confucius teaches that younger family members should respect their family elders, and in return, the elders have an obligation to take care of their younger family members. When explaining this, instructors should emphasize that this kind of relationship is hierarchical and that it was later advocated by rulers in different dynasties to legitimize their power by equating the ruler to the head of the family. When discussing filial piety, the instructor must also highlight its societal significance and philosophical ramifications. For instance, Confucian scholars maintained that if family members showed filial piety, then they would become peaceful and harmonious. Moreover, because society consists of many small families that make up the state, following this logic, a society that practices filial piety will naturally become well organized. Therefore, these scholars argued, a ruler should not rely on severe laws and regulations to govern his state; instead, a ruler should lead by exemplary deeds and moral values. Thus, students will learn that Confucian values such as filial piety affected all aspects of traditional Chinese culture, from the individual household to the governing state itself.

After students have grappled with the original texts and their historical significance, I then assign them Jeremy Page’s 2015 Wall Street Journal article “Why China Is Turning Back to Confucius”3 in order to further demonstrate the current appeal of Confucian thought on modern Chinese society. Page begins by describing a lecture on Chinese philosophy that many senior Chinese officials attended in order to further understand Confucian values and how to apply them in their daily lives. He then discusses the causes behind this revival of traditional Chinese culture (i.e., Confucianism), such as coping with domestic social problems, legitimating the Communist Party’s rule by arguing that it has inherited the Confucian tradition, and opposing Western influence. In addition, the article briefly traces the reception of Confucianism from the 1840s to the present and discusses many ways that contemporary Chinese society commemorates Confucius, such as establishing monuments, opening Confucian academies and training centers, and holding museum exhibitions and lectures.

In class, I first briefly discuss Confucius’s fluctuating status from the late Qing dynasty (1644–1911) to the end of the Cultural Revolution (1966–1976), when his thought was largely criticized and condemned. This provides a historical context behind the return that contemporary Chinese society is making toward the study and appreciation of Confucian ideology. It also enables students to understand how the traditional Confucian value of obeying a ruler’s orders is being utilized to keep the present government in power . As students discuss this article, many observe that the top Chinese leaders attend Confucian classics courses and workshops, and even tune in to national television broadcasts and lectures on Confucian thought during primetime. In addition, they discover that school textbooks include more materials that encompass traditional values, and parents send their children to learn Confucian rituals as part of their extracurricular activities. After discussing these newly developing trends in Chinese society today, students often conclude that the Chinese government wants to revive traditional Chinese culture rooted in Confucianism in order to promote the “China Dream” and build a harmonious society. Moreover, Chinese leaders want to gain wisdom from indigenous Chinese culture to help solve contemporary problems, such as government corruption and the decline of moral integrity, while simultaneously opposing strong Western political and cultural influence. However, I make sure that students also know that Confucianism is but one historical tradition that influences China’s political leaders. For example, legalism, which dates back to even before the establishment of China’s first empire, the Qin in 221 BCE, is equally influential on the policies of Chinese leaders in many ways. Historically and in contemporary times, it can sometimes have ominous results for elements of the Chinese population. Instructors interested in making sure their students have an understanding of legalism are advised to access the Columbia University Asia for Educators website.4

Record of the Grand Historian

Another important aspect of Chinese culture is Chinese history. The Shiji ( Record of the Grand Historian ), written from the late second century BCE to 86 BCE, is the foundational text of Chinese history and covers a broad historical spectrum from the mythical Yellow Emperor to Emperor Wu (156–87 BCE) of the Western Han dynasty (202 BCE–8). The class is introduced to the Shiji through a survey of its content, time span, the motivations behind its compilation, and major subdivisions within the work. For instance, students learn that the government did not sponsor the Shiji , and so did not dictate its contents. Rather, it was Sima Tan (ca. 165–110 BCE) who initially conducted the Shiji project, but his son, Sima Qian (ca. 145–86 BCE), actually compiled this monumental masterpiece in order to fulfill his father’s posthumous will. Moreover, Sima Qian fell out of favor with Emperor Wu because he defended Li Ling (134–74 BCE), a Han dynasty general, who defected to the Xiongnu nomadic tribes to the north of China. Sima Qian was ultimately punished for this by undergoing the humiliation of castration. In addition to these family and personal reasons for compiling the Shiji , Sima Qian also sought to establish a lineage of great historical figures who would otherwise have been forgotten in history. These factors strongly influenced what type of historical figures Sima Qian selected for the Shiji , the ways in which he narrated their accounts, and the conclusions he reached about them, as well as the lessons they represented for society as a whole. In general, Sima Qian emphasized the moral value and social impact of historical figures rather than their social or political status.

In my class, I select some biographies to discuss, among which is “The Biographies of the Assassin-Retainers.”5 Here I use the biography of Jing Ke (d. 227 BCE) as an example of how I lead class discussion, integrate the Shiji through film, and highlight its appeal in a contemporary context for students.6 The Jing Ke story took place toward the end of the Warring States Period (475–221 BCE), when the state of Qin had already annexed several rival states and had set its target on the state of Yan in the north. Prince Dan of Yan (d. 226 BCE) consulted his officials about this important issue, and a senior official named Tian Guang (d. 227 BCE) suggested that the prince should hire Jing Ke to assassinate the King of Qin (259–210 BCE). In order to gain an audience with the King of Qin, Jing Ke requested three items: the map of Dukang (part of Yan’s territory), a poisonous dagger, and the head of General Fan (d. 227 BCE), a traitor to the state of Qin. After obtaining these items, Jing Ke was granted an audience with the king in the Qin court. Jing Ke concealed the dagger inside the map scroll and unrolled it to its end. Suddenly, he grabbed the dagger from the scroll and attempted to kidnap the king as a hostage, but was unsuccessful. Eventually, the king and his courtiers killed Jing Ke. After reading this story, students must first summarize the text’s plot, as well as the major characters and their personalities. To engage critically in understanding the historical narrative, students discuss the following questions:

Why is Jing Ke willing to accept Prince Dan of Yan’s order and carry out this assassination?
How do you understand Jing Ke’s complex personality and psychological state? • Jing Ke was a failed assassin, yet he is glorified in Sima Qian’s record. Please consider Sima Qian’s own situation to explain why Jing Ke is immortalized and praised.
In your opinion, is Jing Ke a hero? Why or why not? Students brainstorm different points and piece them together on the whiteboard to understand the history of the Warring States, the knight-errant culture, and the reception of the Jing Ke story. In addition, I explain the possible connection between Sima Qian’s choice of Jing Ke and his own life experiences.

To relate the Jing Ke story with contemporary Chinese society, I then show students parts of two film adaptations of the tale: Chen Kaige’s The Emperor and the Assassin and Zhang Yimou’s Hero , which are available through YouTube for a nominal fee. The former follows the standard historical narration fairly closely, while the latter changes the content substantially; however, students are still able to link the story with the film. In order to make this discussion more lively, students are required to complete a homework assignment on the following questions: How have the two films adapted the Jing Ke lore? What are their major changes? How do you evaluate these changes; are they successful or not? Through this exercise, students learn that the major plot of The Emperor and the Assassin is based on historical narration, with the exception of a new character— Lady Zhao—who is not found in any historical narrative. Students are to explain why this new role might have been created. Several factors shed light on this addition: since this is a three-hour-long, big-budget movie, the director may have been considering the box office results. More importantly, the purpose behind creating this role could have been to create a more complex and romantic plot. Even the director acknowledged in an interview that “Designing such a character like Lady Zhao cannot be said to have been done out of a lack of consideration for the plot. If I produced and shot a purely twoman story, it may not have had such a good effect.”7

Lady Zhao ultimately provides a link between the King of Qin and Jing Ke. When she is young, she admires Yingzheng’s (the King of Qin) courage and political ambition. However, when she later realizes that Yingzheng occupies the state of Zhao by slaughtering many innocent people, she turns to Jing Ke for help to stop such brutality. This additional character provides new possible interpretations of the motivations behind Jing Ke’s assassination attempt, which stems not only from his loyalty to Prince Dan, but also from his righteousness in desiring to remove a brutal ruler. This modern adaptation increases the significance of Jing Ke’s mission. In Zhang’s film Hero , students identify the major change of the assassin abandoning his mission to kill the king, where the assassin instead engages in a direct dialogue with the king in the Qin court. Through their conversation, the assassin comes to understand that the king wants to defeat all other kingdoms and unify China in order to bring peace to all people under heaven. Students then discuss their implications of this change. Often, students are critical towards this adaptation because it glorifies the King of Qin and conveys a problematic and debatable message to the audience that a ruler can adopt any method or make any sacrifice to achieve one’s goal, as long as one’s intention is good or meaningful.

These films demonstrate how contemporary approaches to narrating the story of Jing Ke continue to provide different interpretations of the story and its significance. The discussion about the Jing Ke lore has switched from focusing on the details of his assassination attempt to adapting his story to fit the contemporary needs of strengthening nationalism and Chinese identity. The promotion of a strong “nation-state” ideology by Chinese leaders has played an important role in shaping this reception. Contemporary society portrays him as a national hero, a strong man attempting to remove an evil and despotic ruler, and a knight-errant who embodies the traditional moral values of China in the face of Western influence during China’s rapid economic development, through which intellectuals can further probe China’s recent past and thus bring history to life.

Poems on Things and Objects

Along with Chinese philosophy and history, literature also plays an important role in Chinese culture, particularly poetry, which was the dominant literary subgenre throughout premodern Chinese history. This section provides a creative approach not only on how to teach classical Chinese poems, but also on integrating them within a type of traditional art—blow painting. By exploring this topic, students develop a solid understanding of Chinese poetry, learn the cultural meaning of the plum blossom, and express their own appreciation for Chinese poetry. 8

The plum blossom is famous, along with the orchid, bamboo, and chrysanthemum, as one of “The Four Gentlemen” in China. Furthermore, it is considered one of “The Three Friends in Winter,” together with pine trees and bamboo. However, plum trees are not common in the US, nor do they carry a significant cultural value, so the topic naturally stimulates student interest. Before we approach the topic of the plum blossom, my students have already studied other Chinese poems, so I briefly review some basic features of Chinese poetry, particularly the Chinese quatrain, which is often made up of four lines with five or seven characters in each line, and regulated verse, which is often made up of eight lines, and each line includes either five or seven characters. These two types of poetry were popular in the Tang dynasty (608–907), known as the golden age of Chinese poetry.9 Next, students gather information on the cultural meaning of the plum blossom and answer the following questions: How and when do Chinese people discuss plum blossoms? What does the plum blossom mean in Chinese society? What interesting facts do you know about the plum blossom? What can you learn from the symbolic meanings of plum blossoms? Students find appropriate information online and in the library about plum blossom culture and outline their primary ideas on the topic. Through class discussion, students also discover that the plum blossom has profound cultural connotations in China. The plum blossom symbolizes courage and strength because the fragrance of plum blossoms comes out of bitterness and coldness. The plum blossom also represents endurance and perseverance because plum blossoms flower in winter while most other plants do not survive. Furthermore, the plum blossom also embodies purity and lofty ideals, possibly because they bloom in winter, often covered with snow. To explore this motif, I incorporate several poems on plum blossoms in the lesson. Here are two examples from Shao Yong (1011–1077) and Wang Anshi (1021–1086):

A Leisure Walk by Shao Yong Once upon a time, we walk leisurely for two or three miles On the way, we see four or five misty villages Six or seven temples and Eight, nine or ten branches of plum blossom10

This poem is easy to understand but demonstrates the major characteristics of Song (960–1279) poetry, which focuses on the details of daily life. The poet’s focus gradually shifts from distant scenery to a closer look at his surroundings. At the beginning, the poet is far away, so he cannot see things clearly. When he moves closer, he sees the pavilions and houses. Looking even closer, he notices plum blossoms. The language in this poem is simple and clear without any descriptive words, but students still identify the poet’s cheerful mood and recognize that this is a pleasant experience. This is typical in Shao’s poems; as modern scholar Xiaoshan Yang states, “Shao Yong was always keen on distinguishing himself as a man of true joy and leisure from those who could only ‘steal leisure’ for a fleeting moment.”11 After discussing the content of the poem, I highlight the word “misty” in the first couplet, which, rather than denoting smoke caused by fire, instead is used to depict the remote villages. Because one cannot see the villages clearly in the distance, it seems like they are surrounded by mist. Another possibility is that many families had been cooking, hence smoke from their chimneys could be obscuring the poet’s vision and creating this phenomenon.

The second poem that I use on this topic is a five-character quatrain:

Plum Blossoms by Wang Anshi In the nook of a wall a few plum sprays, In solitude blossom on the bleak winter days, From the distance, I see they cannot be snow, For a stealthy breath of perfume hither flows.12

In this quatrain, the poet encourages his readers to make use of their senses such as sight and smell. This poem does not focus on the appearance of the plum blossoms, but rather on their character and spirit. Students often note that these plum blossoms appear in the corner of a wall during winter, which is unlikely to draw the attention of many people, revealing the unique character of the poet. In addition, without much nutrients, they still manage to blossom, demonstrating their hardiness. Furthermore, the last couplet forms a reverse causality: the third line tells the reader the result of noticing that the things in the distance are not snow; the fourth line informs the readers why the poet believes this is so: they are fragrant and cannot be snow. Thus, without describing the color of the plum blossoms themselves, the reader knows that they are either a white variety or are covered by snow, so they seem like snow when one looks at them far away. In terms of language, this poem does not employ overly ornate syntax. Yet through this simple and tranquil language, the poet conveys the spirit of plum blossoms: strong endurance and vibrant life. They are not afraid of cold weather, an analogy for people who do not fear power or authority. This allows the class to understand that the subtext of Chinese poetry often has political implications. Based on students’ discussions, I further explain a possible hidden reading: this poem may also allude to the poet’s own frustrated situation, when his political reform efforts faced resistance and gradually lost the Emperor Shenzong’s (1048–1085) support. However, through such adversity, like the plum blossom in winter, he was determined not to yield.

To make this topic even more lively, I integrate blow painting into the section on plum blossom poetry. The instructor should finish a complete blow painting before class so that students can see what the final product looks like. A simple blow painting requires some basic items, such as paper plates, calligraphy brushes, ink, red paint, and water. Ideally, one should use xuan paper made of different fibers, such as blue sandalwood, rice straw, and mulberry, which is specially designed for painting and calligraphy. However, it is difficult to obtain in the US, so I use paper plates instead. The procedure is simple: first, one puts drops of ink in the middle of the paper plate, blowing the drops slowly and patiently in different directions as the first several blows shape the main stem of the tree. Then, blow a little harder, so the stem becomes thicker. Once the main stem is shaped, one can blow the ink quickly in various directions, which become different branches. One may use a straw to do the blowing to expedite the whole process. After the basic painting is completed, one may use a brush to dip into the red ink and put the petals or flowers around the branches and twigs. This combination of poetry appreciation and blow painting demonstration enables students to understand Chinese culture more vividly and concretely.

Many colleges and universities have some type of traditional Chinese culture courses, whether they be premodern Chinese literature, history, philosophy, or other China-related courses. This article offers personal insight and unique methods of diversifying approaches to teaching Chinese culture effectively. It investigates avenues for bringing traditional Chinese culture to life by demonstrating how to integrate multimedia (such as recent news and films), as well as fine arts (such as blow painting of plum blossoms) into a culture class. These examples and approaches, including discussion questions, are used to explore the current appeal of traditional Chinese culture, which continues to shape Chinese identity and character. In addition, these practices include useful materials for designing extracurricular activities in Chinese clubs, film presentations, or guest lectures. A combination of Chinese culture, multimedia, and hands-on experience in the classroom has proven to increase students’ interest and motivation, as well as broaden their horizons with regards to Chinese civilization and society.

Acknowledgements :

This article is made possible by Valparaiso University’s Research Expense Grant and the East Asian Studies Library Travel Grant of the University of Chicago. I also appreciate useful comments from two anonymous reviewers, EAA Editor Dr. Lucien Ellington, Dr. David Chai, Amanda S. Robb, and James Churchill.

Journey into the World of Chinese Tea

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China is synonymous with tea, and tea with China. In fact, the history of tea in China is almost as long as the history of China itself.

Despite the recent rise of coffee, Chinese tea culture continues to enjoy great popularity. Read on to learn about the past, present and future of tea in China .

Table of Contents

Shennong: The Mythical Father of Chinese Medicine

Early archeological and historical evidence, the classic of tea by lu yu, tea during the ming and qing dynasties, the east india company and robert fortune, we really mean tea, camellia sinensis tea, types of chinese teas, honorable mentions, we must not forget herbal "teas", last but not least, nǎichá, top 5 recommended chinese teas, chinese tea ceremonies gain in popularity, how to conduct a chinese tea ceremony, everything tea, how much coffee do people drink in china, the chinese tea industry marches on, chinese vocabulary related to chinese tea culture.

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The History of Tea in China

The history of Chinese tea (茶 chá ) begins with Shennong (神农 S hénnóng ), a mythical personage said to be the father of Chinese agriculture and Traditional Chinese Medicine .

Legend has it that Shennong accidentally discovered tea as he was boiling water to drink while sitting under a Camellia sinensis tree. Some leaves from the tree fell into the water, infusing it with a refreshing aroma. Shennong took a sip, found it enjoyable, and thus, tea was born.

Shennong is considered the father of Chinese agriculture.

Chinese mythology aside, archeological evidence has been found indicating that tea was used as a medicine by the elite as early as the Han dynasty (206 BCE–220 CE).

Tea didn’t achieve widespread popularity as an everyday beverage in China until the Tang dynasty (618-907 CE), however. Chinese Buddhist monks were some of the first to develop the habit of drinking tea. Its caffeine content helped them concentrate during long hours of prayer and meditation.

Much of the information we have about early Chinese tea culture comes from The Classic of Tea (茶经 C hájīng ), written around 760 CE by Lu Yu (陆羽 L ù Yǔ ), an orphan who grew up cultivating and drinking tea in a Buddhist monastery.

The Classic of Tea describes early Tang dynasty tea culture and explains how to grow and prepare tea.

In Lu Yu’s day, tea leaves were compressed into tea bricks , which were sometimes used as currency . When it was time to drink the tea, it was ground into a powder and mixed with water using a whisk to create a frothy beverage.

Although this type of powdered tea is no longer common in China, it was brought from China to Japan during the Tang dynasty and lives on today in Japanese matcha .

During the Ming dynasty (1368–1644 CE), tea bricks were replaced with loose leaf tea by imperial decree. This change was meant to make life easier for farmers since the traditional method of creating tea bricks was quite labor intensive.

Loose leaf tea is still the most common form of tea found in China today.

Tea was introduced in Britain in the mid-1600’s and British demand for tea soon created a trade imbalance with China. To correct it, Britain began exporting opium to China.

After China tried to ban opium, Britain launched the mid-19th century Opium Wars to force the trade to continue.

Although the wars achieved their stated goal, British merchants began to worry about the viability of continuing to rely on tea from the Chinese market. Soon, the East India Company sent Robert Fortune , a Scottish botanist and adventurer, to steal the secrets of tea-making from China.

Fortune’s stolen information, plants and seeds were then used to start large-scale tea production in India.

Indian tea production quickly outstripped that of China, and China lost its long-standing monopoly on the international tea trade.

The Chinese tea industry went into decline, and China has only recently regained its status as the world’s leading tea exporter.

Scottish botanist Robert Fortune in China, where he covertly collected tea plants and seeds for the East India Company, revolutionizing the global tea industry.

Popular Types of Tea in China

Today, most Chinese tea is loose leaf tea that’s steeped in boiling water, either in a teapot (茶壶 cháhú ) or directly in a thermos or glass, depending on the type of tea being consumed.

Drinking tea made from tea bags is uncommon in China.

“Tea” is used as a catch-all term for many different herbal brews in the West. In the strictest sense, however, the word “tea” only applies to beverages made from the leaves of the Camellia sinensis plant.

Contrary to popular belief, the differences in taste and color seen in different types of Chinese tea are not due to the use of different kinds of tea leaves. Rather, they are due to differences in the production and manufacturing process.

The type of tea produced is determined by the level of oxidation the tea leaves are allowed to undergo before the process is stopped by heating the leaves. In China, tea merchants usually refer to this oxidation process as fermentation (发酵 fājiào ).

Chinese teas are classified according to their level of fermentation. The more fermented the tea, the stronger its taste. White teas (白茶 báichá) are essentially unfermented (不发酵 bù fājiào).

They are followed by lightly fermented (微发酵 wēi fājiào) green teas (绿茶 lǜchá), half fermented (半发酵 bàn fājiào) oolong teas (乌龙茶 wūlóng chá), and fully fermented (全发酵 quán fājiào) black teas (红茶 hóngchá).

Pu’er (also called pu-erh) teas (普洱茶 pǔ'ěrchá), which are generally quite dark and strong, are said to be post-fermented (后发酵 hòu fājiào).

Certain regions of China are known for producing and consuming special types of tea. For example, Wuyi Mountain, in Fujian Province, is particularly famous for production and consumption of fine oolong teas such as dahongpao (大红袍 dàhóngpáo ).

Green teas such as biluochun (碧螺春 bìluóchūn ), grown in Jiangsu Province, are popular in the region around Shanghai.

Biluochun tea

Other beverages referred to as “tea” also exist in China, although some of them don’t actually contain any Camellia sinensis leaves.

One popular tea is jasmine tea (茉莉花茶 mòlìhuāchá ), made from a mixture of green tea and jasmine flowers.

Barley tea (大麦茶 dàmàichá ), made from roasted barley grains, doesn’t actually contain any tea leaves at all.

Jasmine tea

Other types of “tea” that enjoy immense popularity among the younger generations are milk tea (奶茶 nǎichá ) and bubble tea (珍珠奶茶 zhēnzhū nǎichá ).

These sugary drinks, which don’t contain much (if any) actual tea, come in a variety of different flavors.

CLI is in the business of China, and in China business means drinking tea. After over 12 years working day in and day out on behalf of our students and community (which means staying well caffeinated!), we've come know tea well.

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Modern Chinese Tea Culture

Tea culture in China is most intact in the south, where the bulk of China’s tea is produced.

Tea can be consumed at home or in teahouses (茶馆 cháguǎn ), many of which offer private rooms for drinking tea with friends or business partners. Although tea is consumed by people from every sector of society, most tea connoisseurs tend to be middle-aged business people, intellectuals or artists.

Much of modern Chinese tea culture revolves around the gongfu tea ceremony (功夫茶 or gōngfūchá ). Thought to have originated in Fujian or Guangdong Province, it usually features black, oolong or pu’er tea.

At its most basic, the ceremony makes use of tiny tea cups (茶杯 chábēi ), a tea-brewing vessel such as a gaiwan (盖碗 gàiwǎn ) or an Yixing purple clay teapot (紫砂壶 zǐshāhú ), a tea strainer, a tea pitcher and a tea table or tray. Other utensils such as tea tongs are optional.

The more complicated the ceremony, the more utensils are likely to be involved. Tea tables are often quite large and can be decorated with whimsical tea pets (茶宠 cháchǒng ).

Normally, tea ceremonies are run by a host who begins by steeping loose leaf tea in water in a gaiwan or teapot, and then pouring it through a tea strainer into a tea pitcher to filter out bits of tea leaf.

Next, the host pours tea from the pitcher onto teacups. Instead of serving this first batch of tea to guests, the host generally pours it out onto the tea table, allowing it to drain into a bucket underneath.

This is done to wash the tea cups and also because tea from the first pour is thought to be too strong to drink. This process is then repeated, except that the tea is served to those present instead of being discarded.

After being served, guests should either thank the host verbally or express thanks by tapping their bent index and middle fingers on the tea table. This custom is most common in southern China and is said to have originated during the Qing dynasty (1636–1912 CE), when the Qianlong Emperor , who was traveling in disguise, poured tea for a servant.

The servant wanted to show his gratitude by kneeling, but couldn’t do so for fear of revealing the emperor’s identity. Therefore, he tapped the table with two bent fingers instead.

For a full transcript of the above video that includes Chinese characters , pinyin , and English translations, click here .

It is possible to spend a great deal of money collecting expensive tea leaves and fine tea accessories, especially Yixing teapots .

In some affluent circles, engagement with tea culture is used as a way to “ flaunt wealth and invest savings ,” a bit like wine culture in the United States. Certain wealthy individuals use their knowledge of tea culture to impress friends and gain prestige.

It’s also not uncommon for expensive teas to be given as gifts on important occasions.

That said, not everyone you encounter in China is going to be a tea connoisseur. Many won’t even be familiar with the gongfu tea ceremony.

Some families don’t have the habit of drinking tea, and some people simply drink it without fanfare in a thermos that they carry with them throughout the day.

The Rise of Coffee

China has been a nation of tea drinkers for a long time, and coffee (咖啡 kā fēi ) was rare in China until recently. Over the past 20 years, coffee’s popularity has steadily increased, especially among urban millennials.

Although per capita Chinese coffee consumption is still only 5 cups per year compared to 400 cups in the United States, the demand for coffee in China has grown exponentially since the first Starbucks opened in Beijing in 1999.

Coffee shops (咖啡馆 kāfēiguǎn ) are now ubiquitous in China’s first, second, and even third-tier cities.

Coffee is especially popular with students and young white-collar workers, who associate it with the aspirational Western lifestyle that comes with newfound economic mobility.

The prices at Starbucks in China are quite high compared to those in the U.S., but this only helps to add to its allure and cements Starbucks coffee as a status symbol for the new middle class.

The Future of Tea

For now, tea drinking is firmly entrenched in Chinese culture. Coffee’s increasing popularity poses a challenge to the Chinese tea industry, however.

Today, traditional teahouses are nowhere near as popular with members of the younger generation as coffee shops are. This is perhaps related to the fact that traditional Chinese tea suffers from a branding problem.

While large coffee chains like Starbucks have sophisticated brand images that attract young consumers, no traditional Chinese tea brands with such widespread appeal have emerged.

Recently, some traditional tea companies have responded to changes in the market by opening trendy cafes or offering new products designed to appeal to more modern tastes such as fruit-flavored teas, tea bags, and instant tea. Such changes may be necessary if China’s tea industry wants to compete with coffee in the long-run.

Considering its strong historical record of successfully adapting to the changes brought about by wars, intellectual property theft and imperial decrees, the Chinese tea industry seems likely to overcome its current challenges and continue to exist for many years to come.

Hànzì	Pīnyīn	Definition
茶	chá	tea
喝茶	hē chá	drink tea
神农	Shénnóng	"The Divine Farmer," a mythical ruler and deity credited with inventing agriculture
茶经	Chájīng	The Classic of Tea by Lu Yu, the first ever monograph on tea
发酵	fājiào	ferment (used to refer to oxidation process in tea production)
白茶	báichá	white tea
绿茶	lǜchá	green tea
普洱茶	pǔ'ěrchá	pu'er or pu-erh tea
茉莉花茶	mòlìhuāchá	jasmine tea
大麦茶	dàmàichá	barley tea
奶茶	nǎichá	milk tea
珍珠奶茶	zhēnzhū nǎichá	bubble tea
茶馆	cháguǎn	tea house
功夫茶	gōngfūchá	gongfu tea ceremony
盖碗	gàiwǎn	lidded, handle-less bowl used to brew tea
紫砂壶	zǐshāhú	purple clay teapot
茶壶	cháhú	teapot
茶宠	cháchǒng	tea pet
咖啡	kāfēi	coffee
咖啡馆	kāfēiguǎn	coffee house

Anne Meredith holds an MA in International Politics and Chinese Studies from the Johns Hopkins School of Advanced International Studies (SAIS). As part of the graduation requirements for the program, Anne wrote and defended a 70-page Master's thesis entirely in 汉字 (hànzì; Chinese characters). Anne lives in Shanghai, China and is fluent in Chinese.

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Chinese Culture

Chinese Traditional Festivals and Culture Essay

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Introduction

The Chinese culture is one of the most celebrated cultures over the world. Owing to this culture, there are many festivals associated with it. Through these festivals, the Chinese culture has become overwhelmingly popular in many parts of the world.

The festivals fall in different times of the year and are celebrated in differing styles. All these festivals may be classified under four categories (Gibney, p. 109). This paper will focus on the three Chinese traditional festivals.

These are the Spring Festival, the Mid-Autumn Festival and the Dragon Boat festival. This paper will briefly describe the three festivals and their importance to the Chinese people.

The paper will also explain what the festivals tell the audience about Chinese traditional culture, values and the similarities among these festivals’ values. Chinese have various festivals and Cultures which have different values and similarities. The festivals tell more about the Chinese cultures and values.

The Spring Festival

Of all the Chinese festivals, the Spring Festival has the greatest value to the Chinese people with its value equated to the value of the Westerners attachment to Christmas. It is a time of the year designated for merrymaking when family members come together to celebrate the occasion.

This period is characterized by congestion and overcrowding in all the transport networks. Millions of Chinese fill the airports, bus stations and rail stations in a rush to return home (Kalman, p. 20).

The Spring Festival is celebrated for a period of three days every year though its entire duration is a bit longer. The festival falls on the first day of the first lunar month but starts unceremoniously in the early days of the twelfth lunar month and extends to the mid of the first lunar month of the following year.

During this entire period, the eve of the Spring festival and the following three days have the greatest importance to the Chinese people (Kalman, p. 20).

The history of this festival dates back to the 12th century. The custom has survived through the centuries though the meaning has slightly changed. Today, the festival does not necessarily involve offering sacrifices to gods or ancestors, but simply marks the end of a year and the beginning of another.

The government attaches a lot of importance to the festival and even stipulates that people take the first seven days of the New Year to celebrate. A series of events carried out by the Chinese people mark the Spring Festival (Kalman, p. 21).

The occasion starts on the eighth day of the last lunar month. On this day, families make laba porridge which is made of beans, rice, lotus seeds, millet, jujube berries, longan and gingko. Following this, preparing delicious meals is held on the twenty third day of the same month.

Initially, the meaning of this day was to offer sacrifice to the Chinese kitchen god; however, today, people prepare the meals to enjoy themselves. The day is called the ’Preliminary Eve’ after which people commence the actual preparations for welcoming the New Year. During this period, people go into a shopping spree buying all they will require during the New Year celebrations (Kalman, p. 21).

To mark a new beginning associated with the up coming New Year, all the people carry out a thorough cleaning of their clothes, utensils, houses and compounds. This is followed by colorful decorations to create an atmosphere of joy and festive mood.

At this time, the Chinese mastery in calligraphy is brought to the fore. All houses are decorated with various patterns depending on the tastes of the owners; however, the most common colors are red and black. The most popular decorations involve pasting of the door panels with couplets which have red and black collage patterns.

The Chinese associate different colors and patterns with personal wishes, such as good luck and success in the New Year. Those who still harbor strong traditional attachments decorate their houses with images of the gods of wealth whom they believe will bring them abundant wealth in the New Year (Kalman, p. 22).

The most remarkable symbol that is almost consciously mandatory in the New Year celebrations is the character fu which stands for the happiness and blessings. Other characters and patterns with various meaning associated with the festivities are also commonplace around this period. For example, red lanterns erected on opposite sides of the doors and other brightly decorated images have special meanings of the new beginning or renewed hope to the Chinese populace (Kalman, p. 22).

Another popular custom is the setting of fire crackers and fireworks. The special meaning of this practice is biding farewell to the previous year and welcoming the New Year. The custom of using the fireworks exists in China for a long and is an integral part in many other occasions, such as sports events and wedding ceremonies.

An important event on the New Year day involves visitations. People move around to visit friends and relatives to send their New Year wishes. Culturally, the young visit the elderly to offer the wishes. The elderly in return offer them monetary gifts wrapped in special red wrappings.

It is considered essential to visit one another and pass the New Year regards; however; with influence of technology on the modern generation, nowadays, people use phones and e-mail services to pass their New Year messages (Kalman, p. 23).

A characteristic delicacy during the festival is the Jiaozi , a preparation of flour stuffed with various fillings. The meal is culturally recommended since its shape which resembles an ancient Chinese currency means that the New Year will bring wealth.

To add to that, different ethnic groups attach other symbols to the dumplings associated with good luck. For instance, candy is believed to signify sweet life, and chestnuts represent vigor. To start the year on the right footing, people try to avoid bad behavior or explicit use of some words such as kill, dead or bad because they believe they could be a bad omen for the New Year.

No sweeping of floor is allowed as it signifies pushing away blessings. There are many other taboos associated with this festival that vary from one ethnic group to another. These signify the wealth of the Chinese culture and the value attached to it (Kalman, p. 23).

Mid-Autumn Festival

The Chinese Mid-Autumn Festival also referred to as the Moon Cake Festival is commemorated every fifteenth day of the eighth month. The festival is associated with the connection between the mankind’s spirit and nature. The term Moon Cake Festival is used in reference to a special sweet cake, yueh ping, which is baked during the festival and resembles the moon. The cake is prepared and filled with duck eggs, sesame and ground lotus seeds (Kalman, p. 27).

The history of this festival can be traced back to the 14 th century . Different theories explaining the origin of this festival exist, but this is not withstanding; the Chinese continue to celebrate annually. One myth about the origin of the Moon Cake Festival states that China was under the control of oppressive Mongols in the 14 th century.

A revolutionary named Chu Yuen-Chang and his deputy Liu Po-Wen came up with a strategy to overthrow this leadership. Liu entered a besieged city in the disguise of a Taoist priest and distributed cakes in the shape of a moon to the city inhabitants in readiness for an up coming festival ( Chung Chiu ).

On opening the cakes’ wrappings, people found messages calling on them to help coordinate a rebellion with his army located outside the city. The plan succeeded, and Chu Yuen-Chang became their emperor successfully overthrowing the oppressive rule of the Mongols.

Every following year during the Chung Chiu festival, people in the empire prepared moon shaped cakes, and the custom stuck into all the upcoming generations to signify freedom (Jasmine, p. 38).

Another version argues that a woman lived on the moon during the Hsia dynasty. This woman, Chang-O, was the wife of a great general, Hou-Yi. One day, this general, a skilled archer, shot down eight suns that had mysteriously come out.

These suns, they believed, would have brought disaster to the Earth. The General was thus rewarded by the emperor. People believed that those suns could re-appear and cause more havoc. They, therefore, offered sacrifices to the god of heavens to make the general immortal, so he would forever protect their generations. Their prayer was answered, and Hou received the immortality pill (Jasmine, p. 39).

It is said that the wife, Chang-O, stole the pill and went to live on the moon. Due to the cold weather on the moon, she began coughing until the pill came out. She decided to crash it and scatter it to the earth so all the people would become immortal.

A hare described in many Chinese mythologies as Jade hare helped her and gnawed the pill into dust. Together, they spread the dust all over the earth in the hope it would reach everyone. Owing to this worthy gesture, the Chinese always put images of Chang-O on moon cake boxes and Moon Cake Festival posters as a gesture for good wishes (Jasmine, p. 39).

The third version is based on an ancient belief that marriages are organized on the moon. Yueh Lao Yeh, an old man who was believed to live on the moon, carries out this role. He is said to have a record of all the newborns, their future plans including their matching partners in marriage.

During the Moon Festival, many Chinese including little children climb onto hills and mountains or visit open beaches to have a clear view of the moon and make their wish to the old man. They use symbols with a cultural meaning.

For instance, a butterfly signifies long life, star-like fruits symbolize seasons, a lobster represents mirth, a crap is used to signify strength and wisdom since the symbol was originally a decoration of ancient emperors’ gowns.

The value of this cultural practice among the Chinese indicates that they believe in presence of supernatural beings who determine mortals’ destiny as it is common across almost all the cultures all over the world (Jasmine, p. 40).

The Dragon Boat festival

In China, the Dragon Boat Festival is referred to as Duan Wu Jie. This festival is commemorated every fifth day of the fifth month in the Chinese lunar calendar. The origin of this festival dates many centuries back and is based on activities in remembrance of a great Chinese poet, Qu Yuan.

The Chinese culture has a strong connection to the history of Yuan who is still regarded to be one of the greatest patriots in the Chinese history. It is said that Qu Yuan served as an advisor to the emperor Huai. He opposed corruption fervently which apparently annoyed many of the empire’s officials.

Due to corruption and bad leadership, the empire of the Chu state was easily defeated by the Qin state. This disappointed him so much that he committed suicide by drowning into the Miluo River (Stafford, p. 113).

The Chinese government has tried to emphasize the importance of this holyday for the entire nation apart from being held in remembrance of a great patriot and also offered an appropriate platform to remind everyone the importance of good conduct and loyalty and inculcate the culture of being committed to the national course in the people (Stafford, p. 113).

What the festivals tell the audience about Chinese traditional culture and values

The Spring Festival can be said to be a time for family members to remember one another by coming together and celebrate the success of the past year together and cross over to a new year encouraging each other. Giving money to the young by the elderly is a sign of wishing them good fortune in life.

This creates oneness in the society and shows the caring nature of the populace. It is also a time dedicated to commemoration of the ancestors from whom the current generation emerges. This ensures continuity and inculcates the sense of belonging (Katz, p. 27).

The Mid-Autumn Festival is characterized by worship. People use this festival to offer their thanksgiving to the moon (heavens) and the earth for all the blessings and successes they have had in their lives. It is also a time to pray for good fortunes. The moon shaped cakes consumed during this festival demonstrate family unity. During this festival, the Chinese people also take time to observe serenity (Katz, p. 27).

Nowadays, the Dragon Boat Festival is also called the Poet’s Festival as it commemorates the death of a great patriotic poet. This patriot committed suicide following disillusionment by the failure of the ruling class to fight corruption or uphold integrity in leadership.

Through this festival, the Chinese are reminded about the value of upright nationhood, commitment to the national course and integrity observation in all the deeds of day to day lives (Katz, p. 27).

These festivals are part of the Chinese effort to maintain their culture and values amidst the overwhelming globalization. The involvement of the Chinese government in promoting these festivals goes a long way in creating a national culture for all the Chinese ethnic grouping which in turn would enhance harmony.

Almost all Chinese ethnic groups attach a lot of importance to these festivals and other cultural practices which has resulted in the practices gaining prominence across generations. The Chinese have indicated the importance of their culture on many more occasions and not only the three festivals mentioned above.

For instance, in 2004, during the Athens- based Olympics, the Chinese performed an extravaganza displaying colorful features of their culture. The use of Chinese only attire and symbols at the event and many other events they perform all over the world, in particular during cultural exchange events only acts to demonstrate the actual value they attach t their culture (Katz, p. 89).

Numerous transformations have occurred in the way the Chinese run their politics, education, family structures, language, the military and the judiciary, however; the traditional practices and festivals that demonstrate the Chinese value attachment to their culture have undergone little or no transformation over the their entire 5000-year history.

Social experts claim that the modernized Chinese who have tried to embrace other cultures of the world that are deemed more civilized especially western cultures have found themselves in a ‘lonely world. This has therefore forced majority of the Chinese to tow the cultural line in an effort to remain relevant (Stafford, p. 202).

One of the strategies that the government has employed includes offering sponsorship and an aggressive media awareness campaign to sensitize the populace on the importance of observing and participating in cultural events and festivals.

Aside from the national governments efforts, local authorities have also made it their responsibility to inculcate the essence of observing the festivals and teaching the importance of the same to their children.

Several individuals have also been involved in promoting culture development by sponsoring events or other programs with a cultural orientation. The maintenance of cultural activities in china such as the traditional festivals has also been prominent due to efforts of non-governmental organizations that have kept the government on its toes to protect culture as it was demonstrated in the out cries when the central government started destroying traditional shrines, artifacts and other heritage sites (Stafford, p. 207).

The national media has lately been at the forefront in promoting traditional holidays and events such as the Dragon boat festival, the Mid-Autumn festival, the Moon festival and other cultural events that were earlier deemed contradictory such as the Maoism, globalism and socialism.

These traditional Chinese festivals have gained so much popularity to an extent of being integrated into the curriculum from basic level education to higher education (Katz, p. 28).

All the Chinese festivals described above have many characteristics in common. They all demonstrate a common desire for joy, well-being, and encourage unity among the people to unite the family. They show an element of the vital link between mankind and their creator.

The issue of avoiding misfortunes is also highlighted. The Chinese use all these festivals for relating and merrymaking. It can be also stated that these festivals are an important opportunity for Chinese to take a break from the hectic day to day life chores (Katz, p. 28).

Chinese have various festivals and Cultures which have different values and similarities. The festivals tell more about the Chinese cultures and values. Despite the culture transformations going on in all the parts of the world that have led to erosions of cultures, China is among the few societies that have maintained traditional festivals and customs.

The continued cultural links of the modern Chinese population show the importance of the attachment to the history and culture. There are many other factors that unite the Chinese community, such as language, and ethnic ties, but none of these has a stronger bond than their cultural identity.

Works Cited

Gibney, Matthew J. Immigration and Asylum: From 1900 to the Present. Entries A to I, Volume 1. California: ABC-CLIO, 2005. Print.

Jasmine, Julia. Multicultural Holidays: Share our Celebration . Huntington Beach, CA : Teacher Created Materials, 1994. Print.

Kalman, Bobbie. China, the Culture. New York: Crabtree, 2008. Print.

Katz, Paul R. Demon Hordes and Burning Boats: The Cult of Marshal Wen in Late Imperial Chekiang Albany . New York: State University of New York Press, 1995. Print.

Stafford, Charles. The Roads of Chinese Childhood: Learning and Identification in Angang. Cambridge; New York: Cambridge University Press, 1995. Print.

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1. IvyPanda . "Chinese Traditional Festivals and Culture." March 29, 2019. https://ivypanda.com/essays/chinese-traditional-festivals-and-culture/.

Bibliography

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Visiting Sleeping Beauties: Reawakening Fashion?

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Heilbrunn Timeline of Art History Essays

Nature in chinese culture.

Wine pouring vessel (Gong)

Night-Shining White

Attributed to Dong Yuan

Finches and bamboo

Emperor Huizong

Scholar viewing a waterfall

Service with Decoration of Flowers and Birds

Landscapes after old masters

Dong Qichang

Windblown bamboo

Brush holder with “Ode to the Pavilion of the Inebriated Old Man”

Zhang Xihuang

Grazing Horse

Stately Pines on Mount Hua

Department of Asian Art , The Metropolitan Museum of Art

October 2004

In no other cultural tradition has nature played a more important role in the arts than in that of China. Since China’s earliest dynastic period, real and imagined creatures of the earth—serpents, bovines, cicadas, and dragons —were endowed with special attributes, as revealed by their depiction on ritual bronze vessels . In the Chinese imagination, mountains were also imbued since ancient times with sacred power as manifestations of nature’s vital energy ( qi ). They not only attracted the rain clouds that watered the farmer’s crops, they also concealed medicinal herbs, magical fruits, and alchemical minerals that held the promise of longevity . Mountains pierced by caves and grottoes were viewed as gateways to other realms—”cave heavens” ( dongtian ) leading to Daoist paradises where aging is arrested and inhabitants live in harmony.

From the early centuries of the Common Era, men wandered in the mountains not only in quest of immortality but to purify the spirit and find renewal. Daoist and Buddhist holy men gravitated to sacred mountains to build meditation huts and establish temples. They were followed by pilgrims, travelers, and sightseers: poets who celebrated nature’s beauty , city dwellers who built country estates to escape the dust and pestilence of crowded urban centers, and, during periods of political turmoil, officials and courtiers who retreated to the mountains as places of refuge.

Early Chinese philosophical and historical texts contain sophisticated conceptions of the nature of the cosmos. These ideas predate the formal development of the native belief systems of Daoism and Confucianism, and, as part of the foundation of Chinese culture, they were incorporated into the fundamental tenets of these two philosophies. Similarly, these ideas strongly influenced Buddhism when it arrived in China around the first century A.D. Therefore, the ideas about nature described below, as well as their manifestation in Chinese gardens , are consistent with all three belief systems.

The natural world has long been conceived in Chinese thought as a self-generating, complex arrangement of elements that are continuously changing and interacting. Uniting these disparate elements is the Dao, or the Way. Dao is the dominant principle by which all things exist, but it is not understood as a causal or governing force. Chinese philosophy tends to focus on the relationships between the various elements in nature rather than on what makes or controls them. According to Daoist beliefs, man is a crucial component of the natural world and is advised to follow the flow of nature’s rhythms. Daoism also teaches that people should maintain a close relationship with nature for optimal moral and physical health.

Within this structure, each part of the universe is made up of complementary aspects known as yin and yang. Yin, which can be described as passive, dark, secretive, negative, weak, feminine, and cool, and yang, which is active, bright, revealed, positive, masculine, and hot, constantly interact and shift from one extreme to the other, giving rise to the rhythm of nature and unending change.

As early as the Han dynasty , mountains figured prominently in the arts. Han incense burners typically resemble mountain peaks, with perforations concealed amid the clefts to emit incense, like grottoes disgorging magical vapors. Han mirrors are often decorated with either a diagram of the cosmos featuring a large central boss that recalls Mount Kunlun, the mythical abode of the Queen Mother of the West and the axis of the cosmos, or an image of the Queen Mother of the West enthroned on a mountain. While they never lost their cosmic symbolism or association with paradises inhabited by numinous beings, mountains gradually became a more familiar part of the scenery in depictions of hunting parks, ritual processions, temples, palaces, and gardens. By the late Tang dynasty , landscape painting had evolved into an independent genre that embodied the universal longing of cultivated men to escape their quotidian world to commune with nature. The prominence of landscape imagery in Chinese art has continued for more than a millennium and still inspires contemporary artists .

Department of Asian Art. “Nature in Chinese Culture.” In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/cnat/hd_cnat.htm (October 2004)

Additional Essays by Department of Asian Art

Department of Asian Art. “ Mauryan Empire (ca. 323–185 B.C.) .” (October 2000)
Department of Asian Art. “ Zen Buddhism .” (October 2002)
Department of Asian Art. “ Chinese Cloisonné .” (October 2004)
Department of Asian Art. “ Chinese Gardens and Collectors’ Rocks .” (October 2004)
Department of Asian Art. “ Landscape Painting in Chinese Art .” (October 2004)
Department of Asian Art. “ Han Dynasty (206 B.C.–220 A.D.) .” (October 2000)
Department of Asian Art. “ Kushan Empire (ca. Second Century B.C.–Third Century A.D.) .” (October 2000)
Department of Asian Art. “ Qin Dynasty (221–206 B.C.) .” (October 2000)
Department of Asian Art. “ Rinpa Painting Style .” (October 2003)
Department of Asian Art. “ Jōmon Culture (ca. 10,500–ca. 300 B.C.) .” (October 2002)
Department of Asian Art. “ The Kano School of Painting .” (October 2003)
Department of Asian Art. “ Woodblock Prints in the Ukiyo-e Style .” (October 2003)
Department of Asian Art. “ Traditional Chinese Painting in the Twentieth Century .” (October 2004)
Department of Asian Art. “ Ming Dynasty (1368–1644) .” (October 2002)
Department of Asian Art. “ Northern Song Dynasty (960–1127) .” (October 2001)
Department of Asian Art. “ Period of the Northern and Southern Dynasties (386–581) .” (October 2002)
Department of Asian Art. “ Southern Song Dynasty (1127–1279) .” (October 2001)
Department of Asian Art. “ Tang Dynasty (618–907) .” (October 2001)
Department of Asian Art. “ Yayoi Culture (ca. 300 B.C.–300 A.D.) .” (October 2002)
Department of Asian Art. “ Yuan Dynasty (1271–1368) .” (October 2001)
Department of Asian Art. “ Art of the Pleasure Quarters and the Ukiyo-e Style .” (October 2004)
Department of Asian Art. “ Scholar-Officials of China .” (October 2004)
Department of Asian Art. “ Kofun Period (ca. 300–710) .” (October 2002)
Department of Asian Art. “ Shunga Dynasty (ca. Second–First Century B.C.) .” (October 2000)
Department of Asian Art. “ Lacquerware of East Asia .” (October 2004)
Department of Asian Art. “ Painting Formats in East Asian Art .” (October 2004)
Department of Asian Art. “ Asuka and Nara Periods (538–794) .” (October 2002)
Department of Asian Art. “ Heian Period (794–1185) .” (October 2002)
Department of Asian Art. “ Kamakura and Nanbokucho Periods (1185–1392) .” (October 2002)
Department of Asian Art. “ Momoyama Period (1573–1615) .” (October 2002)
Department of Asian Art. “ Neolithic Period in China .” (October 2004)
Department of Asian Art. “ Muromachi Period (1392–1573) .” (October 2002)
Department of Asian Art. “ Samurai .” (October 2002)
Department of Asian Art. “ Shinto .” (October 2002)
Department of Asian Art. “ Seasonal Imagery in Japanese Art .” (October 2004)
Department of Asian Art. “ Shang and Zhou Dynasties: The Bronze Age of China .” (October 2004)
Department of Asian Art. “ Shōguns and Art .” (October 2004)
Department of Asian Art. “ Art of the Edo Period (1615–1868) .” (October 2003)

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Why learn more about traditional Chinese culture?

Wherever you are in the world, modern China is increasingly influencing daily life (even though you may not have noticed). So learning more about China, its language and culture, is important. The more you know about the China of the past, the more you can understand and appreciate the China of the present.

But how exactly can you personally benefit by learning about China's history and traditional culture? Read on to find out our take!

When we tell people that we, two British expats, opened a company that teaches people about traditional Chinese culture, and allows them to experience things like calligraphy, painting and martial arts, the reaction we often get is "Why?" and "You are British! You should teach British culture! It's easier! You'll earn more money!" Fair points, certainly.

For me personally, I would always say simply that I love traditional Chinese culture, and want to share that with others. At first, I hoped that answer would suffice, but as time has passed, I've come to realise that perhaps a more comprehensive answer is required. Of course, I don't need to explain myself, but as a business owner and proponent of something as vague as traditional Chinese culture, I thought now was a good time to put words to something that had previously been something I just knew.

In this article, I cover three main points:

- What we mean when we say traditional Chinese culture

- The main benefits of learning about traditional Chinese culture

- Whether China still has traditional Chinese culture

It's my hope that by sharing my thoughts on this topic, it might encourage people to take a greater interest in studying traditional Chinese culture, or at least have a better appreciation of the value that can be found in it and in the people who take the time to study, experience and promote it.

What do we mean when we say traditional Chinese culture?

Before discussing the benefits of experiencing traditional Chinese culture, we should first clarify what we mean by the phrase 'traditional Chinese culture', as it covers a huge range of topics and the phrase itself is open to widely varying interpretations.

At its most simple (and widely recognised) definition, culture can be broken down into five main categories (though of course, so many aspects could be included); language, religion or philosophy, food, the arts and the people. These are the general areas of influence that make up a society. Tradition, for the purposes of this discourse, is defined by the Merriam Webster dictionary as:

a: an inherited, established, or customary pattern of thought, action, or behavior (such as a religious practice or a social custom)

b: the handing down of information, beliefs, and customs by word of mouth or by example from one generation to another without written instruction

c: cultural continuity in social attitudes, customs, and institutions

Therefore, when talking about traditional Chinese culture, specifically as presented by companies such as ours, we are referring to the language, philosophies, food, arts and crafts and customs from thousands of years ago up to the turn of the 20th century, that have been passed down through the generations.

And as anyone who has heard anything about China knows, with a history of an estimated 5000 years (and increasing evidence that it may be even longer), that covers a lot of culture! In order to present information in an easily digestible way, we do need to choose a focus for what we as a company offer, so we have chosen Han culture. That doesn't mean we don't value or respect the other cultures China has to offer, but this is the one we have most access to, and therefore can best offer a clear understanding of. In the future we may consider offering access to the intangible Chinese cultural heritage of China's numerous minority ethnic groups.

Benefits of Learning About and Experiencing Traditional Chinese Culture

In August 2017, Jean-Pierre Lehmann, emeritus professor at IMD, Lausanne, Switzerland, wrote in an opinion piece for the South China Morning Post “it is dispiriting and indeed alarming to see how ignorant the West is about China and, from what I can see, intends to remain so.” While perhaps a little harsh (and while Professor Lehmann was focusing specifically on Hong Kong's role on the world stage), there is surely some truth to the statement. Whether through choice or lack of exposure, much of the world only knows China from what they see on TV or read in newspapers, which often has a negative slant, dictated by political or business tensions.

As Professor Lehmann noted, “Learning about Chinese philosophy, history, music, painting, calligraphy and literature will bring culturally enriching rewards.”

Chinese culture, both modern and traditional, can seem very ‘alien’ to many westerners. But even with a world of resources available to you to learn more about China, why exactly should you do so? While most articles and opinion pieces focus on the business and career benefits of learning more about China's culture and history, what about for everyday people, both those who live in China and those observing around the world? How can learning about China benefit them and you?

It's fun and interesting!

Putting aside any deeper reasoning behind learning more about traditional Chinese culture, and the history and philosophies behind it, the simplest reason to experience the various activities that come under the Chinese culture banner is that it can be a lot of fun!

Activities that can be classified as 'traditional culture' cover such a huge range that you are bound to find something you'll enjoy doing. Whether it's painting and calligraphy, dough figurine sculpting or knot making, taichi or fan dancing, there is something for every taste. With a good teacher and environment, all of them can be very enjoyable. And as with any fun activity, it can lead to a whole range of benefits, such as it becoming a new hobby or making new friends. Plus it's interesting to find out about customs that are different from your own!

Because knowledge negates fear, misunderstanding and distrust

While various media outlets bombard us daily with their take on the current situation in China, often ignoring the historical and culture context of such situations, if you take the time to learn about something for yourself, you will see issues often have more than one side, and can in fact be multi-layered. The culture of China, both modern and traditional, can appear quite different and at times even mysterious to those who have never experienced it before. When we don't understand something, it is human nature for that to lead to fear. And as we all know, fear can lead to anger, anger leads to hate, and hate always leads to dark places. And the best counter to fear is knowledge.

That's not to say that you personally have fear or misconceptions about China. But perhaps the more you personally learn and understand, the more you can share your insight with others who don't know China so well. Of course, that means more than taking one calligraphy class or trying out taichi one afternoon, but each experience you have brings you closer to answering any questions you have and closing the gap between your perception and reality.

To facilitate understanding and interaction

Whether you are a business person with ties to China, someone travelling here short-term for work or leisure or an expat with plans to stay for a while, the more you know about a place, the better you understand it. And the better you understand something, the more you can benefit from and enjoy it. But what does that mean, in real terms? An example is dealing with culture shock: getting to know more about a country's culture is the best way to negate it. Not everyone suffers from this in the same way, but if you are worried about what to expect in China, or are finding it hard to adapt to life after arriving, taking a few cultural workshops can help with your understanding and with the way you perceive the country and its people, and the way they perceive you, especially in China. Chinese people are generally very pleased when they meet foreigners who know something of the culture or language, so this can be a great way to get closer to neighbors, colleagues or people you meet in your daily life. People are, and the culture in general is, very accepting of visitors, even if they make errors in their daily dealings. Knowing more about the culture can generally help avoid awkward situations and business faux pas, and can even save you time and money! What's not to like about that?

Traditional culture is prevalent in the lives of modern people in China. The philosophies of thousands of years ago are still visible and influencing the culture today, even if not recognised by name. In the same way that understanding the ideas of the ancient Greek and Roman philosophers or the Renaissance might give you better insight into the way of life in modern western society, so the study of traditional Chinese culture and philosophies can aid in our understanding of life, culture and society in modern China.

To help with language learning

If you are serious about knowing more about China, the best way to do that is by learning the language - after all, language is culture. Numerous concepts, everything from amount of eye contact to the name of an item used for worship, can be unique to a culture, and therefore unique to the language used to describe them. Language also tells us about how people think and interact with the world. Of course, while Mandarin is the lingua franca, when dealing with a country the size of China, it's important to remember that both culture and local language vary widely in different areas.

Whereas learning the English language can really help with cultural understanding, and vice versa (to pick a random word: knowing the etymology of the word avocado can really help you understand the history of the fruit and the culture in which it originated!) the same is possibly even more true with the Chinese language. As written Chinese is logographic, knowing the origin of the characters can help in not just learning the language and how to use it, but further deepening your immersion in the culture itself.

Take the word 武 (wǔ) for example. A simple translation of the character is 'martial' or 'of war'. But what about the deeper meaning? Well, if you break down the character wu, it actually contains three parts, 'one 一', 'weapon 戈' and 'stop 止'. So we can see that 武 actually means to stop war or to stop fighting, to bring about peace, thus martial arts can be seen as a way to bring about peace. But in fact, that's the comparatively modern understanding. Originally, the component 止 meant feet, or movement, so wu did indeed refer to martial or war like activities. Through the study of culture, we can see how language and understanding of characters have changed and adapted to meet the needs and wants of modern users.

Traditional Chinese culture gives us insight into leading a happier and more balanced life

Traditional Chinese culture, and by extension modern Chinese society, is built upon China's three main philosophies; Confucianism, Daoism and Chan Buddhism. While different in their approaches, all three of those schools of thought promote mindfulness (though not named as such) as a means to achieve peace and harmony with yourself and everything around you.

But how do the three philosophies relate to the kind of Chinese cultural activities that can be experienced and enjoyed in daily life? Many of the most renowned Chinese masters from throughout history have been greatly influenced by them, incorporating ideas such as mindfulness, emptiness, and dynamic balance into their work. Painting and calligraphy, for example, require you to be simultaneously relaxed yet focused and were seen as a way to cultivate mindfulness.

And it's not just the classical arts (painting, poetry, calligraphy) which contain those philosophies at their heart. Nearly all forms of Chinese art, food and traditional customs have aspects that were influenced and informed by philosophy.

We see Confucian influence in Chinese papercutting, for example, which was a way for common people to make representations of 'luxurious' offerings to their ancestors, and a way to observe and be mindful of the natural world and their place in it.

We see Buddhist influence in the act of using art as a way to observe the world from a neutral point of view, and simply 'be in the moment' when conveying your observations through the medium of your chosen art form. We see Daoist practices in the idea that the art you are creating is not something new, or separate from yourself, but is in fact an extension of you, the artist, and in creating the art (or food, or poetry etc.) you let qi (life spirit/essence) flow through you on its way out into the world, as a positive force.

Though it is true to say that the connections with and understanding of traditional philosophies, as originally presented through traditional culture, are less prevalent today than in the past, those principles are still carried forward by traditionally trained modern day artists who seek to emulate the work done by the masters of the past, and for the same reasons, to spread the philosophical teachings, and to give people a way to both observe those concepts through their art, and to inspire others to cultivate their own mindfulness, balance, harmony and respect in their own lives.

It should be noted that none of these ideas are connected with formalised religion or indeed require 'faith' of any kind. While certain groups do treat the ideas presented by teachers such as Buddha, Confucius and Laozi as a religion, together with associated rules, rituals and doctrine, none of those teachers ever presented their ideas as religious. As such, everyone, regardless of their own belief system, or lack thereof, can partake in and benefit from ideas like mindfulness and qi. As a result, whether it is through painting, knotting, martial arts, cooking, or whatever repeated practice takes your interest, by using these concepts to help focus and calm the mind, you can bring balance to the unbalanced and create a positive life habit that will only benefit you more and more as time goes by.

Has China lost its 'true' traditional roots?

There are some who might argue that the traditional Chinese culture we have access to today in China has been adapted simply with 'showiness' or 'commercial viability' in mind, and 'drained' of anything resembling traditional values or philosophies. Is that true?

As someone who has lived in China for more than two decades, indulged myself in the study and discussion of traditional Chinese culture, and of course set up a company to help others experience it for themselves, I feel fairly qualified to say that yes, perhaps it doesn't embrace its traditional roots the same way as other regions, like Hong Kong, do. Or maybe it's not that the traditions aren't embraced, but that simply their origins, and original intentions, are not so widely understood.

Take taichi, as an easy example. Wandering around an average park on any morning of the week, you may see countless people practicing taichi, usually in bright clothing, moving softly to music or waving colourful fans. Asked why they are practising, the majority will answer 'for health reasons'. Asked about the martial arts aspects of taichi, it would be quite common to hear practitioners tell you that taichi isn't a martial art, and is only for health.

While taichi is most definitely good for overall health and well-being, to suggest that it has no martial aspects, and could not be used for self-defence (regardless of how complicated or how long you would need to train taichi to be able to actually use it in a combat situation) is simply being ignorant of the roots of taichi. Of course, that is more the error of the teacher, who themselves may not have learnt anything beyond the most shallow aspects of the art, but the fact still remains that a traditional aspect of the culture is being lost, because teachers aren't teaching it, and students aren't taking the time to enquire further.

And that doesn't just apply to something like martial arts. From the Buddhist inspiration for some of the most spectacular paintings, to Daoist influence in Chinese arts and crafts as discussed above, many people simply aren't aware of how essential traditional culture was to their history, nor how it is still very much present in their daily lives now. That doesn't mean those roots are lost, just that people simply aren't aware of them.

It's also true that traditional Chinese culture has never seen as much promotion as it does now. The world is interested in learning more about China, its history and culture, and so, the powers that be have often taken steps to make that knowledge more appealing or accessible, to better suit their perceptions of what the audience wants and how they want it.

But that's not necessarily a bad thing. Everything evolves and adapts to keep it relevant. And just because it's being made easier to access and understand, it doesn't mean it's losing its value or 'roots'. Sure, maybe 10 people will go to a calligraphy class, and get to hear about a little history, try a few strokes, maybe take a nice piece of art home with them. Nothing too deep or profound. But maybe one or two of those people really enjoy the experience, feel they want to know more about it, and so take the time and effort to look further into the art, its origins, philosophies and connections with TCM and mindfulness. Yes, they should have access to more in-depth information if they want it, but they might not have developed that interest in the first place if they hadn't had such easy access to begin with!

As long as we understand that what we are teaching or experiencing is simply the tip of the iceberg, with thousands of years of history and culture behind it, which interested parties have the ability to explore and experience for themselves if they wish, those 'roots' are not lost, and this method in fact gives us a way to help preserve and promote traditional Chinese culture further.

For an easy to understand example, beginning as early as the start of the 20th century but really coming into practical force in the early 1950's, the simplification of Chinese characters was seen as a way to rapidly improve education and literacy for the general populace in China, and to help China's development into a modern world power. Could it be argued that the true meaning or 'roots' of the language were lost in the transition to simplified characters? Possibly. But it's hard to argue against an adaptation that allowed easier access to knowledge and education, and the benefits thereof. And traditional characters weren't 'lost' - they are still used today on the Chinese mainland by those in cultural fields, in formal contexts, and even by young people seeking to be different.

Another example of this is the iconic Shaolin Temple, under the leadership of venerable Abbot Shi Yongxin. Since taking over the running of temple, Abbot Shi Yongxin instituted numerous changes, such as speeding up the opening up multiple branches overseas, starting a dedicated media company to sell books and videos, and working to promote the Temple across many media and entertainment outlets.

As a result of these efforts, the Abbott is often accused online of only being interested in money, of turning the temple into a 'money making machine' and abandoning all the important traditions of the temple, and in fact of Buddhism itself! However, from the extensive time we have spent at the temple, talking with the monks there and being involved in aspects of the temple's daily work, we can say the truth is in fact very different. Aside from the fact that Buddhism has no problem with people making money (nor even being rich!), what people don't seem to realise is that the Abbot simply understands the necessity of adapting and providing access in new ways to meet the needs of new audiences and channels. By making it easier to learn about Shaolin history and culture, he is helping to create a whole new generation of potential students (both of Buddhism and martial arts). Sure, not all of them train or meditate 8 hours a day, read every scripture or practice every technique and dedicate their lives to the temple, but those who do (as a result of the initial exposure they might not have gotten otherwise) will be the ones who carry on the traditions to the next generation, and in doing so safeguard the lineage of the Shaolin Temple.

As you can see, we don't believe that modern China is giving up on the essence or roots of its traditional culture, but is finding new ways to present it. Yes, in the march to modernisation and accessibility, we do risk losing something along the way, and steps must be taken to preserve those treasures for future generations. Whether people take the time to go deeper and 'peel back the onion', will be a matter of personal choice. But as teachers, facilitators, fans and proponents, it's our job, our duty, to make people interested enough to want to do so, and help them find that information if they choose to look for it.

What started out as a short look at some of the reasons why learning about traditional Chinese culture is so useful turned into a much longer discussion on a much wider topic. However, despite its length, this was still just a very brief look at our answers to three of the most common questions we get asked, as owners and operators of a Chinese culture company. Of course, it could be argued that we are biased, having been here so long and running the company that we do. And that might be true. But hopefully from what we've written you can get an idea of some of the reasons why we have stayed here so long.

While not intended to be in any way academic, and simply presented as our opinion on a topic we obviously hold very close, we hope something written here will spur an interest so that you find out more for yourself. The study of traditional Chinese culture offers so many benefits, no matter your reason for being interested or whether you decide to find out more in your home country or in China itself. In either case, the benefits you reap will be a question of how much time you choose to dedicate to finding out more and how deep you want to go.

We're not here to suggest any culture, or the teachings and experiences therein, are any better than any other. Everyone has their own path and will learn their life lessons in whichever way is best and most accessible for them. For us, we found those lessons clearest in traditional Chinese culture, which is what lead to our love of China and our passion for sharing the culture with others. If by doing so, we can help people understand China better, or indeed gain any of the benefits we have listed above, then we would definitely consider it work well done.

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Essays on Chinese Culture

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Chinese Culture Essay Examples

The chinese cultural revolution unveiled.

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