There are five basic colour terms in Chinese culture: bai 白 (white), huang 黄 (yellow), chi 赤 (red), qing 青 (cyan), and hei 黑 (black). Among these, qing causes the most confusion for non-native Chinese speakers for its vagueness and complexity. It is often translated to cyan in English, due to the belief that every colour term in any language can be translated to a “phenomenologically basic” English colour term (Berlin & Kay, 1969). However, such an arbitrary attempt to fit a Chinese colour term to the English palette not only fails to fully capture the meanings of the word, but also deprives it of its rich culture connotations.
Many scholars have thus tried to devise a better way to explain qing to English speakers. Xing (2008) contends that
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This gives rise to a conceptual question: why qing still exists if it can be simply replaced with more commonly used and easily understandable colour terms?
The objective of this study is to address the above question by comparing qing and green, and qing and blue. This study will start by comparing the original meanings of qing, green and blue, from their occurrences in traditional Chinese literature such as 诗经. It will also examine the meanings of these three terms in common expressions and phrases, in order to detect the subtle differences between them. By scrutinizing the usage and evolution of the meanings of the three terms, the study aims to reach a conclusion on whether qing is a colour term or an abstract concept.
The main source of data will be Chinese Language Corpus by State Language Commission of China, which includes all major Chinese literature from Zhou Dynasty (3000 BC). In particular, literature from three eras will be extensively and carefully analysed. The first era is from Zhou Dynasty to Han Dynasty, when the three terms developed their original meanings. The second era is Tang Dynasty, when the meanings of the three terms almost completely overlapped. The last era is from Ming Dynasty to now, when green and blue have become the basic colours in Chinese, while qing have lost its popularity and
In the book The Earth and its Peoples, Richard Bulliet describes the Han dynasty as “a tradition of political and cultural unity and continuity that lasted into the early twentieth century and still has meaning for the different China of our time (158). The Han Empire came into
“Whoever render service to many puts himself in line for greatness - great wealth, great return, great satisfaction, great reputation, and great joy.” - Jim Rohn. The Ming and Qing empire was successful, advanced and had power. They had outstanding wealth, A luminous reputation and superior satisfaction. They were very educated and advanced in their agriculture.
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Frank L. Baum used various colors through out his novel. These colors were used to describe different people, places and things. The colors were symbolic of those things. They symbolized how the world was during his time. I will be talking about 3 of them.
This paper will try to reconstruct the historical background regarding the “xenophobia” and the frontier poems in Tang and the rhetorical use of Non-Chinese in Chinese texts during the mid-imperial China. Then, by analyzing and comparing the rhetorical use of Non-Chinese in the frontier poems before and after the rebellion of An Lushan to explore to what extent the Tang intellectuals had increasing xenophobia after the rebellion of An Lushan. I shall argue that there was probably no growing xenophobia in Tang China after the rebellion of An Lushan. Xenophobia and the Frontier Poem in Tang China
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Telling the story of 1587, Huang displays the year in a similar fashion to Sima Qian’s The First Emperor. Like Sima Qian, this telling of history focuses on one specific character for each chapter. It is chronological for each chapter, but each chapter overlaps, in part, with the ones before and following it in a more cyclical format. This means that this book has less of a western and, therefore,
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