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In Chinese culture where the extended family is still valued, kinship terms have survived well into current usage. Also, since it is taboo to refer to or address a more senior family relation by his or her given name, the kinship term is the only possible term of address.
[1] [2] Chinese symbols often have auspicious meanings associated to them, such as good fortune, happiness, and also represent what would be considered as human virtues, such as filial piety, loyalty, and wisdom, [1] and can even convey the desires or wishes of the Chinese people to experience the good things in life. [2]
Chinese culture is a theme in Dianxi Xiaoge's videos. Lugging a suitcase, her brother, Chun, returns from the city to their family in a Chinese New Year video. The poignant scene invokes the Chinese concept of "Xiangchou" (Chinese: 乡愁) in which people are nostalgic of their hometown.
Chinese honorifics (Chinese: 敬語; pinyin: Jìngyǔ) and honorific language are words, word constructs, and expressions in the Chinese language that convey self-deprecation, social respect, politeness, or deference. [1] Once ubiquitously employed in ancient China, a large percent has fallen out of use in the contemporary Chinese lexicon.
The Classic of Filial Piety, also known by its Chinese name as the Xiaojing, is a Confucian classic treatise giving advice on filial piety: that is, how to behave towards a senior such as a father, an elder brother, or a ruler.
Perhaps the best known extant early example of the genre is the set of four stele-bearing tortoises at the mausoleum of Xiao Xiu (475-518), who was the younger brother of the first Liang dynasty emperor Wu (Xiao Yan), near Nanjing. [10] [11] [12] The bixi tradition flourished during the Ming and Qing dynasties.
Chinese Bronze script for po 魄 or 霸 "lunar brightness" Chinese Seal script for po 魄 "soul" Chinese Seal script for hun 魂 "soul". Like many Chinese characters, 魂 and 魄 are "phono-semantic" or "radical-phonetic" graphs combining a semantic radical showing the rough meaning of the character with a phonetic guide to its former pronunciation in Ancient Chinese.
She is a grotesque image of a monstrous mother figure and a liar. As Claude Hudelot and Guy Gallice, show in their book, The Mao, [8] the abundant iconography of Mao spans 60 years of Chinese folk art, depicting tirelessly the images of worship of the Great Helmsman. Given the escalation of propaganda and the power of the image used in ...