In 101 Stories for foreigners to Understand Chinese People Yiand Bryan Ellis tell stories about their experiences living inChina to introduce elements of Chinese culture，etiquette andinterpersonal interaction． When they moved from New York City to Shanghai they readseveral guide books and thought they were pre-pared．But dozens ofsmall yet significant cultural differences caught them bysurprise！ Three years（and numerous faux pass misunderstandings andmisinterpretations）later，they have written this book to helpreaders benefit from their experiences．Their stories explain boththe“what’s”and the“why’s”of Chinese customs，So that readers canbetter understand and appreciate the Chinese way of thinking andliving．Often，what seems bizarre and strange at first makes perfectsense if you see it from a Chinese perspective．Yi and Bryan haveenjoyed learning about Chinese culture and hope that the readerswill enjoy this journey of discovery as well．
Educational informatization building in Western China's minority areas has witnessed rapid development. By February 2007, Xinjiang Uygur Autonomous Region had realized distance training in new courses in the Uygur language. Xayar County's teachers of moral education, mathematics and other relevant subjects in the Uygur language, teaching and research personnel and school principals, totaling some 200 people, participated in school-based in-service training in the new courses conduc'ted by the region. Experts in the reform of such courses, backbone teachers and school principals were invited to give guidance, answer questions and conduct interactive exchanges online. Through this means, the minority primary and secondary school teachers in outlying are asreceived training in the new courses, thus enhancing their capabilities to master new text books.
中国店铺的招牌和幌子分别是店铺和行业的标志，统称招幌，是中国商业习俗的表现形式之一。中国招幌随商品交易出现而产生，在商品经济发展中不断汰旧推新，生生灭灭，历久传承。 本书收集19世纪与20世纪之交流行于市面上的各业招幌图式约百种，并配以相应的表现店铺、作坊、市街景象的绘画、摄影作品。旨在重现沉没于历史岁月中的市井商情和街市景观，读者借着这些静态和动态的图像，结合书中文字，或可对中国招幌的产生、发展、演变及其中蕴蓄的民俗文化，以及与之相关的古人、古事和商品知识有约略的了解。
在将近上千年的时间里，中国无论在经济上还是文化上，都遥遥领先于世界其他国家，以至于伏尔泰曾经这样赞颂中国：“中国人在道德和政治经济学、农业、生活必需的技艺等等方面已臻境地。”古人所取得的巨大成就，既是中国人无上的荣誉，也成了中国人甜蜜的负担。事实上，几乎后来所兴起的任何一种新的思想，都可以在更早的古人那里找到类似的说法，甚至在很多时候，古人说得更为清晰和透彻。这种独特的情形，逐渐造就了中国人重继承而不重开创的品格。中国的人文学者，更看重“言必有据”，“字字皆有出处”，强调自己的思想是溯源于古代的某位学者，而轻视那种标新立异、违背古人原则的理论。当贵古贱今成为一种社会风气时，即使要阐述一种全新的思想，也往往要先披上一层古人的外衣，借助于对古代典籍的再诠释而实现。也正因为如此，
中国店铺的招牌和幌子分别是店铺和行业的标志，统称招幌，是中国商业习俗的表现形式之一。中国招幌随商品交易出现而产生，在商品经济发展中不断汰旧推新，生生灭灭，历久传承。 本书收集19世纪与20世纪之交流行于市面上的各业招幌图式约百种，并配以相应的表现店铺、作坊、市街景象的绘画、摄影作品。旨在重现沉没于历史岁月中的市井商情和街市景观，读者借着这些静态和动态的图像，结合书中文字，或可对中国招幌的产生、发展、演变及其中蕴蓄的民俗文化，以及与之相关的古人、古事和商品知识有约略的了解。
中国店铺的招牌和幌子分别是店铺和行业的标志，统称招幌，是中国商业习俗的表现形式之一。中国招幌随商品交易出现而产生，在商品经济发展中不断汰旧推新，生生灭灭，历久传承。 本书收集19世纪与20世纪之交流行于市面上的各业招幌图式约百种，并配以相应的表现店铺、作坊、市街景象的绘画、摄影作品。旨在重现沉没于历史岁月中的市井商情和街市景观，读者借着这些静态和动态的图像，结合书中文字，或可对中国招幌的产生、发展、演变及其中蕴蓄的民俗文化，以及与之相关的古人、古事和商品知识有约略的了解。
New Year Picture (Nianhua) derives its name from the age-old custom of Chinese New Year decorations. A fascinating and popular art form, it in fact constitutes a separate branch of traditional Chinese ainting. The concept of New Year Picture refers to painted works made by local workshops and regularly posted inside and outside homes. New Year Picture encompasses all such paintings reflecting rural and urban lives, handmade by folk artisans, as well as those carved or produced and painted in local workshops. Folk New Yea~" Picture possesses colorful detail with abundant cultural and historical co~notations. here are five major categories of Chinese New Year Pictures discussed in this book: Door Gods, Folk Deities, Cute Babies and Beauties, Customs and Festivals, Stories and Local Operas. The principal images are explained with brief captions. Most of the New Year Pictures collected in this book are made by folk masters from every area of China.
The creators of Chinese folk art come from the working class masses of China's rural areas. They are mostly female laborers. A communal art, folk art would engender all of Chinese literature and all later art. Its presence is evident in everyday food, clothing, shelter and transportation; in traditional festivals, ceremonies and rituals, and in beliefs and taboos. As a living example of cultural heritage, it shows the continuity of Chinese culture from primitive society to present, a culture that bears distinct national and geographical characteristics. With this heritage, Chinese culture boasts the longest history and the richest historical sources, and of all cultures, considers itself the most widely shared and the most geographically distinct. Its cultural implication and art form accumulate a historical culture of 7,000-8,000 years dating back to primitive society.
I he art of stone carving has a long history in China. Created with astonishing skill, Chinese stone carvings are artistically appealing, highly functional as well as decorative, revealing distinctive national features and regional variations. This book deals with the history, varieties and schools of Chinese stone carving. It gives readers a comprehensive understanding of this time-honored folk art in concise terms.
The art of clay figure modeling in China boasts a long history that dates back to the Neolithic Age (about 4,000 to 10,000 years B.E). For instance, some pottery pigs and sheep have been discovered at the 6,000 to 7,000-year-old Hemudu site in Zhejiang Province. And the life-size terra cotta warriors and horses unearthed in 1974 from the mausoleum of the First Emperor (259-210 BC) of the Qin Dynasty (221-206 BC) have been referred to as the "Eighth Wonder of the Ancient World." In fact, archaeologists have excavated a great number of pottery figurines, animals, chariots, and boats from the tombs of the following Han Dynasty (206 BC-AD 220). Naturally, the funeral custom of burying figurines and objects with the dead gave impetus to the development of clay sculpture at that time.
Whenever Shougang is mentioned, Beijingers become talkative. Shougang, or Capital Steel Group, is a transnational conglomerate specializing in steel production, with business interests in a full spectrum of industries, including mining, machinery, electronics, construction, shipping, and foreign trade. Its core enterprise, Shougang Corporation, was designated as a key state-owned enterprise by national authorities as early as i996. Since its inception as the Shijingshan Smelting Plant of Longyan Iron Ore Co., Ltd., a government-supervised and commerciallyoperated business, this steel giant has been operating in Shijingshan District for nearly a century. In its early years, Shougang was not on intimate terms with the local community. Starting from 1949, Shougang grew rapidly and its workforce expanded fast. Pretty soon, Shougang became the preferred employer for local residents. Thanks to Shougang's location in Shijingshan, over time, Beijingers in the district constituted the bulk of Shougang's workforce, and
Brick carving is a special genre of art extensivel2 applied in architectural decor, especially of the traditional type. Based on bricks, pottery and th art of stone carving, the form is traced back to the Spring and Autumn Period (770-221 BC). With its distinct national overtones, the art has gathered for itself a significant niche in the histo f carving and sculpture. ollected in this book are more than 200 beautiful pictures covering a full range of topicality such as carving on screen walls, windows and doors, eaves and rooftops, as well as stucco sculpture and glazed bricks, exuding great artistic appeal. The book, prefaced by a treatise, is designed as part of the efforts to pass on and advance China's tradition, culture, and may also serve as a reference for artists and designers.
在将近上千年的时间里，中国无论在经济上还是文化上，都遥遥领先于世界其他国家，以至于伏尔泰曾经这样赞颂中国：“中国人在道德和政治经济学、农业、生活必需的技艺等等方面已臻境地。”古人所取得的巨大成就，既是中国人无上的荣誉，也成了中国人甜蜜的负担。事实上，几乎后来所兴起的任何一种新的思想，都可以在更早的古人那里找到类似的说法，甚至在很多时候，古人说得更为清晰和透彻。这种独特的情形，逐渐造就了中国人重继承而不重开创的品格。中国的人文学者，更看重“言必有据”，“字字皆有出处”，强调自己的思想是溯源于古代的某位学者，而轻视那种标新立异、违背古人原则的理论。当贵古贱今成为一种社会风气时，即使要阐述一种全新的思想，也往往要先披上一层古人的外衣，借助于对古代典籍的再诠释而实现。也正因为如此，
