I think people should treat this thought dialectically. Firstly ,I want to affirm the prescience of Guanzi's statement.He mentions the importance of the material culture's development.But what he stands is an era of lack of material civilization, it would inevitably have a limitation. Especially when we take today's life as an example, we will find that ,though today's Chinese material culture is booming, most our people are living in a well-off life;our spiritual culture is still on an unstable situation. The gap in national quality level is still too large. And we are hard to find a truly unified value orientation especially when face all kinds of cultural invasion or cultural infiltration. Maybe in other words, we today's life is still not up to the standard mentioned by Guanzi. The improvement of living standards has indeed brought people a higher spiritual pursuit, but do people pursue the standard of propriety and righteousness in this process? I'm afraid that today our people's highest value of life is different from that of ancient time. Every era has its own moral value standard, the connotation of propriety and righteousness may also become more and more different with the development of material civilization.

2022-07-11 喜欢(1) 回复(0)

完全地，仅仅 同意词：completely ,absolutely

2022-07-09 喜欢(1) 回复(0)

These principles of warfare embody the thought of benevolence. What makes me surprised is that this idea could have been put forward by our ancestors before the Spring and Autumn Period,which shows us a long Chinese history of loving people.

2022-06-29 喜欢(1) 回复(0)

Proactive and prudent were used by Confucius to refer to two opposing attitudes and styles of behavior. Proactive persons tend to be radical and won't make any compromise in upholding moral principles and justice. Prudent persons, on the other hand, tend to be cautious and ready to make compromise but without sacrificing moral integrity. Confucius believed that the ideal conduct in life is keeping to the mean, neither going too far nor falling short. While proactive and prudent may be extreme to some extent, both have their own advantages as both adhere to moral principles and justice.

2025-01-01 喜欢(0) 回复(0)

and Liu Zongyuan of the Tang Dynasty and Ouyang Xiu, Su Xun, Wang Anshi, Zeng Gong, Su Shi, and Su Zhe of the Song Dynasty. In this particular context, the notion of classical prose stood in contrast to rigidly rhythmical prose. Classical prose, first proposed by Han Yu, referred to the prose of the Qin, Western Han, and Eastern Han dynasties. It featured poetic lines of flexible lengths with no particular regard for metric pattern and parallel structure. In terms of content, classical prose aimed to express ideas and reflect real life. Rigidly rhythmical prose, on the other hand, was a style of writing popular in the pre-Tang period which had rigid requirement about the use of parallelism, elegant wording, prosody, melody, and allusions. Although there were good works in this genre, most were rigid in form and hollow in content. In view of this, Han Yu called for a return to the literary tradition of the Western and Eastern Han dynasties to reform literary writing. He gained the strong support of eminent men of letters such as Liu Zongyuan. Together, they launched what was later widely known as the Classical Prose Movement. Han Yu took this initiative to combine the reform of literary writing with the revival of Confucian moralism so as to enable literary writing to promote better governance. But rhythmical prose did not die out altogether; it continued into the late Tang period. Northern Song writer Ouyang Xiu, with strong political influence, championed the revival of classical prose. His contemporary Su Xun, as well as his students Wang Anshi, Zeng Gong, Su Shi, and Su Zhe all wrote classical prose with distinctive styles. Influenced by Su Shi, Huang Tingjian, Chen Shidao, Zhang Lei, Qin Guan, and Chao Buzhi also became prominent prose writers. Thanks to the efforts of these literary figures, the Classical Prose Movement flourished in the Song Dynasty.

2025-01-01 喜欢(0) 回复(0)

as the major note is called gong, the mode with the rest of the notes as major ones are called diao. The seven modes with the accompaniment of 12 temperaments can theoretically have 12 gongs and 72 diaos, altogether 84 modes of music. However, in practical music, not all the gongs and diaos were used. Only seven gongs with each having four tunes (all together 28 modes of music) were used for imperial court music in the Tang and Song dynasties. Seven gongs and 12 diaos were used for music to go along with poems in the Southern Song Dynasty. In the Yuan Dynasty, six gongs and 11 diaos were used for Northern music, and five gongs and four diaos were used for Southern music. In the Ming and Qing dynasties, only five gongs and four diaos were often used. Some music critics made rules for different gongs and diaos to be used for music for different occasions according to their characteristics. The theory of gongdiao played a role of direction and regulation in music creation for poems and operas and can be used to translate ancient music. It is an important subject for the study of ancient Chinese art

2025-01-01 喜欢(0) 回复(0)

Classical Chinese music theory combined tone and pitch to classify and name different types of music, as well as to describe their characteristics. The seven notes are known as gong (宫 corresponding to 1 in the numbered musical notation), shang (商 corresponding to 2), jue (角 corresponding to 3), bianzhi (变徵 corresponding to 4), zhi (徵 corresponding to 5), yu (羽 corresponding to 6) and biangong (变宫 corresponding to 7). Any one of them can be used as a major tune along with other notes set in particular intervals to form a mode. The mode with gong as the major note is called gong, the mode with the rest of the notes as major ones are called diao. The seven modes with the accompaniment of 12 temperaments can theoretically have 12 gongs and 72 diaos, altogether 84 modes of music. However, in practical music, not all the gongs and diaos were used. Only seven gongs with each having four tunes (all together 28 modes of music) were used for imperial court music in the Tang and Song dynasties. Seven gongs and 12 diaos were used for music to go along with poems in the Southern Song Dynasty. In the Yuan Dynasty, six gongs and 11 diaos were used for Northern music, and five gongs and four diaos were used for Southern music. In the Ming and Qing dynasties, only five gongs and four diaos were often used. Some music critics made rules for different gongs and diaos to be used for music for different occasions according to their characteristics. The theory of gongdiao played a role of direction and regulation in music creation for poems and operas and can be used to translate ancient music. It is an important subject for the study of ancient Chinese art.

2025-01-01 喜欢(0) 回复(0)

也称“万里长城”。由城墙、敌楼、关城、烽火台等多种建筑工事构成的完整的防御体系。公元前3世纪，秦王朝在统一中国后，为防御匈奴南侵，将战国时期燕、赵、秦等诸侯国修筑的长城连成一体并加固延长，修筑了西起临洮（今甘肃岷县）东至辽东（今辽宁省）、蜿蜒一万余里的长城。此后，两汉、北朝、隋等各代都曾在与北方游牧民族接壤的地带修筑长城。明朝是最后一个大修长城的朝代，自洪武至万历年间，先后修筑长城18次，今天人们看到的长城多是明长城。明长城西起嘉峪关，东至山海关，总长度为8851.8千米。长城是中国古代最伟大的军事防御工程，后世常用“长城”或“万里长城”比喻担负国家重任的人，长城还成为中华民族团结一心、众志成城、坚不可摧的一种文化象征。 The Great Wall, also known as the "10, 000-li (5, 000 kilometer) long Great Wall," was a complete defensive system consisting of walls, watchtowers, gated passes, and beacon towers. After unifying China in the 3rd century BC, the Qin Dynasty sought to ward off southward incursions of the northern nomadic tribes known as the Xiongnu by linking up and fortifying sections of the defense walls which had been built by the feudal states of Yan, Zhao, and Qin during the Warring States Period that had just ended. Extending about 10, 000 li, the Great Wall

2025-01-01 喜欢(0) 回复(0)

◎管子曰：“仓廪实而知礼节。”民不足而可治者，自古及今，未之尝闻。……夫积贮者，天下之大命也。苟粟多而财有余，何为而不成？以攻则取；以守则固；以战则胜。怀敌附远，何招而不至？（贾谊《论积贮疏》，见《汉书·食货志》） （管仲说：“粮仓充实了，人们才能懂得礼节。”百姓的基本生活条件不足而能治理得很好，从古到今，还没听说过。……积蓄财物、贮存粮食是关系国计民生的大事。如果粮食多了、财富充裕了，那干什么事不能成功呢？用来进攻则攻无不取，用来防守则固若金汤，用来作战则无往而不胜。招抚敌方、远方的人归顺，谁会不来呢？） Guanzi said, "When the granaries are full, the people follow appropriate rules of conduct." From time immemorial, no one has ever heard of successful governance when the people do not have enough to live on. ...Sufficient wealth and stores of grain are vital to the national economy and people's livelihood. What cannot be accomplished when granaries are stocked and coffers are full? Such a ruler will be victorious in offense, impregnable in defense, and invincible in war. To

2025-01-01 喜欢(0) 回复(0)

粮仓充实了，人们才会懂得礼节。出自《管子·牧民》：“仓廪实则知礼节，衣食足则知荣辱。”“仓廪”是古代储藏米谷的地方或设施。“仓廪实”“衣食足”指粮食储备充足，民众不愁吃穿，代指人们生产、生活所需的物质条件非常充足，即物质文明发展到一定阶段；“礼节”“荣辱”指社会的礼仪规矩和内心的道德准则，包括了制度文明和精神文明。这句话揭示了物质文明和制度文明、精神文明之间的关系：物质文明是制度文明和精神文明产生的基础和条件，制度文明和精神文明是物质文明发展到一定阶段的产物。如果民众的基本生活条件都得不到保障，即使有良好的制度也难为人们所遵循，人们的精神品格也不可能得到提升。在任何时候，物质文明建设都应当成为治国理政的基本要务。这是一种非常务实的治国理念。 The full quote from Guanzi reads: "When the granaries are full, the people follow appropriate rules of conduct, and when there is enough to eat and wear, the people know honor and shame." Here "granaries" and "eat and wear" mean the material conditions of life, while "rules of conduct" and "honor and shame" represent the social and moral principles of a society, as well as the systems and spiritual culture that underpin it. The quote highlights the relationship between material life and morality, i.e., the former is the basis for the latter, and that morality and social

2025-01-01 喜欢(0) 回复(0)