Chinese Thought and Culture

fěnɡyǒnɡ 讽咏 Chanting with Feeling 指的是中国古代阅读、欣赏诗歌的方法。讽，是抑扬顿挫地诵读；咏，指的是吟唱、歌唱。“讽咏”合起来就是指，诗歌要通过反复诵读、吟唱，逐渐感受其节奏、声韵，揣摩其内涵、情感，进而把握作者的作诗用意，甚至产生自己的见解。讽咏的方法，与中国古代诗歌具有较强的音乐性密切相关，不仅可以抑扬顿挫地诵读，而且可以用一定的旋律吟唱出来。 This term refers to the proper way of appreciating classic Chinese poetry in ancient times. Specifically, when reading a poem aloud, it was supposed to intone a poem with cadence; namely, by following a pattern of rising and falling tones with pauses in between. Through repeated chanting and recitals, […]

fēngshàn 封禅 Sacrificial Ceremony / An Ode to Sacrificial Ceremony 主要含义有二：其一，指古代帝王登上泰山，祭拜天地以报告成功、感谢天降祥瑞，同时刻石记功、向天下宣示受命于天的一种大典。其中在泰山顶上筑土为坛行祭天礼叫“封”，在梁父或云云等小山上辟除场地行祭地礼叫“禅”。传说中三皇五帝、禹、汤、周武王等都举行了封禅，秦以后只有秦始皇（前259—前210）、汉武帝（前156年—前87）、汉光武帝（前5—公元57）等在泰山举行封禅大典。其二，指封禅文，是古代劝告帝王封禅或记录封禅大典、歌颂功德的一种文体。由西汉司马相如（前179？—前118？）创制。南朝刘勰（465？—520）指出，封禅文作为一个时代的典章，体制庄重宏大、气势壮阔，应当纪事可靠、说理清晰、文辞典雅。为了歌颂帝王的伟大和天地的神奇，封禅文作者要从浩瀚典籍中选用古雅而不晦涩的词语，或者采用新颖而不肤浅的词语，要竭尽想象力和夸饰之能事。封禅文后来演变为庆典致辞以及记录各类庆典活动的文章。遵循刘勰提出的要求写作，庆典文章可以体现一个单位、地区乃至国家的精神与气度，而优秀的庆典致辞或记录庆典的诗文，也有可能成为代表时代水准的大手笔。 This term has two meanings. One is a grand sacrificial ceremony held in ancient times by an emperor after ascending to the top of Mount Taishan to pay tribute to heaven and earth, announce his achievements, thank gods for having brought him and his

fēnɡyú 丰腴 Plump Beauty 中国古代文学艺术的一种风格。“丰腴”一词，本指丰厚、丰富、丰满之意，在书法美学中，主要指笔墨饱满、圆熟润美，引申到诗歌创作中，主要指作品的内容丰富细腻，品味不尽。但仅有丰腴是不够的，只有将“丰腴”和“清癯”结合起来、相反相成，才体现中国古代诗歌及艺术美学的辩证法。宋代著名文学家苏轼（1037—1101）用“质而实绮，癯而实腴”八个字概括陶渊明（365？—427）的诗歌艺术特色，并给予了至高的评价，意思是说，陶渊明的诗歌在质朴中蕴含了华美，看起来清瘦而实际上内容丰富。 Plump beauty is a style prevalent in ancient Chinese literature and art. “Plump” here suggests abundance, richness and fullness. In calligraphic aesthetics, it refers to a state of chubbiness, maturity and lushness. When used in poetic creation, “plump” is associated with a poem’s richness in nuance and enduring appeal. However,

fánnǎo 烦恼 Kleśa / Affliction 佛教指众生身心受到扰乱而产生的迷惑、苦恼等精神状态。烦恼实质上是由错误认识所导致的精神上的自我束缚。凡夫在迷惑状态下，由于将自我妄执为实有，对事物产生贪恋，而以此为驱动力的种种行为，将产生业力并导致轮回。烦恼由此被视为束缚。最基本的烦恼有贪、嗔、痴三种，俗称“三毒”。佛教对烦恼有极其精微的分类，认为只有通过辨识烦恼，并一一对治，才能解除迷惑苦恼的状态。 In Buddhism, “affliction” refers to the confused or upset state of mind owing to the turbulence in one’s physical or mental being. It is actually a self-imposed bondage incurred by misunderstanding. A common man, due to his ignorance, takes his self as real and then attaches to things (to fulfill

fǎ zhě, suǒyǐ jìn bào ér shuài shànrén yě 法者，所以禁暴而率善人也 Law Is for Stopping Violence and Encouraging Good Behavior. 法是禁止横暴凶恶、引导民众向善的手段。它揭示了法与道德教化的一致性：法的目的在于惩恶扬善，具有道德性；法的实施具有示范性、导向性，即教育意义。这种关于法的观念具有普世意义。 Law is enacted to stop violence and evil and to encourage good behavior. This means law enforcement and moral education should go hand in hand. The purpose of the law is to punish evil and

fā xiānnónɡ yú jiǎnɡǔ, jì zhìwèi yú dànbó 发纤秾于简古，寄至味于淡泊 Intricacy Within Plainness, and Intensity Beneath Quietude 在质朴高古中蕴含着细腻丰厚，在平静雅淡中蕴含着无穷的韵味。这是北宋文学家苏轼（1037—1101）用来评价唐代诗人韦应物（737？—791）、柳宗元（773—819）诗歌风格的话。这种以质朴、淡泊为至高境界的理念，既代表了苏轼的诗学观，也代表了中国古代的重要美学观念。老子在《道德经》中提出“大音希声，大象无形”，推崇简淡自然之美，是苏轼美学观念的源头。 “Richness dwells in vintage simplicity and nuanced profundity in serene composure.” This is how the Northern Song writer Su Shi (1037-1101) praised the poetic style of Wei Yingwu (737?-791) and Liu Zongyuan (773-819). Such insistence on the supremacy

fā hū qíng, zhǐ hū lǐyì 发乎情，止乎礼义 Start with Feelings and Control with Propriety 诗歌由情感生发，但是情感的抒发不能超过限度，应该用礼义去节制。其目的是达到委婉讽谏的效果。“发乎情，止乎礼义”由最初批评《诗经》的理论发展成为普遍的文学创作原则，既承认人的本能欲望以及抒发描写本能欲望的需要，同时又强调要用儒家的道德规范来约束指导，不能流于纯自然的宣泄，不能超越社会政治、伦理的规范。因此，诗歌中所表达的情感，既具有个体性，又具有社会性。 Poems and lyrics arise from genuine feelings, which, however, should not be excessive but be controlled by ritual propriety and righteousness, so as to be tactfully persuasive. This term was first used when commenting on The Book of Songs and then

dú wàn juàn shū, xíng wàn lǐ lù 读万卷书，行万里路 Read Ten Thousand Books and Travel Ten Thousand Li 多读书，多走路。比喻要努力读书，尽可能多地丰富书本知识，掌握间接经验；同时要尽可能多地接触实际，丰富自己的亲身体验，开阔眼界，增进见识。理论与实际相结合，间接经验与直接经验相结合，既有真才实学，又能学以致用。 This means one should acquire as much knowledge as possible from books to gain the experience of others. At the same time, one should also have as much direct contact with the world as possible to

dà yī jīngchéng 大医精诚 A Master Physician Must Have Superb Skill and Sincerity. 伟大的医者既有精湛的医术又有一心济世的情怀。这是唐朝著名医学家孙思邈（581-682）在《千金方》中阐述的医者理念。“大医”即超乎平常的、伟大的、令人尊崇的医者；“精”即医术高超，精益求精；“诚”即一心一意救死扶伤的情怀。它从业务和道德两方面概括出了中华医学精神，是科学精神和人道精神的有机统一。它和“医者仁心”（医者要有爱人之心）、“悬壶济世”（行医救助世人）一样，为历代医者所尊崇，至今仍有现实意义。 A master physician must have both superb medical skills and a desire to help the world. This is how Sun Simiao (581-682), a famous Tang Dynasty physician, described a doctor in his work Essential Formulas for Emergencies. A “master physician” is

dà guó zhě xià liú 大国者下流 A Great State Should Assume a Low Posture. 大国要把自己放在低下的位置上，就像大江大河能够容纳百川一样。这是中国古代哲学家老子提出的处理国与国关系的重要思想，其核心理念在于“谦下”（屈己待人）之德。在老子看来，国与国之间能否和平相处，关键在于大国能否做到不以大欺小，不恃强凌弱。大国应该放低姿态，谦和地对待小国，展现容纳天下百川的胸怀，从而赢得小国的信赖，使他们归向自己，就像百川都流向大江大河一样。大国接纳、包容小国，小国尊重、依附大国，和谐共生，各得其所。当今“人类命运共同体”的理念与此不无渊源。 A great state should assume a low posture, just as great rivers absorb the waters from countless tributaries. This was an important concept on handling relations between states, propounded by the ancient Chinese philosopher Laozi. Its core idea is that