xiǎoshōushā 小收煞 Midpoint Conclusion 指戏剧上半场最后一出收场戏。李渔（1611—1680）提出这一术语，包含戏剧上半场收束的要求和技巧：既要让上半场结构相对完整，完成基本人物、事件的交代，不中断一个连续事件；又要展开主要冲突，为下半场埋下伏笔，给观众留下悬念。多场戏、长篇说书也经常运用这一收束技巧，让观众或听众得以暂时满足或对下面的剧情有所期待。 This term, first coined by Li Yu (1611-1680), refers to the last scene of the first half of a play. It includes the requirement for and techniques of concluding the first half of the play. Besides the structural completeness of this section, all the relevant characters and events should have […]

xiǎojié 小节 Minor Principles 日常生活中的行事规范与节度。与“大节”相对，“小节”规定着不同身份的人在日常生活中所应担负的职责以及相应的行事法则。“小节”是人们在日常生活中需要持守的节度。”小节”虽然不关乎根本性的原则，但对于“小节”的疏忽与放任，也会造成德性的破坏。不过，如果能够始终持守“大节”，也可不必事事拘泥于“小节”。 This term refers to norms of conduct observed in daily life. Relative to major principles, minor principles concern detailed regulations and standards of conduct and are about routine duties of people of different social status, and how exactly they should be performed. “Minor principles” are the rules that people must

xiànɡshù 象数 Emblems and Numbers 占筮所依据的形象和数字。“象”最初指龟卜中所呈现的兆纹，“数”则指占筮中蓍草推演的数字，“象数”是推断吉凶的基本依据。在《周易》的意义体系中，“象”指卦爻符号及其所象征的事物，“数”则指阴阳奇偶之数与筮草演算之数。《周易》的一些解释者主张通过“象数”去推演天地万物的变化。 This refers to the emblems and numbers used in divination. Emblems are cracks in baked tortoise shells, and numbers are inferred from stalks used in divination. Emblems and numbers are the basis of foretelling the future. In The Book of Changes, emblems are divination symbols and the things they

xìwén 戏文 Operatic Script / Southern Opera 泛指中国传统戏曲的剧本，也专指南戏。南戏是北宋末年至明末清初流行于浙江温州和福建沿海一带，在传统民间歌舞基础上发展起来的一种地方戏曲，与流行于北方的宋元杂剧并行，明清演变为传奇，是中国戏曲史上发展最早、最成熟、最能体现中国戏剧特质的戏曲形态。 Xiwen (戏文) refers to script of traditional Chinese operas. The term also refers to southern China opera. The latter is a type of local opera which had developed from traditional folk songs and dances and was popular in China’s southeastern coastal areas from the late Northern Song Dynasty

xí 习 Practice 练习、熟习以及由此形成的习惯。“习”是学习过程中的一个重要环节。一般意义上的“习”，主要指对知识、技能的反复练习。而儒家所言“习”，则更多地指向道德生命的养成。个人需要按照所学得的道德、礼法要求，反复践行。在不断熟习的过程中，使符合德礼要求的言行成为自身的习惯。 Xi (习) means to develop a good command of something through frequent practices. Repeated practice is an important part of learning, which is necessary for acquiring knowledge and skills. In Confucian thinking, xi refers mostly to regular observance of ethics, rites and moral requirements. This will develop habits of speech and action

wǔyīn 五音 The Five Notes 五声音阶，即宫、商、角、徵、羽等五个音高递增的音符，大致对应于今天简谱中的1、2、3、5、6。在角后、徵前加变徵，在羽后加变宫，即为七声音阶。音阶细分意味着旋律多变，不过基于五声音阶的古典音乐尽管变化相对较少，亦自有一种单纯、质朴、静穆、悠扬的美。因为古代雅乐、民歌多用五声音阶，所以常用“五音”泛指音乐。 The term refers to the five musical notes that rise in pitch, from gong (宫), shang (商), jue (角), zhi (徵), to yu (羽), which correspond roughly to the notes of 1, 2, 3, 5, and 6 in today’s numbered musical notation. When a zhi minus is placed before zhi and a gong plus after yu, this

wǔ háng xiàng shèng 五行相胜 The Five Elements Triumph Over Each Other. 五行循环克胜，也称“五行相克”。“五行”本指五种基本事物，即木、火、土、金、水。世间万物都由这五种事物构成，或具有这五种事物的属性。“五行相胜”之说描述了这五种事物之间所具有的循环克胜关系。水克火，火克金，金克木，木克土，土克水。同时，具有这五种属性的事物之间也遵循这样的克胜关系。比如，以“五行相胜”解释王朝的更替。 This refers to the concept of the five elements sequentially overpowering each other, which is also described as “the five elements, each in turn checking the next.” The term “five elements” refers to five basic material elements, namely: wood, fire, earth, metal,

wǔ háng xiàng shēng 五行相生 The Five Elements, Each in Turn Producing the Next 五行循环生成。“五行”本指五种基本事物，即木、火、土、金、水。世间万物都由这五种事物构成，或具有这五种事物的属性。“五行相生”之说描述了这五种事物之间所具有的循环生成关系。木生火，火生土，土生金，金生水，水生木。同时，具有这五种属性的事物之间也遵循这样的生成关系。 This refers to the concept of the five basic elements, each in turn giving rise to the next. The five basic elements are: wood, fire, earth, metal, and water. All things in the world are composed of these five elements

wú dài dānɡ fēnɡ 吴带当风 The Sashes in Wu’s Painting Flutter as if in the Wind. 吴道子（680？—759？）笔势圆转飘逸，所画人物衣带宛如随风飘扬。较之顾恺之（345？—409）的画作笔法细密而宛若真人实景，吴道子作画运笔自如，线条流畅，动感强而传神，呈现全新风格和特殊审美效果，体现了绘画艺术的发展。 Wu Daozi (680?-759?) executed his brushstrokes in a curvy and graceful manner, so that sashes on the people in his paintings seem flutter in the wind. Compared with Gu Kaizhi (345?-409), Wu’s painting is more nuanced and lifelike.

wú yònɡ zhī yònɡ 无用之用 The Advantage of Appearing Useless 选择无用状态而实现的对生命的保全。“无用之用”一说出自《庄子》，“无用”是庄子（前369？—前286）提出的一种保全生命的处世态度。庄子认为，一个能力出众的人会被要求承担更多职责，因而也面临更多困难与危险。这会对身体和心灵造成伤害。只有舍弃进取、有为的意愿，向世人展现出自己的无用，才能避开人世间的各种危险，从而保全自己的生命。 This term means choosing to be useless to realize the preservation of life. Originating in Zhuangzi, choosing to appear useless is a way advocated by Zhuangzi (369?-286 BC) for preserving one’s life. He said that very able people are often required to shoulder many