2 10 43 https://learning.hku.hk/ccch9051/group-24/files/original/1c028cf9176d407df268956e5c86de76.jpg fa9ea0bdf88b547b1bb8d1c0e2a61b99 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Famous Chinese Calligraphy Pieces Language A language of the resource Chinese Type The nature or genre of the resource Physical Object Calligraphy Transcription Any written text transcribed from a sound 自我來黃州 已過三寒食 年年欲惜春 春去不容惜 今年又苦雨 兩月秋蕭瑟 臥聞海棠花 泥汙燕支雪 闇中偷負去 夜半真有力 何殊病少年 病起頭已白 春江欲入戶 雨勢來不已 小屋如漁舟 濛濛水雲裏 空庖煮寒菜 破竈燒溼葦 那知是寒食 但見烏銜紙 君門深九重 墳墓在萬里 也擬哭塗窮 死灰吹不起 右黃州寒食詩帖二首。 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Cold Food Observance (寒食帖) Subject The topic of the resource Ancient Calligraphy Chinese Calligraphy Calligraphy Masterpiece Famous Calligraphy Running Script (行書） Song Dynasty (宋朝) Su Shi (蘇軾) Description An account of the resource The creator of this piece of calligraphy, Su Shi, was accused of literary slander and banished to Huangzhou (黃州) when he wrote this piece of calligraphy. He created this piece during his 3rd year of exile, during the Han Shi Festival (literally Cold Food Festival), expressing his feelings of loneliness and melancholy. This is a piece that combined poetry with calligraphy. It was written by Su Shi when he was in political trouble and demoted and dispatched to serve as a minor official in Huangzhou. The bleak weather and the Hanzi Festival only added to his melancholy. The strong emotions underlying the piece are comparable to the feeling embodied in the Wang Xizhi's Lanting Xu (蘭亭序) and the Yan Zhenqing's Draft of a Requiem to My Nephew (祭侄文稿). Hanshi Festival (寒食節) is an ancient traditional Chinese festival celebrated for three consecutive days starting the day before the Qingming Festival (清明節) which falls on 4 or 5 April. Creator An entity primarily responsible for making the resource Su Shi (蘇軾) Date A point or period of time associated with an event in the lifecycle of the resource Song Dynasty (宋朝) Rights Information about rights held in and over the resource National Palace Museum (國立故宮博物院), Taipei (臺北市) Format The file format, physical medium, or dimensions of the resource Handscroll Ink on paper 34.2 x 199.5 cm Running Script (行書） Language A language of the resource Chinese Identifier An unambiguous reference to the resource within a given context thecoldfoodobservance Type The nature or genre of the resource Calligraphy Relation A related resource Ode to the Red Cliff (赤壁賦) https://learning.hku.hk/ccch9051/group-24/files/original/4336cfee790e3a0e8dbbaf1cb0df2c68.jpg 710493b0083596eb42952723acf6d072 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Famous Chinese Calligraphy Pieces Language A language of the resource Chinese Type The nature or genre of the resource Physical Object Calligraphy Transcription Any written text transcribed from a sound 釋文： 壬戌之秋，七月既望，蘇子與客泛舟遊於赤壁之下。清風徐來，水波不興。舉酒屬客，誦明月之詩，歌窈窕之章。少焉，月出於東山之上，徘徊於鬥牛之間。白露橫江，水光接天。 縱一葦之所如，陵萬頃之茫然。浩浩乎如馮虛禦風，而不知其所止；飄飄乎如遺世獨立，羽化而登仙。 於是飲酒樂甚，扣舷而歌之。歌曰：“桂棹兮蘭槳，擊空明兮溯流光。渺渺兮余懷，望美人兮天一方。”客有吹洞簫者，倚歌而和之。其聲嗚嗚然，如怨如慕，如泣如訴，余音嫋嫋，不絕如縷。 舞幽壑之潛蛟，泣孤舟之嫠婦。　 蘇子愀然，正襟危坐，而問客曰：“何為其然也？”客曰：“‘月明星稀，烏鵲南飛’，此非曹孟德之詩乎？西望夏口，東望武昌。山川相繆，郁乎蒼蒼，此非孟德之困於周郎者乎？ 方其破荊州，下江陵，順流而東也， 艫千裏，旌旗蔽空，釃酒臨江，橫槊賦詩，固一世之雄也，而今安在哉？況吾與子漁樵於江渚之上，侶魚蝦而友麋鹿，駕一葉之扁舟，舉匏樽以相屬。 寄蜉蝣於天地，渺浮海之一粟。哀吾生之須臾，羨長江之無窮。挾飛仙以遨遊，抱明月而長終。知不可乎驟得，托遺響於悲風。”　 蘇子曰：“客亦知夫水與月乎？逝者如斯，而未嘗往也；盈虛者如彼，而卒莫消長也。蓋將自其變者而觀之，則天地曾不能以一瞬；自其不變者而觀之，則物與我皆無盡也，而又何羨乎？ 且夫天地之間，物各有主，茍非吾之所有，雖一毫而莫取。惟江上之清風，與山間之明月，耳得之而為聲，目遇之而成色，取之無禁，用之不竭，是造物者之無盡藏也，而吾與子之所共食。” 客喜而笑，洗盞更平酌。肴核既盡，杯盤狼籍。相與枕藉乎舟中，不知東方之既白。 軾去歲作此賦，未嘗輕出以示人。見者蓋一二人而已。欽之有使至，求近文，遂親書以寄。多難畏事，欽之愛我，必深藏之不出也。又有後赤璧賦，筆倦未能寫。當俟後信。軾白。 Translation It was the 7th month in the autumn of the year Ren Xu when the full moon was just a little on the wane, I, Su Shi, went boating with my friends in the river near the Red Cliff. A fresh cool breeze was blowing, too gentle to ripple the water. Raising my cup, I toasted my friends, recited and chanted the verses on the Bright Moon from Classic of Poetry (Shijing 詩經). A little later, the moon rose from behind the eastern mountain and began to roam between the Southern Dipper and the Ox (Altair). White mist heaped up across the river, and the moonlight stretched far into the horizon to merge with the hues of the sky. Like a piece of reed, our boat drifted on a boundless expanse of water, so vast that we felt as if we were riding in the wind, not knowing when to come to a halt. We felt so ethereal as if we were ascending into heaven and becoming winged immortal. “Oh, the oars and paddles made from the timber of Artocarpus (桂木) and Magnolia (玉蘭), splashing in the clear water, and the boat sailing up the moonlit river. Unbound is my mind, longing for the virtuous man in my heart who is beyond the remote horizon.” A Xiao (flute) player among the friends accompanied the verse. The music kept streaming out and lingering in the air, so melancholic that it sounds like a continuous sigh of sorrow or like a ceaseless weep with grief. The lingering sound was as unbroken as silk, capable of enticing a dragon perched in a deep abyss to rise and dance, or making a widow in a solitary boat to weep. Sitting up, I, Su Shi in a serious tone, asked the player, “Why is the music so sombrely stirring” The friend replied, “‘The moon is bright, the stars are sparse, the crows are flying south.” Isn’t this the poem of Cao Mengde? The place we have now reached faces Xiakou to the West and Wuchang to the East, and is heavily enshrouded by verdant mountains and stretching water. Isn’t this where Cao Mengde was besieged by Zhou Yu? At that time Cao took Jingzhou, seized Jiangling, and then rolled eastward down the Yangtze River in warships chained up for over a thousand miles, with flags and pennant flaunting in defiance of the vast open skies. Cao drank with pleasure before the river and composed his poems with his lance resting on his lap. Cao was indeed a hero for his generation but where is he now? You and I are fishing in the river, gathering firewood in the islet, with fish and shrimp as our companions and milu (deer) as our friends, and riding a boat while drinking from our simple gourd cups. We are like mayflies wandering in this terrestrial world or a grain of millet drifting on a deep ocean. What a short life span we have, yet how endless the Yangtze River is! I wish we could travel with flying immortals in heaven or hold the bright moon in my arms through eternity. I know this is not something easily obtainable and therefore I can only leave the melancholy (flute) music to the desolate (autumn) wind.” I, Su Shi commented, “Do you happen to know the nature of water or the moon? Water is always on the run like this, but never lost in its course; the moon always waxes and wanes like that, but never out of its sphere. When viewed from a changing perspective, the universe can hardly be the same even within a blink of an eye, But when looked at from an unchanging perspective, everything conserves itself, and so do we. Therefore, what’s in them to be admired? Besides, in this universe, everything has its rightful owner. If something does not belong to you, then you shall not even have a bit of it. Only the refreshing breeze on the river and the bright moon over the hills are an exception. If you can hear it, it is a sound to you; if you can see it, it is a view to you. It never ends and is never exhausted. It is the infinite treasure granted to us by our Creator for both of us to enjoy.” My friends were gladdened and smiled. We had our cups rinsed and refilled. Soon all the dishes and fruits were gone With plates and cups left scattered all over, we leaned against each other and felt asleep right in the boat, unaware that it was dawning in the east. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ode to the Red Cliff (赤壁賦) Subject The topic of the resource Ancient Calligraphy Chinese Calligraphy Calligraphy Masterpiece Famous Calligraphy Regular Script (楷書) Song Dynasty (宋朝) Su Shi (蘇軾) Creator An entity primarily responsible for making the resource Su Shi (蘇軾) Date A point or period of time associated with an event in the lifecycle of the resource Song Dynasty (宋朝) Contributor An entity responsible for making contributions to the resource Fu Yaoyu (傅堯俞) Relation A related resource The Cold Food Observance (寒食帖) Language A language of the resource Chinese Type The nature or genre of the resource Calligraphy Identifier An unambiguous reference to the resource within a given context odetotheredcliff Spatial Coverage Spatial characteristics of the resource. The poem describes Su Shi and friends' trip to the Red Nose Cliff (赤鼻磯) west of the town Huangzhou (黃州). Description An account of the resource Su Shi (蘇軾) and his friends was traveling to Red Nose Cliff (赤鼻磯) in the west of Huangzhou (黃州). Su then wrote these two poems called "Ode to the Red Cliff (赤壁賦)" to recall the Battle of Red Cliff (Battle of Chibi 赤壁之戰) back in 208 CE. depicted the bravery of great historical figures, hypocritical nature of people and his philosophical views. Later, the place was known as "Dongpo's Red Cliff". Format The file format, physical medium, or dimensions of the resource Handscroll Ink on paper 23.9 x 258 cm Regular script (楷書) Rights Information about rights held in and over the resource National Palace Museum (國立故宮博物院), Taipei (臺北市) https://learning.hku.hk/ccch9051/group-24/files/original/390d0f57b21cd110a0c91f268950ed5b.jpg f9c6b1a1523747c97a99bc2733ff1591 https://learning.hku.hk/ccch9051/group-24/files/original/039f33958cbaa811db554a02067b9d9f.jpg 3599e13a99259cd9d0d9d7c0e76faf52 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Famous Chinese Calligraphy Pieces Language A language of the resource Chinese Type The nature or genre of the resource Physical Object Calligraphy Transcription Any written text transcribed from a sound 羲之頓首 快雪時晴 佳想安善 未果為结 力不次 王羲之頓首 山陰張侯 Translation There was a snowstorm, but now, the sun is out. I am missing you, I wonder if you are doing well? However, I won't be able to meet you, making my heart ache and filled with regret. When, will we be able to meet? Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Timely Clearing After Snowfall (快雪時晴帖) Sunny After Snow Subject The topic of the resource Ancient Calligraphy Chinese Calligraphy Calligraphy Masterpiece Famous Calligraphy Running Script (行書) Jin dynasty (晉朝) Wang Xizhi (王羲之) The Three Treasures Hall (三希堂) Description An account of the resource In this short letter written in running script, Wang Xizhi sent a greeting to a friend after a snowfall. In the piece, much of the brushwork appears round and blunt, the dots and hooked strokes not revealing the tip of the brush. The characters are even and balanced, revealing a straightforward elegance and introverted harmony. This artwork is included in The Three Treasures Hall (三希堂) and influenced Zhao Mengfu (趙孟頫)'s Colophon (題跋). Creator An entity primarily responsible for making the resource Wang Xizhi (王羲之) Relation A related resource Colophon (題跋) Preface to the Poems Composed at the Orchid Pavilion (蘭亭集序) Three Passages: Ping-an, He-ru, and Feng-ju (平安何如奉橘三帖) Mid-Autumn (中秋帖) A Letter to Boyuan (伯遠帖) Format The file format, physical medium, or dimensions of the resource Album leaf Ink on paper 23 x 14.8 cm Running script (行書) 28 characters in 4 rows Language A language of the resource Chinese Type The nature or genre of the resource Calligraphy Identifier An unambiguous reference to the resource within a given context timelyclearingaftersnowfall Rights Information about rights held in and over the resource National Palace Museum (國立故宮博物院), Taipei (臺北市) Spatial Coverage Spatial characteristics of the resource. This is a letter sent by Wang Xizhi to a friend, Zhang Hou, in Sanin. Date A point or period of time associated with an event in the lifecycle of the resource Jin Dynasty (晉朝) https://learning.hku.hk/ccch9051/group-24/files/original/33fd69e7e75d019875b93f1ff66d2d0b.jpg bb379df024aca2ce06e683d7744c1be9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Famous Chinese Calligraphy Pieces Language A language of the resource Chinese Type The nature or genre of the resource Physical Object Calligraphy Transcription Any written text transcribed from a sound 趵突泉。灤水發源天下無，平地湧出白玉壺。谷虛久恐元氣洩，歲旱不愁東海枯，雲霧潤蒸華不注，波瀾聲震大名湖。時來泉上濯塵土，冰雪滿懷清興孤。右二題皆濟南近郭佳處，公瑾家故齊也，遂為書此。孟頫。 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Poetry on the Baotu Spring (書趵突泉詩) Subject The topic of the resource Ancient Calligraphy Chinese Calligraphy Calligraphy Masterpiece Famous Calligraphy Regular Script (楷書) Yuan Dynasty (元朝) Zhao Mengfu (趙孟頫) Description An account of the resource This piece was created by Zhao Mengfu after he returned from his travels from Jinan (濟南). It was dedicated to his old friend Zhou Mi (周密), a native of Shandong (山東) who had never been to Jinan, so Zhao especially wrote this scroll of poetry as a gift. Creator An entity primarily responsible for making the resource Zhao Mengfu (趙孟頫） Date A point or period of time associated with an event in the lifecycle of the resource Yuan Dynasty (元朝) Format The file format, physical medium, or dimensions of the resource Handscroll Ink on paper 33.1 x 83.3 cm Regular script (楷書) 97 characters Language A language of the resource Chinese Identifier An unambiguous reference to the resource within a given context poetryontheboatuspring Rights Information about rights held in and over the resource National Palace Museum (國立故宮博物院), Taipei (臺北市) Type The nature or genre of the resource Calligraphy Spatial Coverage Spatial characteristics of the resource. The Baotu Spring is located outside of the west gate of the old city wall of Jinan (濟南) in Shandong Province. When Zhao Mengfu was an official in Jinan, he often traveled to this location. Contributor An entity responsible for making contributions to the resource Ode on Leisurely Living (閒居賦) Record of the Zhoujin Studio (書晝錦堂記) The Return (歸去來辭) https://learning.hku.hk/ccch9051/group-24/files/original/c3e0825ffefabdd8896fe5ccc55d6462.jpg 6f0ad11afb4e6fb5dd8d8dfa162230f9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Application of Chinese Calligraphy in Daily Life Subject The topic of the resource Chinese Calligraphy Daily Life Description An account of the resource Other than being admired as an art, Chinese calligraphy is also applied in the daily life of Chinese in many different aspects, integrated into their transportation, festival, business, personal expression, and decorations. Relation A related resource Chineses Calligraphy in Art Chineses Calligraphy in Education Language A language of the resource Chinese English Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tsang Tsou Choi's Calligraphy Graffiti (曾灶財街頭文字塗鴉) Subject The topic of the resource Chinese Calligraphy Art Decoration Wall Art Inscriptions Mural Tsang Tsou Choi Kowloon Emperor Description An account of the resource Tsang Tsou Choi, who named himself and widely known as the "Kowloon Emperor", is a street graffiti in Hong Kong. He creates graffiti creations of Chinese characters written with a brush on public walls on the stories. It tells the story of oneself and the family's past deeds, and "declares" the "sovereignty" of Kowloon. Date A point or period of time associated with an event in the lifecycle of the resource 1956 - 2007 Format The file format, physical medium, or dimensions of the resource Wall Paint Lampposts Utility boxes Pillars Pavements Street Furniture Language A language of the resource Chinese Type The nature or genre of the resource Calligraphy Creator An entity primarily responsible for making the resource Tsang Tsou Choi (曾灶財) Identifier An unambiguous reference to the resource within a given context tsangtsouchoicalligraphygraffiti Spatial Coverage Spatial characteristics of the resource. His works could be found mostly arround Kowloon, for example Kwun Tong, Tsim Sha Tsui Star Ferry Pier, Ping She Estate, Tsui Ping Estate, etc., as well as Hong Kong Island, Central, and the Western District outside Kowloon. Nowadays, the only ones of his works perserved are in Tsim Sha Tsui Star Ferry Pier and the bottom of the junction of Sau Mau Ping Road and Shun On Road. https://learning.hku.hk/ccch9051/group-24/files/original/95a8fbd235ca9514a62a8e4f3b856f15.jpg 09131b4a6af4d65b90a8a297052931fe https://learning.hku.hk/ccch9051/group-24/files/original/20925a2e459d844d0592b92075bbe74b.png 6816dab6dd38c5ee4be22331811e9920 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Famous Chinese Calligraphy Pieces Language A language of the resource Chinese Type The nature or genre of the resource Physical Object Calligraphy Transcription Any written text transcribed from a sound 永和九年，歲在癸丑，暮春之初，會於會稽山陰之蘭亭，修禊事也。群賢畢至，少長咸集。此地有崇山峻領，茂林修竹；又有清流激湍，映帶左右，引以為流觴曲水，列坐其次。雖無絲竹管弦之盛，一觴一詠，亦足以暢敘幽情。是日也，天朗氣清，惠風和暢，仰觀宇宙之大，俯察品類之盛，所以游目騁懷，足以極視聽之娛，信可樂也。 夫人之相與，俯仰一世，或取諸懷抱，悟言一室之內；或因寄所托，放浪形骸之外。雖趣舍萬殊，靜躁不同，當其欣於所遇，暫得於己，怏然自足，不知老之將至。及其所之既倦，情隨事遷，感慨系之矣。向之所欣，俯仰之間，以為陳跡，猶不能不以之興懷。況修短隨化，終期於盡。古人雲：“死生亦大矣。” 豈不痛哉！ 每覽昔人興感之由，若合一契，未嘗不臨文嗟悼，不能喻之於懷。固知一死生為虛誕，齊彭殤為妄作。後之視今，亦猶今之視昔。悲夫！故列敘時人，錄其所述，雖世殊事異，所以興懷，其致一也。後之攬者，亦將有感於斯文。 Translation On this late spring day, the ninth year of Yonghe (AD 353), we gathered at the Orchid Pavilion in Shaoxing to observe the Spring Purification Festival. All of the prominent people were there, from old to young. High mountains and luxuriant bamboo groves lie in the back; a limpid, swift stream gurgles around, which reflected the sunlight as it flowed past either side of the pavilion. We sat by the water, sharing wine from a floating goblet while chanting poems, which gave us delight in spite of the absence of musical accompaniment. This is a sunny day with a gentle valley breeze. Spreading before the eye is the beauty of nature, and hanging high is the immeasurable universe. This is perfect for an aspired mind. What a joy. Though born with different personalities - some give vent to their sentiment in a quiet chat while others repose their aspiration in Bohemianism - people find pleasure in what they pursue and never feel tired of it. Sometimes they pause to recall the days lapsed away. Realizing that what fascinated yesterday is a mere memory today, not to mention that everyone will return to nothingness, an unsuppressible sorrow would well up. Isn't it sad to think of it? I am often moved by ancients' sentimental lines which lamented the swiftness and uncertainty of life. When future generations look back to my time, it will probably be similar to how I now think of the past. What a shame! Therefore, when I list out the people that were here, and record their musings, even though times and circumstances will change, as for the things that we regret, they are the same. For the people who read this in future generations, perhaps you will likewise be moved by my words. Materials Cocoon paper Weasel-whisker brush Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Preface to the Poems Composed at the Orchid Pavilion (蘭亭集序) Creator An entity primarily responsible for making the resource Wang Xizhi (王羲之) Subject The topic of the resource Ancient Calligraphy Chinese Calligraphy Calligraphy Masterpiece Famous Calligraphy Running script (行書) Jin Dynasty (晉朝) Wang Xizhi (王羲之) Date A point or period of time associated with an event in the lifecycle of the resource Jin Dynasty (晉朝) Relation A related resource Spring Purification Festival (上巳節) Orchid Pavilion (蘭亭集) Timely Clearing After Snowfall (快雪時晴帖) Three Passages: Ping-an, He-ru, and Feng-ju (平安何如奉橘三帖) Language A language of the resource Chinese Type The nature or genre of the resource Calligraphy Identifier An unambiguous reference to the resource within a given context lantingxu Format The file format, physical medium, or dimensions of the resource Running script (行書) 324 characters in 28 columns Description An account of the resource Preface to the Poems Composed at the Orchid Pavilion (蘭亭集序) or known as ‘Lanting Xu’, is the most notable piece that was self-composed and handwritten by Wang Xizhi (王羲之). Before Xizhi’s official retirement as a governor on 353 CE, he invited more than 40 literary figures to compose poems while enjoying wine during Spring Purification Festival (上巳節) at the Orchid Pavilion (Lanting) near the town Shaoxing, Zhejiang. The gathering was later depicted by Xizhi using his “Running Script (行書)” handwriting style and served as the preface to the collection of these poems. Even though the original manuscript is gone, the art had been highly appreciated through generations that several finely traced copies and rubbings are still well-preserved. Spatial Coverage Spatial characteristics of the resource. This piece of work is a preface written to the Poems composed at the Orchid Pavilion in Shaoxing to observe the Spring Purification Festival. https://learning.hku.hk/ccch9051/group-24/files/original/c7e0d7f053efb50fa0a0a7546c5e467a.jpg 3da26586369aed45f2c194ffaefa92f4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Application of Chinese Calligraphy in Daily Life Subject The topic of the resource Chinese Calligraphy Daily Life Description An account of the resource Other than being admired as an art, Chinese calligraphy is also applied in the daily life of Chinese in many different aspects, integrated into their transportation, festival, business, personal expression, and decorations. Relation A related resource Chineses Calligraphy in Art Chineses Calligraphy in Education Language A language of the resource Chinese English Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Plaque (牌匾) Subject The topic of the resource Chinese Calligraphy Business Shop Reputation Commercial Advertisement Recognition Description An account of the resource Plaque is a unique culture in China that combined Chinese characters, calligraphy, architecture, sculpture, and painting into one. It is usually a big sign that is put up in order to state or convey a strong and clear message to the others, for example: name of the building, name of the shop, what their products are praised for etc. Relation A related resource Signboard Inscription Format The file format, physical medium, or dimensions of the resource Wood Metal Rock Paint Gold Language A language of the resource Chinese Type The nature or genre of the resource Physical Object Identifier An unambiguous reference to the resource within a given context plague https://learning.hku.hk/ccch9051/group-24/files/original/3620796e4403d2dd33daed33f503ebbf.jpg b3281f2435cd5d30518aad53892f68ab Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Application of Chinese Calligraphy in Daily Life Subject The topic of the resource Chinese Calligraphy Daily Life Description An account of the resource Other than being admired as an art, Chinese calligraphy is also applied in the daily life of Chinese in many different aspects, integrated into their transportation, festival, business, personal expression, and decorations. Relation A related resource Chineses Calligraphy in Art Chineses Calligraphy in Education Language A language of the resource Chinese English Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fai Chun (揮春) Subject The topic of the resource Chinese New Year Lunar New Year Traditional Decoration Custom Description An account of the resource Fai Chun (揮春) is a traditional decoration that is often used during Chinese New Year. Chinese put Fai Chun in the doorways to create elated festive atmosphere. The phrases written on it usually means good luck and prosperity. Customarily, Fai Chun is written by hand. There is three types of Fai Chun regarding to their shape and content: Doufang, Chuntiao, and Chunlian. Relation A related resource Antithetical Couplet (對聯) Chinese Paper Cutting Format The file format, physical medium, or dimensions of the resource Ink on rice paper Language A language of the resource Chinese Type The nature or genre of the resource Physical Object Identifier An unambiguous reference to the resource within a given context faichun https://learning.hku.hk/ccch9051/group-24/files/original/4bcc90df316fd2ece4365aba8d2ccece.jpg d946857e77668ec738bc909c98a98160 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Inkstone Description An account of the resource An inkstone is a stone mortar for the grinding and containment of ink. Format The file format, physical medium, or dimensions of the resource Stone Clay Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chengni Inkstone (澄泥硯) Subject The topic of the resource Chinese Calligraphy Tools for Calligraphy Four Treasures of the Study Inkstone Description An account of the resource Chengni inkstones are ceramic-manufactured inkstones. Date A point or period of time associated with an event in the lifecycle of the resource Tang Dynasty (唐朝) Identifier An unambiguous reference to the resource within a given context chengniinkstones Format The file format, physical medium, or dimensions of the resource Ceramic Relation A related resource Duan Inkstone (端硯) She Inkstone (歙硯) Tao Inkstone (洮硯) Type The nature or genre of the resource Physical Object Spatial Coverage Spatial characteristics of the resource. The manufacture of Chengni inkstones is said to have originated in Luoyang, Henan. https://learning.hku.hk/ccch9051/group-24/files/original/0b56df83e4206fa49732051ae5cc0f50.jpg f4cb64fcead401e9a2f08a3cbaea4cb7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Inkstone Description An account of the resource An inkstone is a stone mortar for the grinding and containment of ink. Format The file format, physical medium, or dimensions of the resource Stone Clay Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tao Inkstone (洮硯) Subject The topic of the resource Chinese Calligraphy Tools for Calligraphy Four Treasures of the Study Inkstones Description An account of the resource These became rapidly desired after being first used as inkstone. It bears distinct markings such as bands of ripples with varying shades. The stone is crystalline and looks like jade. These stones have become increasingly rare and are difficult to find. It can easily be confused with a Duan ink stone, but can be distinguished by its crystalline nature. Date A point or period of time associated with an event in the lifecycle of the resource Song Dynasty (宋朝) Relation A related resource Chengni Inkstone (澄泥硯) Duan Inkstone (端硯) She Inkstone (歙硯) Identifier An unambiguous reference to the resource within a given context taoinkstones Format The file format, physical medium, or dimensions of the resource Crystalline Sedimentary Type The nature or genre of the resource Physical Object Spatial Coverage Spatial characteristics of the resource. Tao inkstones are made from the stones found at the bottom of the Tao River in Gansu Province.