introduction of china essay

A Brief Introduction to China

Whether you are looking for ancient history, urban wonders, picturesque landscapes, or cultural experiences; more and more world travelers are turning their toes towards China. For first time travelers to this beautiful and historic land, here are some facts you may wish to know.

China is located in eastern Asia along the western shore of the Pacific Ocean. It spreads over a vastly diverse geographical area of 9.6 million square kilometers (about the size of the USA or Europe), and is home to approaching 1.4 billion people (more than N. America and Europe combined).

The highlands and hill regions account for 65 percent of the country's total landmass, and there are more than 2,000 lakes dotting the landscape. The highest mountain peak is Qomolangma (Mt. Everest) in Tibet, the highest in the world, 8,848 meters above sea level.

Among the 220,000 kilometers of rivers the Changjiang (Yangtze), Huanghe ( Yellow River ) and Zhujiang (Pearl River) are the most famous. The Yellow River Basin is the cradle of Chinese civilization, as the many cultural-historical sites along its banks can attest.

A cruise up/down the Yangtze offers unique encounters with China's rich cultural heritage as well as some spectacular vistas. Check out the 2024/2025 Cruise Calendar to explore the Yangtze River , and to explore China's ancient culture.

Most of China has a continental climate, though it has an ocean coast, and latitudes range from tropical to Siberian, meaning that temperatures and weather differ strikingly across the country.

For example, northernmost Heilongjiang. Province has long winters and short summers, while Hainan Island in the south boasts the exact opposite. Likewise, the Huai River valley (between the Yellow and Yangtze rivers) is marked by distinctive seasonal changes, but the southern province of Yunnan is famous for its perpetual spring.

China's immense size and unique geography means that travelers will need to pay extra attention to climate and weather as they pack. Read more detailed information about China's weather here.

Since the 1980's, China has been drawing increasing amounts of Western visitors eager to explore its beauty and culture. While there are some tips to make your first trip to China more smooth , most travelers find the country easy to navigate and well worth effort. Beijing, Shanghai, Guilin, Xi'an, and Hong Kong are the five best-known tourist cities in China.

Beijing: The Chinese capital is well-known for its mixture of ancient culture and urban growth. The most famous attractions in Beijing include the Great Wall of China and the Forbidden City .

Shanghai: Known as a city of commerce, Shanghai is China's largest and most prosperous city. It is often called "China's Gateway to the West" due to it's increasingly Westernized culture. Famous attractions include the newly built Disneyland Shanghai and the Bund .

Guilin :The southern city of Guilin is famous among tourists due to its beautiful scenery and unique mountains. The Li River , one of the most beautiful rivers in China, runs through Guilin and is a staple in traditional Chinese art.

Xi'an: A visit to Xi'an is a journey into China's long history. Xi'an served as capital for 12 dynasties over 1,000 years. The world famous Terracotta Army is located in Xi'an as well as many other historical sites.

Hong Kong: The fascinating history of the British occupation of Hong Kong creates a fusion of Chinese and Western culture unlike anywhere else in China. Known for shopping and sightseeing, Hong Kong is immensely popular with tourists looking to find great deals and unique experiences.

See China's Top Tourist Cities for more of China's top destinations.

Differences Between China and the West

Despite government restrictions on the Internet, foreign media like movies, music, news, and sports coverage are becoming increasingly available in China as an inevitable consequence of economic development. While access to foreign media means that China is becoming more Westernized (or globalized), there are still big differences in culture.

Visitors on their first trip to China should prepare for the infamous culture shock that comes along with any new adventure. See Chinese Culture and Developing China for more.

Planning Your Visit to China

Let China Highlights help you plan your first tour of China today! Choose from our catalogue of featured trips to China's grandest sights or plan a unique journey tailored to your specific needs.

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Essay on China

Students are often asked to write an essay on China in their schools and colleges. And if you’re also looking for the same, we have created 100-word, 250-word, and 500-word essays on the topic.

Let’s take a look…

100 Words Essay on China

Geography of china.

China, located in East Asia, is the world’s third-largest country. It has diverse landscapes, including mountains, deserts, and rivers. The highest point is Mount Everest.

Population and Culture

China has the largest population globally. Its culture is rich and diverse, with a long history that includes inventions like paper and compass.

Chinese Economy

China is a global economic powerhouse, known for manufacturing and exporting goods. It also has a growing technology industry.

Chinese Cuisine

Chinese food is popular worldwide. It varies by region, with famous dishes like Peking Duck and Dim Sum.

Chinese Festivals

China is known for its colorful festivals, such as Chinese New Year and the Mid-Autumn Festival, both filled with traditional customs and celebrations.

Also check:

10 Lines on China
Paragraph on China

250 Words Essay on China

Introduction.

China, officially known as the People’s Republic of China, is the world’s most populous country, with a rich history that stretches back thousands of years. It has a unique blend of ancient traditions and modern innovation, shaping its global influence.

Historical Significance

China’s history is marked by dynastic rule, beginning with the semi-mythical Xia around 2100 BCE. The Great Wall, Terracotta Army, and the Forbidden City testify to the grandeur of these eras. The last dynasty, the Qing, gave way to a republic in 1912, marking a significant shift in China’s political landscape.

Modern China

Modern China is characterized by its rapid economic growth since the late 20th century. China’s economic reforms have transformed it into the world’s second-largest economy. This economic boom has brought significant changes in its socio-economic structure and global standing.

Global Influence

China’s global influence is undeniable. It’s a permanent member of the UN Security Council and a significant player in global trade. However, its rise has also sparked debates on issues such as human rights, territorial claims, and trade practices.

China’s journey from an ancient civilization to a modern powerhouse is a testament to its resilience and adaptability. Despite challenges, it continues to shape the world stage, making it a fascinating subject of study. Understanding China’s past and present is crucial for deciphering its future trajectory.

500 Words Essay on China

China, officially known as the People’s Republic of China, is a country located in East Asia. It is the world’s most populous country, boasting a population of over 1.4 billion. China’s rich history, diverse culture, and rapid economic growth have made it a global powerhouse.

Historical Overview

China’s history spans over five millennia, making it one of the world’s oldest civilizations. The country has seen the rise and fall of powerful dynasties, each leaving an indelible mark on its culture and society. China’s last imperial dynasty, the Qing, ended in 1911, paving the way for the Republic of China. However, civil unrest and power struggles culminated in the Chinese Communist Party’s victory in 1949, establishing the People’s Republic of China.

Economic Growth

China’s economic transformation in recent decades is nothing short of remarkable. The country has transitioned from a centrally planned economy to a more market-oriented one. China’s Gross Domestic Product (GDP) has grown at an unprecedented rate, lifting millions out of poverty and turning China into the world’s second-largest economy. This economic boom is largely attributed to the “Reform and Opening-up” policy initiated by Deng Xiaoping in the late 1970s.

Culture and Society

Chinese culture is a fusion of numerous ethnic traditions, deeply influenced by Confucianism, Buddhism, and Taoism. The Chinese language, cuisine, martial arts, and traditional Chinese medicine are significant cultural exports. China’s societal structure has evolved over time, with the traditional emphasis on collectivism giving way to an increasing individualism, particularly among the younger generation.

Political System

China is a socialist state under the people’s democratic dictatorship led by the working class and based on the alliance of workers and peasants. The Chinese Communist Party holds the ultimate authority, with the President serving as the state head. The political structure has been criticized for its lack of transparency and suppression of dissent, posing challenges for human rights.

China’s Global Influence

China’s rapid growth has significantly increased its global influence, both economically and politically. It is a major player in international trade, technology, and infrastructure development. However, its assertive foreign policy, territorial disputes, and alleged human rights abuses have generated controversy and tension with other nations.

China’s journey from an ancient civilization to a modern global superpower is truly fascinating. Its complex history, dynamic economy, rich culture, and evolving political landscape make it a critical player in shaping the 21st century. As China continues to evolve, it will undoubtedly remain a significant entity on the global stage, presenting both opportunities and challenges for the international community.

That’s it! I hope the essay helped you.

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Modern China (1912–present), an introduction

Wang Zhen (1867–1938), Cicada on tree branch , Modern period, 1919, fan mounted as album leaf; ink on gold-flecked paper, China, 23.1 x 51 cm ( Freer Gallery of Art, Smithsonian Institution, Washington, DC : Gift of Robert Hatfield Ellsworth in honor of the 75th Anniversary of the Freer Gallery of Art, F1998.222.2)

The Republic of China was founded in 1912, marking an end to over two thousand years of imperial rule . Since then, China has seen dramatic changes in the social, political, economic, and cultural fabric of life. During the first half of the twentieth century, the young republic was marked by instability, an invasive war with Japan, and a civil war that ultimately resulted in the founding of a new Communist-led government, the People’s Republic of China, in 1949. Transformative changes continued, including disposing wealthy landlords, collectivizing farming, and broadening the outreach of health care and education; however, devastating famine and political purges threatened the country. From the end of the twentieth century to today, rapid improvements in the economy, increasing globalization, and growing status as a major political and military power have continued to significantly alter life, including in the cultural sphere, ensuring China’s place in the contemporary art field. When discussing modernity in Chinese art, it is important not to rely on a model of “ modernism ” generated by a Euro-American model, such as a progression from realism to abstraction. It is important to recognize that Chinese and Western models of art are not directly interchangeable, and that some Chinese art used abstraction long before Western cultures, while other aspects of modern art in China are connected to a global framework.

Many aspects of Chinese life were shaken to the roots by the fall of the dynastic system, which was also accompanied by increased interactions with Western civilization. At the end of the Qing dynasty (1644–1911) and during the dawn of the Republic, a new generation of intellectuals discussed the future of Chinese art. Some of these intellectuals wanted to follow earlier precedents, while others advocated art reform through adopting foreign media and techniques, such as oil paint. Some major artists studied in France and returned to China with new ideas about precision in drawing, perspective, and composition , but the most successful synthesized newly adopted features of foreign styles with their native stylistic heritage. Such synthesis had already been tried during the Qing dynasty , but it was now on an accelerated path.

After the founding of the People’s Republic of China in 1949, artistic activities largely came under the control of the state. The Communist government mandated that art should serve the people. Artists often depicted scenes that celebrated an idealized heroism of the common people or inspired admiration for the government’s policies. Painting, wood-block prints, political cartoons, posters, decorated ceramics, enamelware, and textiles were all important and largely affordable ways to disseminate artistic images to the people. Some forms of art, such as political cartoons and propaganda images expanded artistic experiments that occurred during the war years of the 1930s and 1940s. Many forms of more traditionally based artistic creativity came under attack from the Anti-Rightist Campaign in 1957 to the Cultural Revolution of 1966–76 when many well-known artists were tarred as “elitist” and persecuted.

The 1980s saw an influx of excitement and new ideas as China’s doors reopened. Artists were inspired to explore and experiment with new styles and techniques. Free expression and offering social critique through art became a new possibility. Increased interactions with Western art allowed artists to take fresh approaches and to search for new transnational art that went beyond a Western framework to embrace Chinese values that could be worked in new ways.

Xu Bing (born 1955; active United States), manufacturer: Smithsonian Institution Office of Exhibitions Central, Monkeys Grasp for the Moon , 2001–2004, lacquer on Baltic birch wood, China, 2591.1 x 78 x 4.1 cm ( Arthur M. Sackler Gallery, Smithsonian Institution, Washington, DC : Purchase — funds provided by the family of Madame Chiang Kai-shek (Chiang Soong Mayling 1898-2003), S2004.2.1-21)

By the 1990s, as Chinese economic reform exploded, the art market grew rapidly, changing the climate for creating art. Many artists produced works for sale, including to wealthy foreigners, and embraced and coveted the fame of being included in international art shows. Chinese artists practiced conceptual, installation, performance, body, and computer-generated art, and they used art for social and political critique.

New trends of “word art,” including cryptic calligraphy and false ideographs, emerged. The pulsating energy of art at the turn of the twenty-first century has continued in line with China’s continuing surge in global power. A significant development is a resurgence in embracing historical Chinese art styles, including ink painting, seal carving, ceramics, and textile production. Today’s mandate is to create truly transnational art. By learning from China’s past and from international trends, artists work to create anew. To paraphrase Xu Bing, Chinese avant-garde should reach Chinese people, instead of just catering to the taste of Western curators.

Additional resources:

This essay from Teaching China on the Smithsonian website

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Modern China: A Very Short Introduction (2nd edn)

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China today is never out of the news: from international finance to human rights controversies, global coverage of its rising international presence, and the Chinese ‘economic miracle’. It seems to be a country of contradictions: a peasant society with some of the world’s most futuristic cities; heir to an ancient civilization that is still trying to find a modern identity. Modern China: A Very Short Introduction offers the reader an entry to understanding the world’s most populous nation, giving an integrated picture of modern Chinese society, culture, economy, politics, and art. This new edition addresses China’s current global position, accounting for the country’s growth in global significance over the past decade.

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An Introduction to Chinese Civilization

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In collaboration with: J. Mason Gentzler
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Language: English
Publisher: Columbia University Press
Copyright year: 1973
Audience: College/higher education;
Main content: 700
Published: May 6, 2019
ISBN: 9780231884631

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The Chinese Essay

Edited and translated by David E. Pollard

Reviewed by Charles A. Laughlin MCLC Resource Center Publication (Copyright January 2004)

David E. Pollard, editor and translator. The Chinese Essay . New York: Columbia University Press, 2000. 372 pp. US $65.00, ISBN: 0-231-12118-0 (cloth); US $24.50, ISBN: 0-231-12119-9.

The Chinese Essay is the first anthology to provide a comprehensive introduction to Chinese literary non-fiction prose from earliest times to the present. Comparable collections in print, such as Richard Strassberg’s Inscribed Landscapes: Travel Writing from Imperial China and Sang Ye’s Vignettes from the Late Ming, are restricted to the premodern period, and until now modern essay translations (often Pollard’s) have only appeared scattered in journals like Renditions and Chinese Literature and in more general anthologies like The Literature of the Hundred Flowers , The Columbia Anthology of Modern Chinese Literature , and monographs devoted to individual authors such as Zhou Zuoren and Yu Pingbo. The selections in The Chinese Essay represent most of the best-known Chinese essayists, through some of their most anthologized and well-known works. Never have premodern and modern essays been placed next to each other, and never has the considerable tradition of the modern Chinese essay been presented so richly. Pollard’s effort is commendable, and should be interesting not only to the general reader but a great boon as well to instructors of courses devoted to Chinese literature or to the essay across cultures.

Pollard has translated all of the essays himself. As a much-published translator, and author of A Chinese Look at Literature: The Literary Values of Chou Tso-jen (Zhou Zuoren, the pioneer of the modern Chinese literary essay), there could hardly be a better choice for this task. Not only are the translations faithful to the semantic meaning of the original texts (as far as I can tell), but Pollard’s clipped, dry, and often humorous style is also often perfectly suited to the spirit of the essays presented here. The anthology also includes portraits or photographs of many of the authors as well as their calligraphy or handwriting. Though not numerous, these illustrations very effectively convey the love of writing and the emphasis on personal style that tie together the many phases of the Chinese literary essay’s long tradition.

Because of the infancy of the study of the Chinese essay in English, an anthology like this and its introduction are potentially seminal statements, situating this genre in the field of Chinese cultural studies in general, justifying our interest in it, and pointing the way to avenues of further inquiry. But if The Chinese Essay answers the question, Why publish or read such an anthology?, it does so only meekly. Pollard observes that there has not been a general anthology of Chinese essays published since Herbert Giles’ 1884 Gems of Chinese Literature , so his argument begins from a gap or lack in the representation of a genre. Rather than engage with this lack critically, Pollard goes on to assert two reasons for it, almost as if to justify it, namely, the inherent difficulty of representing and discussing linguistic style in a foreign language (but why should this not have been a hindrance to the translation and circulation of other Chinese literary genres?), and the decline in prestige of the essay in the English-speaking world. Thus, in effect, rather than answering the question of why he is offering this anthology now, Pollard is simply providing convincing reasons why it had not been done before. What is missing from this explanation is why the prestige of the essay in modern and contemporary China, unlike the English speaking world, has not declined. If this book could bring the English reader around to understand the power and agency of the essay in contemporary China, despite all that has been said in our field about the overwhelming importance of fiction, it would create more than enough motivation and capacity to appreciate the importance of the contents of this anthology on its own terms, even for a general reader.

The general reader, moreover, seems to be the main target of this anthology. Yet this general-audience orientation is belied by the inclusion of Chinese characters for authors’ names and titles to works. Indeed those who would benefit from the Chinese characters (most of the likely audience of this collection) will generally want more bibliographical information, as well as some engagement with scholarship in the field such as Yu-shih Chen’s Images and Ideas in Chinese Classical Prose: Studies of Four Masters , Chih-p’ing Chou’s Yuan Hung-tao and the Kung-an School . In addition to a more in-depth and informative introduction, I think the book as a whole could have included more scholarly apparatus, including a less sketchy, multi-lingual bibliography, without harming its appeal to a general audience.

If Pollard assumes anything about his audience, it is that they are familiar with the European prose essay, which I think leaves some room for doubt especially with respect to the younger generations. The European essay was of course an important context for the modern Chinese essay, but Pollard is probably putting unnecessary emphasis on features peculiar to the European tradition (“absence of dignity,” “refining and directing sensibilities to create a polity that was new and particular,” “entertainment value,” [p. xii-xiii] “independence of thought,” [p. 7] etc.) in the effort to define the Chinese essay for the general English reader. It might have been more effective and engaging to discuss what prose essays in China are like and what they are used for, rather than comparing them (often unfavorably) to the European tradition that the reader may not be very familiar with anyway.

After detailing in the Preface negative aspects of traditional Chinese culture and literary conventions that explain why premodern Chinese essays do not resemble those of Montaigne and Bacon, Pollard does go on to list what he feels are some of the positive aspects of the Chinese essay in general: “The qualities are on the one hand common to mankind, on the other particular to Chinese literary arts. The first kind includes the expression of character in the writer, either impressively strong or appealingly weak; the expression of sentiment, usually to commemorate friends and relatives; nostalgia for past times; appeals for justice and compassion; pleasure in diversions. The second kind concerns the musicality of the language, a prime and often, regrettably, the prime requirement for approval.” Then he goes on to explain why musicality cannot be translated. Thus, all of the positive aspects of the premodern Chinese essay that are particular to Chinese literary arts are here lost in translation, and what is left is a variety of expressions of ideas and sentiments. I am not certain, but a general English readership (which has already proven itself lukewarm to Chinese fiction and poetry in translation) may not be inclined to delve into this anthology thus described. Why not say more about the extraordinary personalities and intellectual genius evinced in included works by Tao Qian, Han Yu and Su Shi, Lu Xun, Zhou Zuoren, Feng Zikai and Zhang Ailing? Why not talk about some of the larger cultural themes for which the Chinese essay served as the principal vessel, and which through the essay traditional and modern writing are linked—the cultivation of the art of living, the struggle between transcendent and worldly values, or the contrarian resistance to “political correctness” of every imaginable kind?

In an anthology with such broad coverage but short length, the editor is obliged to explain his principles for selection, and Pollard very honestly acknowledges that it would have been impossible to adhere to a single principle. I applaud his insistence that personal taste—an important theme in ancient and modern essays—was his principal guide. This accounts for his enthusiastic inclusion of essays by Gui Youguang (1506-1571) despite their criticism by the modern essayist Lin Yutang, his exclusion of Lin Yutang’s own essays, and no doubt as well the inclusion of contemporary writer Yu Qiuyu, well-known for his popular, fictionalized imaginings of significant historical moments, over those with strong links to the Republican period essay tradition like Wang Zengqi, Zhang Zhongxing and Ji Xianlin. On the other hand, in his note on sources Pollard states that “the classical prose section consists almost entirely of anthology pieces; they had to be so in order to represent the classical heritage” (369). He also states that he felt he had to include certain perennial classics (both traditional and modern) that may not have been among his favorites, even when they were available in other collections. In saying this Pollard makes it clear that he intends this collection to represent the Chinese essay with some authority and self-sufficiency, which seems out of step with his claim of using personal taste as his guide. Nevertheless, I think the resulting balance between personal taste and the need to reflect the received canon makes for a selection that both makes good reading and a good textbook.

Though Pollard alludes to wide reading in anthologies, the only one he cites is a 1987 publication, implying that anthologies tend to select the same works for each author. I am currently in the midst of a survey of anthologies of premodern essays that so far suggests to me that selections vary significantly across eras (Qing, Republican, Taiwan, Early PRC, recent PRC) for various different reasons. For example, premodern anthologies such as the seventeenth-century Guwen guanzhi generally favor formal essays of serious import that cleave to Confucian values, while more modern collections increasingly favor heterodox views, and include more “individualistic” essays on small, private matters. This is in part due to the gradual acceptance in the late imperial period that informal or casual writing possesses its own aesthetic value that can be appreciated by posterity. Moreover certain Republican period publications such as Shen Qiwu’s 1932 Jindai sanwen chao (A selection of early modern essays), Zhang Dai’s Tao’an mengyi (Dreamlike remembrance) edited with prefaces by Yu Pingbo and Zhou Zuoren, and Shi Zhecun’s 1935 Wanming ershi jia xiaopin (The Late Ming xiaopin: twenty masters) exerted an influence on the modern Chinese essay, and these could at least have been mentioned. The reader who wants to explore the Chinese essay in more detail would have benefited greatly from some guidance as to which anthologies are best, and which exerted the greatest influence.

It is interesting that The Chinese Essay , covering both premodern and modern periods, devotes the lion’s share of its space to the modern period. There are about forty pages devoted to ancient-medieval times (through the Song Dynasty), forty to late imperial times (Ming and Qing dynasties), about 170 to the first half of the twentieth century, when the modern essay came into its own, and ninety to the post-war period; thus over seventy percent of this collection is from the past 100 years. The slant in favor of modern essay has the effect of showing the reader the pre-modern essay through modern eyes, which I applaud, but the editor could have been more forthcoming about this in the introduction. If, for example, the reader took The Chinese Essay to be a general survey of the Chinese essay from antiquity to the present, it would give the impression that the essays of the twentieth century are much more important than those in the more than two millennia before. Modern Chinese essays can often be understood better through their relationships (sometimes conspicuous) with premodern literary or philosophical trends, and these relationships do not in themselves lessen the modern texts’ “modernity,” but help constitute it. In this respect, if it was in fact Pollard’s intention to present premodern essays primarily as precursors to modern ones, he could have done more in the introduction, commentary and translator’s notes to emphasize which kinds of premodern texts have particularly exerted agency in modern times, which modern texts manifest their influence, and how.

Turning to the modern period, the cavalier dismissal of prose literature under leftism and socialism is unfortunate; the development of the genre of reportage is misrepresented in the introduction as originating as anti-Japanese propaganda in the War Against Japan and developing in Communist China only to extol the Party (p. 20), and no mention is made at all of prominent lyrical essayists within the socialist camp like Qin Mu, Yang Shuo and Liu Baiyu, leading to the mistaken impression that all socialist prose is reportage. The exclusion of all of this material detracts from the anthology’s authority as a survey of the genre. As I have argued elsewhere, reportage may be looked upon as the leftist answer to the essay, but it originates as a form of revolutionary social critique in the 1930s, and its use in the War Against Japan is much broader than just propaganda. Moreover, though it would not be appropriate to include examples in the anthology, it should have been pointed out in the introduction that reportage made an important revival in the 1980s and beyond in the hands of Liu Binyan, Su Xiaokang and others; the concern for the environment that Pollard so admiringly observes in the contemporary Taiwanese essay has been one of the major themes of mainland Chinese reportage literature for at least ten years.

Another ramification of the editor’s inattention to the condition of modernity is Pollard’s explanation of the Chinese term sanwen . Pollard presents the Chinese concept as stable and unchanging, and explains its meaning entirely in terms of contrasts with European concepts. But the term sanwen was not used to denote a literary genre until modern times and even now critics and literary historians struggle with the equivocal nature of the term (“literary genre” vs. “all kinds of writing not in verse form”). It would have been helpful to put more emphasis on the particular modes or genres that the premodern works belong to (memorials to the emperor, philosophical treatises, formal and informal correspondence, prefaces and colophons, travelogues, epitaphs, biographies, etc.). This is not to say that this variety of forms ought not to be placed in a more general category under the term “sanwen,” but it is regrettable that the modern cultural process by which this was achieved receives no emphasis or attention.

Pollard’s concern here with limiting the scope of the collection to a describable form (“a free-standing, self-contained, relatively short composition” that “surfaced in the stable empire of the Han dynasty”) is, I think, unnecessarily limiting, and in fact might hamper the uninformed reader’s understanding of the broader context of the Chinese essay’s evolution. On page 2 of the introduction, Pollard makes a convincing, if somewhat defensive, argument for excluding the writings of the ancient Daoist philosopher Zhuang Zi. However, informed readers reading through the selections throughout both premodern and modern periods will easily discern the pervasiveness of Zhuang Zi’s influence in this genre. Indeed, Zhuang Zi’s playful spirit and philosophical critique of Confucianism may be described as one of the principal characteristics that distinguish the Chinese informal essay, which was the principal model for the modern literary essay, from formal prose. Similarly, though he devotes a page or so to the tremendous significance of Sima Qian’s Records of the Grand Historian as a model for the spirit and the letter of prose writing, Pollard excludes it because, “[being] a work of objective history, however, or at least attempting to be such, the author’s own comments are minimal” (4), implying that self-expression is working as a criterion for selection (see also his comments on page 5 about Cao Pi’s use of the term qi to denote “the physical underpinning of the distinctive character, or personal stamp, that an author’s writing is imprinted with”), but that self-expression can only be manifested in the form of direct “comments.” How many readers of even a few biographies from the Shi ji , though, come away from it without feeling that Sima Qian has very forcefully expressed his own views through them? A similar example is the exclusion of the Six Dynasties collection of anecdotes, Shishuo xinyu (New account of tales of the world), of which a translation by Richard Mather was published a generation ago. Like Zhuang Zi and the wealth of apocryphal writings of the Daoist tradition, Liu Yiqing’s New Account , which describes remarkable events, actions and utterances of the medieval aristocracy, though perhaps not fitting. Pollard’s criterion, was an important and frequently imitated foundation of the Chinese essay tradition.

The introductions to the sections on each author, though at times impressionistic, often include insightful analytical meditations or epigrammatic summaries of the author’s style that strike me as most apt and useful. However, I am not sure it is necessary for Pollard to separately include “commentary” and “translator’s notes” (sometimes both) before or after certain works in addition to the introductory sections on each author. Often the translator’s note will emphasize interpretation in a cross-cultural context, as in the case of Zhu Ziqing’s “View from the Rear” (Bei ying), but I feet that such considerations would have been much more effectively delivered in a critical essay that treats a variety of issues of style or interpretation, or this could have been integrated with the historical overview given in the introduction. The second of the three paragraphs of commentary on Zhuge Liang, for example, is almost identical in content to the last page of Zhuge Liang’s own text; the first paragraph of the “Translator’s Note” to Han Yu’s “Address to the Crocodiles of Chaozhou” simply reiterates the corresponding section of the biography of Han Yu given in the “Commentary” two pages before. Together with the functional overlap of the preface and introduction, the commentary and translators notes make The Chinese Essay overly complex in its multilayered contextualization of the translations and thus unnecessarily confusing.

Apart from stealing thunder from the essays themselves, the volume of notes and commentary raises an important question that plagues the translation of Chinese literature into English in general: can these texts not speak for themselves? If this collection really is intended for a general readership, I think it is safe to assume that such readers would be more interested in texts that speak directly to them without a great deal of explanation from the translator. And it is not only a question of “how much” explanation would be needed to supplement a “raw” translation; the act of translation itself imparts meaning. If scholarly semantic fidelity were relaxed to the degree that items were made easier for the general reader to relate to with a reduced amount of explanation, the potential impact of this book would be greatly enhanced.

The Chinese Essay does nevertheless fill a crucial gap in materials for courses on Chinese literature in translation. While most scholars in the field of Chinese literature are probably not going to set up a course exclusively devoted to the essay even with a comprehensive anthology available, the selections in this book would mix well with other genres and materials in a more general course. I could see using it this way in either premodern or modern Chinese literary courses, but more likely for the modern period because of the greater concentration of material there.

Charles A. Laughlin Associate Professor, Chinese Literature Department of East Asian Languages and Literatures Yale University

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Chinese literature: an introduction.

Chinese literature is a pleasure to teach and to read; it holds an importance and relevance both in historical terms and in understanding the world today. Yet, its history, language and culture are quite rich, and different from much of the Western tradition that the study of Chinese literature can prove challenging. When Lucien Ellington first discussed with me the idea of writing a short introduction to Chinese literature, I was immensely intrigued about how to meet this challenge and give both students and teachers a book that would be rewarding and a pleasure to teach and read.

Chinese Literature: An Introduction is a chronologically-organized broad treatment ranging from the earliest writings up to the present. Starting with the oracle bones, we explore the literature of the early schools, examine the rich works of medieval and late imperial periods and finish with global China—writings that connect China closely with the world around it. On this journey, important genres, key writers and notable works are covered. Woven into this are sections on women’s writing and literature from Taiwan, Hong Kong and abroad, and examination of the texts of the philosophical, historical and religious traditions.

In this book, a practical and handy set of author excerpts function as a minianthology. Easy to use to demonstrate points, these excerpts also can be incorporated into classroom discussion. In addition, the volume includes references to numerous anthologies, translations of novels and studies of literature—including websites—that undergraduates can use for further research.

Cover for Chinese Literature: An Introduction

Understanding cultural context is key to reading literature, and in this book brief introductions are given to features of Chinese culture. For example, the spoken tones and written characters of the Chinese language had an impact on how literary forms developed and how texts were written. The ideas and practices involved with Confucianism, Daoism and Buddhism are essential in understanding Chinese literature. The technological developments in literary production are also important in understanding why changes occurred—from the oral to textual to printed to online production.

Finally, I wanted to make the book entertaining. Each chapter begins with a brief and, hopefully, arresting anecdote designed to hook the reader. The poems I included were chosen because they also read well and address themes such as love, death, and friendship that students appreciate and find interesting. I attempt to provide in this book a succinct introduction to the rich history of Chinese literature, presenting enough threads that teachers could take students in any number of directions in their study of China.

IHOR PIDHAINY is Assistant Professor at the University of West Georgia in the Department of History, as well as being the Editor of the journal Ming Studies. He is the co-editor with Shuning Sciban of Reading Wang Wenxing: Critical Essays(Cornell East Asia Series). He specializes in the intellectual history of the Ming Dynasty, and is currently working on a biography of Yang Shen (1488-1559).

China - Essay Examples And Topic Ideas For Free

China, a nation with a profound historical legacy and rapidly evolving contemporary significance, presents a rich tapestry of topics for exploration. Essays on China might delve into its ancient civilizations, dynastic histories, and the myriad contributions to science, art, and philosophy. The discourse could extend to the examination of modern China, the Chinese revolution, the era under Mao Zedong, and the subsequent economic reforms that catapulted China into a global economic powerhouse. Additionally, discussions might explore China’s political system, its human rights record, and its contemporary socio-political issues like the Hong Kong protests or the Uighur crisis. The international dimensions of China’s rise, its relationships with other global powers, and its ambitions as expressed through initiatives like the Belt and Road Initiative could also form a significant aspect of the discussion. The multifaceted nature of China’s history, culture, and modern-day standing provides a rich array of avenues for scholarly exploration and discussion. We’ve gathered an extensive assortment of free essay samples on the topic of China you can find at PapersOwl Website. You can use our samples for inspiration to write your own essay, research paper, or just to explore a new topic for yourself.

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Introduce Yourself in Chinese with Self-Introduction Speech Examples

How to introduce yourself in chinese.

It is not difficult to introduce yourself in Chinese language as they are fixed answers which you memorise about yourself. However, it is not that easy to be able to understand all the variations of questions asked. Therefore, in this article, you will also learn about various ways of questioning and response, so you know they mean the same thing and handle the Chinese self-introduction with ease.

For a start, I have prepared three articles below with audio on self-introduction speech examples, changing the variation of replies in Chinese for beginners when you introduce yourself in Mandarin. The questions and answers will revolve around: –

① Chinese Greetings and Pronouns ② Your Name and Surname ③ Your Age ④ Your Country and Nationality ⑤ Your Hobby and Interest ⑥ Your Relationship and Marital Status

It is always a good practice to read and listen in Mandarin to guess the meaning of the articles before looking at the English translation.

Chinese Self-Introduction Essay and Speech Samples

你们好！我叫芮。其实，芮是我的姓氏。我是华人。我来自新加坡。不过，我现在居住安特卫普，比利时的一个美丽城市。我有一个英俊的比利时男友。我会说英语、华语、广东话、法语和荷兰语。现在，我和你们一样，都在学习语言。我每天要去学校上荷兰语课。

平时，在业余时间，我写博客和上网查询资料。在周末，我喜欢和我的男朋友一起骑自行车，拍照，购物和吃饭。我最喜欢去餐馆吃中餐。我的最爱是旅行。我去过很多国家。

那你呢？请你自我介绍，告诉我平时你喜欢做些什么？请留言。

Hāi! Dú zhě men,

Nǐ men hǎo! Wǒ jiào Ruì. Qí shí, Ruì shì wǒ de xìng shì. Wǒ shì huá rén. Wǒ lái zì xīn jiā pō. Bù guò, wǒ xiàn zài jū zhù ān tè wèi pǔ, bǐ lì shí de yī gè měi lì chéng shì. Wǒ yǒu yīgè yīng jùn de bǐ lì shí nán yǒu. Wǒ huì shuō yīng yǔ, huá yǔ, guǎng dōng huà, fǎ yǔ hé hé lán yǔ. Xiàn zài, wǒ hé nǐ men yī yàng, dōu zài xué xí yǔ yán. Wǒ měi tiān yào qù xué xiào shàng hé lán yǔ kè.

Píng shí, zài yè yú shí jiān, wǒ xiě bó kè hé shàng wǎng chá xún zī liào. Zài zhōu mò, wǒ xǐ huān hé wǒ de nán péng yǒu yī qǐ qí zì xíng chē, pāi zhào, gòu wù hé chī fàn. Wǒ zuì xǐ huān qù cān guǎn chī zhōng cān. Wǒ de zuì ài shì lǚ xíng. Wǒ qù guò hěn duō guó jiā.

Nà nǐ ne? Qǐng nǐ zì wǒ jiè shào, gào sù wǒ píng shí nǐ xǐ huān zuò xiē shén me? Qǐng liú yán.

Hi Readers,

How are you? I am called Rui. In fact, Rui is my surname. I am a Chinese. I come from Singapore. However, I am now living in Antwerp, a beautiful city in Belgium. I have a handsome Belgian boyfriend. I can speak English, Mandarin, Cantonese, French, and Dutch.

Now, I am like you, learning a language too. Every day, I go to school for my Dutch class. Usually, during my spare time, I blog and surf the internet for information. During the weekend, I like to cycle with my boyfriend, take photographs, shopping and eating. I also like going to restaurants to eat Chinese food. My favourite is travelling. I have been to many countries.

How about you? Please introduce yourself. Tell me what do you usually like to do? Please leave a message.

我的名字是彼得。我今年27岁。我从美国来的。我还单身，也没有女朋友。我会说英语和一点点西班牙语。我也在学习汉语。可是，我的中文说的不太好，还可以在进步。

我想去中国旅行。我对中国的文化和语言很感兴趣。我希望找一位中国女友。我可以向她学习中文。我也能教她英语。我很好动。平时，我喜欢做运动, 例如跑步和游泳。

Hāi! Nín hǎo!

Wǒ de míng zì shì Bǐ Dé. Wǒ jīn nián 27 suì. Wǒ cóng měi guó lái de. Wǒ hái dān shēn, yě méi yǒu nǚ péng yǒu. Wǒ huì shuō yīng yǔ hé yī diǎn diǎn xī bān yá yǔ. Wǒ yě zài xué xí hàn yǔ. Kěs hì, wǒ de zhōng wén shuō de bù tài hǎo, hái kěyǐ zài jìn bù.

Wǒ xiǎng qù zhōng guó lǚ xíng. Wǒ duì zhōng guó de wén huà hé yǔ yán hěn gǎn xìng qù. Wǒ xī wàng zhǎo yī wèi zhōng guó nǚ yǒu. Wǒ kě yǐ xiàng tā xué xí zhōng wén. Wǒ yě néng jiào tā yīngyǔ. Wǒ hěn hào dòng. Píng shí, wǒ xǐ huān zuò yùn dòng, lì rú pǎo bù hé yóu yǒng.

My name is Peter. I am 27 years old this year. I come from the United States. I am still single and also do not have a girlfriend. I speak English and some Spanish. Now, I am also learning Chinese. However, I do not speak Mandarin so well. It can still be improved.

I wish to travel to China. I am very interested in Chinese culture and language. I hope to find a Chinese girlfriend. I can learn Chinese from her. I can teach her English. I am very active. Usually, I like to exercise such as jogging and swimming.

我是爱丽丝。大家都叫我丝丝。我是加拿大人。十年前，我从加拿大搬迁到台湾工作。我学了五年的中文，现在能说一口流利的华语。我现年四十岁。我已婚，嫁给了一位台湾人。我有两个孩子，一个儿子和一个女儿。

我的嗜好是烹饪、阅读、听音乐和教书。我是一名教师。我会说流利的英语、华语、法语和一点点葡萄牙语。我不太喜欢做运动。不过，我很喜欢旅行，到处走走。

Hāi! Nǐ hǎo!

Wǒ shì Ài Lì Sī. Dà jiā dōu jiào wǒ Sī Sī. Wǒ shì jiā ná dà rén. Shí nián qián, wǒ cóng jiā ná dà bān qiān dào tái wān gōng zuò. Wǒ xué le wǔ nián de zhōng wén, xiàn zài néng shuō yī kǒu liú lì de huá yǔ. Wǒ xiàn nián sì shí suì. Wǒ yǐ hūn, jià gěi le yī wèi tái wān rén. Wǒ yǒu liǎng gè há izi, yīgè er zi hé yī gè nǚ’ér.

Wǒ de shì hào shì pēng rèn, yuè dú, tīng yīn yuè hé jiāo shū. Wǒ shì yī míng jiào shī. Wǒ huì shuō liú lì de yīng yǔ, huá yǔ, fǎ yǔ hé yī diǎn diǎn pú táo yá yǔ. Wǒ bù tài xǐ huān zuò yùn dòng. Bù guò, wǒ hěn xǐ huān lǚ xíng, dào chù zǒu zǒu.

Hello, my name is Alice. Everyone call me Si Si. I’m a Canadian. Ten years ago, I relocated from Canada to work in Taiwan. I have studied Chinese for five years. Now, I speak Mandarin fluently. This year, I am 40 years old. I am married to a Taiwanese. I have two children, a son and a daughter.

My hobby is cooking, reading, listening to music and teaching. I am a teacher. I speak fluent English, Mandarin, French and a little bit of Portuguese. I do not like so much to do sports. However, I enjoy travelling and walk around.

① Chinese Greetings and Pronouns

How to say “hello” in chinese.

For the Chinese, it is common to greet in person with 嗨！你好! It has a similar connotation as “Hello, how are you?” but not a question asked like 你好吗？ to get a response. The Chinese greeting means “ You are fine! ” Since the tone of the sentence is an exclamation mark, the other party is not expected to give a reply to 你好!

The pronouns used in the three self-introduction speech in Chinese is: –

读者们 | dú zhě men | Readers
你们 | nǐ men | You (Plural)
您 | nín | You (Formal address of someone of a higher authority, a stranger or out of courtesy)
你 | nǐ | You (Singular. Informal way and most commonly used to address among friends and people)

Whenever you see the word 们 | mén , with a pronoun, it always refers to a plural form of a pronoun. You can virtually place the Chinese plural word 们 behind any nouns, but usually for humans and animals.

② What is Your Name? Introduce Yourself in Chinese

The first sentence that most people learn is likely “What is your name?”. In a more formal setting, you can be asked to introduce yourself instead of someone asking you to say your name. Both sentences can be applied at the same time too.

How to Say “What is Your Name” in Chinese?

What is your name? Please introduce yourself OR Please self-introduced.

你叫什么名字? 请介绍一下你自己。 ( 或者 | or) 请自我介绍。

Nǐ jiào shén me míng zì? Qǐng jiè shào yī xià nǐ zì jǐ. (huò zhě) Qǐng zì wǒ jiè shào.

How to Say “What is Your Surname?” in Chinese? – Formal

Here, you can see the formal pronoun 您 | you being used asking for only the surname (family name) instead of the person’s name. The person asking for only the family name wants to address the other party as Mr, Mrs or Miss + Surname.

One example is a shop assistant serving his customer. The Chinese find it more respectful to call a person by the surname when they do not know him well or when the status is higher. However, the person replying back do not need to use 您 and may use 你 instead.

I presume that if you are a foreigner especially a Caucasian, the Chinese would not ask you this question. Next time, you can also ask 您贵姓？ to Chinese people if you meet them for the first time.

What is your surname? (Polite)

您贵姓？ Nín guì xìng?

My surname is Li. How about you?

我姓李。那你呢？ Wǒ xìng Lǐ. Nà nǐ ne?

Hi, Mr Lee. My surname is Rui. Pleased to meet you! / It is an honour to meet you!

李先生，您好。我姓芮。幸会，幸会！ Lǐ xiān shēng, nǐn hǎo. Wǒ xìng Ruì. Xìng huì, xìng huì!

How to Say “Who Are You” in Chinese?

Asking someone “Who are you?” is an abrupt and less friendly way when asking for a self-introduction. However, it has to depend on the tone used and the situation. 你是谁? can have an implied meaning of curiosity, uncertainty, suspicion or fear.

Example – You went to your friend’s house to look for her. She was not at home. The mother opened the house and saw you. She asked，“ 你是谁呀? ” Then, you have to introduce yourself in Mandarin.

Who are you?

你是谁（呀)? Nǐ shì shéi (ya)?

How to Say “My Name is … ” in Chinese?

There are three ways that you can introduce yourself with “My name is ___”.

a) I am called Rui. b) My name is Peter. c) I am Alice. Everyone calls me Si Si (nickname). You can call me Alicia or Si Si.

a) 我叫芮。 b) 我的名字是彼得。 c) 我是爱丽丝。大家都叫我丝丝。你可以叫我爱丽丝或者是丝丝。

a) Wǒ jiào Ruì. b) Wǒ de míng zì shì Bǐ dé. c) Wǒ shì Ài Lì Sī. Dà jiā dōu jiào wǒ sī sī. Nǐ kě yǐ jiào wǒ Ài Lì Sī huò zhě shì Sī Sī.

③ How Old Are You?

The first two questions are common ways to ask someone their age. You can refer to the Chinese numbers of your age.

How to Say “What is Your Age” in Chinese?

What is your age?

a) 你今年几岁了？(或者 | or) 今年你几岁了？ b) 你今年多少岁了？

a) Nǐ jīn nián jǐ suì le? (huò zhě) Jīn nián nǐ jǐ suì le? b) Nǐ jīn nián duō shǎo suì le?

How to Say “How Old are You” in Chinese?

To ask someone’s age, “How OLD” in Chinese, is not a direct translation of the English word “old”. The literal translation of “How old” would be “ 多老 “. “老” means aged, senior. Please do not ask someone “ 你多老? ” because the Chinese will never ask a person’s age this way. It is quite offensive to use the Chinese word 老 | lǎo when talking to someone.

Instead, we use the phrase “how big – 多大 ” to ask someone’s age. Note that the phrase “ 多大 ” can have an ambiguous meaning. It can directly refer to the size of the object that you are discussing and not about age. The preferred sentence is still 你今年几岁了？ when meeting someone for the first time.

How old are you?

a) 你多大年纪？ b) 你多大年龄? c) 你多大了?

a) Nǐ duō dà nián jì? b) Nǐ duō dà nián líng? c) Nǐ duō dà le?

How to Say “How old are you” in a Formal Way?

However, it is considered abrupt and rude to ask a senior, elderly or someone respectable on their age with the sentence construction above. In a formal situation or writing, we ask people on their age with 您今年贵庚? It is more polite asking when you hold high regard for someone.

How old are you? (Formal)

您今年贵庚? Nín jīn nián guì gēng?

How to Say “Your Age” in Chinese?

It is easy to say your age in Chinese. There are not many variations. You only have to know the Chinese numbers so you can tell your age to others.

I am 35 years old this year.

我今年35岁。 Wǒ jīn nián sān shí wǔ suì.

Pardon! My Age is Confidential!

Women are more reserved and sensitive when it comes to divulging their age especially Chinese women. Looks matter to many of them and they care about how people look at them.

Many of them also spend a lot of money, time and effort to maintain their youth. They hope to give a lasting impression of looking young forever.

Therefore, if you do not know a Chinese woman long enough, refrain from asking her age as you never know how she feels about telling it to you. Maybe she is fine with the question. Or, perhaps she does not like it and would not say it frankly.

Sorry, my age is a secret. Woman‘s age is always confidential.

不好意思，我的年龄是秘密。女人的年龄是保密的。 Bù hǎo yì si, wǒ de nián líng shì mì mì. Nǚrén de nián líng shì bǎo mì de.

④ Where Are You From?

When someone asks you “where are you from”, you can tell them either your country of origin or your nationality. It is not necessary to say both unless you have a different nationality than that of the country that you live.

How to Say ” Where are you from” in Chinese?

Where are you from?

你从哪里来？(或者 | or) 你来自哪里？ Nǐ cóng nǎ lǐ lái? (huò zhě) Nǐ lái zì nǎ lǐ?

How to Say “Which country are you from” in Chinese?

Which country are you from?

你来自什么国家? (或者 | or) 你从什么国家来的？ Nǐ lái zì shén me guó jiā? (huò zhě) Nǐ cóng shén me guó jiā lái de?

How to Say “What is Your Nationality” in Chinese?

How to say Nationality 国籍 | Guó jí in Chinese? Most of the time, you use the ｛name of the country + 人｜people｝to derive the nationality.

Which country are you from? OR Who are you?

a) 你是什么国家的人? (或者 | or) 你是什么人？ b) 你是哪里人?

a) Nǐ lái zì shén me guó jiā? (huò zhě) Nǐ cóng shén me guó jiā lái de? b) Nǐ shì nǎ lǐ rén?

How to Say “Do You Come from (Country)” or “Are You (Nationality)” in Chinese?

Do you come from America? Are you an American?

你从美国来的吗？你是美国人吗？ Nǐ cóng měi guó lái de ma? Nǐ shì měi guó rén ma?

How to Say “Your Country and Nationality” in Chinese?

I am American, from California.

我是美国人，来自加州。 Wǒ shì měi guó rén, lái zì jiā zhōu.

I come from Germany (or) I am from Germany (Berlin).

我从德国来 (或者 | or) 我来自德国(柏林)。 Wǒ cóng dé guó lái (huò zhě) wǒ lái zì dé guó (bó lín).

I come from Italy but I am a Turk.

我来自意大利，但我是土耳其人。 Wǒ lái zì yì dà lì, dàn wǒ shì tǔ’ěr qí rén.

I am not Dutch. I am French.

我不是荷兰人。我是法国人。 Wǒ bù shì hé lán rén. Wǒ shì fà guó rén.

I do not come from England. I am Australian.

我不是从英国来的。我是澳大利亚人。 Wǒ bù shì cóng yīng guó lái de. Wǒ shì ào dà lì yǎ rén.

⑤ What Do You Like to Do? Hobby and Interest

The questions below are all referring to the same things. That is your hobbies and interests. Sometimes, the word 平时｜ píng shí is added and means ‘usually’. I will prepare a list of activities about hobbies and interests in the near future so you can make references to what you like to do.

How to Say “What Do You Like to Do” in Chinese?

What do you like to do?

你喜欢做(些)什么？ Nǐ xǐ huān zuò (xiē) shén me?

I like jogging and swimming.

我喜欢跑步和游泳。 Wǒ xǐ huān pǎo bù hé yóu yǒng.

How to Say “What is Your Interest” in Chinese?

What is your interest?

你的兴趣是什么？ Nǐ de xìng qù shì shén me?

My interest is surfing the net and shopping.

我的兴趣是上网和逛街。 Wǒ de xìngqù shì shàng wǎng hé guàng jiē.

How to Say “What is Your Hobby” in Chinese?

What is your hobby?

你的嗜好是什么你的爱好是什么?

Nǐ de shì hào shì shén me? Nǐ de ài hào shì shén me?

My hobby is reading, listing to music and watching movies.

我的嗜好是。。。阅读、听音乐和看电影。 Wǒ de shì hào shì yuè dú, tīng yīn yuè hé kàn diàn yǐng.

⑥ What is Your Marital Status?

Western men looking for a Chinese girlfriend would always be happy to declare that he is single and available. He also wants to know whether they are still single and available or married. It is just an illustration and applies to anyone who wants to say about their relationship status.

How to Say “What is Your Marital Status” or “Relationship Status” in Chinese?

To be honest, I have never had anyone asked me about my marital status 你的婚姻状况是什么? except when filling up forms because it sounds too formal. Many would just ask me about my relationship status “Are you married?” or “Do you have a boyfriend?”

It is always good to know the Chinese phrase ‘marital status’ for administration purpose and the different status as part of introducing yourself in Chinese to others.

What is your Marital Status?

你的婚姻状况是什么？ Nǐ de hūn yīn zhuàng kuàng shì shén me?

How to Say “Are You Single” in Chinese?

Most importantly, people want to know whether you are single or married.

Are you single? OR Are you still single?

你单身吗？( 或者 | or) 你还单身吗？ Nǐ dān shēn ma? (huò zhě) Nǐ hái dān shēn ma?

How to Say “Do You Have a Boyfriend” in Chinese?

Do you have a boyfriend?

你有男朋友吗？ Nǐ yǒu nán péng yǒu ma?

Are you seeing anybody? Do you have someone in mind?

你有对象吗？ Nǐ yǒu duì xiàng ma?

How to Say “Are You Married” in Chinese?

Are you married?

你结婚了吗？ Nǐ jié hūn le ma?

How to Say “I am Single” in Chinese?

I am single and have no girlfriend.

我单身, 也没有女朋友。 Wǒ dān shēn, yě méi yǒu nǚ péng yǒu.

I am still single but I have a boyfriend.

我还单身, 但是我有一个男朋友。 Wǒ hái dān shēn, dàn shì wǒ yǒu yī gè nán péng yǒu.

I am not married.

我未婚 ( 或者 | or) 我还没结婚。 Wǒ wèi hūn (huò zhě) Wǒ hái méi jié hūn.

How to Say “Got Engaged, Fiance and Fiancee” in Chinese?

I am engaged. He is my fiance. She is my fiancee.

我订婚了。他是我的未婚夫。她是我的未婚妻。

Wǒ dìng hūn le. Tā shì wǒ de wèi hūn fū. Tā shì wǒ de wèi hūn qī.

How to Say “I am Married” in Chinese?

I am married.

我已婚 (或者 | or) 我结婚了。 Wǒ yǐ hūn (huò zhě) Wǒ jié hūn le.

How to Say “I am Divorced or a Divorcee” in Chinese?

I am divorced. I am a divorcee.

我离婚了。我是离婚者。 Wǒ lí hūn le. Wǒ shì lí hūn zhě.

How to Say “I am Separated” in Chinese?

I am in the midst of a separation.

我在分居状态中。 Wǒ zài fēn jū zhuàng tài zhōng.

How to Say “Widow” and “Widower” in Chinese?

For widows and widowers, it is not necessary to mention that. The Chinese might find it awkward to reply back. Just say that you are still single if you do not want to be too frank. After all, the Chinese are usually reserved people if you do not know them well and would not go too deep into such a topic.

I would think that not many people would say upfront that “I am a widow or widower” as it is somewhat private to use as a self-introduction in Chinese. Nonetheless, the Chinese sentences below are for information.

I am a widow. My husband passed away two years ago.

我是个寡妇。我的丈夫2年前去世了。 Wǒ shì gè guǎ fù. Wǒ de zhàng fū liǎng nián qián qù shì le.

I am a widower. My wife recently passed away due to sickness.

我是个鳏夫。我的妻子不久前病世了。 Wǒ shì gè guān fū. Wǒ de qī zi bù jiǔ qián bìng shì le.

Your Turn to Introduce Yourself in Chinese

So, now is your turn. Leave a reply to me in Chinese (or English) and tell us about yourself. 请你告诉我，平时你喜欢做些什么呢？ Take it as a practice and show us what you have learnt. I will reply back to you 🙂

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One comment.

my name is haleema sadia .im from india .im 18 yrs old.i love chinese culture and languagei started studying chinese from 2 months.i want to visit china as soon as possible.

ㄑ China Facts ㄑ Quick Facts

Brief introduction to china.

China is an East Asian country with a large territory, a huge population and an ancient history. With written records dating back 4,000 years, it is recognized as one of the four great ancient civilizations of the world, together with ancient Egypt, Babylon and Greece. Moreover, it is the only ancient civilization that has continued to this very day.

China was one of the cradles of the human race. The Chinese nation is not only the most populous but also one of the oldest in the world. Fossils that have been found in Chinese territory include those of Yuanmou Man, the first Homo erectus, who lived 1.7 million years ago, those of Lantian Man, who lived 750,000 years ago, and those of the Peking Man, who lived at Zhoukoudian in today's suburban Beijing 600,000 years ago. The fossils of Shu Ape, a primate that lived 45 million years ago, which is known as the "first anthropoid", were discovered in China in 1994.

The first light of Chinese civilization revealed itself 7,000 to 8,000 years ago, as indicated by the ruins of the Daxi Culture in Sichuan and Hubei provinces, the Majiapang Culture in Jiangsu and Zhejiang provinces, the Hemudu Culture in eastern Zhejiang and the Yangshou Culture along the middle reaches of the Yellow River and its main tributaries.

According to legend, the primitive tribes that inhabited the middle and upper reaches of the Yellow River were unified into two powerful tribes under the Yellow Emperor and Fiery Emperor, and began their push southward 5,000 years ago. After years of warfare, they conquered the Sanmiao and Jiuli tribes active in south China under the leadership of Chi You. Part of the defeated tribe was incorporated into the tribes under the Yellow and Fiery emperors to become a component part of the Han people, which marked the beginning of the Chinese nation. This history has also given rise to the term "descendants of the Yellow and Fiery emperors" that Chinese often use to refer to themselves.

Archaeological studies have revealed that around 5,000 years ago the Chinese entered the stage of patriarchal society. Not only did villages begin to appear but also the initial forms of cities began to become evident. Extensive communities indicated that the population at the time had already reached a fairly large size and agriculture had made great headway. The earliest discoveries took place during this period. Shen Nong tried and tasted various kinds of wild plants to select crops appropriate to be cultivated for food and herbal medicine to cure disease. The Yellow Emperor invented the compass, which helped him defeat Chi You. More importantly, the appearance of chariots greatly reduced labor intensity. Lei Su, wife of the Yellow Emperor, discovered silk making by raising silkworms, and produced the first garments, which allowed the ancient people to bid goodbye to the period when they wore animal skins and tree leaves. The tribe under Chi You in the south learned how to make weapons with copper, creating the conditions for making bronze vessels, metallurgy and alchemy of later times.

During the Xia Dynasty, 4,000 years ago, China entered the period of slave society. The Shang Dynasty (16-11th centuries BC), which replaced the Xia, saw the height of bronze culture, when superb smelting and casting techniques brought forth beautiful wares made of bronze. Pottery making also developed very rapidly with the appearance of primitive pottery wares. Sericulture and silk weaving reached maturity at this time.

From 475 BC to the end of the 19th century, China went through a long feudal period. Before the 15th century, China was one of the most powerful countries in the world, occupying a leading position in the development of productivity and technology. Ancient China enjoyed a developed agriculture and advanced irrigation system, an independent tradition of medicine and advanced botanical knowledge. China's four great inventions, namely, the compass, gunpowder, movable type printing and papermaking, not only changed the world but also accelerated the evolution of world history. Besides, China was rich in ceramics and silk textiles which were great inventions that exerted a great impact worldwide. China also kept the world's most detailed and earliest astronomical records. The first people to take note of such astronomical phenomena as comets, sunspots and new stars were all Chinese. It was also the Chinese who produced the most advanced astronomical observatory apparatus of the time. In metallurgy, China long held a leading position. When Europeans still could not turn out a single piece of cast iron in the 14th century, Chinese people had already produced cast iron on an industrial scale four centuries earlier.

In the field of thought, Confucius, founder of Confucianism, not only had far-reaching significance for China, but for the whole of East and Southeast Asia. The warfare strategies introduced by the noted military strategist Sun Zi are still studied and referred to today. Taoism was an important school of thought, and is known for its simple dialectical elements. Its position of "quietude and inaction" has many identical views with the thoughts of modern man. Taoism, based on the Taoist doctrines, is an independent religion established in China.

When commenting on the relationship between China's civilization and that of the rest of the world, the late Joseph Needham, historian of China's science and technology and professor at Cambridge University, once said that people must remember that China was way ahead of the West in almost every discipline of science and technology, from chart making to gunpowder, in early times and into the Middle Ages. Western civilization, he went on to say, did not begin until the era of Columbus, and China had left the Europeans far behind in science and technology before that time.

Unfortunately, the country's feudal bureaucratic system held back science and inventions from making further progress, and prevented Chinese society from developing modern science, resulting in China staying long in the experimental stage in science and technology.

Modern China is experiencing a completely new era in which respect for science and inventions and encourage creativity have become the guiding principles of society. Looking back at the contributions China's civilization has made to the world, we have reason to believe that a more prosperous and stronger China will surely make new contributions to the civilization of mankind.

China has various landforms, including magnificent plateaus, rolling foothills, vast plains and low-lying highlands, as well as basins of different sizes that are surrounded by hills. All these five basic landforms can all be found in the country, with mountainous areas making up two thirds of its total land area.

Pictured is the tranquil and beautiful scenery in Wuyuan County, Jiangxi Province.

China has a terraced terrain, which descends from the west to the east step by step. The first, or the highest, terrace is the Qinghai-Tibet Plateau, with an average elevation of over 4,000 meters. The Kunlunshan Mountains, the Qilianshan Mountains and the Hengduanshan Mountains, which are located to the north and east of the plateau, are the division of the first and the second terraces.

The southern region of China, favored by a mild and humid climate, enjoys an extensive water-transportation network. Pictured are croplands in Xinghua in Jiangsu Province in early spring.

The second terrace is made up of large-scale basins and plateaus, averaging 1,000 to 2,000 meters above sea level. The Greater Hinggan Mountains, the Taihangshan Mountains, the Wushan Mountains, the Xuefengshan Mountains in the east are the boundary between the second and third terraces

The third terrace is composed mainly of plains below 200 meters above sea level, dotted with some hills and low mountains.

China's terrain slopes down from the west to the east and the inland northwestern region is dry and rainless. Pictured is a woman in Gansu Province making sand reinforcement using the dry stalks of wheat.

A topographical section of China along the parallel of 32 degrees north latitude shows clearly that the country's terrain descends step by step from plateaus in the west to basins in the central part then to plains in the east.

Trains are now running across the Qinghai-Tibet Plateau, dubbed the roof of the world, thanks to the opening of the world's highest rail road, Qinghai-Tibet Railway, on July 1, 2006.

The third terrace of China's mainland extends to the sea in the form of sub-littoral zones on the continental shelf, which is the natural extension of the continent. It is not deep, with a grading slope and rich oceanic resources.

At the end of 2006, the population in China totaled 1.31448 billion, a year-on-year increase of 6.92 million. Altogether 15.84 million babies were born and 8.92 million people deceased in the year, with the birth rate of 12.09 per thousand and the death rate of 6.81 per thousand. The natural growth rate of population was 5.28 per thousand in 2006.

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A Brief Introduction to China
China is located in eastern Asia along the western shore of the Pacific Ocean. It spreads over a vastly diverse geographical area of 9.6 million square kilometers (about the size of the USA or Europe), and is home to approaching 1.4 billion people (more than N. America and Europe combined). The highlands and hill regions account for 65 percent ...
China
China, country of East Asia. It is the largest of all Asian countries. Occupying nearly the entire East Asian landmass, it covers approximately one-fourteenth of the land area of Earth, and it is almost as large as the whole of Europe. China is also one of the most populous countries in the world, rivaled only by India, which, according to ...
Essay on China
500 Words Essay on China Introduction. China, officially known as the People's Republic of China, is a country located in East Asia. It is the world's most populous country, boasting a population of over 1.4 billion. China's rich history, diverse culture, and rapid economic growth have made it a global powerhouse. Historical Overview
Smarthistory
Modern China (1912-present), an introduction. by National Museum of Asian Art, Smithsonian Institution. Wang Zhen (1867-1938), Cicada on tree branch, Modern period, 1919, fan mounted as album leaf; ink on gold-flecked paper, China, 23.1 x 51 cm ( Freer Gallery of Art, Smithsonian Institution, Washington, DC: Gift of Robert Hatfield ...
Introduction to China (article)
Introduction to China. Map of China. Courtesy of the Asian Art Museum. Much of China, a country slightly larger than the continental United States, is hilly or mountainous. To its east lies the Pacific Ocean; to its south thick jungles. Mountains in the southwest connect in the west with the Himalayas, which merge with other mountains and the ...
1
University of Michigan, Ann Arbor. Chapter. Book contents. Frontmatter. 1 Introduction: perspectives on modern China's History. 2 China's international relations 1911-1931. 3 Nationalist China during the Nanking decade 1927-1937. 4 The Communist movement 1927-1937. 5 The agrarian system.
Brief introduction to China
Brief introduction to China. China is an East Asian country with a large territory, a huge population and an ancient history. With written records dating back 4,000 years, it is recognized as one of the four great ancient civilizations of the world, together with ancient Egypt, Babylon and Greece. Moreover, it is the only ancient civilization ...
Modern China: A Very Short Introduction
Modern China: A Very Short Introduction offers the reader an entry to understanding the world's most populous nation, giving an integrated picture of modern Chinese society, culture, economy, politics, and art. This new edition addresses China's current global position, accounting for the country's growth in global significance over the ...
The 2020-21 Wilson China Fellowship: Essays on the Rise of China and
From the South China Sea to the situation in Xinjiang, our 2020-21 Fellows explore a range of topics addressing the breadth and width of China policy. With accompanying essays by Stephen Del Rosso, Abraham M. Denmark, and Robert Daly, the Wilson China Fellowship essays and their policy recommendations come at a crucial time when the rise of ...
Introduction: Writing China
Introduction: Writing China; Urbanization, Generic Forms, and Early Modernity: A Correlative Comparison of Wu Cheng'en and Spenser's Rural-Pastoral Poems; Master Zhuang's Wife: Translating the Ephesian Matron in Thomas Percy's The Matrons (1762) The Dark Gift: Opium, John Francis Davis, Thomas De Quincey, and the Amherst Embassy to ...
An Introduction to Chinese Civilization
A collection of essays that give a brief history of China and examine ten major aspects of Chinese civilization. Topics include Chinese anthropology, archaeology, art, economic trends, language, literature, and others. ... An Introduction to Chinese Civilization, New York Chichester, West Sussex: Columbia University Press, 1973. https://doi.org ...
Understanding "China": Multiple perspectives: Editor's introduction
This is because, from the perspective of the New Qing History, to look at the past through the lens of China's territory, peoples, and culture as they are now would mean making history subservient to "China." 2. This is a pithy evaluation of the "New Qing History.". It also speaks well to the theme of this issue, which is to highlight ...
Writing and Technology in China
Early Writing Technologies. The earliest writings in China were found on ox scapulae, tortoiseshells, and bronzes during the Shang dynasty. Dated from around 1400-1200 B.C.E, the inscriptions on bones and shells-called "oracle bones"-recorded divination used by the Shang royal house. The words were carved with a stylus, some were written with ...
Essay on China
378 Words1 Page. Recommended: Essay on the history of china. China is a geographical region in East Asia. It holds over one-fifth of the world's population. Most of it is now known as the People's Republic of China, but the name of the region refers to one of the world's longest standing civilizations, which dates back almost 5,000 years.
Full article: Introduction: Chinese cultural studies in the
Wang Xiaoming. This brief essay, introducing the collection of essays on cultural studies in mainland China and the Chinese-speaking societies, relates the emergence and development of Chinese cultural studies to changes in society. It documents the twin pulls in cultural studies between analyzing what is happening and intervening into society ...
The Chinese Essay
The Chinese Essay is the first anthology to provide a comprehensive introduction to Chinese literary non-fiction prose from earliest times to the present. Comparable collections in print, such as Richard Strassberg's Inscribed Landscapes: Travel Writing from Imperial China and Sang Ye's Vignettes from the Late Ming, are restricted to the premodern period, and until now modern essay ...
Chinese Literature: An Introduction
Chinese Literature: An Introduction is a chronologically-organized broad treatment ranging from the earliest writings up to the present. Starting with the oracle bones, we explore the literature of the early schools, examine the rich works of medieval and late imperial periods and finish with global China—writings that connect China closely ...
An introduction to ancient China (article)
An introduction to ancient China. Google Classroom. Cup with high handle, approx. 2500-1900 B.CE. China; Shandong province. Neolithic period, Longshan culture (approx. 2500-1900 B.C.E.). ... The breadth of time in this essay, from 6000 BCE to 250 CE is too much to be dealt with as "that time", and the territory of China and diversity of ...
China Free Essay Examples And Topic Ideas
Free essay examples about China ️ Proficient writing team ️ High-quality of every essay ️ Largest database of free samples on PapersOwl. Writing Service; Essay Samples. Army Sharp; ... Introduction In 2001 it was identified that out of 1.02 billion people in India, 307 million that is 30% of the population are the migrant which is ...
General Introduction of Beijing
General Introduction of Beijing. 1) Yan Kingdom (B.C. 723 - 221) was first settled in this area. ... As the capital of the People's Republic of China, Beijing is located in northern China, close to Tianjin Municipality and partially surrounded by Hebei Province. The city covers an area of more than 16,410 square kilometers and has a population ...
Introduce Yourself in Chinese with Self-Introduction Essay
For a start, I have prepared three articles below with audio on self-introduction speech examples, changing the variation of replies in Chinese for beginners when you introduce yourself in Mandarin. The questions and answers will revolve around: -. ① Chinese Greetings and Pronouns. ② Your Name and Surname. ③ Your Age.
Brief introduction to China
Brief introduction to China. China is an East Asian country with a large territory, a huge population and an ancient history. With written records dating back 4,000 years, it is recognized as one of the four great ancient civilizations of the world, together with ancient Egypt, Babylon and Greece. Moreover, it is the only ancient civilization ...
Hello GPT-4o
Prior to GPT-4o, you could use Voice Mode to talk to ChatGPT with latencies of 2.8 seconds (GPT-3.5) and 5.4 seconds (GPT-4) on average. To achieve this, Voice Mode is a pipeline of three separate models: one simple model transcribes audio to text, GPT-3.5 or GPT-4 takes in text and outputs text, and a third simple model converts that text back to audio.