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The Three Gorges is an important natural geographical landmark and one of the regions with the most abundant cultural heritage preservation in the Yangtze River Basin. Therefore, establishing a demonstration area for the Yangtze River National Cultural Park has become an important site selection objective. Research on the cultural landscape characteristics of the Three Gorges highlights its characteristics as a representative symbol of China and promotes the identification, protection, and valuation of its iconic cultural resources. Despite the current situation, where only a few tangible remnants of the Three Gorges heritage exist, the cultural context remains largely intact. Ancient poetry, with its classical Chinese cultural characteristics and unique geographical expression methods, enriches the natural scenery and humanistic imagery of the Three Gorges. This provides a valuable tool for interpreting and understanding the cultural resources of the Three Gorges and enhancing its value interpretation system. The Tang and Song dynasties saw a surge in the number, representativeness, and influence of poetry related to the Three Gorges. This article analyzes 440 Tang and Song poems about the Three Gorges, focusing on its geographic information and cultural landscapes. Using text mining technology, we extracted the most representative cultural landscapes in the area and visualized the types and distribution these cultural landscapes ArcGIS spatial analysis. Additionally, cluster analysis and spatial semantic analysis were conducted on poetry texts using ROST-CM6 to categorize different landscape themes. The cultural connotations and aesthetic characteristics of each theme were then analyzed by combining semantic networks with high-frequency words and characters. Our findings indicate that the Three Gorges cultural landscape during the Tang and Song dynasties was mainly composed of historical sites, temples, ancestral halls, and former residences of renowned figures. The landscape formed a string of beads along the river and primarily centered on Fengjie and Wushan. We identified six landscape themes on the semantic network, including the Xiajiang Grand View, the ancient capital of the White Emperor, the scenic spots of Xiling, and the clouds and rain of Wushan. The Three Gorges segment of the Yangtze River National Cultural Park followed the "One Belt, One Zone, Two Cores" spatial layout concept, with poetry culture as the soul, the poet's location as the pulse, and renowned mountains and scenic spots as the body. Historical scenes were reconstructed through logical and emotional methods, injecting the aesthetics, culture, and emotion of poetry and its historical background into the basic landscape.

The Three Gorges is an important natural geographical landmark and one of the regions with the most abundant cultural heritage preservation in the Yangtze River Basin. Therefore, establishing a demonstration area for the Yangtze River National Cultural Park has become an important site selection objective. Research on the cultural landscape characteristics of the Three Gorges highlights its characteristics as a representative symbol of China and promotes the identification, protection, and valuation of its iconic cultural resources. Despite the current situation, where only a few tangible remnants of the Three Gorges heritage exist, the cultural context remains largely intact. Ancient poetry, with its classical Chinese cultural characteristics and unique geographical expression methods, enriches the natural scenery and humanistic imagery of the Three Gorges. This provides a valuable tool for interpreting and understanding the cultural resources of the Three Gorges and enhancing its value interpretation system. The Tang and Song dynasties saw a surge in the number, representativeness, and influence of poetry related to the Three Gorges. This article analyzes 440 Tang and Song poems about the Three Gorges, focusing on its geographic information and cultural landscapes. Using text mining technology, we extracted the most representative cultural landscapes in the area and visualized the types and distribution these cultural landscapes ArcGIS spatial analysis. Additionally, cluster analysis and spatial semantic analysis were conducted on poetry texts using ROST-CM6 to categorize different landscape themes. The cultural connotations and aesthetic characteristics of each theme were then analyzed by combining semantic networks with highfrequency words and characters. Our findings indicate that the Three Gorges cultural landscape during the Tang and Song dynasties was mainly composed of historical sites, temples, ancestral halls, and former residences of renowned figures. The landscape formed a string of beads along the river and primarily centered on Fengjie and Wushan. We identified six landscape themes on the semantic network, including the Xiajiang Grand View, the ancient capital of the White Emperor, the scenic spots of Xiling, and the clouds and rain of Wushan. The Three Gorges segment of the Yangtze River National Cultural Park followed the "One Belt, One Zone, Two Cores" spatial layout concept, with poetry culture as the soul, the poet's location as the pulse, and renowned mountains and scenic spots as the body. Historical scenes were reconstructed through logical and emotional methods, injecting the aesthetics, culture, and emotion of poetry and its historical background into the basic landscape. [ABSTRACT FROM AUTHOR]

By borrowing the four gems in the “Treasure Hid in Chinese Poetry” and introducing their main components, functions and chemical principles in a personified way, the readers can understand the preciousness of the four gems and the chemical knowledge contained in the interesting reading. [ABSTRACT FROM AUTHOR]

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The rhyme and rhythm of vernacular poetry were a major concern for vernacular poets represented by Hu Shi, who strived to explore a new form for poems written in vernacular Chinese. They made great efforts to remove the disharmony of rhyme and rhythm in new poems through using alliteration and assonance, learning from Yuefu ..., Ci ... and Qu ..., and even proposing to write lyrics for folk songs according to Pihuang ... opera. Overall, their experiments on rhyme and rhythm were not successful, nor were their corresponding theoretical explorations. It should be noted that explorations made to establish rhyme and rhythm for vernacular poetry, though supported by new literary concepts, drew heavily on ancient poetry and its aesthetic taste. It is the result of their intentional or unintentional compromise with classical poetry, presenting their painstaking endeavors to prove the validity of vernacular poetry against the context featured by formidable conservatism. In the 1940s, Zhu Ziqing convincingly argued that it is more appropriate to recite than to sing new poetry despite its musicality. Zhu's idea is a perfect summary for the rhythm and musicality of vernacular poetry. [ABSTRACT FROM AUTHOR]

Chinese traditional Buddhist chanting did not originate abroad but from the Chinese mainland as a continuation and inheritance of the ancient rites. Chinese Buddhist Sangha has played an important role in the preservation of ancient Chinese musie, and there is an important relationship between the later spread chanting accent and the monastic heritage. Some monks and scholars believing in Buddhism played an important role in the transformation process form the religious reciting to the secular chanting. It is of great significance for our in - depth understanding of China's ancient chant tradition to study the chanting culture of Chinese Buddhist Sangha. [ABSTRACT FROM AUTHOR]

As an ancient classical narrative poem, "Changhenge" (..., Song of Everlasting Regret) impresses people with its aesthetic charm. In fact, the influence of "Changhenge" has gone beyond the realm of literature and radiated to different dimensions of cultural sphere. As a prominent text, the poem reflects the most significant turning point in the history of the Tang Dynasty and the history of Chinese feudal society. Furthermore, it ushered in the sentimental, secular and romantic mind-set in the cultural life in the second half of Chinese feudalist history. A comprehensive analysis of the poem on the basis of employing relevant historical documents and from the perspective of its historical value can deepen our understanding of the court life and the aesthetic taste of the Tang Dynasty embodied in "Changhenge". [ABSTRACT FROM AUTHOR]