Chinese Folklore Han Folk Literature & Folk Religion

JianiWen/0029958/2018MDES

RECOVERING CHINESE FOLKLORE HAN FOLK LITERATURE & FOLK RELIGION

Contents

I. Acknowledgement p.01 II. Abstract p.03 III. List of Figures p.05 IV. Introduction p.07 1. Overview 2. Problem Statement 3. Literature Review V. Theoretical Framework p.20 1. Background 2. Problem Statement 3. Literature Review VI. Research Design p.34 1. Constellation of Context 2. Literature Review 3. Case Study VII. Methodology p.48 1. Overview 2. Questionaire 3. Data 4. Design Potentials VIII. Research Result p.34 1. Review 2. Ideas 3. Discussion 4. Final Design IX. Conclusion p.88 VIII. References p.91 I would like to thank all of my instructors at NSCAD, especially Rudi Meyer, Michael LeB- lanc and Christopher Kaltenbach. Without their help, I would not have been able to finish this thesis project. I also thank all of my classmates in the MDes program. I will never forget how much encouragement and help you gave me. I am glad to study with you during this stressful but fantastic Acknowledgement adventure. Finally, I would like to thank my family and my friends, who supported me throughout my studies. Thank you so much!

ACKNOWLEDGEMENT 02 Chinese folklore is a field encompassing a wide spectrum of folk culture including literature and religion. Chinese folk literature is spread by educated folklorists and, on the opposite end of the spectrum, Chinese folk religion is the realm of the masses. Chinese literature was taken as an academic discipline in the early 1920s but its popularity was later diminished in academia because of the political ideology at the time. Folk culture has lost a lot of documentation since the years of World War II and the Cultural Revolution in the 1970s. In addition, the main problem is that Chinese people misunderstood folk religion, and it has Abstract been misused for commercial purposes, which has negatively impacted folk religion’s reputation.

Nowadays, young Chinese are more open minded to explore traditional culture so it is a good time to bring Chinese folk culture back to the community. In this project, I will be focusing on exploring the design potential in terms of encouraging people to interact with, and increase their understanding of Chinese folk religion. Folk religion and folk literature are important parts of Chinese traditional culture and I wish to help revive them thorough doing research and design.

ABSTRACT 04 Figure. 29 Fig. 41 Sketch of design “Blue print of your Techinique Drawing of Children’s Book Figure 13 Lunch” List of Fihures Three popsicles in detail Figure 1 Fig. 42 The Power of The Communities. Poster igure 14 Fig. 30 Rounded Edges of Children’s Book of Folksong Studies Movement (歌谣学运 100 Popsicles Tschang O and East Rabbit & Western 动) in 1918 Turtle Fig. 43 Figure 15 Selected Hinge to Combine The Chil- Figure 2 Zao Fu series book (Qiu Junjie) Fig. 31 dren’s Book Men God. A god in the Han Chinese folk Natcha (left) and Amber Hou I Shoot- religion Figure 16 ing Suns (right) Fig. 44 Taoism Charm The Children’s Book Figure 3 Fig. 32 Lights Off People criticized Taoism Figure 17 Herd Boy and the Weaving Maiden 150 Christians’ Confession (Ji Zhengqin) Fig. 45 Figure 4 Fig. 33 The Children’s Book People burned Buddha statues Fig. 18 Prototype of 3D Book Light On Tea in New Life (Yang Ruiting) Figure 5 Fig. 34 Fig. 46 Yuanshitianzun Figure 19 Hidden Information Book A Chapter of the Chinese folk novel Inves- Tencent Questionnaire The Suitcase of characters Card titure of the Gods Figure 20 Fig. 35 Fig. 47 Figure 6 Weibo Sketch ideas Character Nvwa Investiture of the Gods The Oldest Version in Ming Dynasty Figure 21 Fig. 36 Fig. 48 Wechat Four Words Dictionary in Chinese Character Jingwei Bird Figure 7 Distribution of the Han Chinese in China Figure 22 Fig. 37 Fig. 49 Qustionaire (question1-8) Ther Front Page of Children’s Book Character Gonggong and Zhurong Figure 8 Chapter Heaven Parade to against Buddhism Figure 23 10*10 in Fig. 50 Qustionaire (question9-16) Character Notcha Figure 8 Fig. 38 Demographic characteristics of folk Figure 24 Ther Front Page of Children’s Book Fig. 51 religion adherents in mainland China and Qustionaire (question17-21) Chapter Underground Taiwan A Child play with Chinese folktales 10*10 in Children’s Book in School Fig. 25 Figure 9 Acceptance of folk practices Sanyi religion Fig. 39 Fig. 52 Fig. 26 Ther Front Page of Children’s Book Children Play With Chinese Folktales Fig. 10 Sanyi religion Acceptance of folk art (such as dance, Chapter Ocean Children’s Book at Home music and decoration) 10*10 in Figure 11 Fig. 53 Ling Zhaoen Fig. 27 Fig. 40 A Child play with Chinese folktales The founder of Sanyi religion Where do people know Chinese folklore The Prototype of The Front Page Children’s Book Chapter Ocean Figure 12 Fig. 28 Laser Cutting Onmyoji Game Acceptance of folk taboo custom 10*10 in

05 LIST OF FIGURES LIST OF FIGURES 06 Introduction Folklore is a cultural phenomenon that is created, enjoyed and popularized by people. It has characteristics of sociability, inheritance, nationality and regionality. Chinese folklore is divided into two parts: folk literature (educated people) and folk religion (commoners). Both folk literature and folk religion are considered only popular for low- class people in the ancient China, but this situation has changed since the social status of scholars and students rose up. Chinese literature was developed as an academic discipline by scholars in early 1920s but its popularity was later diminished in academia during the Cultural Revolution. According to Hu Fenggang and Yang Anning’s research, currently, scholars prefer the term folk religion as “popular Fig. 1 The Folksong Studies Movement was initiated religion” because it is the most prevalent in Chinese The Power of The by a group of professors and students at history and has a great number of followers (Hu & Communities Peking University and lasted over eight Yang, 2012). Poster of Folksong years. Folklorists, scholars and writers who are 歌 Studies Movement ( traditionally despised by the upper class devoted Chinese folk literature was originally close to the 谣学运动) in 1918 themselves to the investigation and collection of Retrieved from:http:// heart of educated people in ancient China because folk literature and mass culture, and produced shszx.eastday.com/node2/ rich research on a wide variety of folk songs, studying folk literature requires reading and writing node4810/node5210/ skills. According to An and Yang, the onset of node5214/node5/u1a49109. folktales and myths (An & Yang, 2015). Chinese folk literature in the academia field html originated in the Folksong Studies Movement (歌 Opposite to the development of folk literature, 谣学运动) in 1918, which is the first movement the study of folk religion has been restricted in belonging to the May Fourth Movement. In the May Fourth Movement which was an anti- Folksong Studies Movement, spoken language is imperialist, cultural, and political movement used in folklore literature in order to communicate growing out of student movements in Beijing on stories to commoners, as opposed to the written May 4, 1919. According to Lee Haiyan’s research, language of the elites. Fig.1 is one of the political folk religion was regarded as the expanded branch posters to unite people in this movement. of Confucian culture which had been rendered invisible. In order to achieve the agenda of the movement: the liberation of women, individuals and the nation. Chinese folk religion involves many disciplines (Lee, 2005).

09 INTRODUCTION / OVERVIEW 10 Mingjian Zongjiao Chinese folk religion was known Chinese folk religion is a folk as Mingjian Zongjiao or Mingjian institution which belonged to Xinyang in Chinese. Even though, commoners in ancient China. it merits research from the perspec- Chinese folk religion has had tive of social, scientific and religious a great number of followers studies, there is as yet no consensus over thousands of years in ancient about what folk religion actually China and is still popular in rural is. Folk culture studies lost a lot areas of China today. As relating of documentation after the World to Chinese culture inherently, it War II and during the Cultural represents the core in believers’ Revolution in the 1970s. According practices and theoretical philosophy. to Fenggang Yang’s (2012) research, For example, as shown in Fig. 2, Chinese folk religion is a belief and “Men” is the household god in practice that is separate from world ancient China and functions as a form of security in folklore culture. It is the most prevalent god in Chinese folk religion for protecting people against evil. People usually put posters featuring “Men” on the exterior doors of their homes. This folk religion practice indicates that security in ancient China was important to the culture. Its expression is still very popular in rural areas of China today.

11 NTRODUCTION / OVERVIEW 12 Fig. 2 Men God A god in the Han Chinese folk religion Retrieved from: http://www.confucianism.com.cn/html/A00030007/18720623.html As shown in Fig. 3 and Fig. 4, religious culture in China was completely wiped out during the course of the Cultural revolution, which is the greatest disaster of any time in traditional Chinese culture. In this period of time many temples were destroyed, many books and antiques were burnt to ashes, and, more importantly, the thinking of “folklore is superstition” was deeply embedded in Chinese people and still contribute to the way of thinking today.

Fig. 3 (the upper image) People criticized Taoism Retrieved from: http://fo.ifeng.com/news/de- tail_2014_07/10/37270834_0.shtml

Fig. 4 People burned Buddha statues Retrieved from: http://fo.ifeng.com/news/de- tail_2014_07/10/37270834_0.shtml

13 INTRODUCTION / PROBLEM STATEMENT 14 With the increasing involvement of public media in various aspects of folklore (movies, music, etc.), traditional folklore culture is gradually being revived. In the book A Brief History of Fiction, Lu Hsun, a Chinese author cites Investiture of the Gods (封神榜) as a 16th-century Chinese novel and one of the major vernacular Chinese works in the gods-and-demons Fig. 5 Yuanshitianzun genre written during the Ming dynasty (1368–1644) A Chapter of the Chinese folk novel Investiture of the Gods ( Lu, 1976). The novel Investiture of the Gods combines Yuanshitianzun once was the supreme administrator of Heaven elements of history, folklore, mythology, legends and in Taoist mythology and it becomes a part of folk religion in later fantasy, and situates itself as a commanding voice on Chinese time. mythology, including deities, immortals and spirits. Retrieved from: http://www.sohu.com/a/194075046_127123 Fig. 5 shows one of the stories belonging to this novel and Fig. 6 is the oldest version of it in Ming Dynasty (AD1368). The novel has been made into a TV series nine times, and over ten versions of movies based on the novel have been made since 1986. The success of this folk novel represents its surging prevalence in today’s China as well as the modernization of Chinese folk elements. The easily accessible formats of these projects encourage young people to engage with Chinese folk culture and create a good opportunity to awaken people’s awareness of protecting Chinese folklore.

Fig. 6 Investiture of the Gods The Oldest Version in Ming Dynasty Retrieced from: http://www.gmzm.org/?gujitushu/fengshen

15 INTRODUCTION / PROBLEM STATEMENT 16 Problem Statement However, the renaissance of Chinese folklore brings some problems. For example, many people misuse or misunderstand Chinese folklore. Criminals take advantage of the prevalence of folk religion to cheat people out of money. Frauds like this can lead to people perceiving Chinese folk religion as being, at best, superstition and, at worst, nothing more than a fairy tale to separate gullible “believers” from their money. In order to gain a deeper understanding of Chinese culture and to identify Chinese folk religion’s position in the world hierarchy of folk gods and practices, interdisciplinary design can be helpful to establish new systems or concepts based on Chinese folk culture. The research questions to be addressed here are, firstly, how can design shape people’s understanding of Chinese folk religion; secondly, how can design motivate people to learn more about Chinese folk religion; and finally, how can design help people interpret Chinese folk religion accurately and then have positive association with it?

17 INTRODUCTION / PROBLEM STATEMENT Theoretical Framework As stated by Luo Huaguo, Ma Yongxia and Zhang Haizhong, China is a multi-ethnic country, with more than 100 million of the 1.3 billion people who have clear religious beliefs. In most ethnic nations, primitive religions Chinese folklore has existed in China and world religions exist simultaneously. Han folk religion is normally seen over thousands of years. According to as a local religion which is different from other religions. In addition to Luo Huanguo, Ma Yongxia and Zhang world religions, such as Buddhism, Christianity, Islam, Taoism, Catholicism, Huanzhong’s research, in China, at least 1 Judaism, Manichaeism, etc., primitive religions, such as Shamanism, Dongba billion of people have folk beliefs (Ma, zhang & religion, Bimo religion and other ethnic groups of primitive religions, are Luo, 2017). More Chinese people have been popular in different area of China (Luo, MA & Zhang, 2011). influenced by folkore but are not followers of organized folk religions.

People’s interest in folklore culture grew during the first half of the 20th century, but was swiftly curtailed after the Folksong Study Movement in 1920s. According to Eberhard’s research, Jiang Jieshi (the leading political authority figure in China from 1927 to 1949), labeled the study of folklore as dangerous and reactionary because he was infused with liberal ideas, and influenced by scientific advances in the western world.

Most of these folk religions are formed by the local communities and they differ in environment, historical culture and ethnicity. Fig. 7 Thus, folk religion reflects the national Distribution of the Han psychology and influences the code of Chinese in China Retrieved from:https://zh.wikipedia.org/ conduct and moral guidelines of the Chinese wiki/%E6%B1%89%E6%97%8F people. According to Fig. 7, over 92% of Chinese people have Han folk religion as a part of their cultural heritage in mainland China, especially in the south part.

21 THEORETICAL FRAMEWORK / LITERATURE REVIEW 22 Since Chinese folklore, especially Chinese folk religion was considered superstitious by the State, some practices of religion was forbidden, the study and publication of folk religion material was banned and folk religion’s reputation was diminished. Even though young people are free to learn Chinese folklore today, fewer people are willing to explore it. The youth treat traditional folk culture, such as folk religion as a left-over of traditional culture. There are many misunderstandings, opinion, and disagreements in the community because people are afraid of being labeled as “old- fashion” and “superstitious”. However, Chinese folklore including folk literature and folk religion is not just an inheritance of the Chinese people’s experience, it represents both Chinese elites and commoners’ philosophy. It is a great gift of Chinese culture that should be revived and protected.

Hu and Yang characterized Chinese folk religion into three types: communal, sectarian, and individual. Each of the Chinese folk religions “Buddhism psychology “Buddhism is shit ” may contribute to different social functions. Kenneth Dean, Professor in the Humanities at the National University of Singapore described

Fig. 8 Parade to against Buddhism Slogan “Buddhism psychology is just shit” posted on the poster Retrieved from: https://prajnavajra.wordpress.com/2016/05/19/%E5%BE%9E%E6%96%87%E5%8C%96%E5%A4%A7%E9%9D %A9%E5%91%BD%E8%A9%B1%E4%BA%BA%E6%80%A7/ communal religion as “participation in communal rituals centered in temples dedicated to a variety Folk studies underwent another challenging time later of gods from a vast pantheon, many of local during the Cultural Revolution, when folk religious practices origin.” Dean provided many examples of and studies were not only looked down on but outright how people celebrate the important annual forbidden. Folklore studies have been negatively impacted ceremonies, such as the birthdays of the gods. many times due to the extreme leftist political landscape. In Individuals can go to village temples at any fact, during the Cultural Revolution, all religions are treated time to worship the local gods by bowing and as “waste” of tradition and vChinese Folk religion was simply praying, proclaiming vows, making offerings of regarded as superstition. Fig. 8 shows people were complaining food and drink, and burning incense and spirit that all religions is useless during Cultural Revolution. money to celebrates gods’ birthday (Dean, 2003).

23 THEORETICAL FRAMEWORK / LITERATURE REVIEW 24 Hu and Yang defined communal folk religion as involvement of the worship of local deities such as earth god (tudi), city god (chenghuang), mazu (a patron goddess for shermen), and some gods known only to the locals (Hu &Yang, 2012). Dean points out that these acts are usually followed by divination of the god’s response by dropping divining blocks or consulting divinatory poetry. The actions are performed with followers’ great sincerity, reverence and solemnity (Dean, 2003). In many cases, Chinese people don’t recognize the behavior of celebrating god’s birthday as a part of practices belonging to folk believes.

Sectarian folk religion has an organizational structure beyond local boundaries. A well-developed sectarian group is not much different from an institutional religion such as Buddhism and Taoism (Hu &Yang, 2012). In imperial times, they were perceived as rebellious and were subject to severe crackdowns by the government because most concepts of these sectarian religions are opposite to the state’s attitude. For example, White Lotus is a popular folk sectarian religion in Song dynasty. The followers including both women and men and counteracted the political acts ordered by the emperor, so it seen as a heresy by the Buddhist and imperial country.

Individual folk religion refers to supernatural beliefs and practices. According to Hu and Yang, it includes a variety of fortune-telling practices Fig. 9 that reveal and change an individual’s fortune, such as palm and face Demographic characteristics of folk religion adherents in mainland China reading, glyphomancy (dissecting Chinese characters in the name), and Taiwan numerology, divination, and interpreting eight characters of birth time (Hu This data is baesd on the Chinese Spiritual Life Survey (CSLS 2007) and & Yang, 2012). There are also various practices to oppose evil spirits or bad Taiwan Social Change Survey (TSCS) fortune, such as wearing a red underwear in the zodiac year of birth. It also Yang, F., & Hu, A. (2012). Mapping Chinese Folk Religion in Mainland China and Taiwan. involves Fengshui which is still very popular in China today. Journal for the Scientific Study of Religion, 51(3), 505-521.

Hu and Yang performed the questionnaire survey in both mainland China and Taiwan, including Chinese Spiritual Life Survey (CSLS 2007) and Taiwan Social Change Survey (TSCS). As discussed earlier, folk literature According to Hu and Yang’s research (Fig. 8), females are more involved is to educated people and folk religion is to uneducated people in the past. in both the communal and individual types of folk religion than males in However, according to Yang and Hu’s research, education is associated with mainland China, but in Taiwan there is no significant gender difference less adherence to communal folk religion in mainland China, but it is not among folk religion adherents. Age make no difference to the individual type significantly different from individual folk religion (Hu & Yang, 2012). of folk religion adherents either to the mainland China or Taiwan. However, mainland Chinese people aged over 50 are more involved in communal folk religion, which Taiwanese aged under 40 are surprisingly more involved in communal folk religion (Hu & Yang, 2012).

25 THEORETICAL FRAMEWORK / LITERATURE REVIEW 26 Despite having more adherents in ancient China There are two reasons why only limited resources than Christianity and Buddhism today com- are available for Chinese folklore studies. The bined, Chinese folk religion was never officially main reason is that folklore studies essentially dis- considered by the governing factions as anything appeared during the Cultural Revolution in Chi- other than an expression of “vulgar” (commoner) na (1966-1967). During this period, folk studies beliefs. The state’s attitude in this century, how- were forbidden and restricted because of political ever, is more amenable to folk culture. There are ideology. Social studies have been an academic many traditional folklore works, such as novels, discipline in China for only about twenty years, so folk songs and folk tales, which are appearing on not many researchers have had the opportunity TV series, movies and other art works. As stated to carry out relevant research studies. As stated by An and Yang (2015), folklorists and artists by An and Yang (2015), Chinese folk religion, make efforts to spread concepts of “folk”, “folk until the late 1970s, was usually considered as culture” and “folklore” to society, which gradually being only the beliefs and practices of common- then become well-known words in academic and ers in contrast to the beliefs and practices of elites public life (An & Yang, 2015). (An & Yang, 2015).

Chinese culture is an indisputable element in In fact, the term “elites” here is considered as many religions and is directly linked to aspects of royal family and official class in ancient China. Chinese history such as Buddhism, Taoism and However, there is no such fitting in the current Confucianism. These traditional religions existed situation in China. Folk religion is deeply rooted in China for thousands of years and have had an in every Chinese people’s life since the Chinese enormous impact on the development of folk- don’t have officially clarified “elites” or “com- lore. Some concepts and spirits of these religions moners” today. As stated by Wong, the term were even mixed with Chinese folklore, so at “elite religion” in the past might not have simply times it is difficult to distinguish Chinese folklore referred to certain institutional religions, such as from other standard religions. Wai Yip Wong, Buddhism and Taoism, but also the folk religion a professor at Birmingham University, indicates beliefs and rituals that were practiced region- that many scholars who study world religions ally by the intellectuals or government officials in general simply treat Chinese folk religions as (Wong, 2011). This is usually related to political cultural-religious customs or “left-overs” of fully ideology and hence it may subject to change developed religions. He thinks folk religion can through times. be understood as a social cultural mixture of religious traditions (Wong, 2011).

27 THEORETICAL FRAMEWORK / LITERATURE REVIEW 28 Folk Literature Folk Religion Folklore studies began in the period from 1917 to 1919, when the “Fourth of May Although Chinese folk has not, as mentioned Movement” had the greatest influence on previously, been clearly defined, most people scholars and the masses. The studies were agree it is related to a few better-known organized and conducted by students and world religions such as Buddhism, Taoism professors at National Peking University and Confucianism. In terms of the relationship (Eberhard, 1970). The early stage of the “Fourth between folk religion and Taoism, the formalized, of May Movement” is the Folksong Studies ritual and philosophical traditions of Taoism Movement. Young Chinese scholars spent and Buddhism can be considered as being eight years collecting folk songs and publishing embedded within the concepts of Chinese folk them in folkloristic magazines, which is the first religion, the main purpose of which is to educate documented academic practice of folklore or change people’s way of thinking. According to literature in China. The folktale was extremely Joseph Adler (2005), some folk religion practices popular to commoners because this popular fit well into the Taoism philosophical framework. literature described situations and topics that Furthermore, Confucianism theology instructs classical literature had never before described its adherents to uphold the moral order through (Eberhard, 1970). The published folk literature the worship of Chinese gods and ancestors, contains remnants of China’s oldest traditions which is similar to ancestor worships in folk and religions. religion (Adler, 2005).

Wai Yip Wong, PhD in Birmingham In his early writings, Freeman (1974) made University, indicates that The Chinese folk the argument for a unified folk religion that religion mentioned in this research is centered included the Taoism concepts of five elements on the Han nation, so it is sometimes referred as well as the wuxing and yinyang theory, to as Han Folk Religion. Han folk religion which is the balance of nature and human. includes the veneration of forces of nature and Several anthropologists have pointed out that folk ancestors, the exorcism of harmful forces, and religion is the most practicable methodology of a belief in the rational order of nature (Wong, theologians’ or philosphers’ “abstract” thoughts. 2011). Chinese folk religions are experiencing In Wolfram Eberhard’s book, Studies in a revival in both mainland China and Taiwan. Chinese Folklore and Related Essays, Chinese As stated by Wong, some forms have received folk is unfolded in the form of folk song, official understanding or recognition towards the folk dress, superstition, folk housing and folk preservation of traditional Chinese culture, such medicine, which are the most acceptable and as Mazuism and the Sanyi organization in Fujian accessible methods for commoners. These forms province, Huangdi worship, fortune telling, and and practices of Chinese folk are being renewed other forms of local worship like Longwang and through time (Eberhard, 1970). household deity worship (Wong, 2011).

29 THEORETICAL FRAMEWORK / LITERATURE REVIEW 30 Sanyi Religion Fig. 10 Sanyi religion Retrieved from: https://prajnavajra. Folk religion is not centrally organized and lacks a formal wordpress.com/2016/05/19/%E5%BE canon. Its rituals usually take place before home altars or at %9E%E6%96%87%E5%8C%96%E5 %A4%A7%E9%9D%A9%E5%91%B- temples, which have no fixed congregations. As mentioned earlier, Sanyi religion, a folk religion in Fujian Province, is undergoing reform and modernization. According to Guoping Ling’s (2011) research, modern folk religions such as Sanyi religion (Fig.9) have strict rules for their adherents regarding initiation rites and religious practices. In general, Ling (2011) believes that all successful folk doctrines are simplified to attract people and fit into the cultural environment of the current time (Ling, 2011).

The name “Sanyi” means three-in-one. The concepts of Sanyi religion combines the inspirits of Confucianism, Buddhism and Taoism. This folk religion was established in Qing dynasty (1500s AD). The founder of the religion Ling Zhaoen (Fig. 10) was a Taoist at a young age and became a scholar of Chinese religions. Sanyi religion has its own ideological system, classics and doctrines which is separated but interconnected with other traditional religions. He spent 30 years creating “Jiu Xu Xin Fa” to educate people in terms of methods of exercises and ways of thinking. “Jiu Xu Xin Fa” illustrates characteristics, systems and concepts of Sanyi religion and is still used in Sanyi religion today, especially in southeastern regions of China where followers are encouraged to perform folk religion practice at home rather than temples.

Fig.11 Ling Zhaoen The founder of Sanyi religion Retreved from: https://baike.baidu.com/ 31 THEORETICAL FRAMEWORK / LITERATURE REVIEW 32 Research Design Chinese folk religion has been disappearing over the past several decades, and what remains of it is usually misunderstood or misapplied, even by the Chinese themselves. Making the situation even worse, some unscrupulous people misuse Chinese folk concepts in order to make money from them, which has negatively impacted Chinese folklore’s reputation. The main research question is: how can design increase people’s understanding of Chinese folk religion and folklore? The sub-research questions in this case are: how can more people be encouraged to join the survey, and how can design encourage people or attract people to accept Chinese folk culture as a legitimate expression of beliefs and practices?

There are lots of applications combining Chinese folklore and design in terms of graphic design, book arts, product design, folk art performance and many other design products. Apart from the ideal that folk religion is only for commoners and folk literature only for the elite, Chinese folk art is for everyone. It is an artistic form inherited from regional and ethnic groups in China for all Chinese people. Chinese folk art forms mainly consist of folk song and dance, Fig. 12 storytelling and singing, and originates from Onmyoji Game traditional folk literature and folk religion. Retreved from: http://www.techtradeasia.info/2016/12/netease-unveils-gam- ing-pipeline.html It is a comprehensive stage art pattern with a long history and integrates literature, music, dance, fine arts, martial arts, acrobatics, With the modernization of folk culture in society today, and performance arts. According to Hong folk elements, such as storytelling, folk patterns and symbols Li, a researcher in University of Science and are widely utilized in design in China and overseas. It is Technology, virtual reality (VR) technology can important to look at these cases and dig into the methodol- be widely applied to all professions and trades, ogies. For example, Chinese game Onmyoji (Fig. 12) is an such as folk art. The application of multimedia online card-based strategy game where the player can collect in Chinese folk art performances has advanced different cards or shikigami to fight alongside the game charac- compared with tradition in the past. The teaching ter. It is designed by the Chinese mainland game company and learning of folk art has many limitation and NetEase’s Zen studio based on Japanese Onmyoji culture. is time-consuming in China, and VR technology This game was ranked as the most popular mobile game in can help overcome these difficulties. 2016 in China.

35 36 1. Popsicle Maker

Fig. 14 100 Popsicles Retreved from: http://www.mediaclub.cc/news/

Apart from literature research and questionnaire survey, exploring more existing design projects will be helpful to accumulate inspiration. Even though some projects are not related to folk religion, the art form of expressing ideas is extremely interesting to me. For example, Popsicle Maker, a project in Art University in Taiwan, is a “product design”(Fig. 13) and package design(Fig. 14) designed by three students Zheng Yudi, Hong Yicheng and Guo Yihui. They collected one hundred samples of polluted water from various locations in Taiwan and used them to make popsicles. Each popsicle displays various contaminants which match the pollution problem of the origins of the samples. The package of each popsicles points illustrates the locations graphically. Fig. 13 Three popsicles in detail Retreved from: http://www.mediaclub.cc/ news/infos/id/8293

37 RESEARCH DESIGN/ LITERATURE REVIEW / CASE STUDY 38 39 40 2. Book Design & Font Design

In Fig. 15, the book “Zao Fu”, which means creating charms, has studied a total of 16 kinds of ancient symbols. Through experiments, 16 kinds of Chinese characters (4200 words in total) have been designed and created in new typeface. For example, the shape of the characters in the top left image is taken idea from Taoism Charm (Fig. 16).

His work, “Making Symbols,” aims to create a contemporary culture that contributes and expand on current Chinese culture by drawing on the ancient culture through enrich the diversity of Chinese character design and explore the possibility of change. This form of expression inspired me that the tools, symbols applied in the folk religions may also be applied in other fields. Fig. 16 Taoism Charm Retreved from: http://caochunyuan2010like.lofter.com/ post/2fe830_d0e9e7 Fig. 15 Zao Fu series book (Qiu Junjie) Retreved from: http://www.mediaclub.cc/news/infos/id/8293

41 RESEARCH DESIGN/ LITERATURE REVIEW / CASE STUDY 42 3. Book Design

As a Christian, the designer invited 150 Christians to write 150 Bible verses to complete 150 people’s confession of faith while completing the typographical study of 150 poems. Fig. 17 The form of representation moves from planar reading to 150 Christians’ Confession (Ji Zhengq- “interactive participation”, which bring designer’s idea and in) Christians’ soul together. Retreved from: http://www.mediaclub.cc/news/ infos/id/8293 This is a religion based design so it has great connection to my thesis. This project reminds me to reconsider the definition of interactive design. Digital project is not the only platform that can attract and grasp people. Physical books, sometimes, are even more touching only if it is designed well.

43 RESEARCH DESIGN/ LITERATURE REVIEW / CASE STUDY 44 4. Illustration

The designer applied symbols of tools, such as chopsticks and bowl, that people use in everyday life to communicate with audiences. This project gives me inspiration that folklore could be a platform or reference to achieve unique design purposes, such as to educate people. - Fig. 18 Tea in New Life (Yang Ruiting) Retrieved from: http://www.zcool.com.cn/article/ZNT M4ODQ0.html

45 RESEARCH DESIGN/ LITERATURE REVIEW / CASE STUDY 46 复兴中国民俗文化汉文学&汉民俗宗教

Methodology Two major difficulties need to be addressed in this study: 1) identifying Chinese folklore and 2) performing quantitative research through a survey, as Tools and methods of questionnaire preparation there is currently no unified definition of Tencent Questionnaire, as shown in Fig. 19, a free folk religion. According to Fenggang Yang online survey software provided by Tencent Company and Anning Hu’s (2012) research, folk is the first choice. It is a time-saving and energy- religion is conceptualized into three parts: saving survey platform because it functions both in communal religion, individual religion and Fig. 19 editing questionnaires and analyzing data statistics. sectarian religion, each of which has different Tencent Questionnaire Questionnaires are given out by sharing the link with social functions and trajectories of movement Retreved from: https://wj.qq.com/ Chinese people through social networking applications in history (Yang, 2012). article/single-3.html Webo (Fig. 20) and WeiChat (Fig. 21), two of the most popular applications in China. Collecting updated data It would also be useful to distribute from respondents will help to map out how people questionnaires and collect feedback from understand Chinese folklore in diverse groups, such as participants. Respondents of different ages ethnic groups and age. could be divided into different groups so that we can see the how people at different The questionnaire, containing 21 questions is presented stages of life understand folk religion. in this paper (Fig. 1,Fig. 2 and Fig. 3). The answers from Questionnaires will also include questions 269 respondents were collected in less than a week. The on what products or services people are age of the respondents are from 10 to over 50 years using in everyday life. The purpose behind Fig. 20 Fig. 21 old. Education levels are ranging from primary school gathering this information is to see the design Weibo Wechat Retrieved from: Retrieved from: to post-secondary and graduate degrees. The majority potential of what we can do to combine https://play.google. http://tech.ifeng. of the respondents (98.2%) reported in this survey are design and folk religion with everyday life. com/store/apps/ details?id=com. belonging to Han Chinese. There are three methods I will consider in sina.weibo the future: 1) questionnaire, 2) interview with adherents of Chinese folk religion and 3) literature research. I have already gone through some of the research, such as collecting previous research results and making a questionnaire survey. They are very helpful to develop and strengthen my thesis.

49 METHODOLOGY 50 4.您的教育程度(Education level)[ singlhoice] 小学(Primary school) 初中(Middle school) 高中及中专(High school) 大学及大专(College) 硕士及以上(Master) 366 5.您在家乡居住的时间(how long have you lived in your hometown)？[single choice] 5年及以下(under 5 years) 6-10年(6-10) 11-15年(11-15) 16-20年(16-20) 非常大部分时间(most time of my life)

6.您认为民俗文化都包括哪些部分(Do you know what are the contents of Chinese Respondents’ folklore) [multiple choice] 物质民俗文化(material culture) 文化民俗文化(cultural custom) 艺术民俗文化(folk art) 民间宗教民俗文化(folk religion) 语言民俗文化(language folk) 其他(others)

7.您对民俗文化的了解途径主要是哪些方面 (How do you know Chinese folklore)[ multiple choice] Answers 父母长辈(told by parents) 社会媒体（public media, such as TV and movies）口头相传(word of mouth) 书本报刊(books and newspapers) 民俗文化了解调查问卷其他(others) “How much do you know about Chinese folklore” Questionnaire 为了完善课题调查，研究与设计，恳请您能抽出几分钟时间，将您关于中国民俗文化 8.根据您的了解，您生活的地区有哪些民间信仰活动(what options below you have 的感受和建议告诉我，我将非常重视每位参与者的宝贵意见，期待您的参与！现在我 heard about)？[multiple choice] 们就马上开始吧！祖先崇拜(ancestor worship ) 神灵崇拜（god deity） 1.您的性别（Gender）？[single choice] 岁时祭祀(Sacrificial ceremony) 男(male) 农业祈仪(Agriculture based worship) 女(female) 占卜风水(Fengshui and fortune telling) 符咒法术(Witchcraft) 2.您的民族(Nation)[ single choice] 节日习俗(Festival custom) 汉族(Han Chinese) 不太了解(Don’t know) 其他(Others) 9.您自己感兴趣或曾经参与民间信仰活动(what options below you have attended 3.您的年龄(Age)？[single choice] before)？[multiple choice] 20岁及以下(under 20) 祖先崇拜(ancestor worship ) 21-30岁(21-30) 神灵崇拜（god deity） 31-40岁(31-40) 岁时祭祀(Sacrificial ceremony) 41-50岁(41-50) 农业祈仪(Agriculture based worship) 50岁及以上(over 50) 占卜风水(Fengshui and fortune telling) 符咒法术(Witchcraft) 节日习俗(Festival custom) 不太了解(Don’t know)

51 METHODOLOGY / QUESTIONAIRE 52 17.在民俗信仰范畴，您相信以下哪些 (In the options below, which one you believe)？[multiple choice] 10.你如何看待家乡的民俗禁忌(How do you think of folk taboo)？[multiple 相信有神并且知道是什么神,如玉帝(I trust there is god but I don’t know what choice] it exactly is) 理解并遵守（understand and follow）相信有神存在但不知道具体是什么(I believe there is god but I don’t know 理解但不遵守（understand and follow） what it exactly is) 无所谓（don’t care）祖先崇拜,相信祖先会保佑后人(ancestor worship) 不知道所谓的民俗禁忌（don’t know）大众民俗信仰, 如财神和关公(Caishen god) 风水易经(Fengshui and Iching) 11.请列举一条你所听说过的一个禁忌（please write an example of what you 算命或占卜(fortune telling) know of folklore based Chinese saying ）[one sentence question-answer] 相信地方守护神, 如妈祖，门神，土地(local god deity) 都不信(none) 12.您是否感到来自他乡或他民族文化民俗的冲击 Do you feel Chinese folklore is effected by “cultural invasion” from other nations？[single choice] 18.您认为民间习俗与文化发展的困境在于 how do you think of the difficulty of 有并且很明显(yes, it is obviously) developing folk culture today（选2-3个你认为最重要的）[multiple choice] 有但不明显(yes, just a little) 社会节奏加快，无暇顾及（people are too busy to know folklore) 没感觉到(no) 西方欧美文化的强势传播，对中国传统文化冲击 (the popularity of western cul- 没注意(don’t care) ture decreased people’s patient enthusiasm to Chinese traditional culture) 中国民俗文化种类繁多，走马观花 (lack of organized system to help people 13.对目前民俗文化的发展，您满意吗 How do think of the development of folk- understand widespread Chinese folklore) lore, mark it from 0-5 points？[single choice] 传统习俗，传统文艺与思想已经与当代社会不相适应了 (folklore is too tradi- 0, tional can’t fit in the modern environment) 1, 我国教育方面对此的不重视，导致从青少年开始对传统文化的忽略(the state don’t 2 pay enough attention on spreading folklore and educating younger generation 3, ) 4, 人们将民俗与“迷信”挂钩 (people treat folk religion as superstition) 5 其他(others)

14.中国各地的民俗文化丰富多样，您认为造成民俗文化差异的原因是什么 How do 19.你平时是否主动欣赏传统音乐、京剧或者其他民俗艺术形式(How often do you you think the reasons of the diversity of Chinese folklore？[multiple watch or listen folk music or art performance)？[single choice] choice] 经常(very often) 地理位置(geographic reason) 偶尔(occasionally) 历史发展因素(historical reason) 有兴趣但没有资源（interested in but don’t have resources）社会、经济、文化复杂(social and economic reasons) 已经不感兴趣(don’t like it) 其他(others) 20.如果与设计相结合，您期望相关产品在哪些领域(if Chinese folklore can be 15.您觉得民俗文化有必要传承下去吗()？[single choice] combined with designed project what products you would like)[ multiple 有必要(Necessary) choice] 没必要刻意保护(don’t have to) 教育产品设计(educational products) 完全没必要(don’t need) 书籍装帧(book art) 无所谓(don’t care) 生活日用品(commodity) 服装设计(clothing) 16.您认为以下途径，有利于民俗文化的保护与传承的是 (what methods you think 艺术展览或表演(exhibition or art performance) is more helpful to protect Chinese folklore)：[multiple choice] 游戏或交互设计(game design or user interactive design) 出台相关法律法规(enact new law) 其他(others) 民间多举办相关活动(more folklore based activities in communities) 商业化与传统性相结合(Combining commercial products with folklore symbols) 21.就中国民俗文化与设计的设计潜力，以下可能符合您真是感受的是？(in terms of 民众代代相传(citizens cultivate awareness of protecting folklore) the combinations of the folklore and design potentials, which option you 其他(others) think is close your heart)[ single choice] 我期待民俗文化与现在科技的交融，如VR的使用(looking forward the combination of traditional folklore and modern technique, such as VR) 民俗文化是中国传统文化，产品设计应该以传统方式表达更有意义(folklore is part of Chinese so it should represent in traditional way ) 我都能接受(both acceptable to me)

53 METHODOLOGY / QUESTIONAIRE 54 Fig. 25 Acceptance of folk practices Fig. 27 Where do people know Chinese folklore

under 20 years old 21-30 years old (112 31-40 years old (39 41-45 years old (50 over 50 years old (22 respondents / 268 respondents / 268 respondents / 268 respondents / 268 (45 respondents / Told by parents respondents) respondents) respondents) respondents) 268 respondents)

Ancestor worship Public media

The god of wealth Word of mouth Sacrificial ceremony Books and newspapers Agriculture pray

Fengshui or fortune tellling Others

Witchcraft

Festival celebration

None

Fig. 28 Acceptance of folk taboo custom

Fig. 26 Acceptance of folk art (such as dance, music and decoration) under 20

Often

20-30 Occasionally

Interested in but don’t 31-40 have resources

Don’t care 41-50

over 50

under 20 20-30 31-40 41-50 over 50

Understand but not Understand and Don’t care Have no idea what it is According to Fig. 23, festival customs are the most popular folk practices among follow follow all ages from under 20 to over 50. Fengshui and fortune telling are surprisingly prevalent in the group from 20 to 30 rather than the elder population. Witchcraft According to Fig. 25, Chinese folklore are mostly spread generation by gen- is most popular among people over 50 years old. Agriculture based worship is eration. Second accessible approach is through public media, such as TV and the last popular practice out of all practices based on the question. The reason is because respondents are mostly living in the cities instead of rural areas, so the movies. Minimal number of people know folklore from books or newspapers accuracy of this data may not be very reliable to all Chinese population. dirently. According to Fig. 26, age makes significant difference of how people treat with folk taboo custom. People from 30 to 50 years old are more loyal According to Fig. 24, around 60 % of respondents under 20 do not care for folk to Chinese taboo custom. People over 30 surprisingly have stronger beliefs art and only few of them interested in and often access folk art. The most accessi- of taboo custom than people over 50. Less people under 30 understand and ble group to folk art are people over 50 years old. follow it.

55 METHODOLOGY / DATA 56 Fig. 25 Acceptance of folk practices Fig. 27 Where do people know Chinese folklore

Ancestor worship Public media

The god of wealth Word of mouth Sacrificial ceremony Books and newspapers Agriculture pray

Fengshui or fortune tellling Others

Witchcraft

Festival celebration

None

Fig. 28 Acceptance of folk taboo custom

Fig. 26 Acceptance of folk art (such as dance, music and decoration) under 20

Often

20-30 Occasionally

Interested in but don’t 31-40 have resources

Don’t care 41-50

over 50

under 20 20-30 31-40 41-50 over 50

57 METHODOLOGY / DATA 58 Potential In terms of design to educate people, I will consider designing a booklet or something people can use in everyday life, such as a T-shirt, a Chinese calendar and a tissue. I have not decided what Design exactly to do yet since I still need to do more research, especially more questionnaire to my target users and interview with more people. In the next questionnaire, I am going to ask some very basic questions and I will have more specific questions through more research.

According to my survey this time, generally people over 40 are more interested in folk art, such as music and decorations. Interestingly, they are not interested in Fengshui and fortune telling as compared to young people under 30 years old. Young people who showed no interest in Chinese folk lore, however, showed extreme interest in Fengshui and fortune telling. To summarize the survey and design potentials, if I target younger people I will take inspiration from Fengshui and fortune telling. If I target people who are over 40 years old, the form of art

59 METHODOLOGY / DESIGN POTENTIALS 60 Research Result Chinese folklore has been slowly vanishing over the past hundred years. The main reason for its near disappearance is that folklore is often seen as the outcome of feudalism, so people usually connect it with negative meanings such as evil, bad luck, and obsolescence. Moreover, many criminals use Chinese folklore as a tool to take advantage of people, which also adds to its negative reputation. The Han folk religion is one of the most prevalent remaining religions in China. As mentioned previously, many Han folk patterns, icons and other elements can still be found in modern products, but only a small minority of people know what these elements mean.

Chinese folktales are a component of Chinese folk religion. Chinese people are generally more familiar with folklore than religion and feel more comfortable talking about folktales than agriculture worship, local goddess worship, and local folk regional organization. Folktales are usually “family- friendly” and can be easily understood by people of all ages and walks of life. Interestingly, children enjoy hearing them and learning about them from their parents.

Folktales not only play a significant role in understanding Chinese folk religion, they also reflect the national psychology and moral guidelines of the Chinese people. Consequently, folktales, like fairytales in other countries, are valuable resources for parenting and for early school-based education.

63 RESEARCH RESULT / REVIEW 64 Fig. 29 Fig. 30 Sketch of design “Blue print of your Lunch” Tschang O and East Rabbit & Western Turtle

“Tschang O” Blue Print Of Your Lunch Besides his bow, Hou I also had a horse China is a country where most people like to spend which ran so swiftly that even the wind could time on lunch preparation and chatting during not catch up with it. He mounted it to go lunch time. Design the layout of lunch and add folk hunting, and the horse ran away and could element will be helpful for spreading folk culture. It not be stopped. So Hou I came to Kunlun can inspire people to have more conversation with Mountain and met the Queen-Mother of others during lunch time. the Jasper Sea. And she gave him the herb of immortality. He took it home with him I prepared some examples that I used different and hid it in his room. But his wife Tschang patterns in the layout of food to illustrate Chinese O ate some of it on the sly when he was not folk stories. The stories are focused on popular at home, and she immediately floated up to and well-know folktales in China and can serve as the clouds. When she reached the moon, great topics to start a conversation. These stories she ran into the castle in the heavens, and are selected form a book The Chinese Fairy Book has lived there ever since as the Lady of the writen by Richard Wilhelm, a German sinologist, Moon. theologian, and missionary who spend 25 years living in China.

65 RESEARCH RESULT / IDEAS 66 “Archer Hou I Shoots Suns”

In the days of the Emperor Yau, there lived a prince by the name of Hou I, who was a mighty hero and a good archer. One day ten suns rose together in the sky. They shone so brightly and burned so fiercely that the people on earth could not endure them. So the Emperor ordered Hou I to shoot them. And Hou I shot nine of them down from the sky.

“Herd Boy And The Weaving Maiden”

The seventh daughter of the White Jade Ruler was beautiful and wise beyond all measure.She spun cloud-silk for the King and Queen of Heaven, and presided over the weaving which maidens did on earth. It is for this reason she was called the Weaving Maiden. She fell in love Fig. 31 with a pool herd boy but this was not Natcha (left), Herd Boy, Amber Hou I Shooting Suns (middle) and and the Weaving Maiden (right) acceptable to authorities. The Weaving Maiden had to return to heaven. The “Notcha” Herd Boy ran after her. But when he Notcha was the grandson of the ruler of Heaven. When he was born, he was quite near she took one of the long wore a golden armlet on his right arm and wound a length of crimson silk needles from her hair and drew a line around his thighs. The crimson silk’s glittering shine dazzled the eyes. with it right across the sky, and this line When he was seven years old he ran away from home. The day was hot, turned into the Silver River. Thus they and Notscha entered the ocean to cool himself. He unbound his crimson now stand, separated by the River, and silk cloth and whisked it about in the water to wash it. But while Notscha watch for one another. Since that time sat there and whisked about his scarf in the water, it shook the castle of the they meet once every year, on the eve Dragon-King of the Eastern Sea to its very foundations. of the Seventh Day of July. When that time comes, all the crows in the world of The Dragon-King was the emperor of the ocean and he sent out his son men come flying and form a bridge over to stop Notscha. The dragon-youth grew wild with rage and came storming which the Weaving Maiden crosses the along furiously. But Notscha cast his crimson cloth into the air so that it Silver River. flashed like a ball of fire and cast the dragon-youth from his breast. Then Notscha took his golden armlet and struck him on the forehead so that he had to reveal himself in his true form as a golden dragon. The dragon-youth fell down to the ground, dead.

67 RESEARCH RESULT / IDEAS 68 WHY FOLKLORE ? As stated by Tracie Pullum (1998), a teacher at Miami Lakes Middle School in the USA, folktales are a form of art that originated in many countries and cultures prior to books, magazines and television. Folktales are frequently modified by retelling, so this offers the potential for children to use their imagination. Pullum (1998) also stated that that folktales serve as a way for parents to teach their children values and for people to learn and understand the customs of their community as well as the beauty of nature.

Spreading folktales by retelling a story is an important process in the development of Chinese folk religion. There are usually many versions for each folktale in Chinese culture. They were passed on orally from person to person and generation to generation and are often changed with each retelling. At the same time, folktales are helpful for improving children’s written and spoken skills. The meaning of folktales is easily interpreted, and children can use their imagination to expand and “personalize” the story. Pullum (1998) also pointed out that through analyzing the characters, children can to experience the fears, joys and expectations of different Han Chinese cultures.

Storytelling is a common cultural activity in many countries. According to Tsethlikai Monica, Rogoff Barbara, Eccles Jacquelynne, Sabbagh Mark Fig. 33 and Koenig Melissa’s research (2013), Prototype of 3D book storytelling is used to teach children Fig. 34 who they are, where they came Hidden Information Book from, what the elders know about consequences of misbehavior, and the benefits of behaving appropriately. Folktales are a good resource when applied as a form of storytelling. 69 RESEARCH RESULT/ DISCUSSION 70 WHY CHILDREN’S BOOK ART? As stated by Diana Mitchell (1998), a Zimbabwean political activist and writer, picture books are children’s literature. In fact, literacy in most modern societies begins with children’s books, and many of those FinalThe final design will be a seriesDesign of children’s books. These books include folk culture. Folktales as an books are divided into three parts: ocean, underground oral form of folk culture remains popular in and heaven, where most Han Chinese folktales happen. China, and Mitchell (1998) encourages the These children’s books can be used in two ways, teaching use of folktale books in schooling, as she folktales and retelling story. Since teaching folktales plays an believes that the interesting and culturally important role in both parenting and schooling in Chinese relevant contents of the tales will attract culture these books can be good resources to use at home students to read them more eagerly. and school. As discussed previously, story retelling prompts children’s writing and speaking skills. The illustration of Due to children’s limited reading skills, characters in my children’s books enable children to create children’s books typically include only and retell folktales so that they can increase their vocabulary. Fig. 35 short texts, which means that more images Sketch ideas need to be applied to tell the story. Visual Each book contains many folktales and cards of characters information not only brings excitement but who play a key role in those stories. These stories in each also helps to explain the text and make the book share the same background whether it’s ocean, contents more accessible. Mitchell (1998) underground or heaven. Children are allowed to create their mentioned that illustrations give children own story by playing with characters card on the background visual information, but they can also clearly stage. The personality of each character and relationship see a character’s actions and words as well as between individual characters differs from folktale to folktale other characters’ contributions. giving many possible combinations for new stories.

Pullum (1998) offered three suggestions for As the result of my research and design, children’s books promoting writing that includes elements could be one way of popularizing Chinese Han folklore of folktales: 1. Write the rest of the story; to the younger generation. It can be used by teachers and 2. write a journey or adventure tale; and parents in early childhood education. 3. rewrite the tale. Of these suggestions, I choose encouraging children to rewrite a folk story through playing with 3D children Fig. 36 Four Words Dictionary in Chinese books. Because folktales are extensions of Chinese culture and show Chinese philosophy and mythologies, they provide for a myriad of research/report writing activities on cultures.

71 RESEARCH RESULT/ DISCUSSION RESEARCH RESULT/ FINAL DESIGN 72 Fig. 37 Fig. 39 Ther Front Page of Children’s Book Ther Front Page of Children’s Book Chapter Heaven Chapter Ocean 10*10 in 10*10 in

Fig. 40 Fig. 38 The Prototype of The Front Page Ther Front Page of Children’s Book Chapter Ocean Chapter Underground Laser Cutting 10*10 in 10*10 in

73 RESEARCH RESULT/ FINAL DESIGN 74

76 Fig. 42 Rounded Edges of Children’s Book of the book edgeas Rounded from the protect children wooden by sharp posed risk corners. Fig. 43 Selected Hinge to Combine The Children’s Book selected as been Rubber has the card holders to material of sure that plastic will not make be scratched. Plastic Sheet OCEAN

Wooden Box

Fig. 41 RESEARCH RESULT/ FINAL DESIGN Techinique Drawing of Children’s Book

75 Model Fig. 44 The Children’s Book Lights Off

Fig. 45 The Children’s Book Light On

77 RESEARCH RESULT/ FINAL DESIGN 78 Fig. 47 Character Nvwa

Fig. 46 The Suitcase of characters Card

The Suitcase of Characters Card This is the place where children can put their character cards. In the meantime, the design of this “suicase” is to hide the switch of LED light.

Fig. 48 Character Jingwei Bird

79 RESEARCH RESULT/ FINAL DESIGN 80 Fig. 49 Character Gonggong and Zhurong

Fig. 50 Character Notcha

81 RESEARCH RESULT/ FINAL DESIGN 82 Nacha

Dragon

83 RESEARCH RESULT/ FINAL DESIGN 84 God of Water

Nvwa

85 RESEARCH RESULT/ FINAL DESIGN 86 Conclusion Even though most Chinese retain memories of folktales from their early childhood, they generally hold a biased view of folk religion. Traditional Han folk culture was considered ignorance compared to science. However, people who misunderstand Han folk culture unfortunately ignore the benefits of folk religion and its historical and cultural meaning for Chinese people. In my view, designers can help reshape our understanding of Chinese folklore by educating younger generations on how important Han folk culture is to Chinese communities. The children may benefit cognitively and socially from looking at illustrations, retelling stories, learning the Chinese Fig. 51 language. and interacting with A Child play with Chinese folktales Children’s Book in School parents and teachers. Image resource retrieved from: http://699pic.com/tupian/ertongfumuxuexi.html At the same time, children’s books based on folktales may be an Fig. 53 especially powerful leaning tool A Child play with Chinese folktales Children’s Book for children who live in a cultural Image resource retrieved from: http://699pic.com/tupian-500326248.html community that emphasizes oral traditions and folk customs. These books could facilitate their understanding of Chinese folktales and other folk culture and may even reshape the future of Chinese folklore. In addition, many parents will also be positively influenced by these books because the cultural engagement of children is associated with the cultural engagement of parents. Positive interaction with the books will further cement the cultural content in the minds and hearts of the readers, young and old alike, and help preserve the folktales as well as the Fig. 52 religions on which they are based. Children Play With Chinese Folktales Children’s Book at Home Image resource retrieved from: http://699pic.com/tupian/ertongfumuxuexi.html

89 CONCLUSION 90 An, D. & Yang, L. (2015). Chinese Folklore Since the Late 1970s: Achievements, Difficulties, and Challenges. Asian Ethnology, 74(2), 273-290.

An, D. (2008, Jan). Safeguarding intangible cultural heritage: A dilemma for folklore studies 非物质文化遗产保护 - 民俗学的两难选择. Henan Social Science. 14-20

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93 REFERENCE 94