When it comes to the Chinese great literature, Journey to the West is certainly on the list. It is one of the most famous fantasy     1     (story) in China. Wu Cheng’en, a gifted writer in Ming Dynasty,   created the fantasy story,     2     (inspire) by real historical events.

In the story, a Buddhist monk named Xuanzang travels more than 10,000 kilometres on his pilgrimage (朝圣之旅) to India     3    (attain) Buddhist sutra (佛经). At the foot of a mountain shaped like five fingers, Xuanzang frees a monkey named Sun Wukong,     4     has great magic power and masters 72 methods of transformation. Wukong, as Xuanzang’s first disciple (徒弟), is righteous and brave. Unlike conventional heroes, he departs from tradition and fights for     5     (free). His tag is, “Hey, I’m coming!” He helps Xuanzang accomplish the goal with Zhu Bajie, monk Sha Wujing and White Dragon Horse, after     6     (go) through eighty-one adventurous experiences. With virtues and shortcomings, every character shines. In the journey, they come across     7     large number of difficulties, like battling with wicked monsters, evil humans and even themselves.

What the book conveys     8     (include) kindness, trust, bravery, teamwork, tolerance and so on. The story is well known for vivid and attractive plots, appealing     9     readers of all ages. To our delight, it has been made into TV series and films     10     (success). So if you are tired when reading the book, you can take a break to enjoy the screen.

Pillows have developed gradually over the ages, from wooden and porcelain(瓷的) versions to the most comfortable goose-hair pillows available in modern-day supermarkets. In China, porcelain pillows are among    1     best preserved from the records of history.

In ancient China, people    2    (wear) complicated headwear, and pillows were usually placed under the neck instead     3     the head. Hard pillows not only provided a cooling effect but also helped to maintain their hairstyle and prevent it from getting messy. Porcelain pillows gained popularity and were used for more diverse functions during the Tang Dynasty. They were used to cushion patients’ wrists when Chinese doctors checked     4    (they)pulses(脉搏) before giving diagnoses(诊断),and to support the arms of those    5    wrote with brushes to help give them a steadier hand.    6    (additional), travelers started carrying small porcelain pillows as sleeping aids. Much to our    7    (amaze), white porcelain pillow in the shape of a baby from the Northern Song Dynasty is considered one of the representative     8    (work) of that period. It is entirely covered with white glaze(釉),     9    (give) it a slightly yellow coloring and a smooth feel.

Although porcelain pillows were still being produced in North China during the 1950s and 1960s, they    10    (disappear) from people’s daily lives in recent decades.

Suzhou, home to a collection of classical gardens, is one of the most attractive     1     (city) in China, featuring     2     (elegant) and exquisiteness. There are currently more than 60 well-preserved gardens in Suzhou, nine of     3     have been listed as UNESCO World Heritage Sites.

During the Ming and Qing Dynasty, the gardening art in Suzhou reached     4     (it) peak. The classical gardens     5     (design) to recreate natural landscapes in miniature, because designers intended to contain rich scenes within their     6     (limit) spaces. Mini versions of things like rocks and trees were brought together     7     (create) impressive landscapes in the tightest corners.

Owners of the gardens were often government officials attempting to escape from policital life. The Humble Adiministor’s Garden is a typical example of Suzhou classical gardens. It was     8     (original) set up by Wang Xianchen,     9     scholar and minister in the Ming Dynasty. He resigned from the court and returned to his hometown. As a Taoist, he respected nature     10     enjoyed the harmonious relationship with nature.

As you walk into the Shandong Arts and Crafts Exhibition Center, you    1    (greet) by a magnificent sight: a larger-than-life rabbit. With an auspicious cloud atop, the Tuzi Wang, or “lord rabbit”, is dressed in a golden helmet, armor and a flowing red robe.

The creator of the rabbit figure is Yang Feng,    2    inheritor of this Shandong intangible cultural heritage.    3    (locate) on the second floor of the exhibition center is his studio    4    he displays his works, in different designs and sizes, as well as the legends and stories associated with them.

After dedicating two decades to perfecting his craft, Yang is committed to     5    (promote) the traditional skill of creating the lord rabbit in his own unique style. “For me, crafting the rabbit is not just a job,    6    a lifelong career that I am    7    (passion) about,” he says.

Hou Yangjun, the deputy secretary-general of the Chinese Folk Literature and Art Association,    8    (explain) that the practice of worshiping the moon with the rabbit god can be traced back     9     the Ming Dynasty (1368-1644) and was practiced     10    (main) in Beijing, Tianjin and Shandong’s Jinan and Qingdao.

6 . A recently ended “China and I” writing competition, which attracted the participation, of hundreds of Egyptian writers and others interested in Chinese culture, has been considered by organizers and participants as part of growing cultural exchanges between the two ancient civilizations.

Organized by the China Cultural Center in Cairo in cooperation with Cairo-based Radio and Television Magazine and China Today Magazine, the second version of the Arabic language writing contest attracted some 380 competitors who wrote articles and short stories focusing on different sides of the special connection between Egypt and China.

Two winners received the major prize, one won first prize, two won second prize, five won third prize, 10 got encouragement prizes and l0 earned participation prizes. Prizes were not shared but equally given to each co-winner. The major prize of the competition was separately won by Egyptian novelist Mohamed Mustagab for his article Sadness Tends to Be Kidding—Resemblance between Mustagab and Mo Yan and Egyptian translator Nehal Ibrahim for her article When Heart Becomes Tongue. “In my article, I focused on what my late father, writer of the short story collection, Sadness Tends to Be Kidding and Chinese novelist and Nobel Prize winner Mo Yan have in common, such as their lives and styles of writing, ” Mustagab told the Xinhua News Agency.

The winner of the first prize was. Hossam el-Din Wahban, an Egyptian engineer interested in literature as well as Chinese culture, for his article “Shanghai and Music of Cities”.

The second prize was separately awarded to Emad al-Azrak, an Egyptian expert in Chinese affairs, for his article Three Stops on Road to China and Mostafa al-Saghir, director general of the Karnak temples in Upper Egypt’s monument-rich city of Luxor, for his article Get Ready. You Will Travel to China. In his article, Saghir focused on different angles of the growing cooperation between Egypt and China, such as the first joint Egyptian-Chinese archeological assignment that has recently been working on Montu Temple at the Karnak Temple Complex and the exchange of medical aid and professional knowledge between Egypt and China regarding the COVID-19 pandemic.

Tian Sheng is an inheritor (继承人) of the Jiaonan New Year painting, a city-level intangible cultural heritage (非物质文化遗产) item from Qingdao in east China’s Shandong Province. He was pleased to be surrounded by young visitors    1     were admiring his attractive creations at an exhibition recently.

“In recent years, we    2     (include) some of the unique elements from the Jiaonan New Year painting into our products, and they have become    3     instant hit,” he said, picking up a porcelain (瓷) tea set showing vivid scenes of sowing seeds and harvesting.

All these characteristic elements come together    4     (create) a fine style of art with lively tones and colorful figures. This distinctive style gives the artworks a touch of elegance,     5     (make) them popular.

“Social media has created a bridge    6     young people and the traditional culture in which they have a strong interest, and intangible cultural heritage can     7     (true) be appreciated and passed down to future generations only when     8     (combine) with modern beauty and people’s daily lives,” Tian said.

“Innovation is what we focus on to carry forward the technique,” said Tian. “In the past, there    9     (be) only, for instance, patterns of feather and flowers. Now,     10     (image) of landscapes, figures, birds and even sport stars can also be seen in the works.”

A total of 16 Chinese and Italian volunteers wore Hanfu to participate in a carnival (狂欢) in the city Venice. Cheerfully, they succeeded in their attempt    1    (represent) the beauty of Chinese clothing. Directly    2    (transport) from the Suzhou Silk Museum, the clothing was themed of Han, Tang, Song and Ming dynasties respectively. In this way Chinese culture could be brought    3    (close) to more foreigners than shown on TV.

Hanfu has a history    4    dates back to more than four thousand years. According to legend, the Chinese clothing is made by the Yellow Emperor. Over the following thousands of years, the style of Hanfu changed into different    5    (variety) of the customs in each dynasty, but its basic form has not changed much. One major feature of    6    is kuanpaodaxiu, meaning closed full-body garment with wide and loose sleeves, thus creating a free, flowing and elegant impression.

Clothing is    7    important carrier of cultural heritage, and Hanfu fully embodies Chinese characteristics including gentle, comfortable, elegant and calm personalities. In recent years, people’s enthusiasm for traditional culture    8    (rise), and the increase of the inheritance of Chinese clothing culture has also arisen. Wearing Hanfu in a trip or in a party has become a new trend among young people. The revival of Hanfu is a new    9    (explore) of the beauty of Chinese clothing by contemporary people,    10    also represents the new recognition of the value of traditional culture by the younger generation.

It is believed    1     Li Bai wrote the poem “A Night Stay at a Mountain Temple” in his teenage years. His early experiences contributed to his romantic style,     2     his poetry was characterized by. He familiarized himself     3     classical Chinese culture and acquired the wisdom of previous generations. He visited famous mountains and great rivers,     4    (encounter) different customs and practices. These travelling experiences inspired him     5    (write) numerous poems in the romantic style. Li Bai grew up in the most     6    (glory) period of the Tang Dynasty, a time of the economic boom and social     7     (stable).     8    (give) his personal experiences and the historical background, it is natural to see that the majority of his poems are characterized by the romantic style. With his extraordinary imagination, free expression of strong feelings and mastery of language, he is     9    (wide) recognized as the greatest romantic poet after Qu Yuan. Ezra Pound, a 20th-century American poet,     10    (fascinate) by his poems and translated some of them in his poetry collection entitled Cathay. Today Li Bai’s poetry continues to be enjoyed by countless readers around the world.