外国人看中国为主题的论文

61年，在历史的长河中只是弹指一挥间，但年轻的新中国发生了翻天覆地的巨变。在中国共产党的领导下，勤劳智慧的中国各族人民同心同德、艰苦奋斗，战胜各种艰难曲折和风险考验，取得了举世瞩目的辉煌成就，谱写了自强不息的壮丽凯歌。61年的风雨征程，让世界见证了一个经济实力和综合国力极大增强的中国，一个人民生活显著改善的中国，一个社会文明程度大幅提升的中国，一个国际地位空前提高的中国。 辉煌成就激励着每一个中华儿女，但是，在辉煌的成就面前，我们要看到面临的挑战；在伟大的胜利面前，我们还要保持清醒的头脑。我们深知，同我们要达到的远大目标相比，同人民群众对美好生活的期待相比，我国实现社会主义现代化还有很长的路要走。 我们的伟大目标是，到中国共产党成立100年时，建成惠及十几亿人口的更高水平的小康社会；到新中国成立100年时基本实现现代化，建成富强民主文明和谐的社会主义现代化国家。而巩固和发展社会主义制度则需要几代人、十几代人甚至几十代人坚持不懈地努力奋斗。因此，无论在任何情况下，我们都没有任何理由骄傲自满、固步自封；无论在任何情况下，我们都要始终如一地艰苦奋斗，不断进取。 我们深知，在前进道路上，还会遇到各种困难和风险。但是，有中国共产党的坚强领导，有全国各族人民的团结一心，只要我们不动摇、不懈怠、不折腾，勇于变革、勇于创新，永不僵化、永不停滞，不为任何风险所惧，不被任何干扰所惑，坚定不移地走中国特色社会主义道路，就一定能把改革开放和社会主义现代化建设事业不断推向前进，就一定能不断谱写人民美好生活的新篇章，就一定能在实现中华民族伟大复兴的征程上不断创造新的辉煌！

我和一位喜爱亚洲文化的欧洲朋友交流，他对中国人做了正、中、反三方面评价，整理后诸位看看可否客观。正面：1、中国人吃苦耐劳，尤其生活较苦的家庭，吃苦耐劳、意志坚韧的精神更为显著。2、注重家庭。中国很多家庭不像西方人只为个人生活，中国夫妇考虑孩子更多，婚姻不美满为不伤害孩子，仍选择共同生活，一定程度减轻了单亲家庭对孩子的不良影响。3、中国人比较讲交情。开始时可能对你有防范，只要你入了圈子，他们就会对你真诚相待，把你当作知心朋友。4、注重孩子教育。中国社会竞争激烈，家长十分注重孩子的教育，除正常文化课外也很重视文体美等素质教育，中国家庭寄予孩子太多希望。5、中国人各个好厨师。你要去中国人家里做客，每家都能做出好多好吃又可口的饭菜，外国人只有到中国才能吃到最纯正的中餐，中国城的中餐是“快餐”。很多西方人从中国回来后，很多年仍对中国餐念念不忘。中性：1、中国人爱虚荣，好面子、讲攀比。中国人与人交往，一般先看对方穿戴，衣帽取人。中国人爱炫耀，披金戴银，不像西方社会看重个人举止、修养和个性内涵。中国人爱面子，所有行为原则都能与“面子”挂钩，有时候面子比生命还重要。中国人爱攀比，亲戚朋友、邻居同事互相之间明争暗攀，范围包括工作、生活、学习，孩子等等，几乎到了“无所不攀”的地步。2、官迷，中国人爱当官，古代“学而优则仕”，现代做官更富优越感。当官能名利双收，一个人当官，全家受益，能得到几代人打拼而得不到的东西。所以中国人明争暗斗、你争我夺，都为“当官”，中国人认为这是“人往高处走”，当官是一切价值的最高体现。3、中国最崇拜名人。中国可能是世界上最崇拜名人的国度，名人在中国的日子最好过，可以躺在过去的名声上吃一辈子。不比西方社会名声只代表过去，即便获过诺贝尔奖如再无创造也会被淘汰。西方名人要想躺在过去的名声上过好生活，好比痴人说梦。4、中国人好客，但总有私人目的。一般而言，中国人请你多了，不拿你当外人的时候，就是要求你办事的时候。中国人好客，但总有个人目的。5、中国人说话声音大。这是外国人到中国最深的感触之一，中国把这个习惯带到了国外。走在西方国家街头，只听说话就知道他们是哪儿个国家的，说话声音最大的一群很定是中国人。6、中国人各个会武术。受李小龙、成龙、李连杰的影视作品影响，绝大部分西方人以为中国人各个是功夫高手，就像中国女孩以为老外各个腰缠万贯心态一样。7、法律观念弱，遇事总认为关系能够疏通。遇到问题，中国人很多时候不是靠法律解决问题，而是通过人际关系疏通，认为是必要“捷径”，这是中国社会的独有特色。8、不爱锻炼身体。中国人爱喝酒聚会，但最不爱锻炼身体。西方人十分注重劳逸结合，认为锻炼比吃喝重要，中国人却认为相反。反面：1、中国人好赌，赌博是中国全民喜爱的“运动”。只要有中国旅游的地方必有赌场，或者是只要有赌场的地方肯定有中国人。中国社会各阶层有钱的大赌，钱少的少赌，不赌的极少，中国社会“无赌不欢”。2、中国人不热心公益，不注重公德。中国对社会只知索取少有给予，中国社会富豪越来越多，有爱心的很少，热心公益似乎是“傻瓜”。中国人不注讲公德，中国人（特别是城市里的人），家中整理得窗明几净，一尘不染，但楼道、院子等公共场所却杂乱不堪，毫无公德可言。3、中国人缺乏诚信和社会责任感。他们只关心家庭、亲属、朋友等自己亲近的人，对毫不相关的人自私冷酷，对他们所受苦难不但漠不关心，有时冷眼旁观看笑话。诚信也存在问题，很多去中国投资的外国人，假如无官方背景，常被搞得血本无归。中国人之间的诚信度也到了令人堪忧的地步。4、中国人不团结，习惯勾心斗角。中国人是最不团结的，哪儿怕到国外的很多年的中国人还存有这种恶习，一个公司里最爱互相勾心斗角的肯定是中国人，不团结现象给人印象不好。5、中国人对老外恭敬，对自己人冷漠。外国人在中国一般能享受较好的遇。当然，比如医院挂号，也会比本国人高很多。总起来说，他们对外国人不会像对待同胞一样蛮横。中国人对老外恭敬归恭敬，该宰照样温柔的“宰”你不商量。如您满意好评哦

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In no other cultural tradition has nature played a more important role in the arts than in that of China. Since China's earliest dynastic period, real and imagined creatures of the earth—serpents, bovines, cicadas, and dragons—were endowed with special attributes, as revealed by their depiction on ritual bronze vessels. In the Chinese imagination, mountains were also imbued since ancient times with sacred power as manifestations of nature's vital energy (qi). They not only attracted the rain clouds that watered the farmer's crops, they also concealed medicinal herbs, magical fruits, and alchemical minerals that held the promise of longevity. Mountains pierced by caves and grottoes were viewed as gateways to other realms—"cave heavens" (dongtian) leading to Daoist paradises where aging is arrested and inhabitants live in natural world has long been conceived in Chinese thought as a self-generating, complex arrangement of elements that are continuously changing and (9)Primary Thematic Essays (4)Other Thematic Essays (24)Maps (5)Index Terms (31)ShareFrom the early centuries of the Common Era, men wandered in the mountains not only in quest of immortality but to purify the spirit and find renewal. Daoist and Buddhist holy men gravitated to sacred mountains to build meditation huts and establish temples. They were followed by pilgrims, travelers, and sightseers: poets who celebrated nature's beauty, city dwellers who built country estates to escape the dust and pestilence of crowded urban centers, and, during periods of political turmoil, officials and courtiers who retreated to the mountains as places of refuge. Early Chinese philosophical and historical texts contain sophisticated conceptions of the nature of the cosmos. These ideas predate the formal development of the native belief systems of Daoism and Confucianism, and, as part of the foundation of Chinese culture, they were incorporated into the fundamental tenets of these two philosophies. Similarly, these ideas strongly influenced Buddhism when it arrived in China around the first century . Therefore, the ideas about nature described below, as well as their manifestation in Chinese gardens, are consistent with all three belief systems. The natural world has long been conceived in Chinese thought as a self-generating, complex arrangement of elements that are continuously changing and interacting. Uniting these disparate elements is the Dao, or the Way. Dao is the dominant principle by which all things exist, but it is not understood as a causal or governing force. Chinese philosophy tends to focus on the relationships between the various elements in nature rather than on what makes or controls them. According to Daoist beliefs, man is a crucial component of the natural world and is advised to follow the flow of nature's rhythms. Daoism also teaches that people should maintain a close relationship with nature for optimal moral and physical health. Within this structure, each part of the universe is made up of complementary aspects known as yin and yang. Yin, which can be described as passive, dark, secretive, negative, weak, feminine, and cool, and yang, which is active, bright, revealed, positive, masculine, and hot, constantly interact and shift from one extreme to the other, giving rise to the rhythm of nature and unending change. As early as the Han dynasty, mountains figured prominently in the arts. Han incense burners typically resemble mountain peaks, with perforations concealed amid the clefts to emit incense, like grottoes disgorging magical vapors. Han mirrors are often decorated with either a diagram of the cosmos featuring a large central boss that recalls Mount Kunlun, the mythical abode of the Queen Mother of the West and the axis of the cosmos, or an image of the Queen Mother of the West enthroned on a mountain. While they never lost their cosmic symbolism or association with paradises inhabited by numinous beings, mountains gradually became a more familiar part of the scenery in depictions of hunting parks, ritual processions, temples, palaces, and gardens. By the late Tang dynasty, landscape painting had evolved into an independent genre that embodied the universal longing of cultivated men to escape their quotidian world to commune with nature. The prominence of landscape imagery in Chinese art has continued for more than a millennium and still inspires contemporary of Asian Art, The Metropolitan Museum of Art