1)Meiping梅瓶
1.Thought on the design art of Meiping in ancient China;中国古代梅瓶的设计艺术思想
2)The Golden Lotus金瓶梅
1.On the Integrating Writing Characteristic of The Golden Lotus;论《金瓶梅》的集撰式创作特点
2.The Narrative Function of Songs in The Golden Lotus and Its Significance in the History of Fiction Development;《金瓶梅》唱曲叙事功能在小说发展史上的意义
3.The Mediocre People s Depression and Philosophers Sadness ——The Philosophical Meditation on the Golden Lotus;庸众的沉沦与哲人的悲哀——《金瓶梅》读札
英文短句/例句
1.Searching for Consealment in Fortune-teller s Words About the Characters in Jin Ping Mei Second New Investigation of the Creation Year of Jin Ping Mei;《金瓶梅》人物命词索隐——《金瓶梅》创作年代新考之二
2.Image and Its Cultural and Implicative Signification of Pang Chun-mei in Jin Ping Mei;《金瓶梅》中庞春梅形象及文化意蕴
3.Textual Research of Huangmei and Huaihong in the Statement of Jinpingmei;《金瓶梅词话》中“黄梅”与“淮洪”考证
4.Cultural Interpretations Of RelationshipsI Of PANJINLIAN In Jinpingmei;《金瓶梅》中潘金莲两性关系的文化阐释
5.A New Starting Point in the Historical Study of JIN PING MEI--A Summary of and Comment on the Fifth International Symposium on JIN PING MEI;《金瓶梅》研究史上的新起点——第五届国际《金瓶梅》学术研讨会综述
6.An Analysis of Ying Bo-jue’s Image-building in the Novels of The Sequel of Jin Ping Mei and Jing Ping Mei;两副臭皮囊 一副丑嘴脸──《续金瓶梅》与《金瓶梅》中应伯爵形象谈
7.On the Transcendent Feature of Jin Ping Mei;浅析《金瓶梅》的超越特征——《水浒传》和《金瓶梅》的有关比较
8.Revealing the Secret of the “Mishaps” of the Heavenly stems and Earthly Branches In Narrative chronology of Jin Ping Mei;《金瓶梅》叙事时序中“舛误”干支揭秘——《金瓶梅》创作年代新考之一
9.Discussion on the Unreality of LI Pinger Married to Jiang Zhushan in "JIN PING MEI";论《金瓶梅》中李瓶儿招赘蒋竹山的非现实性
10.On Li Pinger s Multicharacter & Dualistic Morality;论《金瓶梅》中李瓶儿的多元性格和二元道德
11.A Distinctive Moral Quality --On the image of Pang Chunmei in Jin Ping Mei;特立独行的人格——《金瓶梅》中庞春梅形象简论
12.Qingwen and Chunmei as Examples for the Comparison between Dream of the red Chamber and The Golden Lotus;晴雯和春梅——《红楼梦》与《金瓶梅》比较研究一例
13.Review and Reflection on the Research on Jin Ping Mei in the 20th Century20世纪《金瓶梅》研究的回顾与思考
14.Inquiries about the Times of the Accreditation of the Crown Prince in Jin Ping Mei with Parts in Verse《金瓶梅词话》中“立东宫”时代探考
15.Jin Pin Mei Cihua is a prominent work that gives a panorama of contemporary social life.《金瓶梅词话》是一部令人瞩目的世情书。
16.On the Relationship between the Boss and Salesclerks in The Golden Lotus论《金瓶梅》中的商业老板与伙计关系
17.Comparison Study between Cihua Version and Chongzhen Version of Jinpingmei;《金瓶梅》词话本与崇祯本比较研究
18.Comparison Study between Cihua Version and Xiuxiang Version of Jinpingmei;《金瓶梅》词话本和绣像本的比较研究
相关短句/例句
The Golden Lotus金瓶梅
1.On the Integrating Writing Characteristic of The Golden Lotus;论《金瓶梅》的集撰式创作特点
2.The Narrative Function of Songs in The Golden Lotus and Its Significance in the History of Fiction Development;《金瓶梅》唱曲叙事功能在小说发展史上的意义
3.The Mediocre People s Depression and Philosophers Sadness ——The Philosophical Meditation on the Golden Lotus;庸众的沉沦与哲人的悲哀——《金瓶梅》读札
3)The Golden Lotus《金瓶梅》
1.Compare the depiction of death in The Golden Lotus and A Dream of Red Mansions;《金瓶梅》与《红楼梦》的死亡叙述之比较
2.If Dreams Cannot Be Very Effective in the Book,I d Rather Not Write Them——On the Narrative Function of Dreams in The Golden Lotus;“与其不能为全书关锁,毋宁绝笔不写梦”——论《金瓶梅》中梦的叙事功能
3.The Explanation of Love and Sex between "The Dreams of Red Mansion" and "The Golden Lotus";对《红楼梦》和《金瓶梅》中情与性的解读
4)Jin Ping Mei《金瓶梅》
1.A Continued Textual Research on the Writer of the Preface to Jin Ping Mei-A Pearl Player in Dongwu;《金瓶梅》序作者“东吴弄珠客”续考
2.Bits of Reflections After Reading the Cherished Auspicious Edition of Jin Ping Mei Carefully Preserved in Shanghai Library;上海图书馆藏崇祯本《金瓶梅》观后琐记
3.On the Influence of the Stereotyped Eight-part Essay Grammatical Theory in the Ming & Qing Dynasties on Mr. Zhang s Annotated Jin Ping Mei;明清八股文法理论对张批《金瓶梅》影响试论
5)JIN PING MEI金瓶梅
1.Discussion on the Unreality of LI Pinger Married to Jiang Zhushan in "JIN PING MEI";论《金瓶梅》中李瓶儿招赘蒋竹山的非现实性
2.Comments on the Study on Jin Ping Mei and Pornography Novel by WANG Ru-mei;追踪蹑祖索书影扬帆泛海鉴真知——评王汝梅教授《金瓶梅与艳情小说研究》
3.On alteration in Jin Ping Mei of Chong Zhen edition;关于崇祯本《金瓶梅》的补笔
6)in Ping Mei《全瓶梅》
延伸阅读
梅瓶梅瓶 一种小口、短颈、丰肩、瘦底、圈足的瓷瓶。以口小能插梅枝得名。宋时称“经瓶”，作盛酒用器，造型挺秀、俏丽，器体高且偏瘦，肩部下斜，足部长而近于直线，底部较小，且变化多样，常有棱角分明的转折。宋元时期各地瓷窑均有烧制，以元代景德镇青花梅瓶最为精湛。元代梅瓶还有带座的，座身为镂花窗，边沿为六菱形圈足，瓶身和瓶座可活动装卸。明代梅瓶，造型雄健、敦厚；口部圆浑厚实，没有明显的线角转折；肩部上抬，腹部以下呈垂直状，有的微向里收。有和白釉梅瓶肩部有青花楷书“内府”二字，当属宫内用器。
