The Ancient Architecture We Chased Together in Those Years
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
To Search High and Low: Liang Sicheng, Lin Huiyin, and China's
Scapegoat Architecture/Landscape/Political Economy Issue 03 Realism 30 To Search High and Low: Liang Sicheng, Lin Huiyin, and China’s Architectural Historiography, 1932–1946 by Zhu Tao MISSING COMPONENTS Living in the remote countryside of Southwest Liang and Lin’s historiographical construction China, they had to cope with the severe lack of was problematic in two respects. First, they were financial support and access to transportation. so eager to portray China’s traditional architec- Also, there were very few buildings constructed ture as one singular system, as important as the in accordance with the royal standard. Liang and Greek, Roman and Gothic were in the West, that his colleagues had no other choice but to closely they highly generalized the concept of Chinese study the humble buildings in which they resided, architecture. In their account, only one dominant or others nearby. For example, Liu Zhiping, an architectural style could best represent China’s assistant of Liang, measured the courtyard house “national style:” the official timber structure exem- he inhabited in Kunming. In 1944, he published a plified by the Northern Chinese royal palaces and thorough report in the Bulletin, which was the first Buddhist temples, especially the ones built during essay on China’s vernacular housing ever written the period from the Tang to Jin dynasties. As a by a member of the Society for Research in Chi- consequence of their idealization, the diversity of nese Architecture.6 Liu Dunzhen, director of the China’s architectural culture—the multiple con- Society’s Literature Study Department and one of struction systems and building types, and in par- Liang’s colleagues, measured his parents’ country- ticular, the vernacular buildings of different regions side home, “Liu Residence” in Hunan province, in and ethnic groups—was roundly dismissed. -
Olympic Cities Chapter 7
Chapter 7 Olympic Cities Chapter 7 Olympic Cities 173 Section I Host City — Beijing Beijing, the host city of the Games of the XXIX Olympiad, will also host the 13th Paralympic Games. In the year 2008, Olympic volunteers, as ambassadors of Beijing, will meet new friends from throughout the world. The Chinese people are eager for our guests to learn about our city and the people who live here. I. Brief Information of Beijing Beijing, abbreviated“ JING”, is the capital of the People’s Republic of China and the center of the nation's political, cultural and international exchanges. It is a famous city with a long history and splendid culture. Some 500,000 years ago, Peking Man, one of our forefathers, lived in the Zhoukoudian area of Beijing. The earliest name of Beijing 174 Manual for Beijing Olympic Volunteers found in historical records is“JI”. In the eleventh century the state of JI was subordinate to the XI ZHOU Dynasty. In the period of“ CHUN QIU” (about 770 B.C. to 477 B.C.), the state of YAN conquered JI, moving its capital to the city of JI. In the year 938 B.C., Beijing was the capital of the LIAO Dynasty (ruling the northern part of China at the time), and for more than 800 years, the city became the capital of the Jin, Yuan, Ming and Qing dynasties. The People’s Republic of China was established on October 1, 1949, and Beijing became the capital of this new nation. Beijing covers more than 16,000 square kilometers and has 16 subordinate districts (Dongcheng, Xicheng, Chongwen, Xuanwu, Chaoyang, Haidian, Fengtai, Shijingshan, Mentougou, Fangshan, Tongzhou, Shunyi, Daxing, Pinggu, Changping and Huairou) and 2 counties (Miyun and Yanqing). -
Umithesis Lye Feedingghosts.Pdf
UMI Number: 3351397 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. ______________________________________________________________ UMI Microform 3351397 Copyright 2009 by ProQuest LLC All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. _______________________________________________________________ ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106-1346 TABLE OF CONTENTS ABSTRACT iv ACKNOWLEDGEMENTS vi INTRODUCTION The Yuqie yankou – Present and Past, Imagined and Performed 1 The Performed Yuqie yankou Rite 4 The Historical and Contemporary Contexts of the Yuqie yankou 7 The Yuqie yankou at Puti Cloister, Malaysia 11 Controlling the Present, Negotiating the Future 16 Textual and Ethnographical Research 19 Layout of Dissertation and Chapter Synopses 26 CHAPTER ONE Theory and Practice, Impressions and Realities 37 Literature Review: Contemporary Scholarly Treatments of the Yuqie yankou Rite 39 Western Impressions, Asian Realities 61 CHAPTER TWO Material Yuqie yankou – Its Cast, Vocals, Instrumentation -
Foguang Temple 2005-2009 Progress Report
Foguang Temple 2005-2009 Progress Report Wutai Mountain, Shanxi, China In partnership with Shanxi Bureau of Cultural Relics and the Shanxi Institute of Ancient Architectural Conservation GHF Project Directors Ms. Kuanghan Li, Manager, GHF China Mr. Ren Yiming, Conservation Manager, Shanxi Institute July 2009 Executive Summary GHF helped the Shanxi provincial authority secure matching funding from the central government to support the restoration and scientific conservation of the 1,200-year old Foguang Temple at Wutai Mountain, one of China’s five sacred mountains for Buddhism. Over $900,000 in matching cofunding was secured from the Shanxi Provincial government for the work to date, and the Chinese national government is expected to fund approximately US$1.2-1.6 million (RMB10-12 million) for the restoration of the Grand East Hall that is projected to begin in 2010, contingent upon final approvals. Foguang Temple is considered to be the ‘Fountainhead’ of classical Chinese architecture. Built during the Tang Dynasty, Foguang Temple is a tribute to the peak of Buddhist art and architecture from the 9th century. Grand East Hall of Foguang Temple is one of the oldest and most significant extant wooden structures in China; it is one of two last remaining Tang Dynasty Chinese temples. Until GHF’s initiative, Foguang Temple had not been repaired or conserved since the 17th century. The temple suffers extensive structural damages caused by landslide, water damages from leaking roof, pests and foundation settlement; which are threatening to permanently damage Foguang Temple, the last of China’s oldest wooden architectural wonders. GHF carried out a multi-stage program at a total cost of over $1,060,000 to save the Temple Complex: 1) Master Conservation Planning 2) Architecture conservation The Foguang Temple project was completed under a collaborative agreement with Shanxi Institute of Ancient Architecture Conservation and Research (SIAACR). -
The Late Northern Dynasties Buddhist Statues at Qingzhou and the Qingzhou Style
The Late Northern Dynasties Buddhist Statues at Qingzhou and the Qingzhou Style Liu Fengjun Keywords: late Northern Dynasties Qingzhou area Buddhist statues Qingzhou style In recent years fragmentary Buddhist statues have been Northern Qi period. (3) In the winter of 1979, 40 small frequently unearthed in large numbers in Qingzhou 青州 and large fragmentary statues and some lotus socles were and the surrounding area, including Boxing 博兴, discovered at the Xingguo Temple 兴国寺 site in Gaoqing 高青, Wudi 无棣, Linqu 临朐, Zhucheng 诸 Qingzhou, mainly produced between the end of North- 城, and Qingdao 青岛. Especially notable are the large ern Wei and Northern Qi period. There were also two quantities of statues at the site of the Longxing Temple Buddha head sculptures of the Sui and Tang periods. (4) 龙兴寺 at Qingzhou. The discovery of these statues drew In the 1970s, seven stone statues were discovered at great attention from academic circles. The significance He’an 何庵 Village, Wudi County. Four of them bear of these statues is manifold. I merely intend to under take Northern Qi dates. (5) In November 1987, one single a tentative study of the causes and date of the destruction round Bodhisattva stone sculpture of the Eastern Wei of the Buddhist statues and of the artistic features of the period and one round Buddhist stone sculpture of the Qingzhou style statues. Northern Qi period were discovered on the South Road of Qingzhou. Both works were painted colorfully and I. Fragmentary Buddhist Statues of the Late partly gilt. They were preserved intact and remained Northern Dynasties Unearthed in the Qingzhou Area colorful. -
Chinese Religious Art
Chinese Religious Art Chinese Religious Art Patricia Eichenbaum Karetzky LEXINGTON BOOKS Lanham • Boulder • New York • Toronto • Plymouth, UK Published by Lexington Books A wholly owned subsidiary of Rowman & Littlefield 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 www.rowman.com 10 Thornbury Road, Plymouth PL6 7PP, United Kingdom Copyright © 2014 by Lexington Books All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Karetzky, Patricia Eichenbaum, 1947– Chinese religious art / Patricia Eichenbaum Karetzky. pages cm Includes bibliographical references and index. ISBN 978-0-7391-8058-7 (cloth : alk. paper) — ISBN 978-0-7391-8059-4 (pbk. : alk. paper) — ISBN 978-0-7391-8060-0 (electronic) 1. Art, Chinese. 2. Confucian art—China. 3. Taoist art—China. 4. Buddhist art—China. I. Title. N8191.C6K37 2014 704.9'489951—dc23 2013036347 ™ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. Printed in the United States of America Contents Introduction 1 Part 1: The Beginnings of Chinese Religious Art Chapter 1 Neolithic Period to Shang Dynasty 11 Chapter 2 Ceremonial -
The Spreading of Christianity and the Introduction of Modern Architecture in Shannxi, China (1840-1949)
Escuela Técnica Superior de Arquitectura de Madrid Programa de doctorado en Concervación y Restauración del Patrimonio Architectónico The Spreading of Christianity and the introduction of Modern Architecture in Shannxi, China (1840-1949) Christian churches and traditional Chinese architecture Author: Shan HUANG (Architect) Director: Antonio LOPERA (Doctor, Arquitecto) 2014 Tribunal nombrado por el Magfco. y Excmo. Sr. Rector de la Universidad Politécnica de Madrid, el día de de 20 . Presidente: Vocal: Vocal: Vocal: Secretario: Suplente: Suplente: Realizado el acto de defensa y lectura de la Tesis el día de de 20 en la Escuela Técnica Superior de Arquitectura de Madrid. Calificación:………………………………. El PRESIDENTE LOS VOCALES EL SECRETARIO Index Index Abstract Resumen Introduction General Background........................................................................................... 1 A) Definition of the Concepts ................................................................ 3 B) Research Background........................................................................ 4 C) Significance and Objects of the Study .......................................... 6 D) Research Methodology ...................................................................... 8 CHAPTER 1 Introduction to Chinese traditional architecture 1.1 The concept of traditional Chinese architecture ......................... 13 1.2 Main characteristics of the traditional Chinese architecture .... 14 1.2.1 Wood was used as the main construction materials ........ 14 1.2.2 -
Timber Use in the Chinese Gardens and Architecture
Timber Use in the Chinese Gardens and Architecture 木材在中国园林及建筑中的应用 Ying JIANG 2012.05 CAUPD CAUPD • 1、Reasons why timber constructions appear and become mainstream in China • 为什么中国会发展出木结构建筑并形成主流 • 2 The development of timber constructions in ancient China • 木结构建筑在中国古代的发展 • 3 The development of timber constructions in ancient China • 木结构建筑在中国近现代的发展 • 4 The advantages of timber • 木材的优点 • 5 Conclusion • 结语 CAUPD • 1、Reasons why timber constructions appear and become mainstream in China • 为什么中国会发展出木结构建筑并形成主流 In the ancient times, the weather and geographical condition is suitable for growing Climate plants in the Yellow River basin. 气候 Hydrology 水文 Geography The dense forest and river here make it easy to get raw 地理 materials and transport them. CAUPD • 1、Reasons why timber constructions appear and become mainstream in China • 为什么中国会发展出木结构建筑并形成主流 Cutting easy Timber becomes 采伐容易 the first choice to build houses processing easy because it is lighter 加工容易 and more easily to cut and process. Light weight 重量轻 Mining hard 开采困难 processing hard 加工困难 heavy weight 重量沉 CAUPD • 1、Reasons why timber constructions appear and become mainstream in China • 为什么中国会发展出木结构建筑并形成主流 The Chinese philosophy- Taoism believes that the basic substances metal that compose the world are metal, wood, water, fire and soil, and each of them corresponds to one of the five direction. Soil represents Central on behalf of the load of all earth things and soil would have a earth water high status. Five elements of wood represent east and symbol of spring and vitality; while Gold acting on behalf of the West and a symbol of force and punishment to kill; water, fire for the intangible thing, therefore, the five elements fire wood represent the most advocates of the five substances, only "soil" and "wood" is the most suitable for the construction of housing people live. -
Records of the Transmission of the Lamp (Jingde Chuadeng
The Hokun Trust is pleased to support the fifth volume of a complete translation of this classic of Chan (Zen) Buddhism by Randolph S. Whitfield. The Records of the Transmission of the Lamp is a religious classic of the first importance for the practice and study of Zen which it is hoped will appeal both to students of Buddhism and to a wider public interested in religion as a whole. Contents Foreword by Albert Welter Preface Acknowledgements Introduction Appendix to the Introduction Abbreviations Book Eighteen Book Nineteen Book Twenty Book Twenty-one Finding List Bibliography Index Foreword The translation of the Jingde chuandeng lu (Jingde era Record of the Transmission of the Lamp) is a major accomplishment. Many have reveled in the wonders of this text. It has inspired countless numbers of East Asians, especially in China, Japan and Korea, where Chan inspired traditions – Chan, Zen, and Son – have taken root and flourished for many centuries. Indeed, the influence has been so profound and pervasive it is hard to imagine Japanese and Korean cultures without it. In the twentieth century, Western audiences also became enthralled with stories of illustrious Zen masters, many of which are rooted in the Jingde chuandeng lu. I remember meeting Alan Ginsburg, intrepid Beat poet and inveterate Buddhist aspirant, in Shanghai in 1985. He had been invited as part of a literary cultural exchange between China and the U. S., to perform a series of lectures for students at Fudan University, where I was a visiting student. Eager to meet people who he could discuss Chinese Buddhism with, I found myself ushered into his company to converse on the subject. -
The Caisson – Review of a Unique Wooden Construction Typology in China
The caisson – review of a unique wooden construction typology in China Corentin Fivet École Polytechnique Fédérale de Lausanne, Fribourg, Switzerland Jingxian Ye Shanghai, China Peiliang Xu Ninghai County Cultural Heritage Administration Office, Zhejiang, China ABSTRACT: The caisson is a wooden construction system that covers opera stages for rain protection and sound control. Caissons in China display a diverse range of geometric expressions, delicate manufacturing, structural behaviours, and acoustic qualities. Despite their uniqueness and patrimonial interest, very little liter- ature is known to exist, and it lacks comprehensiveness. First, this paper attempts to compile for the first time a comprehensive list of publications on caissons. Fifteen sources are identified, among which six papers address the origin and interpretation of douba and spiral caissons. In addition, other types are here recorded, based on an original field research in Zhejiang and Shanxi provinces. Following this survey, the paper also suggests a classification for caisson types according to their geometries, construction process, and structural behaviour. This classification is further supported by the interviews with a local carpenter master who specialized in the renovation and component replacement of caissons. Considerations on carving artistries, painting, and pest control are also given eventually. As a result, this study brings forward the caisson’s diversity, fineness, and significance for the history of wood joinery construction. KEYWORDS: 12th-19th centuries, China, Wood-only-construction, Typology, Construction Technology 1 INTRODUCTION refers to the aquatic plants, and ‘well’ means the wa- ter source. Therefore, the caisson is traditionally the In China, a large amount of the world’s persistent ar- symbol of a steady flow of water, hoping to suppress chitectural heritage in wood-only construction has the trouble caused by the fire-devil and to protect the been preserved for several generations. -
Your Paper's Title Starts Here
2019 International Conference on Humanities, Cultures, Arts and Design (ICHCAD 2019) The Embodiment of the Moralization Function of Buddhist Murals in Guanyin Pavilion, Dule Temple, Ji County, Tianjin Province-- from the Perspective of Artistic Expressions Such as Schema, Dynamic Space, Pattern, Line and Color Jingwen Qiu1, a, Zhiji Zhang 2,b , Tiewa Cao 3,c 1 Tianjin University, Art Major, Second Year Bachelor, No. 92 Weijin Road, Nankai District, Tianjin, China 2 Tianjin University, Education Major, Second Year Bachelor, No. 92 Weijin Road, Nankai District, Tianjin, China 3 Tianjin University, Associate Professor of Arts, No. 92 Weijin Road, Nankai District, Tianjin, China [email protected], [email protected] b, [email protected] Keywords: Buddhist murals, Moralization function, Spatial structure, Psychology of art Abstract: Different expressions of space, pattern, and color reflect different artistic connotations and intentions. The special figure composition of Guanyin Pavilion murals, the interaction and spatial relationship between array characters in the painting, and the internal psychological space created by sixteen portraits of Arhat enrich the spatial concept of Guanyin Pavilion murals. Different from the three-dimensional spatial representation of linear perspective under western visual technology, the spatial representation method of special nonlinear perspective in Guanyin Pavilion murals is closely related to the Buddhist theme advocated under the specific social background of Yuan Dynasty. Behind the artistic expression of mural composition, pattern elements and color design are the special social context of this period and the visual reflection under the rule of ideology and culture. To a great extent, it reflects the thought of the rulers. In the artistic creation with certain restrictions, the meaning of the content given by the society or the ruling class was hidden behind the visual expression of the image. -
Meanings of Worship in Wooden Architecture in Brick
MEANINGS OF WORSHIP IN WOODEN ARCHITECTURE IN BRICK Yin Wu A thesis submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Art. Chapel Hill 2016 Approved by: Eduardo Douglas Wei-Cheng Lin Daniel Sherman @2016 Yin Wu ALL RIGHTS RESERVED ii ABSTRACT Yin Wu: Meanings of Worship in Wooden Architecture in Brick (Under the direction of Wei-Cheng Lin) The brick burial chamber built to imitate the wooden structure that became popular since the late Tang period was usually understood as a mimicry of the aboveground residence. Its more and more elaborate construction toward the Jin period was also often described as representing the maturity of the “wooden architecture in brick.” In this paper, however, I argue that the increasing elaboration of the form, in fact, indicates a changing meaning of the tombs. To this end, this paper investigates the “wooden architecture in brick” built in the 12th-century tombs of the Duan family in Jishan, Shanxi province from two interrelated viewpoints—that of the fabricated world of the tomb owner and that of the realistic world of the burial chamber. I suggest that the complicated style of “wooden architecture in brick” does not mean a more magnificent imitation of the aboveground residence. Rather, when considered with other decorations in the chamber, the burial space was constructed for the deceased with reference to a temple, or a shrine. This suggested reference thus turns the chamber into a space of the deity, where the tomb master was revered, indeed, as a deity.