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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). -
Making the Palace Machine Work Palace Machine the Making
11 ASIAN HISTORY Siebert, (eds) & Ko Chen Making the Machine Palace Work Edited by Martina Siebert, Kai Jun Chen, and Dorothy Ko Making the Palace Machine Work Mobilizing People, Objects, and Nature in the Qing Empire Making the Palace Machine Work Asian History The aim of the series is to offer a forum for writers of monographs and occasionally anthologies on Asian history. The series focuses on cultural and historical studies of politics and intellectual ideas and crosscuts the disciplines of history, political science, sociology and cultural studies. Series Editor Hans Hågerdal, Linnaeus University, Sweden Editorial Board Roger Greatrex, Lund University David Henley, Leiden University Ariel Lopez, University of the Philippines Angela Schottenhammer, University of Salzburg Deborah Sutton, Lancaster University Making the Palace Machine Work Mobilizing People, Objects, and Nature in the Qing Empire Edited by Martina Siebert, Kai Jun Chen, and Dorothy Ko Amsterdam University Press Cover illustration: Artful adaptation of a section of the 1750 Complete Map of Beijing of the Qianlong Era (Qianlong Beijing quantu 乾隆北京全圖) showing the Imperial Household Department by Martina Siebert based on the digital copy from the Digital Silk Road project (http://dsr.nii.ac.jp/toyobunko/II-11-D-802, vol. 8, leaf 7) Cover design: Coördesign, Leiden Lay-out: Crius Group, Hulshout isbn 978 94 6372 035 9 e-isbn 978 90 4855 322 8 (pdf) doi 10.5117/9789463720359 nur 692 Creative Commons License CC BY NC ND (http://creativecommons.org/licenses/by-nc-nd/3.0) The authors / Amsterdam University Press B.V., Amsterdam 2021 Some rights reserved. Without limiting the rights under copyright reserved above, any part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise). -
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 -
Flowers Bloom and Fall
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ASU Digital Repository Flowers Bloom and Fall: Representation of The Vimalakirti Sutra In Traditional Chinese Painting by Chen Liu A Dissertation Presented in Partial Fulfillment of the Requirement for the Degree Doctor of Philosophy Approved November 2011 by the Graduate Supervisory Committee: Claudia Brown, Chair Ju-hsi Chou Jiang Wu ARIZONA STATE UNIVERSITY December 2011 ABSTRACT The Vimalakirti Sutra is one of the classics of early Indian Mahayana Buddhism. The sutra narrates that Vimalakirti, an enlightened layman, once made it appear as if he were sick so that he could demonstrate the Law of Mahayana Buddhism to various figures coming to inquire about his illness. This dissertation studies representations of The Vimalakirti Sutra in Chinese painting from the fourth to the nineteenth centuries to explore how visualizations of the same text could vary in different periods of time in light of specific artistic, social and religious contexts. In this project, about forty artists who have been recorded representing the sutra in traditional Chinese art criticism and catalogues are identified and discussed in a single study for the first time. A parallel study of recorded paintings and some extant ones of the same period includes six aspects: text content represented, mode of representation, iconography, geographical location, format, and identity of the painter. This systematic examination reveals that two main representational modes have formed in the Six Dynasties period (220-589): depictions of the Great Layman as a single image created by Gu Kaizhi, and narrative illustrations of the sutra initiated by Yuan Qian and his teacher Lu Tanwei. -
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. -
Representing Talented Women in Eighteenth-Century Chinese Painting: Thirteen Female Disciples Seeking Instruction at the Lake Pavilion
REPRESENTING TALENTED WOMEN IN EIGHTEENTH-CENTURY CHINESE PAINTING: THIRTEEN FEMALE DISCIPLES SEEKING INSTRUCTION AT THE LAKE PAVILION By Copyright 2016 Janet C. Chen Submitted to the graduate degree program in Art History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson Marsha Haufler ________________________________ Amy McNair ________________________________ Sherry Fowler ________________________________ Jungsil Jenny Lee ________________________________ Keith McMahon Date Defended: May 13, 2016 The Dissertation Committee for Janet C. Chen certifies that this is the approved version of the following dissertation: REPRESENTING TALENTED WOMEN IN EIGHTEENTH-CENTURY CHINESE PAINTING: THIRTEEN FEMALE DISCIPLES SEEKING INSTRUCTION AT THE LAKE PAVILION ________________________________ Chairperson Marsha Haufler Date approved: May 13, 2016 ii Abstract As the first comprehensive art-historical study of the Qing poet Yuan Mei (1716–97) and the female intellectuals in his circle, this dissertation examines the depictions of these women in an eighteenth-century handscroll, Thirteen Female Disciples Seeking Instructions at the Lake Pavilion, related paintings, and the accompanying inscriptions. Created when an increasing number of women turned to the scholarly arts, in particular painting and poetry, these paintings documented the more receptive attitude of literati toward talented women and their support in the social and artistic lives of female intellectuals. These pictures show the women cultivating themselves through literati activities and poetic meditation in nature or gardens, common tropes in portraits of male scholars. The predominantly male patrons, painters, and colophon authors all took part in the formation of the women’s public identities as poets and artists; the first two determined the visual representations, and the third, through writings, confirmed and elaborated on the designated identities. -
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. -
Portraits of Meritorious Officials: Eight Examples from the First Set Commissioned by the Qianlong Emperor
Ka Bo Tsang Portraits of Meritorious Officials: Eight Examples from the First Set Commissioned by the Qianlong Emperor in 1792 when the Qianlong Emperor (1711-1799) made a these tribes were quickly annexed by the Dzungars to their retrospective survey of the military accomplishments of the own settlement in the Irtish Valley. Qing empire during his reign (1736-1795) he seemed to be After the death of Batur Kon taisha his son Galdan(l4)' sutïïciently gratified with the brillant results. Summing up the (lm?-1697) rapidly gained authority. h 1678 he began to major successful operations, he designated them collectively as carry on his father's expansionist policy. Within two yean he the << Ten Victorious Campaigns ». l These involved the subjuga- succeeded to conquer the major Muslim cities in Eastern tion of disturbances in Dzungaria (1755, 1756-57). Eastern Turkestan, taking 6rst Kashgar(l5) and Yarkand(l6). then Turkestan (175859). Jinchuan (1) (1747-49, 1771-76). Taiwan Hami (17) and Turfan (Iq. Having consummated this fÙU-sale (1787-88), Burma (1766-70). Annam (1788-89) and Nepal (1790, conquest, Galdan next turned his attention to the Khalkhas(lg), 1791). The conquests of Dzungaria and Eastern Turkestan, inhabitants of Outer Mongolia. Seeing them emmeshed in tribal achieved over a period of five years, not only added to the disputes and confusion, he repeatedly sent troops to harass empire a vast piece of territory-coveriq somë 20,000 li, but them from 1687 onward. The stricken Khalkhas fled southward also reasserted the military strength of China. to seek refuge in hner Mongolia and Chinese protection. -
Surveying Chinese Architecture in the 1930S
intervalla: Vol.5, 2018 ISSN: 2296-3413 Reformulating Architecture’s Past through Drawing: Surveying Chinese Architecture in the 1930s Lori Gibbs University of Pennsylvania ABSTRACT If the aesthetics of realism held an inferior position in Chinese painting traditions, why were such techniques utilized to describe architectural antiquity in the 1930s? Curiously, Chinese painting tradition emphasizes the brush stroke, and movement or gesture of the line as a register of one’s artistic abilities. Realistic representation was often downplayed and minimized as a mode of aesthetic expression, as uniform straight lines displayed a skill or technique anyone could master. Yet, ruled-line painting (jiehua) is one exception, thought to be the only formalized painting technique to convey extreme detail, and line work, involving the use of instruments such as plumb lines, rulers and compasses. These “sharp-edge” techniques were acceptable to portray architecture, with qualities of accuracy and detailed subject matter –such versions of the Up the River During the Qing Ming Festival painting. When Chinese architects educated in the US and Japan returned home in the 1930s, why did they recast China’s ancient architectural sites into the pictorial format of construction documents? Ancient architecture was systematically surveyed, scaled, measured, and recomposed with strict straight lines into sets of orthographic drawings labeled with notes. How was this pictorial format, one that largely excludes the expression of one’s individual mark, chosen to capture monuments of the past before possible obliteration from war? Undoubtedly, the “Four Outstanding” architect-scholars were immersed in concurrent debates, and skilled in drawing as a method for the study of both design and historic architecture (as current scholarship maintains the import of the Ecole des Beaux Arts methods from the University of Pennsylvania to China took place through these individuals). -
Fine Chinese Art New Bond Street, London I 7 November 2019
Fine Chinese Art New Bond Street, London I 7 November 2019 93 (detail) 50 Fine Chinese Art New Bond Street, London I Thursday 7 November 2019, 10.30am VIEWING GLOBAL HEAD, CUSTOMER SERVICES As a courtesy to intending Sunday 3 November CHINESE CERAMICS Monday to Friday 8.30am - 6pm bidders, Bonhams will provide a 11am - 5pm AND WORKS OF ART +44 (0) 20 7447 7447 written Indication of the physical Monday 4 November Asaph Hyman condition of lots in this sale if a 9am - 7.30pm Please see page 4 for bidder request is received up to 24 hours before the auction starts. Tuesday 5 November ENQUIRIES information including after-sale 9am - 4.30pm collection and shipment This written Indication is issued Colin Sheaf subject to Clause 3 of the Notice Wednesday 6 November +44 (0) 20 7468 8237 拍賣品之狀況 to Bidders. 9am - 4.30pm [email protected] 請注意: 本目錄並無說明任何拍賣 品之狀況。按照本目錄後部份所載 SALE NUMBER Asaph Hyman REGISTRATION 之「競投人通告第 條 」, 準 買 家 +44 (0) 20 7468 5888 15 IMPORTANT NOTICE 25358 必須拍賣前親自確定拍賣品之狀 [email protected] Please note that all customers, 況。 irrespective of any previous CATALOGUE 純為方便準買家,本公司如果拍買 Benedetta Mottino activity with Bonhams, are £30.00 開始前24小時收到準買家的要求, +44 (0) 20 7468 8236 required to complete the Bidder 本公司可提 供 書面上的 狀 況 報 告。 [email protected] Registration Form in advance of BIDS 該報告是依據「競投人通告第1.6 +44 (0) 20 7447 7447 條 」提 供。 the sale. The form can be found +44 (0) 20 7447 7401 fax Edward Luper at the back of every catalogue +44 (0) 20 7468 5887 To bid via the internet please ILLUSTRATIONS and on our website at www. -
Framing Tradition in Cultural
TRADITION IN PROCESS: FRAMING TRADITION IN CULTURAL PRESERVATION AND INVENTION IN JIXIAN IN THE COURSE OF THE MODERNIZATION OF CHINA Xiaohong Chen Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Department of Folklore and Ethnomusicology, Indiana University October 2015 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy Doctoral Committee ______________________________ Jason B. Jackson, Ph.D. Chairperson ______________________________ Michael D. Foster, Ph.D. ______________________________ John H. McDowell, Ph.D. ______________________________ Henry H. Glassie, Ph.D. Date of Dissertation Defense: September 10, 2015 ii © 2015 Xiaohong Chen ALL RIGHTS RESERVED iii To the Jixian People in China iv ACKNOWLEDGEMENTS Pursuing a PhD degree is an academic journey, and also a life journey. At I complete my dissertation and end this long journey at Indiana University, I want to express my deepest gratitude to the people who have supported me. I am deeply grateful to my dissertation research committee members Jason Jackson, Michael Foster, John McDowell, and Henry Glassie. They are great scholars and also great people. Their generous support and academic inspiration through various stages of my PhD degree program -from coursework, candidacy examines, to the final stages of dissertation research- made it possible for me to achieve this education goal. I am especially indebted to my mentor and dissertation committee chair, Dr. Jason Jackson, for his patience, understanding, inspiration, and advice. His strategic supervision really motivated and energized me to achieve my best. When I finally finished my writing and let him read the full draft, his comments were a special reward to my several years work with this project.