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The Cultural Families of Zhejiang Descendents and the Palace Museum: Focus on the Eminent Families of ‘Three Mas’, ‘Three Shens’ and ‘Three Yus’

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The Cultural Families of Zhejiang Descendents and the Palace Museum: Focus on the Eminent Families of ‘Three Mas’, ‘Three Shens’ and ‘Three Yus’ The Cultural Families of Zhejiang Descendents and The Palace Museum: Focus on The Eminent Families of ‘Three Mas’, ‘Three Shens’ and ‘Three Yus’ Zheng Xinmiao Abstract: Of the cultural celebrities who were from the same family by origin and had close bonds The article Chinese appears with The Palace Museum over the past 90 years, those who descended from Zhejiang province are the from page 006 to 023. representatives like ‘Three Mas’ (Ma Yuzao, Ma Heng, Ma Yuqing), ‘Three Shens’(Shen Shiyuan, Shen Yinmo, Shen Jianshi), ‘Three Yus’(Yu Danshi, Yu Pingbo, Yu Tongkui) and ‘Four Zhus’(Zhu Wenjun, Zhu Jiaji, Zhu Jialian, Zhu Jiajin). More than one of their family members successively or for the same period engaged in the construction and management of The Palace Museum checking objects, sorting out the historical archives and preserving the cultural heritage. They, who were related as brothers, father and son, uncle and nephew, served for a while, half a lifetime or as long as they lived to greatly contribute to the development of The Palace Museum especially during the period of Republican China. Keywords: The Palace Museum; the cultural families of Zhejiang descendents; ‘Three Mas’; ‘Three Shens’; ‘Three Yus’; ‘Four Zhus’ Reading Notes on The Collected Measured Drawings of The Historical Buildings along The Central Axis of Beijing City (Běijīngchéng Zhōngzhóuxiàn G jiànzhù Shícè Tújí) Jin Hongkui Abstract: The Collected Measured Drawings of The Historical Buildings along The Central Axis of Beijing The article Chinese appears City (Běijīngchéng Zhōngzhóuxiàn G jiànzhù Shícè Tújí) offers important scientific data for study from page 024 to 035. of the former imperial architecture in The Palace Museum. It is a research emphasis to divide the old buildings into different periods. Ever since the Ming dynasty the bucket mouth model system that typically represent the Ming official-styled architecture was popularly applied in the traditional constructions. Mr. Shan Shiyuan and other experts once studied the architectural arrangement of the Forbidden City based on the historical documents, and Mr. Qi Yingtao and other scholars had discussions focusing on the design rules and methods applied for the construction of the official buildings. It is suggested in this essay that the Palace Museum Archaeology Institute should collect the related research results to make the architectural history of the former imperial palace. Keywords: The Collected Measured Drawings of The Historical Buildings along The Central Axis of Beijing City (Běijīngchéng Zhōngzhóuxiàn G jiànzhù Shícè Tújí); official-styled architecture; bucket mouth model system; arrangement of the Forbidden City; a courtyard with corridors; compound; dating the historical buildings Study on The Regularity and Control for Giant Timber Construction Scale Included in Treatise on Architectural Mehods (Yíngzào F shì) Xu Yitao English abstract of the articles 157 The article Chinese appears Abstract: In the essay are presented the calcultion of scale control for giant timber construction from page 036 to 044. recorded in Treatise on Architectural Methods (Yíngzào F shì) which introduces the laws of architectural design and structure by reference to the rules and regulations for giant timber construction and other laws included in this book as well as cases test of the extant historical buildings of the Tang through Yuan dynasties. What is analyzed above resulted in a series of ideas and reflection upon the architectural module system and approaches to the measurement of Chinese traditional timber construction. Keywords: Tang through Yuan Dynasties; Treatise on Architectural Methods (Yíngzào F shì); scale; module; giant timber construction On The Architectural Measurement of The Giant Timber Structure of Qin’an Dian(Hall) of The Imperial Palace Liu Chang Shang Guohua Qin Yishan The article Chinese appears Abstract: This essay attempts to retrieve the original measurement of Qin’an Dian(Hall) of the from page 045 to 057. Imperial Palace by summarizing and analyzing all the previous measured data so as to interpret the design methods of ancient architects from the angle of architectural scale. It is therefore deduced that the scale for the giant timber construction of Qin’an Dian (Hall) is 318.5mm, on the basis of which two scale design hypothesis were then raised in this essay. Keywords: Qin’an Dian(Hall) of the Imperial Palace; giant timber structure; scale design; 3D laser scanning On The Letters Respectively from Cheng Wenhai and Xu Yan to Yi Zhai Wang Lianqi The article Chinese appears Abstract: The two letters which were mounted together into one piece of scroll were the only from page 058 to 073. handed-down writings respectively by Yuan-dynasty Calligraphers Cheng Wenhai (alias Cheng Jufu) and Xu Yan to Yi Zhai. Cheng Jufu was well known as a Yuan official and a writer while Xu Yan was not mentioned at all even in The History of The Yuan Dynasty, so the two letters that were once wrongly identified as the works of the Ming dynasty before the Xinchou year of Qianlong’s ( 乾隆 ) period not only represent their high attainment as calligraphiers but also make the rare valuable historical document. Gu Rujing judged them as the products by Chen and Xu with more evidences but left the identification of Yi Zhai which is the name of the recipient on the letters and other issues unexplained. Therefore this essay analyzes the two letters to ascertain when they each were produced and the related historical events. What’s more, it proved Yi Zhai to be the alternative name of Lu Hou who was an official employed in the Yuan-dynasty Surveillance Commission of Sù Zhèng Lián F ng Sh Sī where Chen Wenhai and Xu Yan worked. More researches about the life story of them three are introduced in the essay. Keywords: Cheng Jufu; Xu Yan; Yi Zhai Lu Hou ; the Yuan-dynasty Surveillance Commission of Sù Zhèng Lián F ng Sh Sī 158 Palace Museum Journal No.6,2015 vol.182 An Analysis of ‘Lyrics in Cursive Writing’ Hand Scroll (Xíngshū Zìshū Cíq ) by Tang Yin Shan Guolin Abstract: This essay focuses on Tang Yin’s hand scroll of ‘Lyrics in Cursive Writing’ (Xíngshū The article Chinese appears Zìshū Cíq ) collected in The Palace Museum analyzing the content of the lyrics and Tang Yin’s living from page 074 to 078. experience of his middle ages so as to reveal the context in which the writing was produced and how he felt emotionally at that time. In addition, this works is discussed in areas of its value and influence upon Tang Yin’s progress of calligraphic style. Keywords: Tang Yin; content of lyrics; emotional experience; calligraphic style Theme and Function: A Metaphorical Expression in ‘Painting Guan Yu’ (Guān Y Qín Jiàng Tú) Shao Yan Abstract: It is studied in this essay that the Ming-dynasty court ‘Painting Guan Yu’, in Chinese The article Chinese appears pinyin named ‘Guān Y Qín Jiàng Tú’ was more likely to be born in the political context of the early from page 079 to 098. period of Emperor Xuande reign, i.e. between the 1st – 4th years of Xuande period during which Zhu Gaoxu rebellion was defeated and he died in prison later. The painting showed Ming Emperor Xuanzong suppressing the revolt led by his uncle Zhu Gaoxu in metaphorical manner in order to avoid arousing people’s associating it with Jingnan Incident in history even though it actually aimed to warn other seigniors of the vassal states like Zhu Gaosui who was the head of Zhou State. The images with the strong visual impact highlighted the absolute control of Guan Yu over Pang De. ‘Zhao Kuangyin Visiting Zhao Pu at A Snowy Night’, or in Chinese pinyin named ‘Xuěyè F ng P Tú’, which was another Ming court painting created later, followed this painting thematically and metaphorically. Keywords: ‘Painting Guan Yu’(Guān Y Qín Jiàng Tú); Xuande ; revolt led by Zhu Gaoxu; The Romance of the Three Kingdoms (Sān Guó Yǎn Yì); cut down the power and land of the vassal state; the court painting of ‘Zhao Kuangyin Visited Zhao Pu at A Snowy Night’ (Xuěyè F ng P Tú); the paintings with the theme of expostulation The Limited Open Policy in The Early Qing Dynasty: Centering on Qing- Foreign Trade Relations Zhao Yifeng Abstract: The world situation was more complicated in the Qing dynasty than in the Ming dynasty. The article Chinese appears The disputes regarding the Sino-foreign relations in the early Qing period remain among the scholars. from page 099 to 115. Analyzing from a different perspective the historical stages that used to be considered to witness the Qing Empire to be self-isolated from the outside world, this essay views it improper that the short- term imperial order that the local people migrate inland away from the coastal areas is thought of as English abstract of the articles 159 the closed - door policy of the Qing dynasty becaues it was carried out for the sake of military defense rather than prohibition of sea trade. For one and a half centuries after Kangxi’s ( 康 熙 ) open policy, Sino-foreign trade and business of the Qing dynasty was developing more active and standardized than that of the Ming period. The Qing dynasty dealt with tribute and trade in different ways and rejected free trade to guard against the commercial and colonial expansion from Europe. It was true that at that time more than one port were in operation, but by no means so called ‘one port trade’. It was not the etiquette dispute but the Qing government’s refusing their demand which would make Qing Empire colonized that made the Britain ambassador frustrated, but which did not stop Sino-Europe trade going on later.
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