Ruins of Liangzhu City,once the center of power and belief of Liangzhu Culture,reveals an early regional state once existed in「aihu Lake area in the downstream region ol Yangtze River in I ate Neolithic China,based o...Ruins of Liangzhu City,once the center of power and belief of Liangzhu Culture,reveals an early regional state once existed in「aihu Lake area in the downstream region ol Yangtze River in I ate Neolithic China,based on rice cultivation,with obvious social dififerentiati on and unified belief system.展开更多
With the adjustment of urban industrial structure,a large number of ruins have emerged in cities,and the waste materials left by these ruins not only occupy urban space resources,but also seriously damage the ecologic...With the adjustment of urban industrial structure,a large number of ruins have emerged in cities,and the waste materials left by these ruins not only occupy urban space resources,but also seriously damage the ecological environment.How to identify the value of waste materials through landscape thinking and how to rationally reuse these waste materials through landscape methods is the focus of this paper.展开更多
GPM technique(Precisely Magnetic Observing Technique and ExplanationMethod),which we got through about ten years study,is an efficient method to exploreoccult fault.Facts have proved that it has brilliant application ...GPM technique(Precisely Magnetic Observing Technique and ExplanationMethod),which we got through about ten years study,is an efficient method to exploreoccult fault.Facts have proved that it has brilliant application prospects in exploring buriedrelics. The analytic foundation of GPM technique exploration depends on magnetic variationof the Culture layer,Corresponding requirments of observing technique are very rigid andCredence of data is very high. By means of the most advanced type of highly precise proton magnetic appratus in theworld at present,GPM technique can gives accurate determinations of distributive Situa-tion of buried ancient ruins and can reliably determines relics of ancient graves,ancientbuildings,ancient walls and ancient Canals etc.as well as ancient objects of ironwares,bronzes,sunkenboats,pottery and chinaware etc. By use of GPM technique,target localizations are accurate within 0.5 metre and errorof buried depth is no more than 0.5 metre.展开更多
APPROXIMATELY 6,000-7,000years ago China’s primitive so-ciety gradually progressed toits prosperous period.The body shapeof peopel at that time was entirely thesama as modern people.Primitive agriculture started,peop...APPROXIMATELY 6,000-7,000years ago China’s primitive so-ciety gradually progressed toits prosperous period.The body shapeof peopel at that time was entirely thesama as modern people.Primitive agriculture started,people began to raise livestock and live a more sedentary life.Clan villages appeared.However,because of natural disasters and other factors,the primitive people had to constantly change their habitats.Over time,these habitats submerged into ruins,which became bases for archaeologistss in their study of primitive man and his social conditions.展开更多
LESS than a month after two deadly explosions ripped through a warehouse in the Binhai New Area of Tianjin, a municipality in north China, on August 12. schools in the area reopened on September 1.
This article contributes to developing an indicator-based vulnerability assessment framework for cultural heritage sites.It provides a vulnerability index for heritage sites potentially exposed to multiple hazards,inc...This article contributes to developing an indicator-based vulnerability assessment framework for cultural heritage sites.It provides a vulnerability index for heritage sites potentially exposed to multiple hazards,including sudden-onset and slow-onset hazards,while considering climate change influences.Through determining particular criteria and indicators,the Cultural Heritage Vulnerability Index incorporates structural and non-structural factors of the heritage site and its local and national settings.The assessment procedure was applied to the case of the Roman Ruins of Tróia in Portugal.The findings highlight those areas of sensitivity(e.g.,the existing deterioration patterns and types of foundation)and coping and adaptive capacities(e.g.,institutional setting and response plan)that significantly contribute to the level of vulnerability and risk.The results of vulnerability assessment will further enable determining priorities and developing risk mitigation and preparedness measures,in particular reducing structural sensitivity and promoting coping capacities.展开更多
At the turn of the twenty-first century, contemporary art from China has displayed a recurrent engagement with urban ruins. Painting, performance, film, and photography have turned the rubble of demolition and constru...At the turn of the twenty-first century, contemporary art from China has displayed a recurrent engagement with urban ruins. Painting, performance, film, and photography have turned the rubble of demolition and construction works, an outcome of the vast urban development programs of the past few decades, into a powerful symbol of China＇s contemporary milieu. Critical and academic approaches to contemporary Chinese art have rightly inquired about the meaning of these ruins, in a process that has also reevaluated the place of these images in the representational traditions of China. Starting with these academic perspectives, this paper situates images of ruination in contemporary Chinese art in dialogue with transnational debates on the meaning and epistemology of the ruin, to argue for an essential element of constructedness in the representations of ruins. Photographic series by Wang Qingsong, Jiang Pengyi, and Yang Yongliang are analyzed as examples of an active appropriation of the process of ruin creation from a critical stance. Recycling urban wasteful rubble into an aesthetic object, these photo artists generate alternative visions of urban development and its consequent demolition and contribute to the negotiation of the meaning of the ruin.展开更多
Consider a nonstandard continuous-time bidimensional risk model with constant force of interest,in which the two classes of claims with subexponential distributions satisfy a general dependence structure and each pair...Consider a nonstandard continuous-time bidimensional risk model with constant force of interest,in which the two classes of claims with subexponential distributions satisfy a general dependence structure and each pair of the claim-inter-arrival times is arbitrarily dependent.Under some mild conditions,we achieve a locally uniform approximation of the finite-time ruin probability for all time horizon within a finite interval.If we further assume that each pair of the claim-inter-arrival times is negative quadrant dependent and the two classes of claims are consistently-varying-tailed,it shows that the above obtained approximation is also globally uniform for all time horizon within an infinite interval.展开更多
This paper examines the inextricable relationship between the uncanny effects of knocking down Shanghai’s central district and their traumatic post-colonial implications.The value of the Chinese ruin,with its apocaly...This paper examines the inextricable relationship between the uncanny effects of knocking down Shanghai’s central district and their traumatic post-colonial implications.The value of the Chinese ruin,with its apocalyptic and contemporary imagery,begs to be discussed from a western perspective of ruin admiration as a metaphor for decadence and melancholy.This points to a new consciousness of globalization as means of conceptualizing well-established post-colonial orders at the heart of the urban deterioration of cityscapes.As a potential concept to spark a dialogue of cosmopolitanism between China and the west,urban ruins can be analyzed as a transnational,creative ethos that reimagines the Chinese city as never before.Taking the work of the Canadian photographer Greg Girard(born 1955),this article examines how his photograph book presents a cosmopolitan image of Shanghai’s derelict‘community lanes’(longtang or lilong)built in the city’s International Concessions(1842–1949),in which the past,present,and future are interwoven and redeemed.The authors argue that his ruin photography not only retriggers material knowledge of the city but also repurposes transcultural and creative expressions of mutually spectral moments of destruction and production between the east and the west,in which a myriad of potential features are discovered.展开更多
This discussion interrogates the ruins of Beichuan, a county town in North Sichuan that was destroyed and rendered uninhabitable by the 2008 Wenchuan earthquake. Those ruins exist today in two principal forms. The rem...This discussion interrogates the ruins of Beichuan, a county town in North Sichuan that was destroyed and rendered uninhabitable by the 2008 Wenchuan earthquake. Those ruins exist today in two principal forms. The remains of the original townsite have been evacuated and opened to the public as an open-air memorial; and earthquake museums have preserved artifacts recovered from the townsite and organized them alongside supporting texts, images, exhibits, dioramas, and amusement attractions. The ghost town, it is argued, ruptures the reform-era sense of national progress and development, forcing its observers and participants to acknowledge loss and absence. Connecting to a wider discourse, the National Earthquake Memorial Museum （NEMM） attempts to piece that sensibility back together by creating a particular memory of the massive state-led relief effort, by ＂disciplining＂ the catastrophe through inquiry and education, and by sublimating the earthquake through science, planning, and building. Although they remain emotionally separate, the ruins and NEMM have a natural tension with one another. Away from the epicenter, the privately managed Wenchuan Earthquake Museum （WEM） combines ruins and narrative to capture the ＂strange objectivity＂ that comes from any effort to make sense of what is ultimately insensible.展开更多
This paper examines the layered nostalgia embodied by one specific spatiotemporal site, the war-torn Republican capital of Nanjing, in Bai Xianyong＇s 1971 collection of short stories Taipei People and in Ye Zhaoyan＇...This paper examines the layered nostalgia embodied by one specific spatiotemporal site, the war-torn Republican capital of Nanjing, in Bai Xianyong＇s 1971 collection of short stories Taipei People and in Ye Zhaoyan＇s 1996 novel Nanjing 1937： A Love Story. Both Nanjing＇s historical reputation as an ancient capital for several short-lived dynasties and its special role in narrating Chinese identity and cultural traditions across the 1949 divide contribute to the city＇s symbolic significance in the literary tradition of ruin gazing. In the two texts under discussion, the layered ruins of Republican Nanjing--reminiscent of the decadent Six Dynasties （220-589） and witnessing the historical violence and physical as well as metaphorical dislocation resulting from World War II and the Chinese Civil War--constitute an ideal site for reflecting upon not only personal and national traumas but also traditional-modern tensions from diversified stances and angles. The related but divergent trajectories taken by Bai＇s and Ye＇s nostalgic gaze--one projected from the United States in the 196os by way of post-1949 Taipei and the other geographically located in contemporary Nanjing but culturally distanced from it--form an interesting dialogue, which may shed light on the fluidity of ruin gazing at a nexus of identity questions with reference to the embrace of modernity.展开更多
In his book Time in Ruins, the French anthropologist Marc Auge pointed out that Hhumanity is not in ruins, it is being built." These words well fit both the present-day Chinese context and the figurative trend of...In his book Time in Ruins, the French anthropologist Marc Auge pointed out that Hhumanity is not in ruins, it is being built." These words well fit both the present-day Chinese context and the figurative trend of new shanshuihua in which construction sites, cityscapes and artificial nature territories become the subject of depiction. New iconic elements that provide a visual and conceptual framework for artists' construction of a different shanshui-type heavily indebted to Chinese social and environmental changes, these new coded depictions substitute the traditional representation of natural landscape, reflect the rise of a new sensibility about nature and challenge the idea of what landscape is in the context of Chinese contemporary art. By focusing on a variety of works related to the theme of art讦icial nature and representing paradigmatic images of physical and allegorical landscape, this paper aims to explore this visual and conceptual innovations introduced in the context of new shanshuihua and analyze the way in which artists use nature, trying to find a new aesthetic categorization for this artistic genre.展开更多
LOCATED in the northwestern outskirts of Beijing, the world-renowned Yuanmingyuan was built as an imperial playground during the flourishing period of the Qing Dynasty (1644-1911). Yuanmingyuan included three separate...LOCATED in the northwestern outskirts of Beijing, the world-renowned Yuanmingyuan was built as an imperial playground during the flourishing period of the Qing Dynasty (1644-1911). Yuanmingyuan included three separate areas: The Garden of Perfect Splendor, The Garden of Everlasting Spring and The Garden of Blossoming Sping (later renamed as the Garden of Ten Thousand Spring Seasons). The three gardens covered an area of展开更多
文摘Ruins of Liangzhu City,once the center of power and belief of Liangzhu Culture,reveals an early regional state once existed in「aihu Lake area in the downstream region ol Yangtze River in I ate Neolithic China,based on rice cultivation,with obvious social dififerentiati on and unified belief system.
文摘With the adjustment of urban industrial structure,a large number of ruins have emerged in cities,and the waste materials left by these ruins not only occupy urban space resources,but also seriously damage the ecological environment.How to identify the value of waste materials through landscape thinking and how to rationally reuse these waste materials through landscape methods is the focus of this paper.
文摘GPM technique(Precisely Magnetic Observing Technique and ExplanationMethod),which we got through about ten years study,is an efficient method to exploreoccult fault.Facts have proved that it has brilliant application prospects in exploring buriedrelics. The analytic foundation of GPM technique exploration depends on magnetic variationof the Culture layer,Corresponding requirments of observing technique are very rigid andCredence of data is very high. By means of the most advanced type of highly precise proton magnetic appratus in theworld at present,GPM technique can gives accurate determinations of distributive Situa-tion of buried ancient ruins and can reliably determines relics of ancient graves,ancientbuildings,ancient walls and ancient Canals etc.as well as ancient objects of ironwares,bronzes,sunkenboats,pottery and chinaware etc. By use of GPM technique,target localizations are accurate within 0.5 metre and errorof buried depth is no more than 0.5 metre.
文摘APPROXIMATELY 6,000-7,000years ago China’s primitive so-ciety gradually progressed toits prosperous period.The body shapeof peopel at that time was entirely thesama as modern people.Primitive agriculture started,people began to raise livestock and live a more sedentary life.Clan villages appeared.However,because of natural disasters and other factors,the primitive people had to constantly change their habitats.Over time,these habitats submerged into ruins,which became bases for archaeologistss in their study of primitive man and his social conditions.
文摘LESS than a month after two deadly explosions ripped through a warehouse in the Binhai New Area of Tianjin, a municipality in north China, on August 12. schools in the area reopened on September 1.
基金based on the Safeguarding Cultural Heritage through Technical and Organisational Resources Management(STORM)project,funded by the European Union’s Horizon 2020 Research and Innovation Programme under Grant Agreement no.700191.
文摘This article contributes to developing an indicator-based vulnerability assessment framework for cultural heritage sites.It provides a vulnerability index for heritage sites potentially exposed to multiple hazards,including sudden-onset and slow-onset hazards,while considering climate change influences.Through determining particular criteria and indicators,the Cultural Heritage Vulnerability Index incorporates structural and non-structural factors of the heritage site and its local and national settings.The assessment procedure was applied to the case of the Roman Ruins of Tróia in Portugal.The findings highlight those areas of sensitivity(e.g.,the existing deterioration patterns and types of foundation)and coping and adaptive capacities(e.g.,institutional setting and response plan)that significantly contribute to the level of vulnerability and risk.The results of vulnerability assessment will further enable determining priorities and developing risk mitigation and preparedness measures,in particular reducing structural sensitivity and promoting coping capacities.
文摘At the turn of the twenty-first century, contemporary art from China has displayed a recurrent engagement with urban ruins. Painting, performance, film, and photography have turned the rubble of demolition and construction works, an outcome of the vast urban development programs of the past few decades, into a powerful symbol of China＇s contemporary milieu. Critical and academic approaches to contemporary Chinese art have rightly inquired about the meaning of these ruins, in a process that has also reevaluated the place of these images in the representational traditions of China. Starting with these academic perspectives, this paper situates images of ruination in contemporary Chinese art in dialogue with transnational debates on the meaning and epistemology of the ruin, to argue for an essential element of constructedness in the representations of ruins. Photographic series by Wang Qingsong, Jiang Pengyi, and Yang Yongliang are analyzed as examples of an active appropriation of the process of ruin creation from a critical stance. Recycling urban wasteful rubble into an aesthetic object, these photo artists generate alternative visions of urban development and its consequent demolition and contribute to the negotiation of the meaning of the ruin.
基金Supported by the Natural Science Foundation of China(12071487,11671404)the Natural Science Foundation of Anhui Province(2208085MA06)+1 种基金the Provincial Natural Science Research Project of Anhui Colleges(KJ2021A0049,KJ2021A0060)Hunan Provincial Innovation Foundation for Postgraduate(CX20200146)。
文摘Consider a nonstandard continuous-time bidimensional risk model with constant force of interest,in which the two classes of claims with subexponential distributions satisfy a general dependence structure and each pair of the claim-inter-arrival times is arbitrarily dependent.Under some mild conditions,we achieve a locally uniform approximation of the finite-time ruin probability for all time horizon within a finite interval.If we further assume that each pair of the claim-inter-arrival times is negative quadrant dependent and the two classes of claims are consistently-varying-tailed,it shows that the above obtained approximation is also globally uniform for all time horizon within an infinite interval.
文摘This paper examines the inextricable relationship between the uncanny effects of knocking down Shanghai’s central district and their traumatic post-colonial implications.The value of the Chinese ruin,with its apocalyptic and contemporary imagery,begs to be discussed from a western perspective of ruin admiration as a metaphor for decadence and melancholy.This points to a new consciousness of globalization as means of conceptualizing well-established post-colonial orders at the heart of the urban deterioration of cityscapes.As a potential concept to spark a dialogue of cosmopolitanism between China and the west,urban ruins can be analyzed as a transnational,creative ethos that reimagines the Chinese city as never before.Taking the work of the Canadian photographer Greg Girard(born 1955),this article examines how his photograph book presents a cosmopolitan image of Shanghai’s derelict‘community lanes’(longtang or lilong)built in the city’s International Concessions(1842–1949),in which the past,present,and future are interwoven and redeemed.The authors argue that his ruin photography not only retriggers material knowledge of the city but also repurposes transcultural and creative expressions of mutually spectral moments of destruction and production between the east and the west,in which a myriad of potential features are discovered.
文摘This discussion interrogates the ruins of Beichuan, a county town in North Sichuan that was destroyed and rendered uninhabitable by the 2008 Wenchuan earthquake. Those ruins exist today in two principal forms. The remains of the original townsite have been evacuated and opened to the public as an open-air memorial; and earthquake museums have preserved artifacts recovered from the townsite and organized them alongside supporting texts, images, exhibits, dioramas, and amusement attractions. The ghost town, it is argued, ruptures the reform-era sense of national progress and development, forcing its observers and participants to acknowledge loss and absence. Connecting to a wider discourse, the National Earthquake Memorial Museum （NEMM） attempts to piece that sensibility back together by creating a particular memory of the massive state-led relief effort, by ＂disciplining＂ the catastrophe through inquiry and education, and by sublimating the earthquake through science, planning, and building. Although they remain emotionally separate, the ruins and NEMM have a natural tension with one another. Away from the epicenter, the privately managed Wenchuan Earthquake Museum （WEM） combines ruins and narrative to capture the ＂strange objectivity＂ that comes from any effort to make sense of what is ultimately insensible.
文摘This paper examines the layered nostalgia embodied by one specific spatiotemporal site, the war-torn Republican capital of Nanjing, in Bai Xianyong＇s 1971 collection of short stories Taipei People and in Ye Zhaoyan＇s 1996 novel Nanjing 1937： A Love Story. Both Nanjing＇s historical reputation as an ancient capital for several short-lived dynasties and its special role in narrating Chinese identity and cultural traditions across the 1949 divide contribute to the city＇s symbolic significance in the literary tradition of ruin gazing. In the two texts under discussion, the layered ruins of Republican Nanjing--reminiscent of the decadent Six Dynasties （220-589） and witnessing the historical violence and physical as well as metaphorical dislocation resulting from World War II and the Chinese Civil War--constitute an ideal site for reflecting upon not only personal and national traumas but also traditional-modern tensions from diversified stances and angles. The related but divergent trajectories taken by Bai＇s and Ye＇s nostalgic gaze--one projected from the United States in the 196os by way of post-1949 Taipei and the other geographically located in contemporary Nanjing but culturally distanced from it--form an interesting dialogue, which may shed light on the fluidity of ruin gazing at a nexus of identity questions with reference to the embrace of modernity.
文摘In his book Time in Ruins, the French anthropologist Marc Auge pointed out that Hhumanity is not in ruins, it is being built." These words well fit both the present-day Chinese context and the figurative trend of new shanshuihua in which construction sites, cityscapes and artificial nature territories become the subject of depiction. New iconic elements that provide a visual and conceptual framework for artists' construction of a different shanshui-type heavily indebted to Chinese social and environmental changes, these new coded depictions substitute the traditional representation of natural landscape, reflect the rise of a new sensibility about nature and challenge the idea of what landscape is in the context of Chinese contemporary art. By focusing on a variety of works related to the theme of art讦icial nature and representing paradigmatic images of physical and allegorical landscape, this paper aims to explore this visual and conceptual innovations introduced in the context of new shanshuihua and analyze the way in which artists use nature, trying to find a new aesthetic categorization for this artistic genre.
文摘LOCATED in the northwestern outskirts of Beijing, the world-renowned Yuanmingyuan was built as an imperial playground during the flourishing period of the Qing Dynasty (1644-1911). Yuanmingyuan included three separate areas: The Garden of Perfect Splendor, The Garden of Everlasting Spring and The Garden of Blossoming Sping (later renamed as the Garden of Ten Thousand Spring Seasons). The three gardens covered an area of
