The main colors of the Forbidden City are Red and Yellow,which can represent rich cultural deposits.According to the Chinese traditional culture,the Red of the Forbidden City has always been regarded as a positive col...The main colors of the Forbidden City are Red and Yellow,which can represent rich cultural deposits.According to the Chinese traditional culture,the Red of the Forbidden City has always been regarded as a positive color of celebration,conveying dignity and happiness.The Yellow color is usually considered as a promising color,and represents a bumper harvest.Based on the principle of the Five Elements,Fire is red,which means breeding and encouragement,and shows prosperity and a solid foundation for the country.Yellow represents Winged Dragon,belonging to the Center of the Earth,and symbolizes the divine right of emperors.Therefore,the color of the Forbidden City(see Figure 1)is of great significance to the development of history and the revival of culture.We still need to work determinedly for the protection of the cultural heritages,so that more people can have the opportunity to understand the brilliance of Chinese civilization.展开更多
Ancient mechanical clocks and automatons are solid evidence regarding the evolution of technological development.At least four ingenious eighteenth-century clocks with pagoda automatons are preserved in the Palace Mus...Ancient mechanical clocks and automatons are solid evidence regarding the evolution of technological development.At least four ingenious eighteenth-century clocks with pagoda automatons are preserved in the Palace Museum in Beijing.Two were made in China,the other two in Britain.Although the internal mechanical components were maintained and recorded in the late twentieth century,their mechanism structure is mostly not made available to the public owing to the historical value of these artefacts.This study introduces feasible mechanism structures for the four pagoda automatons based on published works,along with considerations of mechanical design.Five subsystems of the clocks are analyzed,and two mechanisms of the pagoda automaton are illustrated.In particular,feasible mechanisms of the four pagoda automatons for raising their stories are explained.The analysis procedure presented in this paper expands the feasibility of reconstruction work on ancient mechanisms with unknown structures.展开更多
BERNARDO Bertolucci’s film, The Last Emperor, drew its Western audience into a mystic, grandiose, oriental palace that was the Forbidden City, leaving them awestruck at the
Notes:1.The Old Forbidden city refersto the former inperial palace of theMing Dynasty.Now the site hasbecome a park open to he public.2.Nanjing was called Moling inthe Qin Dynasty.3.Phoenix-patterned banners refer to ...Notes:1.The Old Forbidden city refersto the former inperial palace of theMing Dynasty.Now the site hasbecome a park open to he public.2.Nanjing was called Moling inthe Qin Dynasty.3.Phoenix-patterned banners refer to the banners on chariots used by the Qing emperors.4.The Yin(Shang)Dynasty overthrew the Xia Dynasty,but later was overthrown by the Zhou Dynasty.Here the poet warns his descendants that they should take a展开更多
As the symbol of China’s feudal reign during the Ming and Qing dynasties (1368-1911),Beijing’s Forbidden City rep-resents all that is rich and cre-ative about China’s history andancient archi-
This paper analyses the decorative polychrome painting of architectural members(caihua)that has survived in the Hall of Mental Cultivation(Yangxindian)in the Forbidden City,Beijing.Beginning with the Yongzheng e...This paper analyses the decorative polychrome painting of architectural members(caihua)that has survived in the Hall of Mental Cultivation(Yangxindian)in the Forbidden City,Beijing.Beginning with the Yongzheng emperor,the Hall of Mental Cultivation was the residence and centre of daily governance for Chinese emperors.Combining information gained through on-site surveys and scaled drawings executed during a recent conservation project with evidence from historical records and other sources,this study finds that the remaining decorative polychrome painting can be dated to four different historical phases:the reign of the Jiajing emperor;the late Ming and early Qing dynasties;the reign of the Qianlong emperor;and the late Qing Dynasty and beginning of the Republic of China.It reveals that the designs of decorative polychrome painting on architectural members are closely related to changes in the functions of the buildings and imperial use.As part of an investigative conservation project,the study aims to provide a reliable basis for the conservation and repair work in the next step.展开更多
Behind what is called "Needham's Grand Question" (why was China overshot by the West in science and technology?) lies a deeper question of how China came to lose the capacity of deeply reflective thought clearly...Behind what is called "Needham's Grand Question" (why was China overshot by the West in science and technology?) lies a deeper question of how China came to lose the capacity of deeply reflective thought clearly present in the ancient Chinese philosophers. This is a loss felt by all Chinese as a psychological sense of hollowness, a loss of identity, made worse by the seeming inaccessibility of the ancient Chinese wisdom to the modern Chinese mind. It is clear that at some historical point China suffered an extreme psychological blow sufficient to traumatise it at the threshold of reflective thought, unable to look inwards any more. The paper identifies that point as the utter devastation wrought by Kublai Khan and the Mongols 750 years ago. What devastates reflective thought is wilfulness, the insistent focusing of all attention and energy on external, material things, and Kublai Khan was wilful in the extreme. What confirms this as the crippling point is that, in response to Kublai Khan's Mongol invasion the Chinese, over time, not only completely altered the geography of China itself, moving their capital to the North (Beijing), but have ever since fought to establish as "China" all the territory over which Kublai Khan ruled. China is clearly not free of Kublai Khan's shadow. But even more precisely, in the process of doing this--and showing their own wilfulness--in building the Forbidden City in Beijing they built it in the shape of the Chinese metaphysical model of the universe, the Chinese version of the Tree of Life metaphysical glyph But it has an error in it. And the error is precisely that in where it places things, it makes what would have been the attributes of reflective thought subservient to wilfulness. The model itself thus shows the hollowness of the Chinese mind from that moment on. The outer form--the "appearance"---of the ancient wisdom was still there. But the content--the "substance"--of it was not. And with no reflective thought, true creativity disappears.展开更多
FOR much of China’s history, the city of Beijing has been the nation’s capital.Thus it boasts a wealth of ancient cultural treasures, including buildings, parks and monuments. These are five of the better ones.
Tourists’ authentic perceptions are crucial for the development of world heritage resources. The paper focuses on exploring the relationships between tourists’ authentic perceptions and authenticity-based tourism de...Tourists’ authentic perceptions are crucial for the development of world heritage resources. The paper focuses on exploring the relationships between tourists’ authentic perceptions and authenticity-based tourism development of world heritage. Through the empirical study on the Forbidden City in Beijing, we find that the relationships between the above two factors can be simulated by the model of set theory in algebra. As a result, five types of set relationships are proposed: “separation relation”, “intersection relation”, “inclusion relation I”,“inclusion relation II” and “superposition relation”. According to sample distribution rules, the set relationships can be further divided into primary set relationships and secondary set relationships. The study on set relationships based on demographic characteristic of tourists by using two-way analysis of variance method shows that the tourists in different groups of gender, ages, levels of education, visit frequencies and levels of early perspectives have different perceptions for the set relationships. The ifndings in this paper are helpful for identifying effects of the authenticity-based exploitation of world heritage resources and proposing future strategies for world heritage resources from tourists’ authentic perspectives.展开更多
文摘The main colors of the Forbidden City are Red and Yellow,which can represent rich cultural deposits.According to the Chinese traditional culture,the Red of the Forbidden City has always been regarded as a positive color of celebration,conveying dignity and happiness.The Yellow color is usually considered as a promising color,and represents a bumper harvest.Based on the principle of the Five Elements,Fire is red,which means breeding and encouragement,and shows prosperity and a solid foundation for the country.Yellow represents Winged Dragon,belonging to the Center of the Earth,and symbolizes the divine right of emperors.Therefore,the color of the Forbidden City(see Figure 1)is of great significance to the development of history and the revival of culture.We still need to work determinedly for the protection of the cultural heritages,so that more people can have the opportunity to understand the brilliance of Chinese civilization.
基金the collaborative research program between the Science Museum in London,Beijing Jiaotong University,and the Institute for the History of Natural Sciences(Chinese Academy of Sciences)on“Time,Culture and Identity:The Co-Creation of Historical Research and Co-Development of Visitor Experience in China and the UK”supported by the UK’s Arts and Humanities Research Council
文摘Ancient mechanical clocks and automatons are solid evidence regarding the evolution of technological development.At least four ingenious eighteenth-century clocks with pagoda automatons are preserved in the Palace Museum in Beijing.Two were made in China,the other two in Britain.Although the internal mechanical components were maintained and recorded in the late twentieth century,their mechanism structure is mostly not made available to the public owing to the historical value of these artefacts.This study introduces feasible mechanism structures for the four pagoda automatons based on published works,along with considerations of mechanical design.Five subsystems of the clocks are analyzed,and two mechanisms of the pagoda automaton are illustrated.In particular,feasible mechanisms of the four pagoda automatons for raising their stories are explained.The analysis procedure presented in this paper expands the feasibility of reconstruction work on ancient mechanisms with unknown structures.
文摘BERNARDO Bertolucci’s film, The Last Emperor, drew its Western audience into a mystic, grandiose, oriental palace that was the Forbidden City, leaving them awestruck at the
文摘Notes:1.The Old Forbidden city refersto the former inperial palace of theMing Dynasty.Now the site hasbecome a park open to he public.2.Nanjing was called Moling inthe Qin Dynasty.3.Phoenix-patterned banners refer to the banners on chariots used by the Qing emperors.4.The Yin(Shang)Dynasty overthrew the Xia Dynasty,but later was overthrown by the Zhou Dynasty.Here the poet warns his descendants that they should take a
文摘As the symbol of China’s feudal reign during the Ming and Qing dynasties (1368-1911),Beijing’s Forbidden City rep-resents all that is rich and cre-ative about China’s history andancient archi-
文摘This paper analyses the decorative polychrome painting of architectural members(caihua)that has survived in the Hall of Mental Cultivation(Yangxindian)in the Forbidden City,Beijing.Beginning with the Yongzheng emperor,the Hall of Mental Cultivation was the residence and centre of daily governance for Chinese emperors.Combining information gained through on-site surveys and scaled drawings executed during a recent conservation project with evidence from historical records and other sources,this study finds that the remaining decorative polychrome painting can be dated to four different historical phases:the reign of the Jiajing emperor;the late Ming and early Qing dynasties;the reign of the Qianlong emperor;and the late Qing Dynasty and beginning of the Republic of China.It reveals that the designs of decorative polychrome painting on architectural members are closely related to changes in the functions of the buildings and imperial use.As part of an investigative conservation project,the study aims to provide a reliable basis for the conservation and repair work in the next step.
文摘Behind what is called "Needham's Grand Question" (why was China overshot by the West in science and technology?) lies a deeper question of how China came to lose the capacity of deeply reflective thought clearly present in the ancient Chinese philosophers. This is a loss felt by all Chinese as a psychological sense of hollowness, a loss of identity, made worse by the seeming inaccessibility of the ancient Chinese wisdom to the modern Chinese mind. It is clear that at some historical point China suffered an extreme psychological blow sufficient to traumatise it at the threshold of reflective thought, unable to look inwards any more. The paper identifies that point as the utter devastation wrought by Kublai Khan and the Mongols 750 years ago. What devastates reflective thought is wilfulness, the insistent focusing of all attention and energy on external, material things, and Kublai Khan was wilful in the extreme. What confirms this as the crippling point is that, in response to Kublai Khan's Mongol invasion the Chinese, over time, not only completely altered the geography of China itself, moving their capital to the North (Beijing), but have ever since fought to establish as "China" all the territory over which Kublai Khan ruled. China is clearly not free of Kublai Khan's shadow. But even more precisely, in the process of doing this--and showing their own wilfulness--in building the Forbidden City in Beijing they built it in the shape of the Chinese metaphysical model of the universe, the Chinese version of the Tree of Life metaphysical glyph But it has an error in it. And the error is precisely that in where it places things, it makes what would have been the attributes of reflective thought subservient to wilfulness. The model itself thus shows the hollowness of the Chinese mind from that moment on. The outer form--the "appearance"---of the ancient wisdom was still there. But the content--the "substance"--of it was not. And with no reflective thought, true creativity disappears.
文摘FOR much of China’s history, the city of Beijing has been the nation’s capital.Thus it boasts a wealth of ancient cultural treasures, including buildings, parks and monuments. These are five of the better ones.
基金National Natural Science Foundation of China(Grant No.41371008)
文摘Tourists’ authentic perceptions are crucial for the development of world heritage resources. The paper focuses on exploring the relationships between tourists’ authentic perceptions and authenticity-based tourism development of world heritage. Through the empirical study on the Forbidden City in Beijing, we find that the relationships between the above two factors can be simulated by the model of set theory in algebra. As a result, five types of set relationships are proposed: “separation relation”, “intersection relation”, “inclusion relation I”,“inclusion relation II” and “superposition relation”. According to sample distribution rules, the set relationships can be further divided into primary set relationships and secondary set relationships. The study on set relationships based on demographic characteristic of tourists by using two-way analysis of variance method shows that the tourists in different groups of gender, ages, levels of education, visit frequencies and levels of early perspectives have different perceptions for the set relationships. The ifndings in this paper are helpful for identifying effects of the authenticity-based exploitation of world heritage resources and proposing future strategies for world heritage resources from tourists’ authentic perspectives.