Medieval mausoleums of Kazakhstan: Genesis, architectural features, major centres

This article details the origin and development of one of the core groups of the Central Asian (Kazakhstani) medieval architecture - i.e. domed mausoleums;also it identifies the original traits of the medieval Kazakhstani mausoleums and their major locations centres. As determined by the authors so called "dual code' was used as per building of medieval Central Asian mausoleums one of which corresponded to the generalized image of domed tomb as per the new ideology (Islam), and the second one matched the existing local forms and their decorative elements. Subsequently following several major compositional types of the Central Asian (Kazakhstan) mausoleums were formed and later on became standard i. e.- central, frontai, portal-domed ones. They served as the foundation for numerous architectural 'schools' in Kazakhstan which developed further specific building structures, their details,elements proportions,facades divisions, decor, etc. In accorda nee with this, the gen esis and main ways of forming the mausoleums on the territory of Kazakhstan was as follows - from singlechamber (central mausoleums,"facade" and portal ones) compositions up to multi-chamber ones, Also compositional features & specifics of the monuments of the main regional centres were revealed in the article.

Narratives in Mamluk architecture： Spatial and perceptual analyses of the madrassas and their mausoleums

Mamluk sultans were known for their patronage of the arts and architecture. Their educational institutions were among the wide array of architectural projects that linked them as ruling elites to the religious scholars of their times. Their tombs were placed in a mausoleum attached to their educational-religious complexes to attest to their legacy. The evolution of their buildings such that both educational and memorial functions are integrated with the dense surroundings is scrutinized through chronological-spatial analysis. The configuration of the built form, the disposition of its boundaries, its patterns of accessibility, and its visual properties are the features that present the buildings to one＇s experience and bring certain perceptions into play. In this study, various spatial descriptor tools of space syntax are employed to analyze the data of 14 Mamluk examples （1260-1517A.D.） and capture the differences in the experience where the expression is preserved. Analyses of the configurational characteristics, axial attributes, visibility structures, and isovists highlight how the spatial and formal properties of the layouts were used to express certain representational relationships. The advantages of combining different spatial investigations allows for understanding historical design principles and how the geometry of forms could hide in its abstract rules, conceptual and perceptual qualities.

汉阳陵生态修复过程中景观要素表达形式的研究

1汉阳陵基本概况汉阳陵是汉景帝刘启及其皇后王氏同茔异穴的合葬陵园,据历史记载,其始建于公元前153年,气势宏大,是迄今发现的布局最为完整的西汉帝王陵园。汉阳陵位于今陕西省咸阳市渭城区正阳镇张家湾后沟村北的咸阳原上,地跨咸阳市渭城区、泾阳县、高陵县3县区。陵区东邻西铜高速公路,

五陵原帝陵文化遗产主题体验精品旅游走廊开发探讨(英文)

Cultural heritage of emperor's tomb of Wulingyuan Mausoleum lies in Xianyang which is located at north-central of Guanzhong Plain and which is the central area of Guanzhong-Tianshui economic development zone.With special geographical position and excellent location condition,it is the important tourism resource and archaeological remains in Shaanxi Province.By using relevant knowledge on tourism,in the perspective of development principle,necessity,feasibility,construction strategy and thought of top-quality tourism corridor with cultural heritage of emperor's tomb of Wulingyuan Mausoleum as theme experience,the author systematically explained the mode elements and value of experiential tourism products,and publicized the tourism resources to a certain extent.On the basis of publicity,the author strived to provide reference for the sustainable development of economy and ecology in this region.

A Study Into Marketing Strategies for Promoting Cultural and Creative Products of Emperor Qinshihuang’s Mausoleum Site Museum in New Era

China’s booming economy and the growing demand of urban middle class are creating a favorable situation for the development of domestic cultural and creative industry.The consumption pattern has changed and families spend more outlay on cultural products and services.Within this flourishing industry,many museums caught development opportunities and began to get profit through successfully promoting their own cultural and creative products.However,it is unusual that Emperor Qinshihuang’s Mausoleum Site Museum,enjoying high social status and a reputation for world cultural heritage as well as a national 5A level tourist attraction,regretfully,did not achieve noticeable achievements in this area.Therefore,based on STP theory,the purpose of this paper is to study the reasons why this museum fails to fulfill its potential in promising cultural and creative industry and give some suggestions to the development and promotion of its cultural and creative goods.

The Ancient Charm of the southern Dynasty Mausoleum Stone Carvings

IN the Qthe field to the south-east of Naning there Squat several stone aniInals. These sfoneanimals of the Southern Dynasty(420-557 A.D.) tombs are treasurs ofart emforying the cfor Of Naningcapital of sin dynastieS.

Mausoleum of Emperor Yan

THE MAUSOLEUM is in a lovely spot,shaded by an-cient trees and surrounded by structures with charming names:Yongfeng(Celebrating Harvest)Pav-ilion,Weicao(Fragrant Herbs)Pav-ilion,Chongde(Admiring Virtue)Arch,Luyuan(Deer Plain)Cave,Xiyao(Washing Medicinal Herbs)Pool and Longnao(Dragon Brain)Stone.

The Yellow Emperor's Mausoleum

The final resting place of China's legendary ancestor sits in a forest on top of Mount Qiao,an imposing place for hundreds of thousands to come to every year and reflet om what it means to be Chine....

Mausoleum of the First Qin Emperor

An area of both outstanding human creativity and pristine natural landscapes

The Literary Imagination of the White Pagoda and Dynastic Change in Early Ming Hangzhou

This article examines the literary imaginations of the White Pagoda and demonstrates a shift in its representation from a metaphor for the Song court＇s fate to a fantastic site for the subjugation of unworldly beings. In the late thirteenth century, the Yuan-appointed Tibetan Buddhist monk Yang Lianzhenjia exhumed the imperial mausoleums of the defeated Southern Song, built the White Pagoda on the site of the old Southern Song palace in Hangzhou, and interred the exhumed bones under it. Enthusiastic Song loyalists thus considered the White Pagoda to be a symbol of a humiliating past in which the Mongol Yuan dynasty occupied the south. Meanwhile, Qu You, an early-Ming writer from Hangzhou, began to imagine that the White Pagoda served to pacify the innocent, lonely dead who died during the Song-Yuan social disturbance. Investigating the discourse of the early Ming literati in regard to the pagoda site and the supernatural in early Ming Hangzhou leads to the conclusion that the literary imagination of the White Pagoda would have also contributed to the development of the White Snake Legend, where a white serpent spirit was subdued under Thunder Peak Pagoda in Hangzhou.

Microelement analysis of source of raw materials of terracotta warriors and horses of Qin's Mausoleum in pits No.1 and No.2

In order to search for sources of the raw material of the Qin’s terracotta warriors and horses, we selected 20 samples of pottery warriors and pottery horses of the Qin’s Mausoleum from pit No. 1,19 samples of pottery warriors and brick from pit No. 2, 20 samples of clays near the Qin’s Mausoleum and 2 samples of Yaozhou porcelain bodies. The 32 kinds of element content of each sample were measured by neutron activation analysis (NAA). These data were analyzed by fuzzy cluster analysis, the trend cluster analysis diagram was obtained. The results showed that samples of terracotta warriors and horses from pits No.1 and No. 2 were closely related to the loam layer near Qin’s Mausoleum, but their relations with the loess layers were not so close, and they were out of all relation to Yaozhou porcelain bodies. Thus, it could be deduced that the Li Mountain clay may be considered as the original place of the raw materials of the terracotta warriors and horses, the kiln sites might be located nearby the Qin’s