From the perspective of formation,development and connotation of Wu-Yue cultures cultural characteristics of Wu-Yue architecture were systematically summarized as integrated architectural layout and water,proper combi...From the perspective of formation,development and connotation of Wu-Yue cultures cultural characteristics of Wu-Yue architecture were systematically summarized as integrated architectural layout and water,proper combination of architecture,religion and culture,unified architectural language,elegant colors,plain building materials and exquisite craft;spiritual peculiarity of Wu-Yue Culture was concluded as inclusive and tolerant,simple but clever;practical and truthful,pioneering and self-transcending.Orientations for architectural style of Meizhu Town were proposed as orderly and rhythmic layouts,abandoning redundancy and pursuing concision,elegant and comfortable,natural and harmonious,proper innovations.展开更多
Abstract Dating back to at least the Han dynasty, calligraphy has been a powerful object of culture and a medium of elite education, document preparation, and character evaluation. Discourses surrounding rulers and ca...Abstract Dating back to at least the Han dynasty, calligraphy has been a powerful object of culture and a medium of elite education, document preparation, and character evaluation. Discourses surrounding rulers and calligraphy form an important sub-strand in materials on calligraphy, and these accounts often depict calligraphy as a vehicle capable of reflecting a ruler＇s moral character. This paper explores narratives that blame early Tang women power-holders, in particular, the Taiping and Anle Princesses, for borrowing and subsequently losing precious calligraphic items that were considered the authentic work of Wang Xizhi. The analysis focuses on the ways in which the different narratives describe the physical movement or location of the Wang Xizhi pieces in relation to contemporary rule and factional politics. The narratives interpret the calligraphic manuscripts as an example of the cultural inheritance, to which the ruler should properly relate in particular ways. In this way, the fate of the Wang Xizhi artifacts is understood in terms of the complex relationship between imperial power and the court＇s cultural legacy.展开更多
基金Supported by Key Research Programs of Shanghai Business School(No.943306)~~
文摘From the perspective of formation,development and connotation of Wu-Yue cultures cultural characteristics of Wu-Yue architecture were systematically summarized as integrated architectural layout and water,proper combination of architecture,religion and culture,unified architectural language,elegant colors,plain building materials and exquisite craft;spiritual peculiarity of Wu-Yue Culture was concluded as inclusive and tolerant,simple but clever;practical and truthful,pioneering and self-transcending.Orientations for architectural style of Meizhu Town were proposed as orderly and rhythmic layouts,abandoning redundancy and pursuing concision,elegant and comfortable,natural and harmonious,proper innovations.
文摘Abstract Dating back to at least the Han dynasty, calligraphy has been a powerful object of culture and a medium of elite education, document preparation, and character evaluation. Discourses surrounding rulers and calligraphy form an important sub-strand in materials on calligraphy, and these accounts often depict calligraphy as a vehicle capable of reflecting a ruler＇s moral character. This paper explores narratives that blame early Tang women power-holders, in particular, the Taiping and Anle Princesses, for borrowing and subsequently losing precious calligraphic items that were considered the authentic work of Wang Xizhi. The analysis focuses on the ways in which the different narratives describe the physical movement or location of the Wang Xizhi pieces in relation to contemporary rule and factional politics. The narratives interpret the calligraphic manuscripts as an example of the cultural inheritance, to which the ruler should properly relate in particular ways. In this way, the fate of the Wang Xizhi artifacts is understood in terms of the complex relationship between imperial power and the court＇s cultural legacy.
