沈阳故宫建筑满族风格中的佛教特点

沈阳故宫系清代“盛京宫殿”。始建于后金天命十年(1625),清崇德元年(1636)初具规模,清乾隆时期又有所增建。全部建筑七十余所,三百多间,是现存的清代唯一的按满民族风格和需要设计建造的皇家宫殿,布局规整严谨,具有浓郁的民族特色,特别是一些宫殿的建筑结构和装饰引用佛教艺术题材,这在一定程度上丰富和提高了其建筑的艺术性,并与其它建筑特点一起,体现了清代特别是清初宫殿建筑的风格。本文仅就沈阳故宫建筑满族风格中的佛教题材特点略作粗浅的探讨。     

清帝处理政务的殿字及其内檐装修格局

在明代宫廷建筑制度的基础上,清代宫廷建筑及其内檐装修的规制在清中期逐步确立并成为当时建筑设计的基本出发点。这个规制不仅体现在朝仪、寝居殿宇的形制上,也反映在以勤政段为代表的一些具有综合功能、使用情况复杂的建筑的格局、装修之中。在归纳清代宫殿、园囿中有勤政功能和以勤政殿命名的殿宇的基础上,本文从建筑规格、内檐装修形制两个方面整理并阐述了此类宫廷建筑空间的特征,作者试图藉此探究皇家建筑设计创作的制度和功能内涵。     

清代帝后印章与宫殿建筑

作为清代宫廷化的重要载体之一,帝后印章与宫殿建筑有着千丝万缕的联系。本着重探讨了清代帝后宫殿玺与宫殿建筑营建、命名的内在关系,平日里保存帝后印章的具体地点及特点,清官建筑中诸如殿牌、门牌、匾额、对联、贴落等帝后印迹的各种保存形式及特点,以说明印章化在清代宫殿陈设、装饰装修中的影响和作用。     

明代奉先殿建筑沿革与形制布局初探

明代皇家祭祖宫殿外有太庙,内有奉先殿。二者功能同为祭祖,但各有侧重,太庙祭祖重在四时祭享,奉先殿则是皇帝与皇室成员的晨昏瞻谒之所。明代实行两京制度,在南、北两京皇宫内各建有一座奉先殿,南京奉先殿初创于洪武二年,永乐迁都北京之后,复建奉先殿于北京紫禁城,两京奉先殿并存。明清更替之际,两座奉先殿先后毁于战乱,其建筑形制遂不可考。祭祖活动既关乎人情,也关乎国家制度,奉先殿作为重要的皇家祭祖场所,梳理其历史沿革,追溯其形制布局的演变脉络,既可以考察明清宫廷祭祖制度,亦有助于了解紫禁城宫殿布局的变迁和规律。     

清代宫廷建筑的管理制度及有关档案文献研究

本文介绍了清代宫廷建筑的管理机构与官员状况、宫廷建筑工程的各项管理制度,并列举了内阁、军机处、宫中、内务府、工部等处的部分档案,这些档案内容涉及紫禁城宫殿楼阁、苑囿行宫、陵寝、坛庙寺观、盛京皇宫及与宫殿建筑有关的河道、沟渠、园林、道路等的兴建和维修状况。这些清代档案是我们现今研究清代宫廷建筑的第一手资料,也是我们保护维修现存宫殿建筑的可靠依据,有着重要的史料价值。     

中国·北京·晋商博物馆昔日帝王御宝，今日领袖独尊

历史上金丝楠木专用于皇家宫殿、寺庙的建筑和家具,古代帝王龙椅宝座都选用优质金丝楠木制作。金丝楠木在明清两代为皇帝御用之木,严格禁止皇家以外的建筑使用金丝楠木,民间如有人擅自使用,会因僭越礼制而获大罪。     

大高玄殿嘉靖皇帝的别院

整整470岁的大高玄殿,是一组尘封百年的皇家建筑。蓝色琉璃瓦覆顶,寄托着对于天穹的无限祈愿。金龙藻井则昭示明清第一皇家道观的高贵等级。让我们跟随摄影师的镜头探访这处从未开放的秘境。     

吹尽狂沙始见金——谈谈明代的内府刻本

正在古籍善本领域,如果说某种版本类型被世人误解最深,长期饱受污名,但是又深受当下古籍收藏界的重视,那恐怕非明代内府刻本莫属了。顾名思义,明代内府刻本就是明代皇家的刻书。作为皇家的刻书,明代内府刻书上承五代、两宋国子监刻书和元代兴文署刻书,下启清代内府(武英殿)刻书,是中国古代中     

御苑探微：倦勤斋通景画中的花卉植物

故宫博物院宁寿宫花园倦勤斋内保存有规模最大的清代宫殿建筑室内通景画,除占据主要地位的藤萝花之外,画家还以高度写实的手法,在通景画中绘制了十余种花卉植物。本文通过对该通景画所绘十余种花卉的综合分析,指出所绘季节为"阳春三月"。作者认为,通景画对于以往只依托于档案文献、御制诗文和宫廷绘画等资料进行的园林植物研究提供了详实的补充,堪称清代皇家园林植物的"图像资料库"。     

从《西安宣言》到《西安共识》——大明宫国家遗址公园的构想与实践

大明宫作为大唐帝国的统治中心和国家象征,是中国古代宫殿建筑的巅峰之作,更是我国目前保存最为完整的皇家宫殿遗址,规模宏大,形制完整,遗迹、遗物埋藏丰富,在中国历史发展的文物序列上占有不可替代的地位。同时也是2011年中国与中亚五国丝绸之路联合申报世界文化遗产的重要组成部分。     

An Archaeology of History: The Wang Mang Nine Temples from Early Imperial China as Reconstructed by History and by Archaeology

In this paper, I examine the relationship between the construction of history by the textual history of early imperial China and by Chinese archaeology in the second half of the twentieth century, considering how these two fields of scholarship were directed by ideologies of the Chinese government. The locus for this investigation is the complex of imperial ancestral temples constructed by the emperor Wang Mang (r. 9–23 CE) for his brief interregnum dynasty. Although this group of buildings is described in the official dynastic history, compiled only fifty years after its construction, as having nine temple buildings with specific ancestors ascribed to each, its archaeological excavation in the late 1950s instead revealed twelve temples in a carefully organized plan. The discrepancy between the original construction of the temple complex and its subsequent revision in textual history is revealing in terms of the relationship between received tradition and individual action in the context of establishing imperial legitimacy, whereas the modern attempts to reconcile the discrepancy between textual history and excavated history are indicative of the relationship between Chinese archaeology of that period and the nationalist revision of history.     

武陟嘉应观中的建筑意探析

建筑意包括建筑的艺术形式和艺术内涵.嘉应观作为官式祭祀建筑,集宫、庙、衙为一体,其整体布局规整中富于变化,单体建筑风格多样,既体现了建筑的形式之美,又蕴涵了丰富的政治、文化、艺术等潜意识的元素.     

明宪宗与道教方士

成化时期,在宪宗的庇护和纵容下,道教方士在国家政务中扮演了非同一般的重要角色,左右了当时的政治发展态势,并对明代中后期的国家治理和道教的发展产生了一定的影响。本文分三个部分,从研究文献资料入手,首先对宪宗宠幸道教方士的来龙去脉、特定政治环境作了分析,其次对成化朝道教方士的各种表现与宪宗之间的关系进行了梳理,最后概括了宪宗宠幸和重用道教方士对明代中后期的消极作用和负面影响。     

晚清大词人况周颐笔记中的故宫学史料──以光绪朝宫中元旦典礼史料为例

故宫学是一门方兴未艾的综合性学科,郑欣淼先生曾经指出,故宫学的研究范围大致有六个方面,包括故宫古建筑(紫禁城)、故宫博物院所收藏的百万件文物、宫廷历史文化遗存、明清档案、清宫典籍以及近八十年的故宫博物院的历程。本文内容属于上述第三个研究范畴"宫廷历史文化遗存"。作者拟透过对晚清大词人况周颐的一则故宫史料笔记的初步考察,说明历史文献是研究故宫宫廷历史文化遗存最不可或缺的领域,而曾经在京任官的文人及其集部著作,正是研究这个范围的故宫学亟待系统发掘、整理和研究的文献史料根源之一。     

浅谈明代古钟

在我国璀璨的古代文明世界里,钟铃文化占据了重要的历史地位。追溯＂钟＂的起源,现存史籍记载不一。如《吕氏春秋》：＂昔黄帝令伶伦作为律!!皇帝又命伶伦与荣将铸十二钟,以和五音,以施英韶,以仲春之月,乙卯之日,日在奎,始奏之,命之曰《咸池》。”     

Build for the Living: Stone Buildings of the Yuan Dynasty

It is easy to find an association between stone architecture and the afterlife in pre-modern China, given that most architecture of brick and stone was used only for mortuary monuments. People in pre-modern China may have believed that timber architecture was for the living while stone architecture was for the deceased. The fact that stone architecture often was designed to imitate timber architecture further buttresses the dominance of timber, both structurally and aesthetically, in the architectural history of pre-modern China. This article focuses on several stone buildings that were built during the Yuan dynasty (1271–1368) for daily religious activities and were rare exceptions to the normative association of stone architecture with the afterlife. Through the study of the structure, decorative motifs and history of these stone buildings, I determine whether they were built to reflect the tradition of imitation timber architecture or were an exception to the dominance of timber architecture. I investigate how these stone buildings should be contextualized in the history of Yuan as well as the history of Chinese architecture.     

Han Chinese,Manchu, and Western Spaces: The Changing Facade of Imperial Education in Qing Beijing

The physical spaces of imperial education during the Qing were carefully constructed sites of political architecture that sought to shape the behavior of princes, emperors, and their teachers while projecting dynamic images of power. This article examines a range of buildings associated with the Qing pedagogical apparatus. It argues that the changing spaces of imperial education drew on both classical ideals and international iconographies of power to create and disseminate a fluid vision of rule. In the eighteenth century, the Qianlong emperor ordered the construction of the Biyong Hall at the center of the Imperial Academy in Beijing for exclusive use by the emperor during the Imperial Lecture, combining classical Han Chinese and Manchu expressions of authority. Throughout the nineteenth century, heirs to the throne and young emperors were trained in classrooms filled with calligraphy penned by their ancestors. Aphorisms drawing on the Confucian classics, as well as Daoist and Buddhist texts, urged the young rulers to strive for dynastic renewal. Finally, at the start of the twentieth century as the Qing worked to transition to a constitutional monarchy, imperial classrooms around Beijing were infused with Western architectural styles, incorporating new strands of authority for the reforming Qing dynasty.     

金山咀秦代建筑遗址发掘报告

<正> 遗址位于河北省秦皇岛市北戴河区金山咀及其附近(图一,(1))。金山咀系一伸入海中的高岗岬角,其东、南、西三面环海,北与陆地相连,形如一个半岛。据调查,秦代建筑遗址在金山咀及其附近原有较大范围的分布。多年来,这里被辟为旅游区,兴修了大量现代建筑,对遗址造成大面积的破坏,目前可以工作的地方已寥寥无几。 这一带属沿海丘陵区,地势高低错落,起伏较大。目前已知的秦代建筑遗址分布在以金     

黄瓦窑琉璃构件胎釉原料及烧制工艺研究

黄瓦窑位于我国辽宁省鞍山市海城地区,经专家考证它是专门为清代辽宁地区烧制皇家建筑琉璃构件的窑厂。本文利用X射线荧光渡谱法、X射线衍射法、热膨胀分析等方法研究了黄瓦窑琉璃的胎釉原料及烧制工艺情况。研究表明：黄瓦窑烧制的建筑琉璃为低温铅釉、二次烧成,胎体属于我国陶瓷史上比较少见的MgO—Al2O3-SiO2三元体系,胎体的热膨胀系数比釉层高2～3×10—6／℃。     

甘肃省永登县连城鲁土司属寺壁画的科学分析和时代研究

本项研究主要是运用光学显微镜、扫描电子显微镜和共聚焦显微激光拉曼光谱技术,分析了甘肃永登连城鲁土司属寺中的妙因寺、感恩寺和雷坛中的部分壁画。分析结果表明感恩寺和雷坛壁画基本保持了明代最初的绘制风格和内容。其中感恩寺主要壁画的绘画颜料和工艺特点鲜明,表明绘制该壁画的画工不同于绘制鲁土司属寺其他壁画的工匠;妙因寺万岁殿壁画存在后期改动和重绘的情况,其中万岁殿外回廊壁画主要部分的最初绘制时间要早于万岁殿大殿内壁画的最后绘制时间;而妙因寺塔尔殿壁画则绘制于19世纪后期。