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One of the most famous rulers in Chinese history, the Yongle emperor (r. 1402–24) gained renown for constructing Beijing’s magnificent Forbidden City, directing ambitious naval expeditions, and creating the world’s largest encyclopedia. What the Emperor Built is the first book-length study devoted to the architectural projects of a single Chinese emperor. Focusing on the imperial palaces in Beijing, a Daoist architectural complex on Mount Wudang, and a Buddhist temple on the Sino-Tibetan frontier, Aurelia Campbell demonstrates how the siting, design, and use of Yongle’s palaces and temples helped cement his authority and legitimize his usurpation of power. Campbell offers insight into Yongle’s sense of empire—from the far-flung locations in which he built, to the distant regions from which he extracted construction materials, and to the use of tens of thousands of craftsmen and other laborers. Through his constructions, Yongle connected himself to the divine, interacted with his subjects, and extended imperial influence across space and time. Spanning issues of architectural design and construction technologies, this deft analysis reveals remarkable advancements in timber-frame construction and implements an art-historical approach to examine patronage, audience, and reception, situating the buildings within their larger historical and religious contexts.
This groundbreaking volume examines how the Mughal Empire used architecture to refashion its identity and stage authority in the 18th century, as it struggled to maintain political power against both regional challenges and the encroaching British Empire.
"The Yongle emperor (r. 1402-24), one of the most famous rulers in Chinese history, is perhaps best known as the builder of Beijing's magnificent Forbidden City and for reconstruction of the Grand Canal. This volume is both the first book-length study in a Western language of Ming dynasty (1368-1644) architecture and the first in any language devoted to the architectural projects of a single Chinese emperor. Focusing on Yongle's imperial palaces in Beijing, a Daoist architectural complex on Mount Wudang, and a Buddhist temple at the Sino-Tibetan frontier, it analyzes his empire-wide construction projects and demonstrates how the siting, design, and use of his palaces and temples established his authority and contributed to the legitimization of his usurpation of power. These architectural projects help us understand his sense of empire by the far-flung locations in which he built, the distant regions from which he extracted the construction materials, and the use of tens of thousands of craftsmen and other laborers. Through his constructions, Yongle connected himself to the divine, interacted with his subjects, established an imperial presence in regions far outside the capital, and shaped his imperial legacy-thus extending imperial influence across space and time. Spanning issues of architectural design and also of construction technologies, this analysis reveals the remarkable advancements in timber-frame construction as well as using an art-historical approach to examine patronage, audience, and reception, and to situate the buildings within their larger social, historical, and religious contexts"--
Evolving from a patrician domus, the emperor's residence on the Palatine became the centre of the state administration. Elaborate ceremonial regulated access to the imperial family, creating a system of privilege which strengthened the centralised power. Constantine followed the same model in his new capital, under a Christian veneer. The divine attributes of the imperial office were refashioned, with the emperor as God's representative. The palace was an imitation of heaven. Following the loss of the empire in the West and the Near East, the Palace in Constantinople was preserved – subject to the transition from Late Antique to Mediaeval conditions – until the Fourth Crusade, attracting the attention of Visgothic, Lombard, Merovingian, Carolingian, Norman and Muslim rulers. Renaissance princes later drew inspiration for their residences directly from ancient ruins and Roman literature, but there was also contact with the Late Byzantine court. Finally, in the age of Absolutism the palace became again an instrument of power in vast centralised states, with renewed interest in Roman and Byzantine ceremonial. Spanning the broadest chronological and geographical limits of the Roman imperial tradition, from the Principate to the Ottoman empire, the papers in the volume treat various aspects of palace architecture, art and ceremonial.
The buildings of Mughal India constitute one of the world's greatest architectural traditions. Whether it is the Taj Mahal in Agra, the Red Fort in Delhi or the palaces of Fatehpur Sikri, these and other similarly well-preserved monuments of the 16th and 17th centuries testify to the refined taste and unlimited resources of a line of powerful patrons, notably the emperors Akbar, Jahangir and Shah Jahan. Mughal architecture is a remarkable hybrid that fuses building forms, techniques and decorative schemes imported from Iran and Central Asia with long-established Indian materials and techniques. The results are both structurally innovative and aesthetically spectacular, a testament to the genius of Indian masons and craftsmen. The first comprehensive survey of the subject in more than 20 years, this lavish volume documents nearly 100 Mughal sites and monuments in India, Pakistan and Bangladesh. Mughal Architecture and Gardens is enhanced by over 250 stunning colour photographs by Amit Pasricha, one of the most talented architectural photographers working today. His photographs are accompanied by over 80 specially commissioned building plans and site layouts. Sumptuously illustrated with a text by renowned architectural historian George Michell, this book is of interest to students and scholars as well as travellers and general readers. AUTHOR: George Michell is an architectural historian, specialising in ancient Indian architecture. He obtained his PhD from the School of Oriental African Studies, University of London, has directed courses on Asian architecture at the Architectural Association, London, and was co-editor of the journal Art and Archaeology Research Papers from 1972 to 1982. Since the 1980s, he has co-directed an international team of scholars and students at Vijayanagara, the medieval Hindu site in Karnataka. George Mitchell has also lectured at universities and museums throughout the USA, Europe, India and Australia. Among his many publications are The Royal Palaces of India, Islamic Heritage of the Deccan, Architecture of the Islamic World: Its History and Social Meaning and Palaces of Rajasthan. Amit Pasricha lives in New Delhi and comes from a family of photographers. A well-known architectural and social documentary photographer, his work has been exhibited in India, London and New York. His photographs have also been published in several books, including Dome over India: Rashtrapati Bhavan, Horizons: The Tata-India Century and India: Then and Now. Pasricha's most recent publication is the panoramic collector's edition, The Monumental India Book, winner of the Indian Tourism Award, 2008. SELLING POINTS: The first comprehensive survey of the subject in more than 20 years, this lavish volume documents nearly 100 Mughal sites and monuments in India, Pakistan and Bangladesh ILLUSTRATIONS: 270 colour
This book introduces the Age of Justinian, the last Roman century and the first flowering of Byzantine culture. Dominated by the policies and personality of emperor Justinian I (527–565), this period of grand achievements and far-reaching failures witnessed the transformation of the Mediterranean world. In this volume, twenty specialists explore the most important aspects of the age including the mechanics and theory of empire, warfare, urbanism, and economy. It also discusses the impact of the great plague, the codification of Roman law, and the many religious upheavals taking place at the time. Consideration is given to imperial relations with the papacy, northern barbarians, the Persians, and other eastern peoples, shedding new light on a dramatic and highly significant historical period.
In this comprehensive, accessible and beautifully illustrated book, Frank Sear traces the evolution of Roman architecture during the four centuries from the late Republic to AD 330, when Constantine moved the empire's capital to Constantinople. With over 200 diagrams, maps and photos, this lucid and eminently readable account is a detailed overview of the development of architecture from Augustine to Constantine. Covering building techniques and materials as well as architecture and patronage, features include: * deployment of the most recent archaeological evidence * consideration of building materials and methods used by Roman engineers and architects * examination of stylistic innovations * analysis of the historical and cultural contexts of Roman architecture * detailed exploration of key Roman sites including Ostia and Pompeii. In high demand since its initial publication, this book will not disappoint in its purpose to educate and delight those in the field of Roman architecture.
A historical study of Vitruvius's De architectura, showing that his purpose in writing "the whole body of architecture" was shaped by the imperial Roman project of world domination. Vitruvius's De architectura is the only major work on architecture to survive from classical antiquity, and until the eighteenth century it was the text to which all other architectural treatises referred. While European classicists have focused on the factual truth of the text itself, English-speaking architects and architectural theorists have viewed it as a timeless source of valuable metaphors. Departing from both perspectives, Indra Kagis McEwen examines the work's meaning and significance in its own time. Vitruvius dedicated De architectura to his patron Augustus Caesar, the first Roman emperor, whose rise to power inspired its composition near the end of the first century B.C. McEwen argues that the imperial project of world dominion shaped Vitruvius's purpose in writing what he calls "the whole body of architecture." Specifically, Vitruvius's aim was to present his discipline as the means for making the emperor's body congruent with the imagined body of the world he would rule. Each of the book's four chapters treats a different Vitruvian "body." Chapter 1, "The Angelic Body," deals with the book as a book, in terms of contemporary events and thought, particularly Stoicism and Stoic theories of language. Chapter 2, "The Herculean Body," addresses the book's and its author's relation to Augustus, whose double Vitruvius means the architect to be. Chapter 3, "The Body Beautiful," discusses the relation of proportion and geometry to architectural beauty and the role of beauty in forging the new world order. Finally, Chapter 4, "The Body of the King," explores the nature and unprecedented extent of Augustan building programs. Included is an examination of the famous statue of Augustus from Prima Porta, sculpted soon after the appearance of De architectura.
In Making Dystopia, distinguished architectural historian James Stevens Curl tells the story of the advent of architectural Modernism in the aftermath of the First World War, its protagonists, and its astonishing, almost global acceptance after 1945. He argues forcefully that the triumph of architectural Modernism in the second half of the twentieth century led to massive destruction, the creation of alien urban landscapes, and a huge waste of resources. Moreover, the coming of Modernism was not an inevitable, seamless evolution, as many have insisted, but a massive, unparalled disruption that demanded a clean slate and the elimination of all ornament, decoration, and choice. Tracing the effects of the Modernist revolution in architecture to the present, Stevens Curl argues that, with each passing year, so-called 'iconic' architecture by supposed 'star' architects has become more and more bizarre, unsettling, and expensive, ignoring established contexts and proving to be stratospherically remote from the aspirations and needs of humanity. In the elite world of contemporary architecture, form increasingly follows finance, and in a society in which the 'haves' have more and more, and the 'have-nots' are ever more marginalized, he warns that contemporary architecture continues to stack up huge potential problems for the future, as housing costs spiral out of control, resources are squandered on architectural bling, and society fractures. This courageous, passionate, deeply researched, and profoundly argued book should be read by everyone concerned with what is around us. Its combative critique of the entire Modernist architectural project and its apologists will be highly controversial to many. But it contains salutary warnings that we ignore at our peril. And it asks awkward questions to which answers are long overdue.