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Liao Architecture is a study of Buddhist halls, tombs, and pagodas built primarily through the patronage of Northeast Asian lords of Qidan nationality from the mid-tenth through the first decades of the twelfth century. During those years, North China was part of a larger Qidan empire known as the Liao dynasty. The Qidan, in the ninth century, were a seminomadic tribe living along China's northern and northeastern borders. Less than fifty years later, by the early years of the tenth century, they and other North Asia groups were confederated under the leadership of a Qidan chieftain named Abaoji. In 947 Abaoji's son established a Chinese-style dynasty named Liao. Liao territory stretched from the Gobi Desert, across Mongolia, into China's Northeast provinces (former Manchuria), and into Korea. It also included sixteen prefectures of North China.
An internationally acclaimed expert explains why Chinese-style architecture has remained so consistent for two thousand years, no matter where it is built. For the last two millennia, an overwhelming number of Chinese buildings have been elevated on platforms, supported by pillars, and covered by ceramic-tile roofs. Less obvious features, like the brackets connecting the pillars to roof frames, also have been remarkably constant. What makes the shared features more significant, however, is that they are present in Buddhist, Daoist, Confucian, and Islamic milieus; residential, funerary, and garden structures; in Japan, Korea, Mongolia, and elsewhere. How did Chinese-style architecture maintain such standardization for so long, even beyond China’s borders? Nancy Shatzman Steinhardt examines the essential features of Chinese architecture and its global transmission and translation from the predynastic age to the eighteenth century. Across myriad political, social, and cultural contexts within China and throughout East Asia, certain design and construction principles endured. Builders never abandoned perishable wood in favor of more permanent building materials, even though Chinese engineers knew how to make brick and stone structures in the last millennium BCE. Chinese architecture the world over is also distinctive in that it was invariably accomplished by anonymous craftsmen. And Chinese buildings held consistently to the plan of the four-sided enclosure, which both afforded privacy and differentiated sacred interior space from an exterior understood as the sphere of profane activity. Finally, Chinese-style buildings have always and everywhere been organized along straight lines. Taking note of these and other fascinating uniformities, The Borders of Chinese Architecture offers an accessible and authoritative overview of a tradition studiously preserved across time and space.
An unprecedented survey of the origins and evolution of Chinese architecture, from the last millennia BCE to today Throughout history, China has maintained one of the world’s richest built civilizations. The nation’s architectural achievements range from its earliest walled cities and the First Emperor’s vision of city and empire, to bridges, pagodas, and the twentieth-century constructions of the Socialist state. In this beautifully illustrated book, Nancy Shatzman Steinhardt presents the first fully comprehensive survey of Chinese architecture in any language. With rich political and historical context, Steinhardt covers forty centuries of architecture, from the genesis of Chinese building through to the twenty-first century and the challenges of urban expansion and globalism. Steinhardt follows the extraordinary breadth of China’s architectural legacy—including excavation sites, gardens, guild halls, and relief sculpture—and considers the influence of Chinese architecture on Japan, Korea, Mongolia, and Tibet. Architectural examples from Chinese ethnic populations and various religions are examined, such as monasteries, mosques, observatories, and tombs. Steinhardt also shows that Chinese architecture is united by a standardized system of construction, applicable whether buildings are temples, imperial palaces, or shrines. Every architectural type is based on the models that came before it, and principles established centuries earlier dictate building practices. China’s unique system has allowed its built environment to stand as a profound symbol of Chinese culture. With unprecedented breadth united by a continuous chronological narrative, Chinese Architecture offers the best scholarship available on this remarkable subject for scholars, students, and general readers.
A groundbreaking book by one of the world's leading historians of Chinese architecture Translated by Alexandra Harrer. Fu Xinian is considered by many to be the world's leading historian of Chinese architecture. He is an expert on every type of Chinese architecture from every period through the nineteenth century, and his work is at the cutting edge of the field. Traditional Chinese Architecture gathers together, for the first time in English, twelve seminal essays by Fu Xinian. This wide-ranging book pays special attention to the technical aspects of the building tradition since the first millennium BC, and Fu Xinian's signature drawings abundantly illustrate its nuances. The essays delve into the modular basis for individual structures, complexes, and cities; lateral and longitudinal building frames; the unity of sculpture and building to create viewing angles; the influence of Chinese construction on Japanese architecture; and the reliability of images to inform us about architecture. Organized chronologically, the book also examines such topics as the representation of architecture on vessels in the Warring States period, early Buddhist architecture, and the evolution of imperial architecture from the Tang to Ming dynasty. A biography of Fu Xinian and a detailed Chinese-English glossary are included. Bringing together some of the most groundbreaking scholarship in Chinese architectural history, Traditional Chinese Architecture showcases an uncontested master of the discipline.
A GLOBAL HISTORY OF ARCHITECTURE NOW FEATURING ADDITIONAL COVERAGE OF CONTEMPORARY GLOBAL ARCHITECTURE AND MORE SUPERB DRAWINGS BY FRANCIS D.K. CHING! The book that forever changed the way architectural history is viewed, taught, and studied, A Global History of Architecture examines 5,000 years of the built environment. Spanning from 3,500 BCE to the present, and organized along a global timeline, this unique guide was written by experts in their fields who emphasize the connections, contrasts, and influences of architectural movements throughout history and around the world. Fully updated and revised to reflect current scholarship, this Third Edition features expanded chapter introductions that set the stage for a global view, as well as: An expanded section on contemporary global architecture More coverage of non-Western cultures, particularly South Asia, South East Asia Pre-Columbian America, and Africa. New drawings and maps by the iconic Francis D.K. Ching, as well as more stunning photographs An updated companion website with digital learning tools and Google EarthTM mapping service coordinates that make it easier to find sites Art and architecture enthusiasts, and anyone interested in architectural history, will have 5,000 years of the built environment perpetually at their fingertips with A Global History of Architecture, Third Edition.
Hong Kong Public Housing provides the first comprehensive history of one of the most dramatic episodes in the global history of the modern built environment: the vast public housing programme sponsored by successive Hong Kong governments from the 1950s, in a quest to build up the territory into a lasting ‘people’s home’. And unlike many of its counterparts elsewhere, this is a programme still ongoing today – a case of ‘history in progress’ – as Hong Kong now boasts one of the world’s longest-lasting public housing programmes. During that time, it has been not just a mirror of the cultural and economic values of Hong Kong society but also a reflection of more nebulous, fast-changing perceptions of identity – and a testament to the community-building achievements of Hongkongers over these years. This authoritative study combines architectural history with the broader social, political, and cultural aspects of housing production – particularly the geo-political issues of sovereignty and decolonisation that uniquely, and fundamentally, structured the trajectory of Hong Kong public housing and territory development. Exploring the relationship between built form, ideology, and administrative governance, it shows how massive state intervention interacted at times uneasily with Hong Kong’s dominant laissez-faire ethos, to help maintain the legitimacy of successive administrations during an era of ‘auto-decolonisation’, and support an interstitial society suspended between two sovereignties. Following more recent political changes, Hong Kong’s public housing heritage has also become a focus of nostalgic community pride – a monumental achievement of ‘home building’ which this book documents and celebrates for posterity.
This book contains a unique collection of various perspectives on the relationship between structures and the forms and spaces of architecture. As such it provides students and professionals alike with an essential sourcebook that can be mined for visual inspiration as well as for textually rich and authoritative insight into the links between structure, architecture, and cultural context. The chapters address fundamental structural elements and systems: columns, walls, beams, trusses, frames, tensile structures, arches, domes and shells. Each chapter is subdivided into two parts: • The essays – introduce the chapters with the reprinting of a curated set of essays and excerpts by various authors that uniquely address how particular structural elements or systems relate in essential fashion to architectural design concepts. • The model studies – physical models of the overall structural systems of several notable contemporary buildings from Europe, North and South America, Africa and Asia are illustrated with large photographs, detail close-ups, and views of their external forms and internal spaces that establish the exceptional qualities of these projects in connecting structural form to architectural design objectives. Mosaic layouts complete the chapters with a collection of photographs of yet more models whose particular details and unique features serve to extend the visual repertoire of the structural type being considered. The combination, juxtaposition and mutual positive reinforcement of these two collections, one largely textual and the other image based, provides the reader with unique and multifaceted insights into how structural forms and systems can be related to architectural design intentions. Conveyed by a strong and deliberate graphical design format, this assembly of materials gets to the very essence of structures within the context of architecture, and will inspire students and practitioners alike to make strategic design decisions for their own projects.
A monumental illustrated survey of the architecture of thirteenth- and fourteenth-century China The Yuan dynasty endured for a century, leaving behind an architectural legacy without equal, from palaces, temples, and pagodas to pavilions, tombs, and stages. With a history enlivened by the likes of Khubilai Khan and Marco Polo, this spectacular empire spanned the breadth of China and far, far beyond, but its rulers were Mongols. Yuan presents the first comprehensive study in English of the architecture of China under Mongol rule. In this richly illustrated book, Nancy Shatzman Steinhardt looks at cities such as the legendary Shangdu—inspiration for Samuel Taylor Coleridge’s Xanadu—as well as the architecture the Mongols encountered on their routes of conquest. She examines the buildings and monuments of diverse faiths in China during the period, from Buddhist and Daoist to Confucian, Islamic, and Christian, as well as unusual structures such as observatories, archways, stone and metal buildings, and sarcophaguses. Steinhardt dispels long-standing views of the Mongols as destroyers of cities and architecture across Asia, showing how the khans and their families built more than they tore down. She demonstrates that the stipulations of the Chinese building system were powerful and resilient enough to guide the architecture that rose under Mongolian rule. Drawing on Steinhardt’s groundbreaking textual research in numerous languages as well as her pioneering fieldwork at sites across East Asia, Yuan will become the standard reference on this critical period of cultural and artistic exchange.
China’s historical women warriors hailed from the northeast (Manchuria) during the Liao (907–1125) and Jin (1115–1234) dynasties. Celebrated in the Liao History, they were "unprecedented." They rode horseback astride, were good at hunting and shooting, and took part in military battles. Several empresses—and one famous bandit chief—led armies against the enemy Song state. Women of the Conquest Dynasties represents a groundbreaking effort to survey the customs and lives of these women from the Kitan and Jurchen tribes who maintained their native traditions of horsemanship, militancy, and sexual independence while excelling in writing poetry and prose and earning praise for their Buddhist piety and Confucian ethics. Although much work has been devoted in the last few years to Chinese women of various periods, this is the first volume to incorporate recent archaeological discoveries and information drawn from Liao and Jin paintings as well as literary sources and standard historical accounts. Conquest women combined agency and assertiveness drawn from steppe traditions with selected aspects of Chinese culture such as ethics and literacy. Empress Chengtian led Liao armies to victory against the Song, successfully ran the state for thirty years during her son’s reign, and enjoyed a lengthy and public liaison with her prime minister. Empress Yingtian, the wife of the Liao founder and his assistant in military affairs, famously refused to comply with the steppe custom of following one’s husband in death; instead she cut off her right hand and placed it in the late emperor’s coffin as a promise to join him later. These confident and talented women were rarely submissive in matters of sexuality and spouse selection, but they were subject to the restrictions of marriage and the levirate if widowed. The women of the northeast stand in vivid contrast to their counterparts in the south, where female identity was molded by a millennia of Confucian ethics and women were increasingly sequestered in the home and constrained by concepts of virtue. Women of the Conquest Dynasties provides new insights into the history of steppe patterns of feminine behavior and will reveal new areas of comparative study.
A sweeping look at Chinese art across the millennia that upends traditional perspectives and offers new pathways for art history Throughout Chinese history, dynastic time—the organization of history through the lens of successive dynasties—has been the dominant mode of narrating the story of Chinese art, even though there has been little examination of this concept in discourse and practice until now. Chinese Art and Dynastic Time uncovers how the development of Chinese art was described in its original cultural, sociopolitical, and artistic contexts, and how these narratives were interwoven with contemporaneous artistic creation. In doing so, leading art historian Wu Hung opens up new pathways for the consideration of not only Chinese art, but also the whole of art history. Wu Hung brings together ten case studies, ranging from the third millennium BCE to the early twentieth century CE, and spanning ritual and religious art, painting, sculpture, the built environment, and popular art in order to examine the deep-rooted patterns in the historical conceptualization of Chinese art. Elucidating the changing notions of dynastic time in various contexts, he also challenges the preoccupation with this concept as the default mode in art historical writing. This critical investigation of dynastic time thus constitutes an essential foundation to pursue new narrative and interpretative frameworks in thinking about art history. Remarkable for the sweep and scope of its arguments and lucid style, Chinese Art and Dynastic Time probes the roots of the collective imagination in Chinese art and frees us from long-held perspectives on how this art should be understood. Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC