Ming and Qing Dynasty Official-Style Architecture Roof Types Classification Based on the 3D Point Cloud

The Ming and Qing Dynasty type of official-style architecture roof can provide plenty of prior knowledge relating to the structure and size of these works of architecture, and plays an important role in the fields of 3D modeling, semantic recognition and culture inheriting. In this paper, we take the 3D point cloud as the data source, and an automatic classification method for the roof type of Ming and Qing Dynasty official-style architecture based on the hierarchical semantic network is illustrated. To classify the roofs into the correct categories, the characteristics of different roof types are analyzed and features including SoRs, DfFtR, DoPP and NoREs are first selected; subsequently, the corresponding feature extraction methods are proposed; thirdly, aiming at the structure of the ridges, a matching graph relying on the attributed relational graph of the ridges is given; based on the former work, a hierarchical semantic network is proposed and the thresholds are determined with the help of the construction rules of the Ming and Qing Dynasty official-style architecture. In order to fully verify the efficiency of our proposed method, various types of Ming and Qing Dynasty official-style architecture roof are identified, and the experimental results show that all structures are classified correctly.

THE MULTI-TECH PROTECTIVE MONITORING OF THE LION FOREST GARDEN STONY ARTIFICIAL HILLS (SUZHOU, CHINA)

The Lion Forest Garden was originally built in 1342, during Yuan Dynasty, and became one of the most famous gardens in Suzhou. In 2000, it was inscribed in the World Heritage List as an extensive property of the Classical Gardens of Suzhou. The Lion Forest Garden is famous for its stony artificial hills covering more than 4,000 square meters, which were continually built during Yuan, Ming, and Qing Dynasty. However, as a long time passed, stony artificial hills appear damaged showing stone cracking - which could be seen in many places-, gaping, weathering, water erosion, and subsidence. Besides, a new underground line will pass through the road west to the Garden. In 2018 and 2019, the Landscape Architecture Engineering Lab of the Beijing University of Civil Engineering and Architecture collaborated with the Lion Forest Garden Administration on a research to define the strategy to monitor these stony artificial hills. Multiple technologies were used, such as 3D Scanning, Ultrasonic Testing, Side-Scan Sonar, sensors, and so forth. During the monitoring, some technologies worked well while others did not. The paper, based on the mentioned research, will discuss the strategy and technologies used in monitoring historical rockeries, describe the procedure, analyse the outcomes, and find out the reasons causing the unsuccess of some technologies.

文雄韻鏡學中所見悉曇反音法之遺緒

<p>中國歷代學術長期影響下，日本韻學中對於反切方法乃至《韻鏡》格位的解釋，具有從悉曇學轉向等韻學之傾向。此學術轉向的契機及途徑，與江戶時代的學術特色有關。據前人研究及筆者之觀察，漢學日本化在日本漢學史中具有穩固的基礎。其中，日本人將日本語的音系結構與中國歷代音韻理論相搭配，用以解釋經典訓詁與音義，此不僅與中國歷代音韻理論有關，還牽涉佛經解讀時的悉曇學，以及韻圖文人化之後的等韻學，然此學術轉向之發生，較中國學術史而言來得晚，其轉向的呈現方式，也與中國範式有所不同。</p> <p>據本文觀察，文雄反切法中所強調的助紐反切與韻圖反切表面看來雖是等韻化的結果，但仍有部分承襲自悉曇學的反音方法。如「假名助紐」雖應用了中國式唐人反切法中的助紐，但其假名助紐的口誦方式卻是承襲明覺以來悉曇反音法中的「五音」概念，即利用「五十音圖」來推理字音。至於「韻圖反切」雖是獨尊《韻鏡》的展現，但文雄把《韻鏡》高度經典化，使《韻鏡》具有跨時空的適用性，進而利用《韻鏡》來規範唐音，這種忽視歷史音變而對後起音韻進行規範的作法，乃是悉曇反音舊習。正因文雄的反切法中仍有悉曇學遺緒，故能理解日本韻學特殊之處，並藉此知曉江戶韻鏡學與明清等韻學殊途之一因。</p> <p>&nbsp;</p><p>Under the sustained influence of Chinese historical academics, the methods to get Chinese pronunciation while reading the Chinese literatures were changed in the Edo period, and the explanation of the form of rhyme book called &ldquo;Yunjing&rdquo; were also different from that in the Ming and Qing dynasty. In general, the traditional phonology turned the way from Siddhaṃ-based analysis to Yunjing-based analysis during the Edo period. Edo Japanese scholar, like Monnou(文雄), took Yunjing to construct the system of Japanese Kanji-on, including Go-on, Kan-on, and To-on, which can be one reason why the way of Siddhaṃ-based analysis had gone insignificant.</p> <p>However, throughout the Japanese traditional phonology, the Siddhaṃ-based ideas are still remained in some part of Yunjing study. We checked the Yunjing related documents of Monnou, and found some visible traces to show the Siddhaṃ ideas in those books. Therefore, the diversity between Japanese Yunjing explanations from Chinese Yunjing interpretations can also be appeared. </p> <p>&nbsp;</p>

Ai Weiwei’s furniture-sculpture: Radical ambiguity and the function of critique

This article will examine the evolving function of critique in the work of artist, activist and dissident Ai Weiwei since the mid-1990s. It will do so by first considering Ai’s manipulated and transformed furniture in relation to the inundation of Ming and Qing Dynasty antiques on the market during the 1980s and 1990s to demonstrate how his art uses ambiguity to critique western market expectations. Throughout his artistic career from 1996 to the present, Ai has repurposed antique furniture, doors and temple beams as sculptures and installations. If this under-researched yet important group of works by him is considered through a socio-economic framework and a Duchampian sense of irony, as this article intends to do, these pieces will be able to be understood as sardonic assisted readymades, with a specific set of different meanings for people in China and the West. Differing from prevailing views of Ai’s repurposed antiques that have regarded them as objects moving away from their Chinese sources, i.e. their ‘Chinese-ness’, this article will look at his sculptures and installations, which incorporate while dramatically altering these historical objects, as satirizing western consumption of Chinese culture and history. It will also situate the works as critical of a consequence of China’s rapid transition to global stage: consumers’ and government’s tendency to erode cultural heritage, sites, and artefacts in exchange for economic growth and the new. Ultimately, this article will suggest that these works source their political thrust from a type of ‘radical ambiguity’ that Ai has now expunged from his practice in favour of more determinate means of critique.