Algorithm of 3D Virtual Reconstruction of Ancient Buildings in Qing Dynasty Based on Image Sequence

Aiming at the problem of low accuracy and poor integrity of traditional Qing Dynasty ancient architecture 3D virtual reconstruction algorithm, a 3D virtual reconstruction algorithm of Qing Dynasty ancient architecture based on image sequence is proposed. Acquire the sequence images of ancient buildings in the Qing Dynasty through the pinhole camera model, analyze the projective space and reconstruction space of the sequence images, redefine the similarity measurement coefficient according to the improved 2DPCA-SIFT feature matching algorithm, match the feature points of the ancient architecture images in the Qing Dynasty, and use random sampling to be consistent. The algorithm solves the basic matrix, removes the interference error in the image reconstruction process, and realizes the design of the three-dimensional reconstruction algorithm through image sequence fusion. The experimental results show that, compared with the existing methods, the completeness of the three-dimensional virtual reconstruction 3D model of ancient Qing Dynasty buildings constructed by the designed algorithm is 87.26% on average, and the completeness and accuracy of the 3D model construction of the subparts of the ancient Qing Dynasty buildings of this method are better. The height of the building fully shows that the designed building has good performance in the construction of the three-dimensional model of ancient buildings in the Qing Dynasty.

Production and Consumption of Coromandel Lacquer Screens in the 17th and 18th Centuries

Coromandel lacquer screen is a Chinese folding screen made from the 17th century to 19th century in China. The screen is usually about 250cm high, 600cm width and consisting of twelve panels. Although these screens were made in China during the Qing dynasty, they received their name from India’s Coromandel coast, where they were transshipped to Europe in the late 17th and early 18th centuries by merchants of the English and Dutch East India companies. The Dutch traders carried these screens from Bantam in Java, and in early accounts they were frequently called Bantam screens as well as Coromandel screens. This paper examines Coromandel lacquer screen's art historical significance in the incising global interaction and consumer culture in the 17th and 18th centuries. It first discusses historical and cultural background of production in China which have been little known about. The primary sources focus on the record of Xiu Shi lu, the 16th century book about lacquer, and the inscriptions left on the screens. They will give information about when the screens were produced, what was the purpose of them, and the technique of decoratively incising lacquer and adding polychrome to the voids, called kuan cai in Chinese. The lacquer screen features a continuous scene run through all twelve panels, just like a hand-scroll painting with variety of colours. The prominent subjects for decoration are human figures, landscape and bird-and-flower. The narrative theme with human figures, such as Birthday Reception for General Guo Ziyi and the World of Immortals were shaped by literature or play. Also, the parallels between the lacquer screens and the paintings on the same theme are found. The scenes with Europeans are rare but bring various interpretations within the historical context of the time. The landscape themes, such as the Scenes of Lake Xihu and the Nine Bend in Mountain Wuyi, were depicted famous scenic spots in China. The composition and expression of the screens were probably inspired by landscape woodblock prints, it’s because the technique of lacquer screen and woodblock cutting are similar. Lastly, bird-and-flower theme has a long tradition of wishing longevity, happiness and peace in one’s life and produced in various medium. Thanks to the enormous progress in navigation and discovered sea roots in the 16th century, Dutch and England East India Companies imported quantities of Chinese lacquerworks in the 17th century. As Chinoiserie gain popularity all over Europe, Chinese objects were consumed in various ways. Imported Coromandel lacquer screens were incorporated into European interiors. They were cut into a number of panels, which mounted within wood paneling on walls and inserted into contemporary furniture. The lacquer screen also inspired European’s imitation of Asian lacquer known by a variety of names. This paper surveys Coromandel lacquer screen’s domestic production, exploding consumption and global conquest from the 17th century to 18th centuries, when the screen was explosively made. The lacquer screen is an active participant in cross-cultural interaction, not merely a passive commodity of china. Investigating the material culture of the lacquer screen, it was originally created in chinese domestic background concerned with social prestige, in Europe, consumed to show off exotic luxury and triggered a new stylistic changes in chinoiserie.

Interpretations of Mohism’s “Impartial Love” in the Republic of China: A Comparative Approach to Confucianism and Mohism

Since the reign of Qianlong and Jiaqing in the Qing dynasty, there have been signs of a resurgence of interest in Mohism. Intellectuals became particularly invested in Mozi’s teachings during the period of the Republic of China. “Impartial love,” the notion of equity advocated by Mozi, received the most attention. At the time, most discussions primarily attempted to respond to Mencius’s criticism of Mozi’s doctrine. Some scholars stressed Mohism’s high regard for filial piety and demonstrated persuasively that the concept of impartial love did not closely correspond to Mencius’s labelling of it as “disregarding one’s father.” Other scholars drew a distinction between Mozi and his disciples and identified only the latter as deserving of Mencius’s criticism. Some thinkers affirmed impartial love’s practical significance and saw it as a significant tool for condemning the autocracy and saving the country from imminent downfall. Others vehemently denounced the principle’s impracticability. A close look at these different trends can provide us with a better understanding of the different attitudes of intellectuals in the period of the Republic of China regarding Confucianism and the relationship between Confucianism and Mohism.

The Technology Transfer from Europe to China in the 17th–18th Centuries: Non-Invasive On-Site XRF and Raman Analyses of Chinese Qing Dynasty Enameled Masterpieces Made Using European Ingredients/Recipes

Two masterpieces of the Qing Dynasty (1644–1912 CE), one in gilded brass (incense burner) decorated with cloisonné enamels stylistically attributed to the end of the Kangxi Emperor’s reign, the other in gold (ewer offered by Napoleon III to the Empress as a birthday present), decorated with both cloisonné and painted enamels bearing the mark of the Qianlong Emperor, were non-invasively studied by optical microscopy, Raman microspectroscopy and X-ray microfluorescence spectroscopy (point measurements and mapping) implemented on-site with mobile instruments. The elemental compositions of the metal substrates and enamels are compared. XRF point measurements and mappings support the identification of the coloring phases and elements obtained by Raman microspectroscopy. Attention was paid to the white (opacifier), blue, yellow, green, and red areas. The demonstration of arsenic-based phases (e.g., lead arsenate apatite) in the blue areas of the ewer, free of manganese, proves the use of cobalt imported from Europe. The high level of potassium confirms the use of smalt as the cobalt source. On the other hand, the significant manganese level indicates the use of Asian cobalt ores for the enamels of the incense burner. The very limited use of the lead pyrochlore pigment (European Naples yellow recipes) in the yellow and soft green cloisonné enamels of the Kangxi incense burner, as well as the use of traditional Chinese recipes for other colors (white, turquoise, dark green, red), reinforces the pioneering character of this object in technical terms at the 17th–18th century turn. The low level of lead in the cloisonné enamels of the incense burner may also be related to the use of European recipes. On the contrary, the Qianlong ewer displays all the enameling techniques imported from Europe to obtain a painted decoration of exceptional quality with the use of complex lead pyrochlore pigments, with or without addition of zinc, as well as cassiterite opacifier.

龔自珍戒詩歷程考論

<p>龔自珍為清代著名的詩人及思想家，而這樣一位「但開風氣不為師」的詩人，一生有過幾次自覺戒詩的經驗，而「戒詩」的現象在中國詩歌史上相當特殊的，詩人為何要戒詩，而又破戒？龔自珍內心「寫作的焦慮」之根源是什麼？本文試圖從兩個方面切入，其一、爬梳相關文獻，先行探求龔自珍的詩學觀，唯有如此，我們才能從中得知為何是戒「詩」。其二、切入相關詩歌文本，觀看龔自珍自己如何看待自己的「戒詩」與「破戒」的說法。最後，分析兩者之間的關係，以及變化。期能為龔自珍之相關研究做出一點貢獻。</p> <p>&nbsp;</p><p>Gong Zizhen was a famous poet and thinker in the Qing dynasty. The era he lived was a turning point from flourish to the decadence, from tradition to modern. This phenomenon can be read in the works from Gong Zizhen and it’s also the key point for emancipation of the ideas in late Qing dynasty. Gong Zizhen who leaded the fashion but not stood under the spotlight, he had many experiences of quitting writing poetry. Quitting writing poetry is a special phenomenon in the history of the Chinese poetry, why did poet want to quit? The thesis studied these from two aspects. The first is to explore the poetry concept of Gong Zizhen through article review so that it may be understood why he choose to quit writing poetry? Second, it could be discovered how did Gong Zizhen treat his explain about quitting writing poetry and breaking it repeatedly by reviewing related poetries. Last, analyzing the relationship and transformation between the two. Expecting to offer some contributions for the study of Gong Zizhen.</p> <p>&nbsp;</p>

晚明軍士收入考——兼論明代國家財政之基本精神

<p>以往的明代財政史研究，大都選擇以財政收入一側的嬗遞為考察對象而不離乎制度研究的範式與國家本位的視角。本文以財政支出為切入點討論晚明軍士收入的構成與水準，進而以自下而上的進路，探討明代國家財政之基本精神。本文將晚明軍士收入劃分為常規性收入與臨時性收入，前者包括月糧、布花、馬料，後者則涉及行糧、安家銀。對於衛所軍士而言，晚明財政體制的白銀化未對其生計產生實質影響，其收入仍不過與洪武時期的標準大體相持，僅能勉強維生。相形之下，並不歸屬於衛所軍戶制之中的募兵所得餉銀明顯更高。兩者的分野與明代財政奉行的「原額主義」密切相關：國家以戶籍制束縛軍戶，設計微薄的糧餉標準，以此適應同樣偏低的財政收入。此一機制雖因晚明戰爭不斷而崩解，卻為清朝繼承乃至進一步鞏固。</p> <p>&nbsp;</p><p>Earlier studies on Ming dynasty finance have mainly focused on changes in revenue, following an institutional and state-oriented paradigm. This essay instead examines military pay, the largest expenditure of the late Ming central government, thus offering a perspective from the bottom up. This essay distinguishes late Ming military pay into regular and temporary categories. The former included monthly grain allowances, clothing, and horse fodder, while the latter included travel rations and relocation funds. For the military households, the commutation of the financial system into silver did not have a substantial impact on their livelihood. Their income had remained largely the same since the founding of the dynasty, and they could barely make ends meet. By contrast, the recruits, who were not registered with military households, received payment and rations that were significantly higher. The discrepancy between the two was closely linked to the &ldquo;quota system&rdquo; practiced in Ming financial administration. When the government established households fixed in the military category, meager rations were standardized, commensurate with the low revenue of the financial administration. Although this mechanism collapsed amidst the continuous wars of the late Ming, it was adopted and further consolidated in the Qing dynasty.</p> <p>&nbsp;</p>

An Analysis of the Spatial Structure of “Lao Can Travels” from the Perspective of Spatial Literature

At the end of the Qing Dynasty, Liu E’s “Lao Can’s Travels” showed obvious spatial structure in both content and ideological level, and its space writing showed the characteristics of “endorsement” for the writer’s psychology. Therefore, exploring the space structure of “Lao Can’s Travels” is an important perspective for understanding the text of the novel. The space structure of the novel can be divided into three levels: The first is the real space, including the landscape space such as Shandong Wufu, the peach blossom mountain cave and other living spaces; the second is the virtual space including the dream space and the hell space; the third is the author’s psychology shown through the protagonist’s behavior and consciousness space. In addition, the effect of the spatial structure itself also makes the novel open to readers and expands the interactivity of the novel.

The Use of Lace and Passementerie in China in the Qing Dynasty

With the increasing normalization of social exchanges between China and the west in the late Qing Dynasty, a large number of Western skills and products brought by missionaries were introduced into China, including a large number of lace and passemeterie. The description and analysis of such trimmings are not sufficient now. This paper takes the court dress at that time as the physical reference, analyzes it according to historical documents and western techniques. It shows that the earlier lace used is metal lace; During the Guangxu period, a large number of net lace appeared; At the same time, passemeterie was also widely used in China. Chinese society has no clear conceptual difference between lace and passemeterie, and they both are used as an edge decoration product from other culture.

The Textual Architecture of Empire in Two Early Qing Anthologies

During the first half century of the Qing dynasty, Manchu emperors commissioned massive publication projects on the Chinese classics. In early Qing interpretations of classics on the family, negotiations between Manchu and Han family and gender norms furthered the empire-building project. This article compares the spatial form of the Yuding Nei ze yanyi 御定内則衍義 (1656), an expansion of the “Inner Standards” chapter of the Classic of Rites commissioned by the Shunzhi emperor, to that of the Yuding Xiao jing yanyi 御定孝經衍義 (1682), an expansion of the Classic of Filial Piety commissioned by the Kangxi emperor. These works are textual spaces where the cultural and political negotiations of the early Qing empire play out; they use spatial strategies of juxtaposition and hierarchy to balance different messages for different constituencies, creating textual models of empire.