 | World Heritage in China世界遗产在中国：云岗石窟2/3 云冈石窟属全国重点文物保护单位，位于山西省大同市的云冈石窟，有窟龛252个，造像51000余尊，代表了公元5世纪至6世纪时中国杰出的佛教石窟艺术。其中的昙曜五窟，布局设计严谨统一，是中国佛教艺术第一个巅峰时期的经典杰作。 云冈石窟距今已有1,500多年的历史，始建于公元460年，由当时的佛教高僧昙曜奉旨开凿。现存的云岗石窟群，是1961年国务院公布的第一批全国重点文物保护单位之一。整个石窟分为东、中、西三部分，石窟内的佛龛，象蜂窝密布，大、中、小窟疏密有致地嵌贴在云冈半腰。东部的石窟多以造塔为主，故又称塔洞；中部石窟每个都分前后两室，主佛居中，洞壁及洞顶布满浮雕；西部石窟以中小窟和补刻的小龛为最多，修建的时代略晚，大多是北魏迁都洛阳后的作品。整座石窟气魄宏大，外观庄严，雕工细腻，主题突出。石窟雕塑的各种宗教人物形象神态各异。在雕造技法上，继承和发展了我国秦汉时期艺术的优良传统，又吸收了犍陀罗艺术的有益成分，创建出云冈独特的艺术风格，对研究雕刻、建筑、音乐、宗教都是极为珍贵的宝贵资料。 石窟依山而凿，东西绵延约一公里，共有大小石窟53个，佛雕51000多尊，是我国最大的石窟之一，与敦煌千佛洞、洛阳龙门石窟并称为中国三大石窟艺术宝库。 【石窟概况】 云冈石窟是中国四大石窟之一。其他三大石窟是：敦煌莫高窟、龙门石窟和麦积山石窟。云冈石窟位于中国北部山西省大同市以西16公里处的武周山南麓。石窟始凿于北魏兴安二年(公元453年)，大部分完成于北魏迁都洛阳之前(公元494年)，造像工程则一直延续到正光年间(公元520～525年)。石窟依山而凿，东西绵亘约1公里，气势恢弘，内容丰富。现存主要洞窟45个，大小窟龛252个，石雕造像51000余躯，最大者达17米，最小者仅几厘米。窟中菩萨、力士、飞天形象生动活泼，塔柱上的雕刻精致细腻，上承秦汉(公元前221年～公元220年)现实主义艺术的精华，下开隋唐(公元581～907年)浪漫主义色彩之先河，与甘肃敦煌莫高窟、河南龙门石窟并称"中国三大石窟群"，也是世界闻名的石雕艺术宝库之一。1961年国务院公布为全国重点文物保护单位，2001年被列为世界文化遗产。2007年5月8日，大同市云冈石窟经国家旅游局正式批准为国家5A级旅游景区。 云冈石窟的造像气势宏伟，内容丰富多彩，堪称公元5世纪中国石刻艺术之冠，被誉为中国古代雕刻艺术的宝库。按照开凿的时间可分为早、中、晚三期，不同时期的石窟造像风格也各有特色。早期的"昙曜五窟"气势磅礴，具有浑厚、纯朴的西域情调。中期石窟则以精雕细琢，装饰华丽著称于世，显示出复杂多变、富丽堂皇的北魏时期艺术风格。晚期窟室规模虽小，但人物形象清瘦俊美，比例适中，是中国北方石窟艺术的榜样和"瘦骨清像"的源起。此外，石窟中留下的乐舞和百戏杂技雕刻，也是当时佛教思想流行的体现和北魏社会生活的反映。 云冈石窟形象地记录了印度及中亚佛教艺术向中国佛教艺术发展的历史轨迹，反映出佛教造像在中国逐渐世俗化、民族化的过程。多种佛教艺术造像风格在云冈石窟实现了前所未有的融会贯通，由此而形成的"云冈模式"成为中国佛教艺术发展的转折点。敦煌莫高窟、龙门石窟中的北魏时期造像均不同程度地受到云冈石窟的影响。 云冈石窟是石窟艺术"中国化"的开始。云冈中期石窟出现的中国宫殿建筑式样雕刻，以及在此基础上发展出的中国式佛像龛，在后世的石窟寺建造中得到广泛应用。云冈晚期石窟的窟室布局和装饰，更加突出地展现了浓郁的中国式建筑、装饰风格，反映出佛教艺术"中国化"的不断深入。 http://bk.baidu.com/view/7398.htm |
 | Chinese Civilization for Five Thousand Years6-3Buddhism Dunhuang (Chinese: 敦煌, also written as 燉煌 till early Qing Dynasty; pinyin: Dūnhuáng) is a city in Jiuquan, Gansu province, China. It is sited in an oasis. It has a population of 100,000. Dunhuang敦煌 was made a prefecture in 117 BCE by Emperor Han Wudi, and was a major point of interchange between China and the outside world during the Han and Tang dynasties. Located near the historic junction of the Northern and Southern Silk Roads, it was a town of military importance. Early buddhist monks accessed Dunhuang via the ancient Northern Silk Road, the northernmost route of about 2600 kilometres in length, which connected the ancient Chinese capital of Xian to the west over the Wushao Ling Pass to Wuwei and emerging in Kashgar.For centuries Buddhist monks at Dunhuang collected scriptures from the west, and many pilgrims passed through the area, painting murals inside the Mogao Caves or "Caves of a Thousand Buddhas."A small number of Christian artifacts have also been found in the caves (see Jesus Sutras), testimony to the wide variety of people who made their way along the silk road. Today, the site is an important tourist attraction and the subject of an ongoing archaeological project. A large number of manuscripts and artifacts retrieved at Dunhuang。 The Yungang Grottoes (simplified Chinese: 云冈石窟; traditional Chinese: 雲崗石窟; pinyin: Yúngāng Shíkū) are ancient Buddhist temple grottoes near the city of Datong in the Chinese province of Shanxi. They are excellent examples of rock-cut architecture and one of the three most famous ancient sculptural sites of China. The others are Longmen and Mogao. The site is located about 16 km south-west of the city, in the valley of the Shi Li river at the base of the Wuzhou Shan mountains. The grottoes were mainly constructed in the period between 460-525 AD during the Northern Wei dynasty. They are an outstanding example of the Chinese stone carvings from the 5th and 6th centuries. All together the site is composed of 252 grottoes with more than 51,000 Buddha statues and statuettes. In 2001, the Yungang Grottoes were made a UNESCO World Heritage Site The Yungang Grottoes is considered by UNESCO a "masterpiece of early Chinese Buddhist cave art... [and] ...represent the successful fusion of Buddhist religious symbolic art from south and central Asia with Chinese cultural traditions, starting in the 5th century CE under Imperial auspices." －－－－－－－－－－－－－ （6-2)Note: (Silk Road)Technological transfer to the West The period of the High Middle Ages in Europe saw major technological advances, including the adoption through the Silk Road of printing, gunpowder, the astrolabe, and the compass. Korean maps such as the Kangnido and Islamic mapmaking seem to have influenced the emergence of the first practical world maps, such as those of De Virga or Fra Mauro. Ramusio, a contemporary, states that Fra Mauro's map is "an improved copy of the one brought from Cathay by Marco Polo". Large Chinese junks were also observed by these travelers and may have provided impetus to develop larger ships in Europe. "The ships, called junks, that navigate these seas carry four masts or more, some of which can be raised or lowered, and have 40 to 60 cabins for the merchants and only one tiller." (Text from the Fra Mauro map, 09-P25) "A ship carries a complement of a thousand men, six hundred of whom are sailors and four hundred men-at-arms, including archers, men with shields and crossbows, who throw naphtha... These vessels are built in the towns of Zaytun (a.k.a Zaitun, today's Quanzhou; 刺桐) and Sin-Kalan. The vessel has four decks and contains rooms, cabins, and saloons for merchants; a cabin has chambers and a lavatory, and can be locked by its occupants." (Ibn Battuta). |
 | World Heritage in China世界遗产在中国:武夷山1/3 2 |
 | World Heritage in China(UNESCO)世界遗产在中国:Mogao Caves莫高窟3/6 The Mogao Caves, or Mogao Grottoes (Chinese: 莫高窟; pinyin: mò gāo kū) (also known as the Caves of the Thousand Buddhas and Dunhuang Caves) form a system of 492 temples 25km (15.5 miles) southeast of the center of Dunhuang, an oasis strategically located at a religious and cultural crossroads on the Silk Road, in Gansu province, China. The caves contain some of the finest examples of Buddhist art spanning a period of 1,000 years. Construction of the Buddhist cave shrines began in 366 CE as places to store scriptures and art. The Mogao Caves are the best known of the Chinese Buddhist grottoes and, along with Longmen Grottoes and Yungang Grottoes, are one of the three famous ancient sculptural sites of China. http://en.wikipedia.org/wiki/Mogao |
 | World Heritage in China世界遗产在中国:Dazu Rock Carvings大足石刻3/3 大足石刻的艺术价值 【大足石刻是一项伟大的艺术杰作】 大足石刻是大足县境内主要表现为摩崖造像的石窟艺术的总称。公布为文物保护单位的摩崖造像多达75处，雕像5万余身，铭文10万余字。北山、宝顶山、南山、石篆山、石门山摩崖造像为全国重点文物保护单位，其规模之大，造诣之精，内容之丰富，都堪称是一项伟大的艺术杰作。北山造像依岩而建，龛窟密如蜂房，被誉为公元9世纪末至13世纪中叶间的"石窟艺术陈列馆"。宝顶山大佛湾造像长达500米，气势磅礴，雄伟壮观。变相与变文并举，图文并茂；布局构图谨严，教义体系完备，是世界上罕见的有总体构思、历经七十余年建造的一座大型石窟密宗道场。造像既追求形式美，又注重内容的准确表达。其所显示的故事内容和宗教、生活哲理对世人能晓之以理，动之以情，诱之以福乐，威之以祸苦。涵盖社会思想博大，令人省度人生，百看不厌。南山、石篆山、石门山摩崖造像精雕细琢，是中国石窟艺术群中不可多得的道教和释、道、儒"三教"造像的珍品。 【大足石刻对中国石窟艺术的创新与发展有重要贡献】 大足石刻注重雕塑艺术自身的审美规律和形式规律，是洞窟造像向摩崖造像方向发展的佳例。在立体造型的技法上，运用写实与夸张互补的手法，摹难显之状，传难达之情，对不同的人物赋予不同的性格特征，务求传神写心。强调善恶、美丑的强烈对比，表现的内容贴近生活，文字通俗，达意简赅，既有很强的艺术感染力，又有着极大的社会教化作用。在选材上，既源于经典，而又不拘泥于经典，具有极大的包容性和创造性，处处反映出世俗信仰惩恶扬善、调伏心意和规范行为的义理要求。在布局上，是艺术、宗教、科学、自然的巧妙结合。在审美上，融神秘、自然、典雅三者于一体，充分体现了中国传统文化重鉴戒的审美要求。在表现上，突破了一些宗教雕塑的旧程式，有了创造性的发展，神像人化，人神合一，极富中国特色。总之，大足石刻在诸多方面都开创了石窟艺术的新形式，成为具有中国风格和中国传统文化内涵，以及体现中国传统审美思想和审美情趣的石窟艺术的典范。同时，作为中国石窟艺术发展、变化的一个转折点，大足石刻所出现的许多有异于前期的新因素又极大地影响了后世。 【大足石刻是石窟艺术生活化的典范】 大足石刻以其浓厚的世俗信仰，纯朴的生活气息，在石窟艺术中独树一帜，把石窟艺术生活化推到了空前的境地。在内容取舍和表现手法方面，都力求与世俗生活及审美情趣紧密结合。其人物形象文静温和，衣饰华丽，身少裸露；形体上力求美而不妖，丽而不娇。造像中，无论是佛、菩萨，还是罗汉、金刚，以及各种侍者像，都颇似现实中各类人物的真实写照。特别是宝顶山摩崖造像所反映的社会生活情景之广泛，几乎应有尽有，颇似公元12世纪至13世纪中叶间（宋代）的一座民间风俗画廊。无论王公大臣、官绅士庶、渔樵耕读，各类人物皆栩栩如生，呼之欲出。大足石刻中的"五山"摩崖造像，可以说是一幅生动的历史生活画卷，它从各个侧面浓缩地反映了公元9～13世纪间（晚唐、五代和两宋时期）中国社会生活，使源于印度的石窟艺术经过长期的发展，至此完成了中国化的进程。 【大足石刻为中国佛教密宗史增添了新的一页】 按过去佛教史籍记载，中国密宗盛行于公元8世纪初叶，流行于黄河流域，至公元9世纪初日本僧人空海东传日本后，中国汉地渐至衰落。而北山、宝顶山大量造像及其碑刻文字无可争辩地表明，公元9至13世纪，密宗在四川不仅未见绝迹，而且处于兴盛。公元9世纪末（晚唐）四川西部的柳本尊自创密宗，号称"唐瑜伽部主总持王"，苦行传道，弘扬大法。到公元12至13世纪中叶间（南宋中期），高僧赵智凤承持其教，号称"六代祖师传密印"，在昌州大足传教布道，创建了宝顶山摩崖造像这座石窟史上罕见的完备而有特色的密宗道场，从而把中国密宗史往后延续了400年左右，为中国佛教密宗史增添了新页。 【大足石刻生动地反映了中国民间宗教信仰的重大发展变化】 信神不信教、信仰多元化，是中国民间宗教信仰在长期的发展过程中出现的一个重大变化。大足石刻作为中国民间宗教信仰的产物，便是其重要实物例证。一方面，作为中国传统文化中三大主体的儒家、道教及佛教，在其长期的发展进程中，总趋势是由"相互对抗"走向"相互融合"。其表现之一，是使原本属于佛教产物的石窟艺术为道教和儒家所借用，且"三教"创始人不分高下的出现在同一个石窟之中。大足石刻中有释、道、儒"三教"分别造像者，有佛、道合一和"三教"合一造像者。这些造像表明，公元10至13世纪，"孔、老、释迦皆至圣"，"惩恶助善，同归于治"的"三教"合流的社会思潮已经巩固；世俗信仰对于"三教"的宗教界线已日渐淡漠。 另一方面，大足石刻丰富多样的造像题材又有力地反映出这一时期源于印度的佛教神祗和道教早期的神仙系统已与中国民俗信仰的神灵融合，呈现出信仰多元化的趋势。大足石刻所展示出的这种民间宗教信仰的重大发展、变化，成为后世民间信仰的基础，影响深远。 2007年5月8日，重庆大足石刻景区经国家旅游局正式批准为国家5A级旅游景区。 |
 | World Heritage in China世界遗产在中国：Longmen Grottoes龙门石窟1/3 The Longmen Grottoes Dragon's Gate Grottoes) or Longmen Caves are located 12 km south of present day Luoyang in Henan province, China. The grottoes, which overwhelmingly depict Buddhist subjects, are densely dotted along the two mountains: Xiangshan (to the east) and Longmenshan (to the west). The Yi River flows northward between them. For this reason, the area used to be called Yique (The Gate of the Yi River). From north to south, the distance covered by grottoes is about one km. Along with the Mogao Caves and Yungang Grottoes, the Longmen Grottoes are one of the three most famous ancient sculptural sites in China. Statistics Mt. Longmen as seen from Manshui Bridge to the southeast. May, 2004.According to the Longmen Caves Research Institute, there are 2345 caves and niches, 2800 inscriptions, 43 pagodas and over 100,000 Buddhist images at the site. 30% of the caves date from the Northern Wei Dynasty, 60% from the Tang Dynasty, and caves from other periods less than 10%. It is the most impressive collection of Chinese art from these dynasties, and, dating from 316 to 907 CE, represents the zenith of stone carving in China. [edit] History During the Warring States Period, the general Bai Qi of Qin (state) once defeated the allied forces of Han (state) and Wei (state) at the site. Construction of the grottoes themselves began in CE 493. The area was inscribed on the UNESCO World Heritage List in November 2000. According to the inscription the Longmen Grottoes are an illustration of "...the perfection of a long-established art form which was to play a highly significant role in the cultural evolution of this region of Asia." 龙门石窟根据世界文化遗产遴选标准C(I)(II)(III)入选《世界遗产名录》。是中国四大石窟之一，四大石窟还有：云冈石窟、敦煌莫高窟和麦积山石窟。 龙门石窟位于河南省洛阳市南十三公里处，它同甘肃的敦煌石窟、山西大同的云冈石窟并称中国古代佛教石窟艺术的三大宝库。龙门石窟凿于北魏孝文帝迁都洛阳（公元494年），直至北宋，现存佛像十万余尊，窟龛二千三百多个。1961年被国务院列为国家重点文物保护单位 。 魏窟——公元495年魏宗室丘慧成开始在龙门山开凿古阳洞，500-523年魏宣武帝、魏孝明帝连续开凿宾阳洞的北中南三个大石窟，石阳洞和宾阳洞的修建共费人工80万以上，还开凿了药方洞和东魏时开凿的莲花洞等石窟。北朝石窟都在龙门山，古阳洞自慧成至东魏末50多年的营造，表现出列多的中国艺术形式，大佛姿态也由云岗石窟的雄健可畏转变为龙门石窟的温和可亲。以宾阳中洞主佛为代表的佛像，人物面部含着微笑，龙门石窟比云岗石窟表现出更多的中国艺术佛像。 唐窟——最盛期是唐朝，占石窟总数的60%以上，武则天执政时期开凿的石窟占唐代石窟的多数，与她长期有洛阳有关。奉先寺是最具有代表性的唐窟，二菩萨70尺，迦叶、阿难、金刚、神王各高50尺（唐代长度）。规模之大，在龙门石窟中称第一，先后用了四年时间，武则天自己出钱二万贯。 龙门二十品是珍贵的魏碑体书法艺术的精品。代表了魏碑体，字形端正大方，气势刚健有力，是隶书向楷体过渡中的一种字体，有十九品在古阳洞内。 |
 | The First World War: Revolution [8 / 10] Increasingly throughout the First World War, government faced the risk of their men mutinying, morale cracking, and civilians rising up in strikes and civil disobedience. Starting with Russia's Revolution of February 1917, the film examines the dangerous effects of war weariness, near fatal French Army mutinies, catastrophic Italian mass desertions and widespread British industrial unrest. "Revolution" reveals that even as government worried about how to contain unrest on their own side, they also set agents working to exploit discontent and foment revolution among the enemy. Britain sponsored the Arab Revolt through Lawrence of Arabia, Germany backed Irish independence with arms for the Easter Rising and funded Lenin's Russian coup d'état in 1917. Revolution became a weapon of war, a way to hit the enemy from within. When Lenin pulled Russia out of the war, it vindicated all Germany's efforts to use subversion. Now half a million German soldiers were released for the Western Front. |
 | Chinese civilization for Five Thousand Years8-3Later Tang Advancing to the capital Emperor Minghuang's Journey to Sichuan; a painting depicting the flight of Emperor Xuanzong from Chang'an, a late Ming Dynasty painting after an original by Qiu Ying (1494-1552).Originally, An Lushan 's forces was blocked from the main imperial capital at Chang'an by loyal troops placed in impregnable defensive positions in the intervening mountain passes. Unfortunately for Chang'an, Yang Guozhong, with grossly inept military judgement, ordered the troops in the passes to attack An's army on open ground. They were demolished, and the road to the capital now lay open. Seeing the imminent threat to Changan, Xuanzong fled to Sichuan with his household. On the way, at Mawei Inn in Shaanxi, Xuanzong's bodyguard troops demanded the death of the much-hated Yang Guozhong, and then of his cousin, Lady Yang. With the army on the verge of mutiny, the Emperor had no choice but to agree, ordering the execution of Yang Guozhong and the suicide of Lady Yang. Meanwhile, the crown prince, Li Heng, fled in the other direction to Lingzhou (today called Lingwu, in modern-day Ningxia province). After reaching Sichuan, Xuanzong abdicated in favour of the crown prince. This (3rd or 4th) son of Xuanzong, now called Suzong, was then proclaimed emperor, although another group of local officials and Confucian literati tried to proclaim a different prince at Jinling (modern-day Nanjing). One of Suzong's first acts as emperor was to appoint the generals Guo Ziyi and Li Guangbi to deal with the rebellion. The generals, after much discussion, decided to borrow troops from an offshoot of the Turkish Tujue Tribe, the Huihe tribe (ancestors of the modern-day Uyghurs). In this way, the Imperial forces recaptured both Changan and Luoyang, though they failed to pursue the fleeing rebels. The imperial forces were helped by internal dissent in the newly-formed dynasty. An Lushan was killed by his son, An Qingxu, not long after his ascent to the throne. (An's virulent paranoia posed too much of a threat to his entourage.) His son was then killed by a subordinate, general Shi Siming. Shi recaptured the city of Luoyang soon after. However, Shi Siming was killed in turn by "his" son, Shi Chaoyi. By this time, it was clear that the new dynasty would not last long, and generals and soldiers alike started to defect to the Tang army. Finally, after Luoyang was taken by the Tang forces for the second time, Shi Chaoyi committed suicide (in 763), thus ending the 8 year long rebellion. ---------------------------------------- --------- XI,Tang Dynasty唐朝(618-907) XII,Five Dynasties五代 1,Later Liang后梁(907-923) 2,Later Tang后唐(923-936) 3,Later Jin后晋(936-946) 4,Later Han后汉(947-950) 5,Later Zhou后周(951-960) |
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