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開本:16開 紙張:純質紙 包裝:平裝-膠訂 是否套裝:否 國際標準書號ISBN:9787508551388 作者:徐鳳安 出版社:五洲傳播出版社 出版時間:2024年01月  原版書名:The
" 編輯推薦 故宮 從明清皇宮 到公共博物館 600餘年的紫禁城 有匠心獨具的建築意趣 是風雲迭起的歷史見證 也承載過無數人的 夢想、希望,以及悲歡離合 內容簡介 故宮,既是明清朝的皇宮遺址,也是中國最大的古代文化藝術博物館。它的建築理念、建築功能,以及匠心獨運的建築意趣都成為今天我們了解中國傳統宮廷建築的經典代表作。自永樂大帝敕令修建,故宮在600多年的歷史風雲中,始終處在中心位置。那些圍繞著紫禁城展開的歷史進程,那些生活在紫禁城裡的帝王嬪妃,那些為皇權穩固、百姓福祉或勤勤懇懇,或蠅營狗苟的將相,還有那些泯滅在歲月洪流中的宮女太監侍衛們,都曾在這座宏偉華麗的宮殿群中經歷過悲歡離合,也為這座高高在上的建築群增添了生氣和活力。 The Forbidden City is not only the imperial palace site of the Ming andQing dynasties, but also the largest museum of ancient culture and art in China. Its architectural concept, architectural function, and ingenious architectural interest have become the classic representative of today’s understanding of Chinese traditional court architecture. Since its construction by the Yongle Emperor, the Forbidden City has always been at the center of its 600-year history. The historical process surrounding the Forbidden City, the emperors and concubines who lived in the Forbidden City, the generals who worked hard for the stability of the imperial power and the welfare of the people, and the palace maids, eunuchs and guards all experienced joys and sorrows in this magnificent palace complex. It also adds life and vitality to this high-rise building complex. 作者簡介 徐鳳安 ,《營造文庫》編輯部主任、薊州建築學社館長,主要從事近現代建築文獻的整理研究。組織出版《陳明達全集》十卷、《石印宋李明仲營造法式》、《蠖園文存》、《李興鋼2001-2020》等數十種建築圖書及學術論文。 殷力欣,散文作家,中國文物學會20世紀遺產委員會委員,現任《中國建築文化遺產》副總編輯。專著《建築師呂彥直集傳》《中國傳統民居》;合作編撰出版:《義縣奉國寺》、《中山紀念建築》(獲第三屆中國建築圖書獎)、《辛亥革命紀念建築》(獲中華優秀出版物提名獎)等建築學專著;另有學術論文60餘篇散見於《美術觀察》《新華文摘》《中國文化遺產》《藝術評論》等。其散文作品曾二次入選中國作協年度隨筆選。整理校訂《陳明達全集》(十卷本)。 目錄 Preface.......................................................................................01 Chapter I Undoubtedly the World’s Premier Palace Section 1 Birth of the Forbidden City.........................................................002 Section 2 The Initial Appearance of the Forbidden City..............................018 Section 3 The Forbidden City as State Administrative Center......................031 Section 4 The Three Rear Palaces and the Eastern-Western Six Palaces in the Forbidden City.....073 Section 5 The Architectural Concept of the Forbidden City.........................088 Chapter II Emperors, Princes, Generals, and Ministers in the Forbidden City Section 1 Emperors of the Ming Dynasty in the Forbidden City...................102 Section 2 Emperors of the Qing Dynasty at its Zenith in the Forbidden City ....122 Section 3 The Turbulence in the Forbidden City During the Late Qing Period.........138 Section 4 Courtiers of the Forbidden City..................................................148 Section 5 Residents of the Forbidden City..................................................158Preface.......................................................................................01 Chapter I Undoubtedly the World’s Premier Palace Section 1 Birth of the Forbidden City.........................................................002 Section 2 The Initial Appearance of the Forbidden City..............................018 Section 3 The Forbidden City as State Administrative Center......................031 Section 4 The Three Rear Palaces and the Eastern-Western Six Palaces in the Forbidden City.....073 Section 5 The Architectural Concept of the Forbidden City.........................088 Chapter II Emperors, Princes, Generals, and Ministers in the Forbidden City Section 1 Emperors of the Ming Dynasty in the Forbidden City...................102 Section 2 Emperors of the Qing Dynasty at its Zenith in the Forbidden City ....122 Section 3 The Turbulence in the Forbidden City During the Late Qing Period.........138 Section 4 Courtiers of the Forbidden City..................................................148 Section 5 Residents of the Forbidden City..................................................158 Chapter III Daily Life in the Forbidden City Section 1 Record of the Inner Court—Daily Life in the Ming Imperial Palace....178 Section 2 Entertainment in the Imperial Palace..........................................184 Section 3 The Belvedere of Literary Profundity: the Forbidden City Library...193 Section 4 Coexistence of Confucianism, Buddhism, and Daoism in the Forbidden City........198 Section 5 The Eastward Spread of Western Learning in the Forbidden City......210 Chapter IV From Palace to Museum Section 1 Epitome of Ancient Chinese Architectural Art..............................220 Section 2 The Challenging Beginning of a New Era...................................225 Section 3 Rebirth Amidst National Peril.....................................................230 Section 4 The Prospect of a Premier Museum............................................237 Appendix A Brief Chinese Chronology......................................................243
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前言 The Forbidden City, the imperial palace of the Ming (1368-1644) and Qing (1644-1911) dynasties in China, was commissioned by Zhu Di(1360-1424), Emperor Chengzu of the Ming Dynasty. The decree to construct it was issued on the 5th day of the leap seventh montha in 1406. The construction was completed on December 8th, 1420. To this day, the Forbidden City has a history spanning over 600 years. While this palace complex underwent continuous renovations and expansions during both the Ming and Qing periods, its fundamental scale and framework largely retained the planned appearance from the Yongle era (1402-1424) of the Ming Dynasty. Historical records and surveys of previous imperial palace sites show that, when compared to imperial palaces in China since the Qin (221-206 BCE) and Han (206 BCE-220) dynasties, the Ming-Qing Forbidden City in Beijing is not only smaller in scale but also slightly less extensive than the Forbidden City built by Zhu Yuanzhang (1328-1398), Empeor Taizu of the Ming Dynasty, in Nanjing. In terms of individual building sizes, even the largest single structure in the Ming-Qing Forbidden City, the Hall of Supreme Harmony (Taihe dian), falls notably short of the Tang Dynasty’s Kylin Virtue Hall (Linde dian).The Forbidden City, the imperial palace of the Ming (1368-1644) and Qing (1644-1911) dynasties in China, was commissioned by Zhu Di(1360-1424), Emperor Chengzu of the Ming Dynasty. The decree to construct it was issued on the 5th day of the leap seventh montha in 1406. The construction was completed on December 8th, 1420. To this day, the Forbidden City has a history spanning over 600 years. While this palace complex underwent continuous renovations and expansions during both the Ming and Qing periods, its fundamental scale and framework largely retained the planned appearance from the Yongle era (1402-1424) of the Ming Dynasty. Historical records and surveys of previous imperial palace sites show that, when compared to imperial palaces in China since the Qin (221-206 BCE) and Han (206 BCE-220) dynasties, the Ming-Qing Forbidden City in Beijing is not only smaller in scale but also slightly less extensive than the Forbidden City built by Zhu Yuanzhang (1328-1398), Empeor Taizu of the Ming Dynasty, in Nanjing. In terms of individual building sizes, even the largest single structure in the Ming-Qing Forbidden City, the Hall of Supreme Harmony (Taihe dian), falls notably short of the Tang Dynasty’s Kylin Virtue Hall (Linde dian). Nevertheless, the Forbidden City in Beijing indisputably stands as the world's oldest surviving palace complex from a feudal dynasty, boasting the largest architectural area and the most comprehensive preservation. In modern China, there are three places bearing the name “imperial palace”: the Imperial Palace in Beijing, the Imperial Palace in Shenyang, and the Imperial Palce in Taibei. The first two, though differing in construction periods, architectural scales, and collections of cultural relics, have now both transformed into museum-like cultural institutions established on the original sites of the Ming and Qing palace complexes. Their official names are as follows: The Palace Museum (founded on October 10, 1925), which does not require a geographic modifier, and the Shenyang Palace Museum (founded in 1926), which includes a geographic identifier. As for the third location, the National Palace Museum in Taipei, it emerged as a branch from the Imperial Palace in Beijing during a unique historical period.a In everyday conversation, when people refer to the “imperial palace” without specifying a location, it is commonly understood to be the Beijing Imperial Palace rather than the Shenyang or Taipei Imperial Palace. Not just in China, but also for foreign visitors to the country, when “imperial palace” is mentioned, whether it’s in French as Le Palais impérial or in English as the Forbidden City, there is no need to specify a location; it is widely understood to refer to the Imperial Palace in Beijing. Whether regarded as an architectural relic of past imperial eras or as a museum holding cultural significance in contemporary society, the Imperial Palace in Beijing stands as a distinctive symbol of Chinese culture. The allure of the Imperial Palace primarily resides in its architecture. The esteemed architectural historian, Liang Sicheng (1901-1972), once remarked, “Among the surviving Qing Dynasty structures, none surpasses the grandeur of the Imperial Palace in Peking (Beijing) ... When compared to imperial palaces around the world today, its scale and vastness are unparalleled.”b Here, let’s take a moment to compare it with some other globally renowned imperial and royal palaces. The Louvre Palace in Paris, France, originally a medieval castle, rebuilt in 1541, has undergone four renovations over the course of more than two centuries. It was once the political and cultural center of Europe, celebrated for its grandeur and opulence, yet its actual architectural area is less than onefourth that of the Imperial Palace in Beijing. The Kremlin in Moscow, Russia, was originally constructed in 1156 and underwent reconstruction in 1838. It is said that when it was first built, its total architectural area was equivalent to one-fourth of the entire city of Moscow. However, when compared with the Forbidden City in Beijing, it occupies less than half the area. The Buckingham Palace in the United Kingdom, constructed in 1703, continues to function as the residence and official workspace for the British royal family. However, its total architectural area is approximately one-tenth that of the Imperial Palace in Beijing. The Tokyo Imperial Palace in Japan was reconstructed in 1873. Its entire area, including the Imperial Gardens, amounts to under one-third of the size of the Forbidden City in Beijing. Certainly, when evaluating architecture as either excellent or inferior, the size of its architectural area is just one element that contributes to the overall structure. The aforementioned foreign palaces often impress with their grand individual buildings and their display of architectural styles from different eras (such as Ancient Greek, Ancient Roman, Renaissance, Baroque, Rococo, and Byzantine), each with its unique characteristics. In contrast, the architecture of the Imperial Palace doesn’t seek individual building supremacy; instead, it extends the depth of its overall spatial layout, presenting a harmonious coexistence of multiple elements, including classical Chinese halls, towers, pavilions as well as landscape features. Its vast footprint perfectly complements its rich cultural significance, which is why the Imperial Palace in Beijing is widely recognized as truly distinctive. Another aspect of the Imperial Palace that garners global attention is its continued presence among the world’s most renowned museums. As modern civilization has evolved, both in China and abroad, former imperial palaces and gardens have often been transformed into public cultural spaces in the form of museums. Notable examples include the Louvre Palace in Paris, France, and the Winter Palace in Russia (now commonly referred to as the Hermitage Museum). In contrast, institutions like the British Museum in London, the United Kingdom, and the Metropolitan Museum of Art in New York, the United States, can be categorized as purpose-built museums. One may question the emphasis on whether a museum was purpose-built or transformed from a former imperial palace when both serve as museums. The reason is straightforward. Museums transformed from former imperial palaces, as opposed to purpose-built museums, have the buildings themselves as their most significant and precious exhibits. The valuable artifacts they display, the historical narratives they carry, and their cultural significance all constitute everlasting topics of interest. It is precisely the Imperial Palace’s dual identity—formerly the exclusive quarters of the imperial family, known as the Forbidden City, and now a public cultural institution, the Palace Museum—that this book aims to introduce to the public. In sequence, it covers the historical buildings within the Forbidden City, the people and events within these buildings, and the modern transformation of the Imperial Palace into the world’s most culturally rich museum. " ![](http://img3m3.ddimg.cn/90/27/29680983-2_u_1705649159.jpg) ![](http://img3m3.ddimg.cn/90/27/29680983-3_u_1705649159.jpg) | | |