qing dynasty
Recently Published Documents

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.

Abstract 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.

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.

<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>