Texte remanié de: Thèse de doctorat--Histoire--Taipei, 2003. / Mention parallèle de titre ou de responsabilité : Civil service examination society, regional order and the development of the lineage organizations : the huizhou in the period between the Sung and Ming, 1100-1644. Bibliogr. p. 401-403. Index.

published_or_final_version / Urban Design / Master / Master of Urban Design

by Raymond K.H. Chu and Philip S.K. Leung. / Bibliography : leaves 116-117 / Thesis (M.B.A.)--Chinese University of Hong Kong, 1984

published_or_final_version / abstract / toc / Civil Engineering / Master / Master of Philosophy

Tsui Chung Man. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2002. / Includes bibliographical references (leaves 247-251). / Abstracts in English and Chinese. / Introduction --- p.1 / Chapter Chapter One: --- Effective memory cues are the keys to sustain collective memory in China --- p.13 / Chapter 1.1 --- Cultural dimension: the Chinese sustainable chain of memories --- p.13 / Chapter 1.2 --- Social dimension: collective memory in the city --- p.15 / Chapter 1.3 --- Psychological dimension: effective memory cues to sustain collective memory --- p.22 / Chapter Chapter Two: --- Effective tangible cues in Guangdong cities --- p.30 / Chapter 2.1 --- Regional level study: a region developed with the landscape --- p.30 / Chapter 2.2 --- City level study: the landscape as reference for planning --- p.43 / Chapter 2.3 --- Architectural level study: the place that persists through time --- p.68 / Chapter Chapter Three: --- From tangible memory cues to intangible memory cues --- p.104 / Chapter 3.1 --- Scene: the visualization of the city --- p.105 / Chapter 3.2 --- Text: the highlight of the city's characters --- p.123 / Chapter Chapter Four: --- The inter-relationships of the memory cues in Huizhou --- p.133 / Chapter 4.1 --- Huizhou: a city evolved with the landscape --- p.136 / Chapter 4.2 --- City Planning of Huizhou as shaped by the landscape --- p.164 / Chapter 4.3 --- Manifesting landscape into place: the maintaining of the spirit of the place in Huizhou inner city --- p.170 / Chapter 4.4 --- Extracting tangible memory cues to intangible ones: texts and scenes on the West Lake --- p.198 / Chapter 4.5 --- Incarnating intangible memory cues to tangible ones: the formation of new places --- p.212 / Chapter 4.6 --- The intertwining of cffective memory cues in Huizhou: the: Lake-City-River relationship --- p.224 / Chapter Chapter Five: --- Principles to revitalize the inter-relationship of the effective memory cues in Huizhou --- p.231 / Chapter 5.1 --- Revitalizing the landscape and place in Huizhou --- p.232 / Chapter 5.2 --- Extracting the distinctiveness of the landscape and place in Huizhou into visualized and readable forms through public participations --- p.235 / Chapter 5.3 --- Incarnating the texts and distinctive scenes in Huizhou into recreated physical environment --- p.239 / Chapter 5.4 --- Reinforcing the l.ake-City-River relationship through the recreation of the water bodies --- p.242 / Conclusions --- p.245 / Bibliography --- p.247 / Attachment: Urban morphology of Guangdong cities in late imperial China

published_or_final_version / abstract / China Development Studies / Master / Master of Arts

Thesis (M. A.)--University of Hong Kong, 2006. / Title proper from title frame. Also available in printed format.

No description available.

萬曆四十七年（1619），會稽文人王驥德（1540-1622）刊印出版了《元人古雜劇二十種》（或稱《古雜劇》），該書彙集元代雜劇20篇，并配有精美的版畫插圖，《唐明皇秋夜梧桐雨》即為其中的第17篇。 / 作為晚明徽派版畫風格的典型例證，顧曲齋所刊《唐明皇秋夜梧桐雨》中的4幅版畫插圖，可與明代中晚期蘇州地區職業畫家的人物故事畫作品進行比勘。筆者基於比對結果，運用圖像學理論，提出徽派版畫系仇英風格人物畫在版畫中餘續的假說。不僅如此，白樸(1226-1306後)《唐明皇秋夜梧桐雨》這一劇目本身即包含著明皇故事的文學創作傳統，且與之對應的明皇题材故事畫作亦廣受歡迎。尤其在明代，明皇題材故事畫與蘇州地區的商業創作緊密相關，為版畫的創稿提供了豐富的圖像資源。 / 最後，筆者通過對顧曲齋本《唐明皇秋夜梧桐雨》圖文關係及刊刻者王驥德個人經歷的考察，證實《古雜劇》的商品屬性及刊刻者所掌握的圖像資源。最終解答版畫史上關於徽派版畫風格來源問題：版畫繪刻者深受仇英人物畫風格的影響，或直接對部份畫作進行圖像挪用。同時亦說明在晚明江南，文人積極參與商業活動為文學與藝術兩個領域所帶來的雅俗標準的變更。 / In the 47th year of Wan-li, Wang Jide (1540-1622), a literatus in Guiji County, published the anthology of Yuan comedies named Guzaju in his personal printing house Guquzhai. In this book, he compiled 20 plays written in the Yuan dynasty with beautiful book illustrations. Rain on the Phoenix Tree was the 17th play in this book. / The illustrations for Rain on the Phoenix Tree in Guzaju were good examples for “Hui School of woodblock prints. Compared these woodcuts with those in the same style and paintings existing in the same period, I argued that the “Hui School of woodblock prints actually followed the style of narrative paintings made by Qiu Ying. Moreover, the story of the Tang emperor Minghuang has become a popular theme in the field of both Chinese literature and painting. Those traditions not only contributed to the birth of Bai Pu’s (1226-1306) comedy Rain on the Phoenix Tree, but also prided fruitful paintings as patterns for the professional painters like Qiu Ying. Since Qiu’s work prevailed the painting market in Jiangnan, thousands of narrative paintings including the theme of emperor Minghuang followed Qiu’s style. These paintings acted as commercial products as well as pictorial drafts for the engravers in late Ming. / Finally, the form of Guzaju and Wang Jide’s publication activities both showed that Wang, as owner of Guquzhai, aimed to use the illustrations to cater to the market and he did conversely get the pictorial resources from the market. Besides, the booming commercial trade of paintings in Jiangnan helped us finally get the answer for the origin of “Hui School of woodblock prints as well as showing the transformation of art criteria in the late Ming dynasty. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 賴妮. / "2013年7月". / "2013 nian 7 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 86-95). / Abstract in Chinese and English. / Lai Ni. / 致謝 / 論文摘要 --- p.i / 緒論 --- p.1 / Chapter 第一章 --- 顧曲齋刊《古雜劇·唐明皇秋夜梧桐雨》插圖的風格來源 --- p.6 / Chapter 第一節 --- 顧曲齋刊《古雜劇·唐明皇秋夜梧桐雨》插圖的風格來源問題 --- p.7 / Chapter 第二節 --- 顧曲齋刊《古雜劇·唐明皇秋夜梧桐雨》插圖風格來源試探 --- p.10 / 小結 --- p.25 / Chapter 第二章 --- 《唐明皇秋夜梧桐雨》的圖文傳統 --- p.27 / Chapter 第一節 --- 白樸《唐明皇秋夜梧桐雨》的故事來源 --- p.27 / Chapter 第二節 --- 明皇題材繪畫作品的特點 --- p.35 / Chapter 第三節 --- 人物故事畫傳統中的明皇故事圖 --- p.40 / Chapter 第四節 --- 明皇故事畫在明代江南地區的流傳與創作 --- p.47 / 小結 --- p.50 / Chapter 第三章 --- 《古雜劇·唐明皇秋夜梧桐雨》的刊刻背景 --- p.53 / Chapter 第一節 --- 顧曲齋刊《古雜劇》的商品屬性 --- p.54 / Chapter 第二節 --- 流通的私藏·雅化的俗曲 --- p.59 / Chapter 第三節 --- “棄儒就賈與通俗文化生產 --- p.67 / 結論 --- p.74 / 附表1 --- p.77 / 附表2 --- p.82 / 附表3 --- p.83 / 附表4 --- p.85 / 參考書目 --- p.86 / 圖版目錄 --- p.95 / 圖版 --- p.105

This dissertation explores the concept of shi manifested in traditional Chinese architecture by examining the efficacy of the traditional Chinese house doors. Three connotations of the concept of shi derived from different philosophical schools of thought during the Warring States Period: the advantageous shi, the authoritative shi and the self-so-doing shi, are re-engaged as the theoretical framework for this study. The three categories of shi correspondingly shed light on the understanding of the craftiness in architectural constructions, the embodied cultural meanings in building elements and the aesthetics achieved by the artful arrangement of building elements. This study also further reveals the essential nature of shi as weak and amorphous in parallel with the weak ontology proposed by Gianni Vattimo. It is this weak and amorphous nature of shi that results in the complexity, diversity and richness of traditional Chinese house doors. This new perspective of examining architecture through the lens of shi also provides a way for looking at the future development of Chinese architecture beyond the limitations of internationalism yet within the realm of a critical local modernity. / Ph. D.