Archive for September 23rd, 2008

China Travel – Grottos on Maiji Mountain (2)

Tuesday, September 23rd, 2008

Among the caves in the east part, the most exquisite ones include the Nivara Cave, the One-Thousand Buddha Corridor and the Pavilions of Seven Buddha in the Building of Scattering Flowers. Before the Nivara Cave, there are four stubby stone poles, which are decorated with Flaming Pearls instead of arches on the top. Such kind of design method is extremely ingenious. The Nivara Cave was completed in the last years of the Northern Wei Dynasty and regarded as the gem of the grotto buildings. The One-Thousand Buddha Corridor is 32 meters long, and divided into two tiers with 258 stone statues covered with clay, each of which has its vivid posture and expression.

 

Out of the Corridor and ascending up by the stairs, people will reach the Pavilions of Seven Buddha, which is in the Building of Scattering Flowers. On the cliff 50 meters above the ground stand seven pavilions supported by eight big poles, between every two poles is a niche, and there is also a wide corridor before the gate. Yu Xin, a famous poet of that time, once wrote a poem to sing of the Niches of Seven Buddha. There are 75 statues in the cave, with well-rounded and dignified postures, affectionate and serene countenances, which are filled with rich artistic characteristics of the Sui and Tang dynasties. However, the statues of Heavenly Kings that stand aside with strong and succinct lines represent the styles and characteristics of the sculptures in the Song Dynasty.

 

On the west cliff, there is fine collection of the most valuable caves including the Wanfo Hall (the Ten-Thousand Buddha Hall), the Heaven Cave, the No.121 Cave, the No.123 Cave, the No.127 Cave, the No.165 Cave and so on. The Wanfo Hall is also called the Stele Cave. Entering the door, one will at once see a Greeting Buddha, 3.5 meters high, two eyes slightly closed, with two hands forming the posture of greeting. There are 30 extant clay sculptures inside the grotto. On the left upper of the front wall, there are more than 1,000 statues of Buddha. There also are lots of well-made sculptures of Maitreya (Laughing Buddha), Sramanera (Buddhist novice) and providers. The Heaven Cave is the highest one among those on both cliffs, inside which are all huge stone-carved statues: the middle one, 1.95 meters high, and two on both sides, 1.28 meters high and each 2 to 3 tons in weight.

 

The Grottoes on Maiji Mountain are built on the cliffs about 20 or 30 meters to 70 or 80 meters above the ground, and are in the traditional architectural forms of being square, flat-topped, with the door in the front wall, and Cliffside pavilion-style buildings beside the niches. In addition, the plank roads built along the cliffs connect the caves with each other.

(Source: chinaculture.org)

Beijing Olympic – British foreign secretary wishes Shanghai expo success

Tuesday, September 23rd, 2008

British Foreign Secretary David Miliband on Tuesday visited Shanghai, expressing his hope for a successful 2010 World Expo in the city.

Miliband, who arrived in Shanghai from Hong Kong on Monday afternoon, visited the Shanghai Urban Planning Exhibition Center on Tuesday morning. Calling it a dynamic international metropolis, he said Shanghai had made great achievements in recent years.

The Englishman said the expo theme, “Better city, Better life,” provided his country with a great opportunity to show its leading advantages on urban sustainable development to the world.

The United Kingdom has worked together with China on urban sustainable development, a move that reflected its determination to build a long-term Britain-China cooperative relation on expanding areas.

He praised the design of the British Pavilion at the expo as “attractive”.

Miliband visited the China-Europe International Business School(CEIBS) in the afternoon, discussing globalization and leadership with students.

Shanghai is the second leg of his six-day visit. He flew to the southwestern city of Chongqing on Tuesday afternoon and will arrive in Beijing on Wednesday.

(Source: en.beijing2008.cn)

Children Chinese – History

Tuesday, September 23rd, 2008

Chinese pottery dates back to the Neolithic Age (approximately 8000-2000 BC). The earliest Chinese pottery was often red, brown, and gray. As society progressed, the quality of pottery  gradually improved. Archaeological finds show that primitive celadon were made during the Shang (16th-11th century BC) and Western Zhou (11th century-770 BC). Tests have shown that primitive celadon takes in less water and has a better ring than pottery; therefore it is considered similar to porcelain. During the Han Dynasty (206 BC-220 AD) great progress was made in the application of colors and glazes on items for everyday use. Among the artifacts excavated from the tombs of the Three Kingdoms Period (220-280) was a celadon urinal made in the year 251. It indicates that there were specialized teams for porcelain-making at the time.

The greatest advance came in the Tang Dynasty (618-907) when potters made further contributions to the production of painted porcelain. Tang artists created beautiful simple monochrome porcelain finished in tints of burgundy, blue, and celadon. They also produced the famous figurines of people and horses in these three colors that are so loved in the modern world. In the following Song Dynasty (960-1279) many porcelain kilns were built and different porcelain schools appeared. Song artists continued to produce beautiful monochrome porcelain and perfected the application of both vivid and subtle colors. Song potters also discovered the secret of “crackled” pottery and porcelain which appears so delicate that it seems it might break if touched. Connoisseurs both in China and abroad consider monochrome Song porcelain among the finest examples of Chinese genius in porcelain making.

Later in the Yuan (1271-1368) and especially in the Ming (1368-1644) dynasties, from the thirteenth to the seventeenth centuries, artists continued Song traditions. They discovered a process that invigorated and transformed Chinese porcelain making-the making of blue and white porcelain. Previously potters had never been able to apply colors successfully to a piece of unfired porcelain. Craftsmen discovered, however, that cobalt, which is not native to China, could be applied to unfired pieces, placed in a high-temperature kiln, thereby creating stunningly beautiful patterns of blue on a cream or white base. This style remains popular after nearly seven hundred years.

Late in the Ming Dynasty, and especially in the Qing (1644-1911) Dynasty, potters perfected the application of colorful and realistic polychrome flowers and human scenes. This porcelain impresses with its vividness of color and subtlety