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A Story of Ruins: Presence and Absence in Chinese Art and Visual Culture

机译:废墟的故事:中国艺术与视觉文化中的存在与缺失

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Conscious that the architecture of the Third Reich might not endure for all eternity, Albert Speer articulated his goal of Ruinenwert, namely, that his buildings would have aesthetic value and convey the message of their Roman past even in a state of decay. Every civilisation that holds its place in history to be important must grapple with this subject. China, of course, is one of those civilisations. Yet so much of its architecture is made of perishable materials, it is especially challenging to articulate the impact of ruined buildings on China. In his newest and perhaps most ambitious and far-reaching book, Wu Hung expounds on this subject, the remains of human construction and other artisanship in China. Using painting, poetry, and photography, as well as buildings, the author addresses the question three ways: through traditional Chinese media; in the nineteenth and early twentieth centuries when Europeans first confronted ruins in China; and in contemporary China.
机译:阿尔伯特·斯佩尔意识到第三帝国的建筑可能不会永远长存,他明确表达了他对鲁嫩维尔特的目标,即他的建筑即使在腐朽的状态下也具有美学价值,并传达着罗马人过去的信息。每个在历史上占有重要地位的文明都必须努力解决这个问题。当然,中国是这些文明之一。然而,它的大部分建筑都是由易腐烂的材料制成的,要表达出毁坏的建筑对中国的影响尤其具有挑战性。吴鸿在他的最新著作中,也许是最雄心勃勃,影响深远的书中,阐述了这个主题,中国的人类建筑遗迹和其他手工艺。作者利用绘画,诗歌,摄影以及建筑物,以三种方式解决了这个问题:通过传统的中国媒体;在19世纪和20世纪初,欧洲人首次在中国面对废墟。在当代中国。

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