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{"datasets_id": 162035, "wiki_id": "Q5077924", "sp": 2, "sc": 0, "ep": 10, "ec": 65} | 162,035 | Q5077924 | 2 | 0 | 10 | 65 | Charles G. Curtiss Sr. House | History & Description | Charles G. Curtiss Sr. House History This house was built in approximately 1890 for Charles G. Curtiss Sr., a builder from Plymouth. Curtiss was born in Connecticut in 1823; he eventually moved to Plymouth and was involved in moving and building houses. It is likely, although not certain, that Curtiss designed and built this house. Curtiss died only a few years later in 1893, and his wife Caroline continued to live in the house until 1901. The mix of architectural features in the house is unique in Plymouth. Description The Charles G. Curtiss Sr. House is a two-story wood-framed house |
{"datasets_id": 162035, "wiki_id": "Q5077924", "sp": 10, "sc": 65, "ep": 10, "ec": 676} | 162,035 | Q5077924 | 10 | 65 | 10 | 676 | Charles G. Curtiss Sr. House | Description | sitting on a fieldstone foundation. It is built in a cross-gabled ell shape, with a three-story square tower within the ell. A shed-roof verandah is attached to the front of the house and a single-story hipped-roof addition is located in the rear. The exterior of the house is sheathed in clapboard, patterned shingling, and, beneath the veranda, wood panels.
The house is distinctive because of its decorative elements, including the shingling, turned posts on the verandah, and stickwork under the gables. The form of the house (a gabled ell with tower) had been popular regionally and nationally |
{"datasets_id": 162035, "wiki_id": "Q5077924", "sp": 10, "sc": 676, "ep": 10, "ec": 763} | 162,035 | Q5077924 | 10 | 676 | 10 | 763 | Charles G. Curtiss Sr. House | Description | since the 1850s, but by the time this house was built c. 1890 was much out of fashion. |
{"datasets_id": 162036, "wiki_id": "Q1067540", "sp": 2, "sc": 0, "ep": 6, "ec": 632} | 162,036 | Q1067540 | 2 | 0 | 6 | 632 | Charm++ | Adaptive MPI (AMPI) | Charm++ Adaptive MPI (AMPI) Adaptive MPI is an implementation of MPI (like MPICH, OpenMPI, MVAPICH, etc.) on top of Charm++'s runtime system. Users can take pre-existing MPI applications, recompile them using AMPI's compiler wrappers, and begin experimenting with process virtualization, dynamic load balancing, and fault tolerance. AMPI implements MPI "ranks" as user-level threads (rather than operating system processes). These threads are fast to context switch between, and so multiple of them can be co-scheduled on the same core based on the availability of messages for them. AMPI ranks, and all the data they own, are also migratable at runtime across |
{"datasets_id": 162036, "wiki_id": "Q1067540", "sp": 6, "sc": 632, "ep": 10, "ec": 455} | 162,036 | Q1067540 | 6 | 632 | 10 | 455 | Charm++ | Adaptive MPI (AMPI) & Charm4py | the different cores and nodes of a job. This is useful for load balancing and for checkpoint/restart-based fault tolerance schemes. For more information on AMPI, see the manual: http://charm.cs.illinois.edu/manuals/html/ampi/manual.html Charm4py Charm4py
is a Python parallel computing framework built on top of the Charm++ C++ runtime, which it uses as a shared library. Charm4py simplifies the development of Charm++ applications and streamlines parts of the programming model. For example, there is no need to write interface files (.ci files) or to use SDAG, and there is no requirement to compile programs. Users are still free to accelerate their application-level code with technologies |
{"datasets_id": 162036, "wiki_id": "Q1067540", "sp": 10, "sc": 455, "ep": 10, "ec": 750} | 162,036 | Q1067540 | 10 | 455 | 10 | 750 | Charm++ | Charm4py | like Numba. Standard ready-to-use binary versions can be installed on Linux, macOS and Windows with pip.
It is also possible to write hybrid Charm4py and MPI programs. An example of a supported scenario is a Charm4py program using mpi4py libraries for specific parts of the computation. |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 2, "sc": 0, "ep": 10, "ec": 52} | 162,037 | Q919348 | 2 | 0 | 10 | 52 | Chinese painting | Specifics and study & Early periods | Chinese painting Specifics and study Chinese painting and calligraphy distinguish themselves from other cultures' arts by emphasis on motion and change with dynamic life. The practice is traditionally first learned by rote, in which the master shows the "right way" to draw items. The apprentice must copy these items strictly and continuously until the movements become instinctive. In contemporary times, debate emerged on the limits of this copyist tradition within modern art scenes where innovation is the rule. Changing lifestyles, tools, and colors are also influencing new waves of masters. Early periods The earliest paintings were not representational but |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 10, "sc": 52, "ep": 10, "ec": 704} | 162,037 | Q919348 | 10 | 52 | 10 | 704 | Chinese painting | Early periods | ornamental; they consisted of patterns or designs rather than pictures. Early pottery was painted with spirals, zigzags, dots, or animals. It was only during the Warring States period (475–221 BC) that artists began to represent the world around them. In imperial times (beginning with the Eastern Jin dynasty), painting and calligraphy in China were among the most highly appreciated arts in the court and they were often practiced by amateurs—aristocrats and scholar-officials—who had the leisure time necessary to perfect the technique and sensibility necessary for great brushwork. Calligraphy and painting were thought to be the purest forms of |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 10, "sc": 704, "ep": 10, "ec": 1291} | 162,037 | Q919348 | 10 | 704 | 10 | 1,291 | Chinese painting | Early periods | art. The implements were the brush pen made of animal hair, and black inks made from pine soot and animal glue. In ancient times, writing, as well as painting, was done on silk. However, after the invention of paper in the 1st century AD, silk was gradually replaced by the new and cheaper material. Original writings by famous calligraphers have been greatly valued throughout China's history and are mounted on scrolls and hung on walls in the same way that paintings are.
Artists from the Han (206 BC – 220 AD) to the Tang (618–906) dynasties mainly painted the human figure. |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 10, "sc": 1291, "ep": 10, "ec": 1881} | 162,037 | Q919348 | 10 | 1,291 | 10 | 1,881 | Chinese painting | Early periods | Much of what we know of early Chinese figure painting comes from burial sites, where paintings were preserved on silk banners, lacquered objects, and tomb walls. Many early tomb paintings were meant to protect the dead or help their souls to get to paradise. Others illustrated the teachings of the Chinese philosopher Confucius or showed scenes of daily life.
During the Six Dynasties period (220–589), people began to appreciate painting for its own beauty and to write about art. From this time we begin to learn about individual artists, such as Gu Kaizhi. Even when these |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 10, "sc": 1881, "ep": 14, "ec": 394} | 162,037 | Q919348 | 10 | 1,881 | 14 | 394 | Chinese painting | Early periods & Sui and Tang dynasties (581–907) | artists illustrated Confucian moral themes – such as the proper behavior of a wife to her husband or of children to their parents – they tried to make the figures graceful. Sui and Tang dynasties (581–907) During the Tang dynasty, figure painting flourished at the royal court. Artists such as Zhou Fang depicted the splendor of court life in paintings of emperors, palace ladies, and imperial horses. Figure painting reached the height of elegant realism in the art of the court of Southern Tang (937–975).
Most of the Tang artists outlined figures with fine black lines and used brilliant |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 14, "sc": 394, "ep": 14, "ec": 1019} | 162,037 | Q919348 | 14 | 394 | 14 | 1,019 | Chinese painting | Sui and Tang dynasties (581–907) | color and elaborate detail. However, one Tang artist, the master Wu Daozi, used only black ink and freely painted brushstrokes to create ink paintings that were so exciting that crowds gathered to watch him work. From his time on, ink paintings were no longer thought to be preliminary sketches or outlines to be filled in with color. Instead, they were valued as finished works of art.
Beginning in the Tang Dynasty, many paintings were landscapes, often shanshui (山水, "mountain water") paintings. In these landscapes, monochromatic and sparse (a style that is collectively called shuimohua), the purpose was not |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 14, "sc": 1019, "ep": 18, "ec": 511} | 162,037 | Q919348 | 14 | 1,019 | 18 | 511 | Chinese painting | Sui and Tang dynasties (581–907) & Liao, Song, Jin and Yuan dynasties (907–1368) | to reproduce the appearance of nature exactly (realism) but rather to grasp an emotion or atmosphere, as if catching the "rhythm" of nature. Liao, Song, Jin and Yuan dynasties (907–1368) Painting during the Song dynasty (960–1279) reached a further development of landscape painting; immeasurable distances were conveyed through the use of blurred outlines, mountain contours disappearing into the mist, and impressionistic treatment of natural phenomena. The shan shui style painting—"shan" meaning mountain, and "shui" meaning river—became prominent in Chinese landscape art. The emphasis laid upon landscape was grounded in Chinese philosophy; Taoism stressed that humans were but tiny specks in |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 18, "sc": 511, "ep": 18, "ec": 1158} | 162,037 | Q919348 | 18 | 511 | 18 | 1,158 | Chinese painting | Liao, Song, Jin and Yuan dynasties (907–1368) | the vast and greater cosmos, while Neo-Confucianist writers often pursued the discovery of patterns and principles that they believed caused all social and natural phenomena. The painting of portraits and closely viewed objects like birds on branches were held in high esteem, but landscape painting was paramount. By the beginning of the Song Dynasty a distinctive landscape style had emerged. Artists mastered the formula of intricate and realistic scenes placed in the foreground, while the background retained qualities of vast and infinite space. Distant mountain peaks rise out of high clouds and mist, while streaming rivers run from afar |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 18, "sc": 1158, "ep": 18, "ec": 1825} | 162,037 | Q919348 | 18 | 1,158 | 18 | 1,825 | Chinese painting | Liao, Song, Jin and Yuan dynasties (907–1368) | into the foreground.
There was a significant difference in painting trends between the Northern Song period (960–1127) and Southern Song period (1127–1279). The paintings of Northern Song officials were influenced by their political ideals of bringing order to the world and tackling the largest issues affecting the whole of society; their paintings often depicted huge, sweeping landscapes. On the other hand, Southern Song officials were more interested in reforming society from the bottom up and on a much smaller scale, a method they believed had a better chance for eventual success; their paintings often focused on smaller, visually closer, and more |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 18, "sc": 1825, "ep": 18, "ec": 2467} | 162,037 | Q919348 | 18 | 1,825 | 18 | 2,467 | Chinese painting | Liao, Song, Jin and Yuan dynasties (907–1368) | intimate scenes, while the background was often depicted as bereft of detail as a realm without concern for the artist or viewer. This change in attitude from one era to the next stemmed largely from the rising influence of Neo-Confucian philosophy. Adherents to Neo-Confucianism focused on reforming society from the bottom up, not the top down, which can be seen in their efforts to promote small private academies during the Southern Song instead of the large state-controlled academies seen in the Northern Song era.
Ever since the Southern and Northern dynasties (420–589), painting had become an art of high sophistication that |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 18, "sc": 2467, "ep": 18, "ec": 3048} | 162,037 | Q919348 | 18 | 2,467 | 18 | 3,048 | Chinese painting | Liao, Song, Jin and Yuan dynasties (907–1368) | was associated with the gentry class as one of their main artistic pastimes, the others being calligraphy and poetry. During the Song Dynasty there were avid art collectors that would often meet in groups to discuss their own paintings, as well as rate those of their colleagues and friends. The poet and statesman Su Shi (1037–1101) and his accomplice Mi Fu (1051–1107) often partook in these affairs, borrowing art pieces to study and copy, or if they really admired a piece then an exchange was often proposed. They created a new kind of art based upon the three perfections in |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 18, "sc": 3048, "ep": 18, "ec": 3673} | 162,037 | Q919348 | 18 | 3,048 | 18 | 3,673 | Chinese painting | Liao, Song, Jin and Yuan dynasties (907–1368) | which they used their skills in calligraphy (the art of beautiful writing) to make ink paintings. From their time onward, many painters strove to freely express their feelings and to capture the inner spirit of their subject instead of describing its outward appearance. The small round paintings popular in the Southern Song were often collected into albums as poets would write poems along the side to match the theme and mood of the painting.
Although they were avid art collectors, some Song scholars did not readily appreciate artworks commissioned by those painters found at shops or common marketplaces, and |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 18, "sc": 3673, "ep": 18, "ec": 4330} | 162,037 | Q919348 | 18 | 3,673 | 18 | 4,330 | Chinese painting | Liao, Song, Jin and Yuan dynasties (907–1368) | some of the scholars even criticized artists from renowned schools and academies. Anthony J. Barbieri-Low, a Professor of Early Chinese History at the University of California, Santa Barbara, points out that Song scholars' appreciation of art created by their peers was not extended to those who made a living simply as professional artists:
During the Northern Song (960–1126 CE), a new class of scholar-artists emerged who did not possess the tromp l'œil skills of the academy painters nor even the proficiency of common marketplace painters. The literati's painting was simpler and at times quite unschooled, yet they would criticize these other |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 18, "sc": 4330, "ep": 18, "ec": 4989} | 162,037 | Q919348 | 18 | 4,330 | 18 | 4,989 | Chinese painting | Liao, Song, Jin and Yuan dynasties (907–1368) | two groups as mere professionals, since they relied on paid commissions for their livelihood and did not paint merely for enjoyment or self-expression. The scholar-artists considered that painters who concentrated on realistic depictions, who employed a colorful palette, or, worst of all, who accepted monetary payment for their work were no better than butchers or tinkers in the marketplace. They were not to be considered real artists.
However, during the Song period, there were many acclaimed court painters and they were highly esteemed by emperors and the royal family. One of the greatest landscape painters given patronage by the Song court |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 18, "sc": 4989, "ep": 18, "ec": 5601} | 162,037 | Q919348 | 18 | 4,989 | 18 | 5,601 | Chinese painting | Liao, Song, Jin and Yuan dynasties (907–1368) | was Zhang Zeduan (1085–1145), who painted the original Along the River During the Qingming Festival scroll, one of the most well-known masterpieces of Chinese visual art. Emperor Gaozong of Song (1127–1162) once commissioned an art project of numerous paintings for the Eighteen Songs of a Nomad Flute, based on the woman poet Cai Wenji (177–250 AD) of the earlier Han dynasty. Yi Yuanji achieved a high degree of realism painting animals, in particular monkeys and gibbons. During the Southern Song period (1127–1279), court painters such as Ma Yuan and Xia Gui used strong black brushstrokes to sketch trees |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 18, "sc": 5601, "ep": 22, "ec": 189} | 162,037 | Q919348 | 18 | 5,601 | 22 | 189 | Chinese painting | Liao, Song, Jin and Yuan dynasties (907–1368) & Late imperial China (1368–1895) | and rocks and pale washes to suggest misty space.
During the Mongol Yuan dynasty (1271–1368), painters joined the arts of painting, poetry, and calligraphy by inscribing poems on their paintings. These three arts worked together to express the artist's feelings more completely than one art could do alone. Yuan emperor Tugh Temur (r. 1328, 1329–1332) was fond of Chinese painting and became a creditable painter himself. Late imperial China (1368–1895) Beginning in the 13th century, the tradition of painting simple subjects—a branch with fruit, a few flowers, or one or two horses—developed. Narrative painting, with a wider color range and |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 22, "sc": 189, "ep": 22, "ec": 858} | 162,037 | Q919348 | 22 | 189 | 22 | 858 | Chinese painting | Late imperial China (1368–1895) | a much busier composition than Song paintings, was immensely popular during the Ming period (1368–1644).
The first books illustrated with colored woodcuts appeared around this time; as color-printing techniques were perfected, illustrated manuals on the art of painting began to be published. Jieziyuan Huazhuan (Manual of the Mustard Seed Garden), a five-volume work first published in 1679, has been in use as a technical textbook for artists and students ever since.
Some painters of the Ming dynasty (1368–1644) continued the traditions of the Yuan scholar-painters. This group of painters, known as the Wu School, was led by the artist Shen Zhou. |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 22, "sc": 858, "ep": 22, "ec": 1541} | 162,037 | Q919348 | 22 | 858 | 22 | 1,541 | Chinese painting | Late imperial China (1368–1895) | Another group of painters, known as the Zhe School, revived and transformed the styles of the Song court.
During the early Qing dynasty (1644–1911), painters known as Individualists rebelled against many of the traditional rules of painting and found ways to express themselves more directly through free brushwork. In the 18th and 19th centuries, great commercial cities such as Yangzhou and Shanghai became art centers where wealthy merchant-patrons encouraged artists to produce bold new works. However, similar to the phenomenon of key lineages producing, many well-known artists came from established artistic families. Such families were concentrated in the Jiangnan |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 22, "sc": 1541, "ep": 26, "ec": 162} | 162,037 | Q919348 | 22 | 1,541 | 26 | 162 | Chinese painting | Late imperial China (1368–1895) & Modern painting | region and produced painters such as Ma Quan, Jiang Tingxi, and Yun Zhu.
In the late 19th and 20th centuries, Chinese painters were increasingly exposed to Western art. Some artists who studied in Europe rejected Chinese painting; others tried to combine the best of both traditions. Among the most beloved modern painters was Qi Baishi, who began life as a poor peasant and became a great master. His best-known works depict flowers and small animals. Modern painting Beginning with the New Culture Movement, Chinese artists started to adopt using Western techniques. Prominent Chinese artists who studied Western painting include |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 26, "sc": 162, "ep": 26, "ec": 874} | 162,037 | Q919348 | 26 | 162 | 26 | 874 | Chinese painting | Modern painting | Li Tiefu, Yan Wenliang, Xu Beihong, Lin Fengmian, Fang Ganmin and Liu Haisu.
In the early years of the People's Republic of China, artists were encouraged to employ socialist realism. Some Soviet Union socialist realism was imported without modification, and painters were assigned subjects and expected to mass-produce paintings. This regimen was considerably relaxed in 1953, and after the Hundred Flowers Campaign of 1956–57, traditional Chinese painting experienced a significant revival. Along with these developments in professional art circles, there was a proliferation of peasant art depicting everyday life in the rural areas on wall murals and in open-air painting exhibitions.
During |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 26, "sc": 874, "ep": 30, "ec": 433} | 162,037 | Q919348 | 26 | 874 | 30 | 433 | Chinese painting | Modern painting & Since 1978 | the Cultural Revolution, art schools were closed, and publication of art journals and major art exhibitions ceased. Major destruction was also carried out as part of the elimination of Four Olds campaign. Since 1978 Following the Cultural Revolution, art schools and professional organizations were reinstated. Exchanges were set up with groups of foreign artists, and Chinese artists began to experiment with new subjects and techniques.
One particular case of freehand style (xieyi hua) may be noted in the work of the child prodigy Wang Yani (born 1975) who started painting at age 3 and has since considerably contributed to the exercise |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 30, "sc": 433, "ep": 30, "ec": 1126} | 162,037 | Q919348 | 30 | 433 | 30 | 1,126 | Chinese painting | Since 1978 | of the style in contemporary artwork.
After Chinese economic reform, more and more artists boldly conducted innovations in Chinese Painting. The innovations include: development of new brushing skill such as vertical direction splash water and ink, with representative artist Tiancheng Xie, creation of new style by integration traditional Chinese and Western painting techniques such as Heaven Style Painting, with representative artist Shaoqiang Chen, and new styles that express contemporary theme and typical nature scene of certain regions such as Lijiang Painting Style,with representative artist Gesheng Huang. A 2008 set of paintings by Cai Jin, most well known for her use of |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 30, "sc": 1126, "ep": 38, "ec": 409} | 162,037 | Q919348 | 30 | 1,126 | 38 | 409 | Chinese painting | Since 1978 & High quality reproductions & Water Mill | psychedelic colours, showed influences of both Western and traditional Chinese sources, though the paintings were organic abstractions. High quality reproductions High quality reproductions are made by special printing techniques, at Rongbaozhai in Beijing, and at Duoyunxuan in Shanghai. Water Mill As the landscape painting rose and became the dominant style in North Song dynasty, artists began to shift their attention from jiehua painting, which indicates paintings of Chinese architectural objects such as buildings, boats, wheels and vehicles, towards landscape paintings. Intertwining with the imperial landscape painting, water mill, an element of jiehua painting, though, is still use as an imperial |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 38, "sc": 409, "ep": 38, "ec": 1085} | 162,037 | Q919348 | 38 | 409 | 38 | 1,085 | Chinese painting | Water Mill | symbol. Water mill depicted in the Water Mill is a representation for the revolution of technology, economy, science, mechanical engineering and transportation in Song dynasty. It represents the government directly participate in the milling industry which can influence the commercial activities. Another evidence that shows the government interfered with the commercial is a wineshop appears besides the water mill. The water mill in Shanghai Scroll reflects the development in engineering and a growing knowledge in hydrology. Furthermore, water mill can also used for identify a painting and used as a literature metaphor. Lately, the water mill transform into a symbolic |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 38, "sc": 1085, "ep": 38, "ec": 1675} | 162,037 | Q919348 | 38 | 1,085 | 38 | 1,675 | Chinese painting | Water Mill | form representing the imperial court.
A Thousand Miles of Rivers and Mountains by Wang Ximemg, celebrates the imperial patronage and builds up a bridge that ties the later emperors, Huizong, Shenzong with their ancestors, Taizu and Taizong. The water mill in this painting, unlike that is painted in previous Shanghai scroll to be solid and weighted, it is painted to be ambiguous and vague to match up with the court taste of that time. The painting reflects a slow pace and peaceful idyllic style of living. Located deeply in a village, the water mill is driven by the force of a |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 38, "sc": 1675, "ep": 38, "ec": 2313} | 162,037 | Q919348 | 38 | 1,675 | 38 | 2,313 | Chinese painting | Water Mill | huge, vertical waterwheel which is powered by a sluice gate. The artist seems to be ignorance towards hydraulic engineering since he only roughly drew out the mechanism of the whole process. A Thousand Miles of Rivers and Mountainspainted by Wang Ximeng, a court artist taught directly by Huizong himself. Thus, the artwork A Thousand Miles of Rivers and Mountainsshould directly review the taste of the imperial taste of the landscape painting. Combining richness bright blue and turquoise pigments heritage from Tang dynasty with the vastness and solemn space and mountains from Northern Song, the scroll is a perfect representation of |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 38, "sc": 2313, "ep": 42, "ec": 534} | 162,037 | Q919348 | 38 | 2,313 | 42 | 534 | Chinese painting | Water Mill & Image as Word: Rebus | imperial power and aesthetic taste of the aristocrats. Image as Word: Rebus There is a long tradition of having hidden meaning behind certain objects in Chinese paintings. A fan painting by an unknown artist from North Song period depicts three gibbons capturing baby egrets and scaring the parents away. The rebus behind this scene is interpreted as celebrating the examination success. Since another painting which has similar subjects—gibbons and egrets, is given the title of San yuan de lu三猿得鹭, or Three gibbons catching egrets. As the rebus, the sound of the title can also be written as 三元得路, meaning “a |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 42, "sc": 534, "ep": 42, "ec": 1128} | 162,037 | Q919348 | 42 | 534 | 42 | 1,128 | Chinese painting | Image as Word: Rebus | triple first gains [one] power.” 元represents “first” replaces its homophonous 猿, and 路means road, replaces 鹭. Sanyuan is firstly recorded as a term referring to people getting triple first place in an exam in Qingsuo gaoyi by a North Song writer Liu Fu, and the usage of this new term gradually spread across the country where the scenery of gibbons and egrets is widely accepted. Lately, other scenery derived from the original paintings, including deer in the scene because in Chinese, deer, lu is also a homophonous of egrets. Moreover, the number of gibbons depicted in the painting can be |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 42, "sc": 1128, "ep": 42, "ec": 1751} | 162,037 | Q919348 | 42 | 1,128 | 42 | 1,751 | Chinese painting | Image as Word: Rebus | flexible, not only limited to three, sanyuan. Since the positions in Song courts are hold by elites who achieved jinshi degree, the paintings with gibbons, egrets or deer are used for praising those elites in general.
Emperor Huizong personally painted a painting called Birds in a blossom wax-plum tree, features with two “hoary headed birds,” “Baitou weng” resting on a tree branch together. “Baitou” in Chinese culture is allusion to faithful love and marriage. In a well-known love poem, it wrote: “I wish for a lover in whose heart I alone exist, unseparated even our heads turn hoary.” During Huizong's rule, |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 42, "sc": 1751, "ep": 46, "ec": 415} | 162,037 | Q919348 | 42 | 1,751 | 46 | 415 | Chinese painting | Image as Word: Rebus & The Donkey Rider | literati rebus is embedded in court painting academy and became part of the test routine to enter the imperial court. During Song dynasty, the connection between painters and literati, paintings and poem is closer. The Donkey Rider “The country is broken; mountains and rivers remain.” The poem by Du Fu (712-770) reflects the major principle in Chinese culture: the dynasty might change, but the landscape is eternal. This timelessness theme evolved from Six Dynasty period and early Northern Song. A donkey rider travelling through the mountains, rivers and villages is studied as an important iconographical character in developing of landscape |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 46, "sc": 415, "ep": 46, "ec": 967} | 162,037 | Q919348 | 46 | 415 | 46 | 967 | Chinese painting | The Donkey Rider | painting.
The donkey rider in the painting Travelers in a wintry forest by Li Cheng is assumed to be a portrait painting of Meng Haoran, “a tall and lanky man dressed in a scholar plain robe, riding on a small horse followed by a young servant.” Except Meng Haoran, other famous people for example, Ruan Ji, one of the seven sages of the Bamboo Grove and Du Fu, a younger contemporary of Meng are also depicted as donkey rider. Tang dynasty poets Jia Dao and Li He and early Song dynasty elites Pan Lang, Wang Anshi appears on the paintings as |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 46, "sc": 967, "ep": 46, "ec": 1534} | 162,037 | Q919348 | 46 | 967 | 46 | 1,534 | Chinese painting | The Donkey Rider | donkey rider. North Song poets Lin Bu and Su Shi are lately depicted as donkey rider. In this specific painting Travelers in a wintry forest, the potential candidates for the donkey rider are dismissed and the character can only be Meng Haoran. Meng Haoran has made more than two hundred poems in his life but none of them is related with donkey ride. Depicting him as a donkey rider is a historical invention and Meng represents a general persona than an individual character. Ruan Ji was depicted as donkey rider since he decided to escape the office life and went |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 46, "sc": 1534, "ep": 46, "ec": 2110} | 162,037 | Q919348 | 46 | 1,534 | 46 | 2,110 | Chinese painting | The Donkey Rider | back to the wilderness. The donkey he was riding is representing his poverty and eccentricity. Du Fu was portrayed as the rider to emphasis his failure in office achievement and also his poor living condition. Meng Haoran, similar to those two figures, disinterested in office career and acted as a pure scholar in the field of poem by writing real poems with real experience and real emotional attachment with the landscape. The donkey rider is said to travel through time and space. The audience are able to connect with the scholars and poets in the past by walking on the |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 46, "sc": 2110, "ep": 50, "ec": 284} | 162,037 | Q919348 | 46 | 2,110 | 50 | 284 | Chinese painting | The Donkey Rider & Realm of the Immortals | same route as those superior ancestors have gone on. Besides the donkey rider, there is always a bridge for the donkey to across. The bridge is interpreted to have symbolic meaning that represents the road which hermits depart from capital city and their official careers and go back to the natural world. Realm of the Immortals During Song dynasty, paintings with themes ranging from animals, flower, landscape and classical stories, are used as ornaments in imperial palace, government office and elites’ residence for multiple purposes. The theme of the art in display is carefully picked to reflect not only a |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 50, "sc": 284, "ep": 50, "ec": 911} | 162,037 | Q919348 | 50 | 284 | 50 | 911 | Chinese painting | Realm of the Immortals | personal taste, but also his social status and political achievement. In emperor Zhezong's lecture hall, a painting depicting stories form Zhou dynasty was hanging on the wall to remind Zhezong how to be a good ruler of the empire. The painting also serves the purpose of expressing his determination to his court officers that he is an enlightened emperor.
The main walls of the government office, also called walls of the “Jade Hall,” meaning the residence of the immortals in Taoism are decorated by decorative murals. Most educated and respected scholars were selected and given the title xueshi. They were divided |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 50, "sc": 911, "ep": 50, "ec": 1568} | 162,037 | Q919348 | 50 | 911 | 50 | 1,568 | Chinese painting | Realm of the Immortals | into groups in helping the Instituted of Literature and were described as descending from the immortals. Xueshi are receiving high social status and doing carefree jobs. Lately, the xueshi yuan, the place where xueshi lives, became the permanent government institution that helped the emperor to make imperial decrees.
During Tang dynasty reign of Emperor Xianzong (805-820), the west wall of the xueshi yuan was covered by murals depicting dragon-like mountain scene. In 820-822, immortal animals like Mount Ao, flying cranes, and xianqin, a kind of immortal birds were added to the murals. Those immortal symbols all indicate that the xueshi yuan |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 50, "sc": 1568, "ep": 50, "ec": 2179} | 162,037 | Q919348 | 50 | 1,568 | 50 | 2,179 | Chinese painting | Realm of the Immortals | as eternal existing government office.
During Song dynasty, the xueshi yuan was modified and moved with the dynasty to the new capital Hangzhou in 1127. The mural painted by Song artist Dong yu, closely followed the tradition of Tang dynasty in depicting the misty sea surrounding the immortal mountains. The scenery on the walls of the Jade Hall which full of mist clouds and mysterious land is closely related to Taoism tradition. When Yan Su, a painter followed the style of Li Cheng, was invited to paint the screen behind the seat of the emperor, he included elaborated constructed pavilions, mist |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 50, "sc": 2179, "ep": 52, "ec": 17} | 162,037 | Q919348 | 50 | 2,179 | 52 | 17 | Chinese painting | Realm of the Immortals & Paradigm Shift in Chinese Landscape Representation | clouds and mountain landscape painting in his work. The theme of his painting is suggesting the immortal realm which accord with the entire theme of the Jade Hall provides to its viewer the feeling of otherworldliness. Another painter, Guo Xi made another screen painting for emperor Shenzong, depicting mountains in spring in a harmonized atmosphere. The image also includes immortal elements Mount Tianlao which is one of the realms of the immortals. In his painting, Early Spring, the strong branches of the trees reflects the life force of the living creatures and implying the emperor's benevolent rule. Paradigm Shift in |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 52, "sc": 17, "ep": 54, "ec": 663} | 162,037 | Q919348 | 52 | 17 | 54 | 663 | Chinese painting | Paradigm Shift in Chinese Landscape Representation | Chinese Landscape Representation Northern Song landscape painting different from Southern Song painting because of its paradigm shift in representation. If Southern Song period landscape painting is said to be looking inward, Northern Song painting is reaching outward. During the Northern Song period, the rulers’ goal is to consolidate and extent the elites value across the society. Whereas Southern Song painters decided to focus on personal expression. Northern Song landscapes are regarded as “real landscape”, since the court appreciated the representation relationship between art and the external world, rather than the relationship between art and the artists inner voice. The painting, |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 54, "sc": 663, "ep": 54, "ec": 1313} | 162,037 | Q919348 | 54 | 663 | 54 | 1,313 | Chinese painting | Paradigm Shift in Chinese Landscape Representation | A Thousand Miles of Rivers and Mountainsis horizontally displayed and there are four mountain ranges arranged from left to right. Similar to another early Southern Song painter, Zhou Boju, both artists glorified their patrons by presenting the gigantic empire images in blue and green landscape painting. The only difference is that in Zhou's painting, there are five mountain ranges that arranges from right to left. The scenes in the Sothern Song paintings are about north landscape that echos the memory of their lost north territory. However, ironically, some scholars suggested that Wang Ximeng's A Thousand Miles of Rivers and Mountainsdepicts |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 54, "sc": 1313, "ep": 58, "ec": 590} | 162,037 | Q919348 | 54 | 1,313 | 58 | 590 | Chinese painting | Paradigm Shift in Chinese Landscape Representation & Buddhist and Taoist influences on Chinese Landscape painting | the scenes of the south not the north. Buddhist and Taoist influences on Chinese Landscape painting The Chinese landscape painting are believed to be affected by the intertwining Chinese traditional religious beliefs, for example, “the Taoist love of nature”, and “Buddhist principle of emptiness,” and can represent the diversification of artists attitudes and thoughts from previous period. The Taoist love of nature is not always present in Chinese landscape painting but gradually developed from Six Dynasties period when Taoists Lao-tzu, Chuang-tzu, the Pao-p’u tzu's thoughts are reflected in literature documents. Apart from the contemporary Confucian tradition of insisting on human |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 58, "sc": 590, "ep": 58, "ec": 1206} | 162,037 | Q919348 | 58 | 590 | 58 | 1,206 | Chinese painting | Buddhist and Taoist influences on Chinese Landscape painting | cultivation and learning to be more educated and build up social framework, Taoist persist on going back to human's origin, which is to be ignorance. Taoists believe that if one discard wise, the robbery will stop. If people abandon expensive jewelry, thieves will not exist. From Han Dynasty, the practice of Taoism was associated with alchemical and medicine made. In order to better pursuit Taoism belief, Taoist need to go on pilgrim into specific mountains to connect themselves with the spirits and immortals that lived in those mountains. In the third and fourth century, the practice of escaping society and |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 58, "sc": 1206, "ep": 58, "ec": 1839} | 162,037 | Q919348 | 58 | 1,206 | 58 | 1,839 | Chinese painting | Buddhist and Taoist influences on Chinese Landscape painting | going back to nature mediating in the countryside is further enhanced by a group called Seven Sages of the Bamboo Grove who would like to escape from the civil unrest. The wise men fleet the world and wonder in the countryside and enjoy the tranquil landscape and forgot to return. The Taoism ideology of forgetfulness, self-cultivation, harmonizing with nature world, and purifying soul by entering the isolated mountains to mediate and seek medicine herbs create the scene of landscape painting.
During Han Dynasty, the mountains appeared in the design of the artworks shows the prevalence role of mountain in Han society. |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 58, "sc": 1839, "ep": 58, "ec": 2500} | 162,037 | Q919348 | 58 | 1,839 | 58 | 2,500 | Chinese painting | Buddhist and Taoist influences on Chinese Landscape painting | The emperor would climb on to the mountain to sacrifice and religion practice because mountains are thought to have connection between earth and heaven and can link human with spirits and immortals. And sometimes, mountains are depicted as mystical mountains” (shenshan), where sages and legendary animals settled. Hence, landscape painting is used as an object for Taoism practice which provide visualize form for religious ritual. During Six Dynasty period, the landscape painting experienced a stylistic change which myth and poem depiction were introduced into the painting. For example, in Ku Kai-chih's “Nymph of the river” scroll and “The Admonitions of |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 58, "sc": 2500, "ep": 58, "ec": 3164} | 162,037 | Q919348 | 58 | 2,500 | 58 | 3,164 | Chinese painting | Buddhist and Taoist influences on Chinese Landscape painting | the Court Preceptress”, audience are able to read narrative description and text accompanied by visualized images.
Furthermore, in Buddhism practice, the mountain also has an important role in religious practice. From iconographical point of view, a Buddha's image is essence in helping a believer to practice meditation. For instance, Buddha's reflection image, or shadow, is assimilated the image of a mountain, Lushan. This assimilation is also recorded in a poem by poet from Six Dynasty period who pointed out that the beauty and nominosity of the mountain can elevate the spiritual connection between human being and the spirits. Thus, the landscape |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 58, "sc": 3164, "ep": 58, "ec": 3813} | 162,037 | Q919348 | 58 | 3,164 | 58 | 3,813 | Chinese painting | Buddhist and Taoist influences on Chinese Landscape painting | painting come into display Buddha's image in people's everyday ritual practice. Hui-yuan described in his poem that “Lushan seems to mirror the divine appearance” which unifies the two images—the true image and the reflection of Buddha. Moreover, spiritual elevation can be achieved by contemplating in front of landscape painting which depict the same mountain and path those old sages have been to. The painting contains both the spiritual force (ling) and the truth (li) of Buddha and also the objects that no longer physically presence. Hui-Yuan's famous image is closely relation with its landscape scene indicating the trend of transformation |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 58, "sc": 3813, "ep": 62, "ec": 605} | 162,037 | Q919348 | 58 | 3,813 | 62 | 605 | Chinese painting | Buddhist and Taoist influences on Chinese Landscape painting & Early landscape painting | from Buddha image to landscape painting as a religious practice. Early landscape painting In Chinese society, there is a long-time appreciation of natural beauty. The early themes of poems, artworks are associated with agriculture and everyday life associates with fields, animals. On the other hand, later Chinese painting pursuits majesty and grand. Thus, mountain scenery become the most popular subject to paint because it's high which represent human eminence. Also, mountain is stable and permanent suggests the eminent of the imperial power. Furthermore, mountain is difficult to climb showing the difficulties human will face through their lives.
Landscape painting evolved under |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 62, "sc": 605, "ep": 62, "ec": 1241} | 162,037 | Q919348 | 62 | 605 | 62 | 1,241 | Chinese painting | Early landscape painting | the influence of Taoist who fled from civil turbulence and prosecution of the government and went back to the wilderness. However, the development of Taoism was hindered by Han dynasty. During Han dynasty, the empire expanded and enlarged its political and economic influence. Hence, the Taoism's anti-social belief was disfavored by the imperial government. Han rulers only favored portrait painting which enabled their image to be perpetuate and their civilians to see and to memorize their great leaders or generals. Landscape at that time only focus on the trees for literary or talismanic value. The usage of landscape painting as |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 62, "sc": 1241, "ep": 62, "ec": 1905} | 162,037 | Q919348 | 62 | 1,241 | 62 | 1,905 | Chinese painting | Early landscape painting | ornament is suspects to be borrowed from other societies outside Han empire during its expansion to the Near East. Landscape and animal scene began to appear on the jars, but the decoration has little to do with connection with the natural world. Also, there is evidence showing that the emerging of landscape painting is not derived from map-making.
During the Three Kingdoms and Six Dynasty, landscape painting began to have connection with literati and the production of poems. Taoism influence on people's appreciation of landscaping deceased and nature worshipping superseded. However, Taoist still used landscape painting in their meditation just as |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 62, "sc": 1905, "ep": 62, "ec": 2563} | 162,037 | Q919348 | 62 | 1,905 | 62 | 2,563 | Chinese painting | Early landscape painting | Confucius uses portrait painting in their ritual practice. (Ku Kai Chih's admonitions) During this time period, the landscape painting is more coherence with variation trees, rocks and branches. Moreover, the painting is more elaborated and organized. The evolution in landscape painting during Six Dynasty is that artists harmonized sprit with the nature. (Wu Tao-tzu) Buddhism might also contribute in affecting changes in landscape painting. The artists began to show space and depth in their works where they showed mountain mass, distanced hills and clouds. The emptiness of the space is helping the believers meditating to enter the space of emptiness |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 62, "sc": 2563, "ep": 66, "ec": 342} | 162,037 | Q919348 | 62 | 2,563 | 66 | 342 | Chinese painting | Early landscape painting & Images of women | and nothingness.
The most important development in landscape painting is that people came to recognize the infinity variation of the nature world, so they tended to make each tree individualized. Every landscape painting is restricted by storytelling and is dependent on artists memory. Images of women Female characters are almost excluded from traditional Chinese painting under the influence of Confucianism. Dong Zhongshu, an influential Confucian scholar in the Han dynasty, proposed the three-bond theory saying that: “the ruler is Yang and the subject is Yin, father is Yang and son is Yin…The husband is Yang, and the wife is Yin,” which |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 66, "sc": 342, "ep": 66, "ec": 960} | 162,037 | Q919348 | 66 | 342 | 66 | 960 | Chinese painting | Images of women | places females in a subordinate position to that of males. Under the three-bond theory, women are depicted as housewives who need to obey to their husbands and fathers in literature. Similarly, in the portrait paintings, female characters are also depicted as exemplary women to elevate the rule of males. A hand roll Exemplary Womenby Ku Kai Zhi, a six Dynasty artist, depicted woman characters who may be a wife, a daughter or a widow.
During the Tang dynasty, artists slowly began to appreciate the beauty of a woman's body (shinu). Artist Zhang Xuan produced painting named palace women listening to music |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 66, "sc": 960, "ep": 70, "ec": 284} | 162,037 | Q919348 | 66 | 960 | 70 | 284 | Chinese painting | Images of women & Art as cartography | that captured women's elegance and pretty faces. However, women were still being depicted as submissive and ideal within male system.
During the Song dynasty, as the love poem emerged, the images associated with those love stories were made as attractive as possible to meet the taste of the male viewers. Art as cartography “Arts in maps, arts as maps, maps in arts, and maps as arts,” are the four relationships between art and map. Making a distinction between map and art is difficult because there are cartographic elements in both paintings. Early Chinese map making considered earth surface as flat, so |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 70, "sc": 284, "ep": 70, "ec": 914} | 162,037 | Q919348 | 70 | 284 | 70 | 914 | Chinese painting | Art as cartography | artists would not take projection into consideration. Moreover, map makers did not have the idea of map scale. Chinese people from Song dynasty called paintings, maps and other pictorial images as tu, so it's impossible to distinguish the types of each painting by name. Artists who paint landscape as an artwork focus mainly on the natural beauty rather on the accuracy and realistic representation of the object. Map on the other hand should be depicted in a precise manner which more focus on the distance and important geographic features.
The two examples in this case:
The Changjiang Wan Li Tu, although the |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 70, "sc": 914, "ep": 70, "ec": 1516} | 162,037 | Q919348 | 70 | 914 | 70 | 1,516 | Chinese painting | Art as cartography | date and the authorship are not clear, the painting is believed to be made in Song dynasty by examining the place names recorded on the painting. Only based on the name of this painting, it is hard to distinguish whether this painting is painted as a landscape painting or as a map.
The Shu Chuan Shenggai was once thought as the product done by North Song artist Li Gonglin, however, later evidence disapproved this thought and proposed the date should be changed to the end of South Song and artist remains unknown.
Both those paintings, aiming to enhance viewers appreciation on the |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 70, "sc": 1516, "ep": 74, "ec": 461} | 162,037 | Q919348 | 70 | 1,516 | 74 | 461 | Chinese painting | Art as cartography & Dyads | beauty and majesty of landscape painting, focusing on the light condition and conveying certain attitude, are characterized as masterpiece of art rather than map. Dyads Chinese landscape painting, “shanshui hua” means the painting of mountains and rivers which are the two major components that represents the essence of the nature. Shanshui in Chinese tradition is given rich meaning, for example mountain represents Yang and river indicates Yin. According to Yin Yang theory, Yin embodies Yang and Yang involved in Yin, thus, mountain and river is inseparable and is treated as a whole in a painting. In the Mountains and rivers |
{"datasets_id": 162037, "wiki_id": "Q919348", "sp": 74, "sc": 461, "ep": 74, "ec": 684} | 162,037 | Q919348 | 74 | 461 | 74 | 684 | Chinese painting | Dyads | without end, for example, “the dyad of the mountain uplift, subduction, and erosion and the planetary water cycle” is consisted with the dyad of Buddhism iconography, both representing austerity and generous loving spirit. |
{"datasets_id": 162038, "wiki_id": "Q5101369", "sp": 2, "sc": 0, "ep": 6, "ec": 53} | 162,038 | Q5101369 | 2 | 0 | 6 | 53 | Chintulla | Agriculture | Chintulla Agriculture There is a Zilla Parishad High School in the village. |
{"datasets_id": 162039, "wiki_id": "Q1077977", "sp": 2, "sc": 0, "ep": 6, "ec": 565} | 162,039 | Q1077977 | 2 | 0 | 6 | 565 | ChristChurch Cathedral | History | ChristChurch Cathedral History The origins of the cathedral date back to the plans of the Canterbury Association, which aimed to build a city around a central cathedral and college in the Canterbury region, based on the English model of Christ Church Cathedral, Oxford. In the original survey of central Christchurch (known as the Black Map), undertaken in 1850, it was envisaged for the college and cathedral to be built in Cathedral Square. The area set aside for the college was found to be insufficient, and Henry Sewell suggested in June 1853 to move it to land reserved for the Christchurch |
{"datasets_id": 162039, "wiki_id": "Q1077977", "sp": 6, "sc": 565, "ep": 6, "ec": 1198} | 162,039 | Q1077977 | 6 | 565 | 6 | 1,198 | ChristChurch Cathedral | History | Botanic Gardens. This transaction was formalised through The Cathedral Square Ordinance 1858 passed by the Canterbury Provincial Council in October 1858. The ordinance allowed for Colombo Street to go through the middle of Cathedral Square at a legal width of 1.5 chains (99 ft; 30 m) with the cathedral to the west.
Henry Harper, the first Bishop of Christchurch, arrived in 1856 and began to drive the cathedral project. Most Christian churches are oriented towards the east, and to comply with this convention, Harper lobbied to have the eastern side of Cathedral Square to be used. That way, the main entrance would face |
{"datasets_id": 162039, "wiki_id": "Q1077977", "sp": 6, "sc": 1198, "ep": 6, "ec": 1852} | 162,039 | Q1077977 | 6 | 1,198 | 6 | 1,852 | ChristChurch Cathedral | History | Colombo Street, resulting in praying towards the east in line with custom. The Cathedral Square Amendment Ordinance 1859, formalised this change.
In 1858 the project was approved by the diocese and a design was commissioned from George Gilbert Scott, a prolific British architect known for his Gothic Revival churches and public buildings (he later built St Pancras railway station in London and St Mary's Episcopal Cathedral in Edinburgh). Scott never visited Christchurch, but handed over the oversight of the project to Robert Speechly. Scott had earlier designed a timber church, the plans for which arrived with the Reverend Thomas Jackson |
{"datasets_id": 162039, "wiki_id": "Q1077977", "sp": 6, "sc": 1852, "ep": 6, "ec": 2487} | 162,039 | Q1077977 | 6 | 1,852 | 6 | 2,487 | ChristChurch Cathedral | History | in 1851, but were never used.
Just before work on the foundations began, the alignment of Colombo Street through Cathedral Square was changed by introducing a curve towards the west, with the western side of the legal road having a radius of 3 chains 75 links (75 m), to place the cathedral slightly further west, making its tower visible along Colombo Street from a distance.
Scott's original design was for a Gothic-style cathedral, primarily constructed in timber. Bishop Harper, however, argued that the cathedral should be built from stone and by 1862 Scott's revised plans, as forwarded to the bishop, showed an |
{"datasets_id": 162039, "wiki_id": "Q1077977", "sp": 6, "sc": 2487, "ep": 6, "ec": 3107} | 162,039 | Q1077977 | 6 | 2,487 | 6 | 3,107 | ChristChurch Cathedral | History | internal timber frame with a stone exterior. Continuing pressure for an all-stone church, and concerns over the lack of timber in Canterbury, led to Scott supplying alternative plans for a stone arcade and clerestory. These plans arrived in New Zealand in 1864.
The cornerstone was laid on 16 December 1864, but lack of money in the fledgling city saw construction halted in late 1865. At the start of the project, Christchurch was still a small town (its male population numbering only 450) and raising funds for construction proved to be difficult. Commentators of the time voiced their disappointment at the |
{"datasets_id": 162039, "wiki_id": "Q1077977", "sp": 6, "sc": 3107, "ep": 6, "ec": 3753} | 162,039 | Q1077977 | 6 | 3,107 | 6 | 3,753 | ChristChurch Cathedral | History | lack of progress – the novelist Anthony Trollope visited in 1872 and referred to the "vain foundations" as a "huge record of failure".
In 1873 a new resident architect, New Zealander Benjamin Mountfort, took over and construction began again. Mountfort adapted Scott's design, adding tower balconies and the west porch and decorative details such as the font, pulpit and stained glass. The initial plans called for wooden construction, but were changed with the discovery of a source of good quality stone locally. Banks Peninsula totara and matai timber were used for the roof supports.
The nave, 100 foot (30 m) long, and tower |
{"datasets_id": 162039, "wiki_id": "Q1077977", "sp": 6, "sc": 3753, "ep": 6, "ec": 4375} | 162,039 | Q1077977 | 6 | 3,753 | 6 | 4,375 | ChristChurch Cathedral | History | were consecrated on 1 November 1881. When Mountfort died in 1898, his son, Cyril Mountfort (1852-1920), took over as supervising architect and oversaw the completion of the chancel, transepts and apse, all of which were finished by 1904. The Christchurch Beautifying Society planted two plane trees to the south in 1898.
The Rhodes family, who arrived in Canterbury before the First Four Ships, provided funds for the tower and spire. Robert Heaton Rhodes built the tower in memory of his brother George and the spire was added by George's children. The family purchased eight bells and a memorial window and paid |
{"datasets_id": 162039, "wiki_id": "Q1077977", "sp": 6, "sc": 4375, "ep": 6, "ec": 4987} | 162,039 | Q1077977 | 6 | 4,375 | 6 | 4,987 | ChristChurch Cathedral | History | for renovations as required. In May 2012, the Rhodes memorial window depicting St John the Evangelist was recovered from the north wall.
The spire reached to 63 metres (207 ft) above Cathedral Square. Public access provided for a good viewpoint over the centre of the city, but the spire had been damaged by earthquakes on four occasions. The tower originally contained a peal of ten bells, cast by John Taylor & Co of Loughborough, and hung in 1881. The original bells were replaced in 1978 by 13 new bells, also cast at Taylors.
In 1894, Elizabeth, the widow of Alfred Richard Creyke, arranged |
{"datasets_id": 162039, "wiki_id": "Q1077977", "sp": 6, "sc": 4987, "ep": 10, "ec": 364} | 162,039 | Q1077977 | 6 | 4,987 | 10 | 364 | ChristChurch Cathedral | History & Interior | for the western porch to be built in his memory. On the south side of the nave there is a Watts-Russell Memorial Window in memory of her first husband.
The cathedral underwent major renovations during 2006 and 2007, including the replacement of the original roof slates. Interior The high altar's reredos was made from kauri planks from an old bridge over the Hurunui River and includes six carved figures: Samuel Marsden, Archdeacon Henry Williams, Tāmihana Te Rauparaha, Bishop George Selwyn, Bishop Henry Harper and Bishop John Patteson.
The pulpit, designed by Mountford, commemorates George Selwyn, the first and only Bishop of New |
{"datasets_id": 162039, "wiki_id": "Q1077977", "sp": 10, "sc": 364, "ep": 10, "ec": 1020} | 162,039 | Q1077977 | 10 | 364 | 10 | 1,020 | ChristChurch Cathedral | Interior | Zealand. Mountford also designed the font, which was donated by Dean Stanley of Westminster Abbey in memory of his brother, Captain Owen Stanley of HMS Britomart, who arrived in Akaroa in 1840.
The cathedral contains the throne and memorial to Bishop Harper, the first Bishop of Christchurch and the second Primate of New Zealand, who laid the foundation stone in 1864 and preached at the consecration service in 1881. In the west porch are stones from Canterbury Cathedral, Christchurch Priory, Tintern Abbey, Glastonbury Abbey, Herod's Temple, St Paul's Cathedral and Christ Church, Oxford.
The north wall includes a mural dado of inlaid |
{"datasets_id": 162039, "wiki_id": "Q1077977", "sp": 10, "sc": 1020, "ep": 14, "ec": 199} | 162,039 | Q1077977 | 10 | 1,020 | 14 | 199 | ChristChurch Cathedral | Interior & Heritage listing | marble and encaustic tiles, donated by the Cathedral Guild in 1885, which includes fylfot motifs. A memorial window above the mural was donated in memory of Sir Thomas Tancred, Bt (1808–1880).
The Chapel of St Michael and St George was opened by His Excellency Lieutenant-General Sir Bernard Freyberg, VC, the Governor-General, on Remembrance Day (6 November 1949) and dedicated to Archbishop Campbell West-Watson. Heritage listing On 7 April 1983, the church was registered by the New Zealand Historic Places Trust as a Category I historic place, registration number 46. It is the only church designed by Scott in New Zealand. Its |
{"datasets_id": 162039, "wiki_id": "Q1077977", "sp": 14, "sc": 199, "ep": 18, "ec": 40} | 162,039 | Q1077977 | 14 | 199 | 18 | 40 | ChristChurch Cathedral | Heritage listing & Proposed demolition | design was significantly influenced by Mountfort. It is a major landmark and tourist attraction, and for many it symbolises the ideals of the early settlers. There are numerous memorial tablets and memorial windows, acting as a reminder of the early people and the region's history. For example, a list of the 84 members of the Canterbury Association was first compiled for volume one of A History of Canterbury. Even before the history was published in 1957, a memorial tablet of the members was installed in the western porch in 1955. Proposed demolition It was announced on 28 October 2011 that |
{"datasets_id": 162039, "wiki_id": "Q1077977", "sp": 18, "sc": 40, "ep": 18, "ec": 694} | 162,039 | Q1077977 | 18 | 40 | 18 | 694 | ChristChurch Cathedral | Proposed demolition | the structure would be deconsecrated and at least partially demolished, although it was not clear whether any parts would be retained and included in a future building; this would depend on the state of the fabric as determined during the work. ChristChurch Cathedral was deconsecrated on 9 November 2011.
On 2 March 2012, Bishop Victoria Matthews announced that the building would be demolished. She questioned the safety of the building and stated that rebuilding could cost NZ$50 million more than insurance would cover and that a new cathedral would be built in its place.
The decision was supported by 70 local Christchurch churches |
{"datasets_id": 162039, "wiki_id": "Q1077977", "sp": 18, "sc": 694, "ep": 22, "ec": 427} | 162,039 | Q1077977 | 18 | 694 | 22 | 427 | ChristChurch Cathedral | Proposed demolition & Opposition | and Christian groups.
In September 2012, Bishop Matthews suggested sharing a new church with the Roman Catholic community, as their place of worship was also damaged in the quakes. The Roman Catholic diocese was not receptive to the idea. Opposition There has been opposition to demolition, with heritage groups including the UNESCO World Heritage Centre opposing the action. A local character, the Wizard of New Zealand, made protests calling for the cathedral to be saved.
Kit Miyamoto, an American-based structural engineer and expert in earthquake rebuilding, inspected the cathedral after the September 2010 quake. He cited his experience in stating that restoring |
{"datasets_id": 162039, "wiki_id": "Q1077977", "sp": 22, "sc": 427, "ep": 26, "ec": 189} | 162,039 | Q1077977 | 22 | 427 | 26 | 189 | ChristChurch Cathedral | Opposition & Progress | and strengthening of the building was both "feasible and affordable".
In April 2012, a group of engineers from the New Zealand Society for Earthquake Engineering launched a petition seeking support of 100 colleagues to stop the demolition. They claimed that legal action was also a possibility. In the same month the Restore Christchurch Cathedral Group was formed and sought signatures for a petition to save the cathedral. Progress In late March 2012, demolition began and the scope involved removing the windows and demolishing the tower. By 23 April 2012, the stained glass of nine windows had been removed and work had |
{"datasets_id": 162039, "wiki_id": "Q1077977", "sp": 26, "sc": 189, "ep": 26, "ec": 810} | 162,039 | Q1077977 | 26 | 189 | 26 | 810 | ChristChurch Cathedral | Progress | begun to pull down masonry from the tower to give safe access to further stained glass windows. On 15 November 2012 the High Court issued an interim judgement granting an application for judicial review made by the Great Christchurch Buildings Trust, challenging the lawfulness of the decision to demolish. This placed a stay on further demolition.
While accepting that the application for judicial review should be granted, the court did not set aside the decision of the church at this stage. Because the diocese had indicated it wanted to rebuild on the site, its decision to demolish was "incomplete" but not |
{"datasets_id": 162039, "wiki_id": "Q1077977", "sp": 26, "sc": 810, "ep": 26, "ec": 1422} | 162,039 | Q1077977 | 26 | 810 | 26 | 1,422 | ChristChurch Cathedral | Progress | unlawful. It was said that the diocese should have an opportunity to reconsider and complete its decision having regard to the interim judgement. In granting the review, Justice Chisholm ruled the diocese must formally commit to rebuilding a cathedral in Cathedral Square, but was not required to replicate the cathedral as it stood before the quake. Justice Chisholm did not set any time frame but ruled that he wanted the review to take place "as soon as possible".
In early December 2013, the Supreme Court rejected a bid to preserve the cathedral. While the diocese interpreted this as being free to |
{"datasets_id": 162039, "wiki_id": "Q1077977", "sp": 26, "sc": 1422, "ep": 26, "ec": 2096} | 162,039 | Q1077977 | 26 | 1,422 | 26 | 2,096 | ChristChurch Cathedral | Progress | demolish the building and continue with plans for a replacement, demolition did not recommence, as there was still another court case pending. In July 2015, Earthquake Recovery Minister Gerry Brownlee wrote to church leaders stating concerns that the lack of progress was holding up the earthquake recovery of the central city. In September, Bishop Matthews announced that the church had agreed to a proposal to an independent government-appointed negotiator between Church Property Trustees and the Great Christchurch Building Trust. No official announcement was made with regards to the appointment, and the Christchurch newspaper The Press reported later in October that |
{"datasets_id": 162039, "wiki_id": "Q1077977", "sp": 26, "sc": 2096, "ep": 26, "ec": 2765} | 162,039 | Q1077977 | 26 | 2,096 | 26 | 2,765 | ChristChurch Cathedral | Progress | according to their understanding, Miriam Dean QC had been appointed for this role. It was also stated that all parties had signed confidentiality agreements. Confirmation for Dean's appointment was published in mid-December. On 23 December, Bishop Matthews announced that the church had agreed to Dean's report that stated that "the building could be either reconstructed to be 'indistinguishable' from the pre-quake cathedral or replaced". This brings to an end a stalemate of over three years with all parties agreeing to the report, and the church hierarchy now open to reinstatement, which was not an option previously considered by them.
Announcements for |
{"datasets_id": 162039, "wiki_id": "Q1077977", "sp": 26, "sc": 2765, "ep": 26, "ec": 3403} | 162,039 | Q1077977 | 26 | 2,765 | 26 | 3,403 | ChristChurch Cathedral | Progress | restoration initiatives were expected in late 2016, and then early 2017, but nothing happened. In April 2017, Anglican leaders announced that they had commissioned another opinion poll; the fifth after two major surveys each in 2013 and 2014. This was justified as needing "up-to-date information", but critics saw it as yet another delaying tactic. In May 2017, Bishop Matthews announced that she had transferred the decision-making power from the Church Property Trustees (i.e. the legal owners of the land and buildings) to the 225-member diocesan synod. The synod meets once a year and their next meeting was scheduled for September. |
{"datasets_id": 162039, "wiki_id": "Q1077977", "sp": 26, "sc": 3403, "ep": 30, "ec": 70} | 162,039 | Q1077977 | 26 | 3,403 | 30 | 70 | ChristChurch Cathedral | Progress & Proposed reinstatement | The new Earthquake Recovery Minister, Nicky Wagner, stated that she was "deeply disappointed", as she had hoped for a breakthrough. Mayor Lianne Dalziel urged the government to consider using its emergency powers to take ownership of the building as a last resort to get the renovation underway.
At a meeting of the diocesan synod on 9 September 2017, Bishop Matthews announced that the synod had voted with a 55% majority that ChristChurch Cathedral would be reinstated. She estimated that the project would be completed within 10 years. Proposed reinstatement On 22 August 2018, an agreement was signed that established a company, |
{"datasets_id": 162039, "wiki_id": "Q1077977", "sp": 30, "sc": 70, "ep": 34, "ec": 204} | 162,039 | Q1077977 | 30 | 70 | 34 | 204 | ChristChurch Cathedral | Proposed reinstatement & Transitional cathedral | Christ Church Cathedral Reinstatement Limited, to reinstate the cathedral. Physical works include a combination of repair, restoration and seismic strengthening. The strengthening includes the removal of internal walls so that the rubble fill can be removed and replaced with structural steel or concrete. Base isolation will also be retrofitted. Holmes Consulting has been appointed for structural engineering design, with Warren and Mahoney providing architectural services. Transitional cathedral Construction of a transitional cathedral started on 24 July 2012. The site, on the corner of Hereford and Madras Streets, several blocks from the permanent location, was blessed in April 2012. Designed by |
{"datasets_id": 162039, "wiki_id": "Q1077977", "sp": 34, "sc": 204, "ep": 34, "ec": 715} | 162,039 | Q1077977 | 34 | 204 | 34 | 715 | ChristChurch Cathedral | Transitional cathedral | architect Shigeru Ban and seating around 700 people, it was expected to be completed by Christmas 2012, but the completion date was put back to July and then August 2013 with the dedication service held on 15 August. The materials used in its construction include cardboard tubes, timber and steel.
In November 2012 the diocese began fund raising to pay for the NZ$5 million project, following a High Court judge indicating it may not be legal to build a temporary cathedral using its insurance payout. |
{"datasets_id": 162040, "wiki_id": "Q5110243", "sp": 2, "sc": 0, "ep": 4, "ec": 670} | 162,040 | Q5110243 | 2 | 0 | 4 | 670 | Christian Vaupell | Christian Vaupell Christian Theodor Vaupell (14 October 1821 – 15 September 1862) was a Danish botanist and forester. He was a student of Japetus Steenstrup and a teacher of botany at the University of Copenhagen to the young Eugen Warming.
Vaupell did macrofossil analysis of peat deposits and showed that in the Holocene development of temperate forest communities in Denmark, Betula was the chief early pioneer, followed by Pinus and Quercus and finally Fagus, which dominates today. These investigations pioneered the study of ecological succession. Besides studies of Holocene vegetation change and plant successions, Vaupell did pioneering investigations of palaeoecology as |
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{"datasets_id": 162040, "wiki_id": "Q5110243", "sp": 4, "sc": 670, "ep": 8, "ec": 604} | 162,040 | Q5110243 | 4 | 670 | 8 | 604 | Christian Vaupell | Selected works | well as microscopy of plant anatomy and vegetative reproduction. Selected works Vaupell, C. (1851) De nordsjællandske Skovmoser. En botanisk-mikroskopisk Undersøgelse af de Plantedele, som danne Tørven og af de Levninger af Fortidens Skove, der ere bevarede i nogle nordsjællandske Skovmoser (Wooded Bogs in Northern Zealand - a botanical-microscopic investigation of the plant parts that make up the peat and of the remains of past forests that are preserved in some wooded bogs in northern Zealand).
Vaupell, C. (1857) Bøgens Indvandring i de Danske Skove (Immigration of the Beech into the Danish Forests). C. A. Reitzels Bo og Arvinger, Kjøbenhavn, 63 pp.
Vaupell, |
{"datasets_id": 162040, "wiki_id": "Q5110243", "sp": 8, "sc": 604, "ep": 8, "ec": 857} | 162,040 | Q5110243 | 8 | 604 | 8 | 857 | Christian Vaupell | Selected works | C. (1858) De l’invasion du hêtre dans les forèts du Danemark. Annales des Sciences Naturelles Bot., 4. Series, 7, 55–86.
Vaupell, C. (1863) De danske Skove (The Danish Forests). P. G. Philipsens Forlag, Kjøbenhavn, 309 pp. Foreword by G. Ploug. |
{"datasets_id": 162041, "wiki_id": "Q1743010", "sp": 2, "sc": 0, "ep": 4, "ec": 282} | 162,041 | Q1743010 | 2 | 0 | 4 | 282 | Churches in Prague | Churches in Prague This article lists actually existing churches in Prague of some historical or artistic value. The first part contains churches in the historical city centre (Hradčany, Malá Strana, Old Town, New Town and Vyšehrad), the second churches in the outer districts (Prague 3 to Prague 10). |
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{"datasets_id": 162042, "wiki_id": "Q55607704", "sp": 2, "sc": 0, "ep": 6, "ec": 568} | 162,042 | Q55607704 | 2 | 0 | 6 | 568 | City of London Maternity Hospital | History | City of London Maternity Hospital History In 1750, the Governors appointed “for erecting a Lying-in Hospital for married women in the City of London and parts adjacent and also for Out-patients in Phisic and Surgery” founded the City of London Lying-in Hospital for married women and sick and lame Outpatients at London House in Aldersgate Street. In 1751, the hospital moved to Thanet or Shaftesbury House also in Aldersgate Street and the second part of the title was dropped following a decision by the General Court of Governors to admit no more outpatients.
In 1773, the hospital moved to purpose |
{"datasets_id": 162042, "wiki_id": "Q55607704", "sp": 6, "sc": 568, "ep": 6, "ec": 1177} | 162,042 | Q55607704 | 6 | 568 | 6 | 1,177 | City of London Maternity Hospital | History | built premises designed by Robert Mylne between St Luke's Hospital for Lunatics and the Fox and Goose Ale House on City Road. Damaged by the construction of the Great Northern and City Railway underneath Old Street, the building was demolished and rebuilt on the same site between 1904 and 1907. The rules were relaxed in 1912, to allow "Singlewomen who are sufficiently recommended and are found to be deserving of the Benefits of the Hospital's Charity" to be eligible for admission for their first confinement and the name was changed to the City of London Maternity Hospital in 1918.
The hospital |
{"datasets_id": 162042, "wiki_id": "Q55607704", "sp": 6, "sc": 1177, "ep": 6, "ec": 1721} | 162,042 | Q55607704 | 6 | 1,177 | 6 | 1,721 | City of London Maternity Hospital | History | was granted a royal charter in 1935 and came under the control of the Northern Group Hospital Management Committee in 1948. Damaged by bombing in 1940 and 1941, it was decided not to rebuild on the noisy City Road site at the end of the war and former homes for the blind in Hanley Road were acquired from the Royal National Institute of Blind People in 1949. Clinics continued to be held at City Road until 1955, when a modern building was opened at Hanley Road. In 1983, the hospital was closed and amalgamated with the Obstetric Unit at the |
{"datasets_id": 162042, "wiki_id": "Q55607704", "sp": 6, "sc": 1721, "ep": 6, "ec": 1793} | 162,042 | Q55607704 | 6 | 1,721 | 6 | 1,793 | City of London Maternity Hospital | History | Whittington Hospital to form the present City of London Maternity Unit. |
{"datasets_id": 162043, "wiki_id": "Q5125198", "sp": 2, "sc": 0, "ep": 6, "ec": 625} | 162,043 | Q5125198 | 2 | 0 | 6 | 625 | Claire Falkenstein | Early life and education | Claire Falkenstein Early life and education Claire Falkenstein was born on July 22, 1908, in Coos Bay, Oregon. Her father managed a lumber mill. Claire attended Anna Head School in the Oakland–Berkeley, California area after her family moved there.
Falkenstein was ethnically German. Her grandfather, Valentine von Falkenstein, a medical student of noble birth from Frankfurt, emigrated to the United States after the German Revolutions of 1848-49 as a political refugee and became a pioneer in Siskiyou County, California. On her mother's side, Falkenstein may be the great-great niece of George Armstrong Custer, but this has not been confirmed.
As a |
{"datasets_id": 162043, "wiki_id": "Q5125198", "sp": 6, "sc": 625, "ep": 8, "ec": 4} | 162,043 | Q5125198 | 6 | 625 | 8 | 4 | Claire Falkenstein | Early life and education & San Francisco | child, Falkenstein would ride her horse in the dark on the beach to see the sun come up and spend time looking at the shells, rocks, seaweed, and driftwood, and these nature forms inspired her sculpture.
Falkenstein attended the University of California at Berkeley, and graduated in 1930 with a major in art and minors in anthropology and philosophy. She had her first one-woman exhibition, at a San Francisco gallery, even before graduation. Her art education continued in the early 1930s at Mills College, where she took a master class with Alexander Archipenko, and met László Moholy-Nagy and György Kepes. San |
{"datasets_id": 162043, "wiki_id": "Q5125198", "sp": 8, "sc": 3, "ep": 10, "ec": 655} | 162,043 | Q5125198 | 8 | 3 | 10 | 655 | Claire Falkenstein | San Francisco | Francisco Falkenstein's experience with those artists reinforced her interest in abstraction, as well as ideas that functional considerations do not detract from a work's aesthetic appeal, and that she was free to experiment with a wide variety of new techniques and materials.
She taught art classes at various Bay Area locations, such as UC Berkeley Extension, Mills College, and the California Labor School. She also taught at the innovative California School of Fine Arts, alongside abstract expressionists such as Clyfford Still, who would become a close friend and artistic influence, and Richard Diebenkorn. In 1934, she created an abstract fresco at |
{"datasets_id": 162043, "wiki_id": "Q5125198", "sp": 10, "sc": 655, "ep": 10, "ec": 1331} | 162,043 | Q5125198 | 10 | 655 | 10 | 1,331 | Claire Falkenstein | San Francisco | Oakland's Piedmont High School. This was part of the Federal Art Project, which strongly preferred paintings depicting American scenes, but some abstracts such as this work by Falkenstein were tolerated. During the 1930s she created sculptures from clay ribbons formed into Möbius strips, woven together. These were some of the earliest American nonobjective sculptures. Her series of wooden sculptures called Exploded Volumes date from the first half of the 1940s. These were made of movable parts that could be combined in different ways by the viewer.
Falkenstein married Irish-American lawyer Richard Francis McCarthy on July 14, 1934 in Alameda, California. They |
{"datasets_id": 162043, "wiki_id": "Q5125198", "sp": 10, "sc": 1331, "ep": 14, "ec": 425} | 162,043 | Q5125198 | 10 | 1,331 | 14 | 425 | Claire Falkenstein | San Francisco & Paris | were married for twenty-two years. They had known each other in high school; they were divorced because he didn't join her in her desire to live in Paris. Paris Falkenstein did move to Paris in 1950 and remained for thirteen years, maintaining a studio on the Left Bank. In Paris she met many artists, including Jean Arp, Alberto Giacometti, Sam Francis and Paul Jenkins, as well as art connoisseur Michel Tapié who acted as a sort of mentor and promoter for the Americans.
In a 1995 interview, she said that "Paris was a remarkable experience, because the French allowed a kind |
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