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low, and green. But in 1751 renovation, they were all made blue -- to symbolize the color of the
sky, and make a political statement about the unification of the country.
The second section is known as the Huangquiongyu – a small circular building that used to
house the Tablets of Heaven and the bodies of deceased emperors. The final part is the Altar of
Heaven. There are also a number of smaller service buildings including the Zhai Gong, which
was used by the emperor before a sacrifice. Those sacrificial animals lived within the temple
complex, which is surrounded by a four-mile-long wall.
The temple exists to pray to the Heaven (Air), that considered the dominant one of the four
elements (Earth, air, fire, water) and it decided whether fortune would smile upon you or not.
Originally, the temple was nothing more than a square mound and a circular mound built on or-
ders from Emperor Zhu Yuan-zhong and used for sacrifices to earth and heaven.
These functions were consolidated into the Great Sacrifice Hall in 1377. The ancient Chi-
nese are well known for their mathematical prowess, which they expressed through their archi-
tecture. The number nine (9) has special significance because it is the highest single-digit num-
ber, and was used to represent both the sky and the Emperor. The uppermost terrace of the
Temple of Heaven is 90 zhang in diameter, which is 3 (heaven) x 30. The second terrace is 150
zhang, representing 5 (man) x 30. And the bottom terrace is 210 zhang, or 7 (earth) x 30. The
number of flagstones in the terraces is all multiples of nine, as are the balustrades surrounding
the terraces.
TEMPLE OF LA SAGRADA FAMILIA
Barcelona's favorite son left his mark in a number of places around the city, but this
magnificent soaring landmark is his masterpiece. With it, Gaudí asks God to forgive the
sins of and have mercy on the people of the region. Whether it worked, only Gaudí knows.
He died in 1926, before it was completed. But the work continues with a non-profit or-
ganization taking up his burden and filling in the shell that was left when Gaudi, himself,
left the Earth.
The actual history of the cathedral precedes Gaudi's interest. The concept of a new ca-
thedral in Barcelona arose in the 1850s. By 1866, the Associació Espiritual de Devots de
Sant Josep was founded to make the dream a reality. A few years later, the land was
bought and work began under the direction of the cathedral's first architect, Francesc del
Villar.
He didn't stay on long. Del Villar had trouble with local city officials and resigned his
post, letting Gaudí take over. He had a bigger, better plan for the cathedral and convinced
the organizers of the project to let him make substantial changes to the original design.
The cathedral is terribly complicated, filled with more symbolism than can be docu-
mented here. The outside is divided into a number of façades, each representing a portion
of the life of Jesus Christ. The outside, as a whole, is meant to represent the Catholic
Church and is festooned with statues of the Apostles, the saints, and the Virgin Mary. Each
of the 12 bell towers represents an apostle. Jesus will be represented by a 170-meter dome
topped with a glittering cross, illuminated during the day by sunlight reflecting off the
ever-Gaudíesque mosaics, and at night by spotlights. Inside represents Jerusalem, and fea-
tures some unique arch work.
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