معماری چینی و هنرهای زیبا ۲۰۱۱
Chinese Architecture and the Beaux-Arts 2011

1. Contents

2. Acknowledgments

3. A Note on Chinese Names and Other Clarifications

4. Introduction

5. Part I. Divergence to Convergence

1. Chinese Architecture on the Eve of the Beaux-Arts

2. Just What Was Beaux-Arts Architectural Composition?

8. Part II. Convergence to Influence

3. Convergence to Influence: Introductory Perspectives

4. Chinese Architecture Students at the University of Pennsylvania in the 1920s: Tradition, Exchange, and the Search for Modernity

4. An Outline of Beaux-Arts Education in China: Transplantation, Localization, and Entrenchment

5. A Classicist Architecture for Utopia: The Soviet Contacts

6. Beaux-Arts Practice and Education by Chinese Architects in Taiwan

14. Part III. Influence to Paradigm

15. Influence to Paradigm: Introductory Perspectives

16. Yang Tingbao, Dong Dayou, and Liang Sicheng. Modern and Ancient

7. Yang Tingbao, China’s Modern Architect in the Twentieth Century

8. Between Beaux-Arts and Modernism. Dong Dayou and the Architecture of 1930s Shanghai

9. Elevation or Façade: A Re-evaluation of Liang Sicheng’s Interpretation of Chinese Timber Architecture in the Light of Beaux-Arts Classicism

20. Lü Yanzhi, Zhang Kaiji, and Zhang Bo. Republican and Early Socialist Politics

10. From Studio to Practice. Chinese and Non-Chinese Architects Working Together

11. Ritual, Architecture, Politics, and Publicity during the Republic: Enshrining Sun Yat-sen

12. The Sun Yat-sen Memorial Auditorium: A Preaching Space for Modern China

13. Zhang vs. Zhang: Symmetry and Split: A Development in Chinese Architecture of the 1950s and 1960s

25. Chinese Cities. Beaux-Arts Plans and Post-Beaux-Arts Urbanism

14. The Beaux-Arts in Another Register. Governmental Administrative and Civic Centers in City Plans of the Republican Era

15. Chinese Urbanism beyond the Beaux-Arts

28. Afterword. The Four and the Five

29. Contributors

30. Index