明清皇家陵寝

2000年11月，明清皇家陵寝被联合国教科文组织评为“世界文化遗产”。

地处华北的明清皇家陵寝是中国现存规模最大、体系最完整的古代帝王后妃陵墓群。

明陵在北京市西北约四十四公里的昌平区天寿山下的小盆地上。陵区面积达四十平方公里，包括有长陵、献陵、景陵、裕陵、茂陵、泰陵、康陵、永陵、昭陵、定陵、庆陵、德陵、思陵等十三处明朝皇帝的陵墓，统称“明十三陵” 。

陵区内还曾建有妃子墓七座、太监墓一座和行宫、苑囿等附属建筑。这里埋葬著明代的十三个皇帝和二十三个皇后，以及众多的嫔妃、太子、公主和从葬的宫女们。整个陵区原来四周都有陵墙，正门开在南端，蟒山、虎峪嵯峨两侧，好似一龙一虎踞守大门。从明永乐七年(一四零九年)起二百多年间都被定为禁地，驻有陵卫。

清代皇家陵寝由东陵和西陵组成。

清东陵位于河北省遵化县马兰峪，始建于清顺治十八年，共有帝、后、嫔妃陵寝十四座，安葬著清代顺治、康熙、乾隆、咸丰、同治五位皇帝、孝庄文、容妃、慈安、慈禧等十五位皇后、一百三十六位嫔妃、一位阿哥和五位公主。

清西陵位于河北省易县县城西十四公里的永宁山下，距北京一百二十馀公里。陵内埋葬著雍正、嘉庆、道光、光绪四个皇帝、九个皇后、五十六个嫔妃以及王公、公主，共计七十六个。

众陵以长陵为中心，有一公共神道自南端陵门直达仗陵。在长达7千米的主神道上建有石牌坊、大宫、碑亭、华表、石像生、龙风门等建筑，这些不仅是皇威的象征，由此也用以造成谒陵气氛。

十三陵中以长陵建筑最为宏伟，它与定陵一起，同为主要参观对象。

长陵 是明成祖朱慷的陵寝建筑，横恩殿亦称献殿、享殿，是长陵的主体建筑，是举行祭祖的重要场所。长陵被恩殿建于1427年，十分雄伟壮观，它耸立在三层汉白玉台基之上，面阔九间，进深五间，总面积为1956平方米，殿内有32恨金丝柄木明柱，最大的直径1·17米，高14·30米。梁、柱、擦、椽、斗拱等构件，皆用椭木制作，虽历时五百余年，仍牢固如旧，香气袭人。它是我国最大的一座柄木殿堂。

定陵 是明神宗帝朱谢钧的陵寝，他10岁即位，年号万历，是明朝在位时间最长的一位皇帝(48年)。

陵园 规制仿照长陵。定陵地宫己于1956一1958年被科学发掘，现已修建成定陵地下博物馆。

地下宫殿由前、中、后及左、右五座高大宽阔的殿堂连结而成，全部是拱券式石结构建筑。在这些殿堂间共有石门七座。石门设计非常科学，由于其重心集中在轴部，虽重达4吨，但开启十分灵活轻巧。

地宫的平面布局基本上采用"前朝后寝"的制度。前殿没有任何摆设，相当于宫前广场，中殿相当于前朝月宫殿的正殿，内有三个用汉白玉雕成的"宝座"，呈品字形排列，座前各有一座黄色琉璃"五供"，即香、烛、花，还有青花云纹大瓷缸各一口，缸盛满香油，专供长明灯使用。左右配殿无任何随葬器物。后殿相当于寝殿，称为"玄堂"，是地宫的主要部分，为放置棺椁之处所。棺床中央放置万历皇帝和孝端、孝靖两皇后的棺椁，三具棺椁周围放有梅瓶、玉料及装满随葬金银玉器的红漆木箱26只，各棺椁内也装有大批随葬物品。

在定陵出土的随葬品中，皇冠和凤冠最引人注目。万历皇帝的金冠通体用极细的金丝编结而成，上嵌二龙戏珠。在精美的首饰中，万历帝的金冠可谓稀世之宝，冠顶镶嵌着的食指大小的猫眼石光芒四射。

Royal Mausoleum of Ming and Qing Dynasties

In 2000 November, Royal Mausoleum of Ming and Qing dynasty was honored "World Cultural Heritage" by the UN Organization of Science, Education and Culture.

Locating in Northern China, the Royal Mausoleum of Ming and Qing dynasty is the biggest and most completed among the mausoleums that still exist today in China for emperor and empress built in ancient time.

Ming Mausoleum is built in a small basin on the foot of Tianshou Mountain in Changping district, the northwest area of Beijing, and 44km away from the downtown. The mausoleum is 40km2 large, consists of 13 tombs of Ming dynasty, such as Chang Ling, Xianling, Jingling, Yuling, Maoling, Tailing, Kangling, Yongling, Zhaoling, Dingling, Qingling, Deling, Siling, etc, they are generally known as "Ming Thirteen Mausoleum".

Inside the big cemetery, there were ever 7 tombs for imperial concubines, one for court eunuch, one temporary imperial palace, and some other auxiliary construction such as enclosed breeding ground. Here is where 13 emperors and 23 empress of Ming dynasty were buried, together with many imperial concubines, princes, princesses, and many maids. There were big walls on all the four sides of the mausoleum, with the main gate opened towards south; on the two sides of the place, are two high mountains, Boa Mountain and Tiger Mountain, just like one tiger and one dragon guarding the gate. It had been appointed as forbidden area ever since Yongge 7th, Ming dynasty (1409), and was guarded by many soldiers.

Dong Ling and Xi Ling make up the royal mausoleum of Qing dynasty.

Dong Ling of Qing dynasty was built in Malanyu, Zunhua county, Hebei province; it was originally constructed from Shunzhi 18th year, Qing dynasty; there are 14 cemeteries for emperor, empress, and imperial concubine, and Shunzhi, Kangxi, Qianlong, Xianfeng, Tongzhi, five emperors of Qing, and 15 empresses, Xiao Zhuangwen, Rongfei, Cian, Cixi, etc, 136 imperial concubines, one young prince, and five princesses.

Xi Ling of Qing dynasty is situated on the foot of Yongle Mountain, 14 km away from the Yixian county, Hebei province, and is over 120 km to Beijing. It is the rest place for four emperors of Qing, Yongzheng, Jiaqing, Daoguang, Guangxu, and 9 empresses, 56 imperial cuncumbines, and 76 princesses and dukes.

Chang Ling is the center of all the cemeteries, and there is a holy path started from the south gate up to Chang Ling. On the two sides of the 7000-meter long holy path, constructed stone tablets, shrines, stele pavilions, ornamental columns, stone figures, dragon wind gate, etc, these are not only the symbol of high authority, but also a essential atmosphere necessary for the mausoleum.

Chang Ling, is the cemetery of Zhu Kang, a emperor in Ming dynasty, with En Palace, also known as Xian Palace and Xiang Palace as its main architecture, they are the important place for ancestor worship. Beien Palace in Chang Ling was constructed in 1427, it is built on the 3-floor stone platform, indeed grand and elegant, 9 houses in width and 5 houses in depth, occupying 1956 m2; there are 32 pillars inside the palace, among which the biggest one has a 1.17-meter diameter, and 14.3 meters high. All the supporting material, such the ridge, pillar, rafter, etc, are made of precious wood, although having experienced more than 500 years, they are still as strong and fragrant as before. This is the biggest Bing wood palace in our country.

Ding Ling, is the cemetery for Zhu Xiejun, an emperor of Ming dynasty, he assumed the throne at the age of 10, Wanli is the title of his reign, he is the emperor who governed the country for a longest period in Ming dynasty (49 years).

The designer of Ling Yuan imitated the layout of Chang Ling. Scientists found the base palace of Ding Ling from 1956 to 1958, now it has been changed into a underground museum.

The underground palace is made up of five tall palaces linking with each other in front, middle, behind, left and right five positions, all of which are stone structure architecture with a unique style. These palaces have 7 stone gates, they are all scientifically designed, with the center of gravity in the axle, they can be easily moved despite their 4-ton weight.

The plane layout of the underground palace basically adopts the system of "court front house behind". There is virtually no arrangements in the front palace, equal to the square before the palace; the middle palace is equal to the main palace of moon palace of front court, with 3 "thrones" of white marble set inside, sitting in a triangle shape, in front each of the thrones, there is one "five arch" made of yellow colored glaze, that is incense, candle and flower, and one porcelain pot with blue flower pattern, full of sesame oil serving the votary lamp. There is no item buried with the dead in the right and left side halls. The back palace is equal to rest room, called as "Xuan Hall", it is the place for coffins, and therefore it is the major part of the underground palace. In the coffin bed, rest three coffins for emperor Wanli, and empress Xiaoduan and Xiaojing, surround the coffin bed, lay 26 red wood box full of plum bottle, jade and treasures, and the same in all of the coffins.

Among all the items buried with the dead, the crowns and phoenix coronets are really dazzling. Emperor Wanli's golden crown Tongti is made of gold thread, inlayed with two dragons playing with pearl. Among the sparkling jewelries, emperor Wanli's golden crown could be considered as rare treasure, it is mounted with many dazzling thumb-sized cat eyes.

江西庐山风景区

1996年12月，江西庐山风景区被联合国教科文组织评为”世界文化遗产”。 1982年庐山经国务院批准为首批国家重点风景名胜区，1991年荣获“中国旅游胜地四十佳”称号，1996年12月庐山以“世界文化景观”列入《世界遗产名录》。

庐山是闻名中外的风景旅游区和世界遗产地。北临长江，东濒鄱阳湖，大江、大湖、大山浑然一体，险峻与秀美刚柔相济，自古以“雄奇险秀”闻名于世。联合国教科文组织世界遗产委员会高度评价庐山：“庐山的历史遗迹以其独特的方式，融汇在具有突出价值的自然美中，形成了具有极高美学价值的、与中华民族精神和文化生活紧密相联的文化景观。”

庐山奇峰、怪石、瀑泉、壑谷，俊伟诡特的自然风光，孕育滋养了庐山丰富的历史文化。庐山作为中国田园诗的诞生地、中国山水诗的策源地、中国山水画的发祥地。充分体现了中国历史发展的许多重要方面。李白、白居易、苏轼、王安石、唐寅、黄庭坚、陆游、康有为、陈三立、胡适、徐志摩 、郭沫若等1500余位诗人相继登上庐剑粝铝撕迫缪毯５拿炎鳌?br> 庐山的奇峰峻岭,怪石异洞,深峡幽谷,飞瀑流泉,古树名木,与雄浑长江,碧波鄱湖浑然一体,组合成一幅瑰丽多姿的自然图景。干百年来,无数的先贤圣哲,高士逸民,文人墨客,丹青高手,辉子道侣, 富豪政客,纷至沓来,投身于这座奇秀大山的怀抱,在这幅美妙的自然画卷上,留下了浓墨重彩的一笔又一笔,充分地展现着他们对美的意蕴的追求,把那巧夺天工的亭台楼阁,宏大壮观的梅院寺观,精巧奇妙的 祠塔桥榭,风格迥异的中外别墅,镶嵌在这奇山秀水当中，与自然景观交相辉映,互为表里,形成了一道独具魅力的亮丽风景线。

襟江帘溜的优越地理位置,自然景观与人文景观的和谐交融, 组合成庐山风景名胜区以庐山山体为主,呈环状向四周辐射的布局。在这座完整的山岳型风景名胜区内,散布着53处景点,230个景物景观,它们以瀑泉、山石、气象、植物、地质、江湖、人文、别墅建筑为类型错落在枯岭景区、山南景区、东林景区、浔阳景区等大景区内,与大江、鄱阳湖相依、相融、相映,形成了它鲜明的个性和独特的魅力,使人们在与自然的亲和中,随深邃的人文而进入一个崇高的心灵之壤,去窥识庐山真面目。

“不识庐山真面目，只缘身在此山中”。然而，要领略庐山之美，还须亲临其境。

Lushan Mountain Scenic Spots, Jiangxi Province

The Lushan Mountain scenic spot in Jiangxi province was granted the name of "World Cultural Heritage" by UNESCO in Dec 1996. In 1982, Lushan Mountain was proved by the State Department as the first key scenic spots of State, and granted the name of " the 40 Best Touristy Spots of China" in 1991, and in 1996 Lushan Mountain, as a "World Cultural Spot", was included in the "Directory of World Heritage".

Lushang Mountain, a scenic spot and a world heritage, is famous both inside and outside China. It is in the north of Changjiang River and east of Boyang Lake. The river, lake and mountain are integrated perfectly. Lushan Mountain is steep and beautiful, in which the strong and weak mutually assist each other. In the old times, it had been well known throughout China. The World Heritage Committee of UNESCO has highly appraised Lushan Mountain: "The historic remainders of Lushan Mountain is harmonized with nature in a special way, thus becoming a cultural landscape, which is highly appraised thanks to its esthetics value and is integrated finely with the spirit of the Chinese Nation and the cultural life."

The perilous peaks, strange stones, waterfalls and dongas in Lushan Mountain have nourished its rich historic culture. Lushan Mountain, as the birthplace of Chinese eclogue, the original place of Chinese landscape poems and the cradle of landscape painting, can represent many aspects of the Chinese history development. There are overall 1500 poets, who have mounted Lushan Mountain one after the other such as Libai, Bai Jvyi, Sushi, Wang Anshi, Tangyin, Huang Tingjian, Luyou, Kang Youwei, Chen Sanli, Hushi, Xu Zhimo, Guo Moruo, etc. with tremendous amount of excellent works left.

In Lushan Mountain, there are perilous peaks and sheer ranges, strange stones and holes, deep gorge and secret valley, flying waterfall and flowing spring, ancient and famous trees, which are integrated with the Changjiang River and Boyang Lake, making a magnificent picture. For thousands of years, numerous wise men and sages have come to Lushan Mountain, among which there were excellent persons, bookmen, painters, aulds and monks, great houses and politicians. They are all stricken by the beautiful scene and set up lot of pavilions, terraces, towers, bridges, fanes and villas with the characters of inside or outside China, which are harmonized with nature and assist each other in a way make this place more attractive.

In Lushan Mountain with a superior location, the human spots are harmonized with the natural spots perfectly forming a layout, which takes Lushan Mountain as its main body and eradiate in the form of circularity to all directions. In this intact mountain-type scenic spots, there dotted 53 sight spots, 230 scenery spots, which are in types of waterfalls, mountain stones, weather, plants, geology, rivers and lakes, human cultures, and villas, in some big scenic zones such as Kuling scenic spot, Shannan scenic spot, Donglin scenic spot, Xunyang scenic spot, etc with Boyang Lake depending and shinning upon, thus creating its special charm. When someone comes into the Mountain, he can enter deeper into his heart to have a true feeling about this mountain.

"The unawareness of Lushan Mountain resulting from you inside of this Mountain." Therefore, you must be personally on the scene to realize the beautiful scenes in Lushan Mountain.

河南洛阳龙门石窟

2000年11月，河南龙门石窟被联合国教科文组织评为”世界文化遗产”龙门石窟是我国四大石窟之一，位于洛阳城南12公里。这里有一条伊水，河两岸是香山和龙门山。自北魏至晚唐的四百余年间，古代匠师在这两座山上凿窟建寺，使这里成了举世闻名的石雕艺术的宝库。龙门石窟南北长达1公里，共有97000余尊佛像，1300多个石窟，题记和碑刻3600余品。

奉先寺是龙门石窟中最大的一个窟，长宽各30余米。 奉先寺的不平凡，在于中间那尊巨大的卢舍那雕像，实在是一件精美绝伦的艺术杰作。

卢舍那佛像总高17.14米，头高4米，耳长1.9米。 据佛经说，卢舍那意即光明遍照。这尊佛像，丰颐秀目，嘴角微翘，呈微笑状，头部稍低，略作俯视态，宛若一位睿智而慈祥的中年妇女，令人敬而不惧。有人评论说，在塑造这尊佛像时，把高尚的情操，丰富的感情，开阔的胸怀和典雅的外貌，完美地结合在一起，因此，她具有巨大的艺术魅力。

The Luoyang Longmen Grottoes

In 2000 November, Anhui Huangshan Mountains Scenic Spot was honored as "World Cultural and Natural Heritage" by the UN Organization of Science, Education and Culture.

Longmen Grottoes is one of the four great grottoes in China; it is located 12 km south to the city of Luoyang. There is a Yi River here, and on the two sides are Fragrant Mountain and longmen Mountain. During the 400 years from Beiwei to later Tang dynasty, the workers and artistic designers were sweating on the caves and temples on the two mountains, and hence became the world famous treasury of stone carving art. Longmen Grottoes is 1 km long from north to south; there are all together more than 97000 statues of Buddha, more than 1300 caves, more than 3600 inscriptions and titled tablets.

Fengxian Temple is the biggest cave in Longmen Grottoes, which is 30-meter in length and width. The wonder of Fengxian Temple lies in its huge Lushena statue in the central place; it is indeed a wonderful artistic work.

Lushena statue is 17.14 meters in height, her head is 4-meter high, and has two 1.9-meter long ears. According to Buddhist Scripture, Lushena means illumination. This statue has heavy feature, her curving lips show kindness, with her head lowers down a little as if she is in deep thinking; she resembles a mid-aged lady, deserves respect but not fear. The critics say, the artistic workers integrated exalted sentiment, rich emotions, wide vision and classic appearance into one perfect unity during their construction; hence the statue contains boundless charm.

云南丽江古城

1997年12月3日，丽江古城被联合国教科文组织,评为”世界文化遗产”。

丽江古城是云南省丽江纳西族自治县的中心城镇，位于云南省西北部，地理坐标为东经100°14′，北纬26°52′。

古城位于县境的中部，海拔2400余米。是一座风景秀丽，历史悠久和文化灿烂的名城，也是中国罕见的保存相当完好的少数民族古城。

位于滇西北的丽江，因金沙江流经境内而得名（金沙江古称丽江）。丽江以玉龙雪山下的大研古城，纳西族东巴文化和摩梭母系大家庭享誉世界。

大研古城号称“东方威尼斯”， 是纳西族的聚居区，最初为茶马古道上货物的中转集散地。城中建筑多为三坊一照壁式上木结构瓦房，街巷以西方街为中心四通八达，“家家流泉，户户垂柳”，被称为“中国的威尼斯”，1997年经联合国评审列入《世界文化遗产名录》。

东巴文化是大研古城的精髓所在，东巴文化包括东巴教、东巴文字、东巴经、东巴舞、东巴兵和东巴音乐。其中，记载着纳西族酚肷窕暗亩途氖鞘澜缟衔ㄒ淮媪舻幕畹南笮挝淖帧６途磬品保谕馐詹氐木樵级蛴嗖幔谌萆婕坝镅晕淖帧⒆诮堂袼住⒗肺囊铡⑻煳睦ā⒄苎У龋尥蛳螅怀莆糯晌髯宓摹鞍倏迫椤薄６鸵衾质侵付驮谧诮碳漓牖疃兴魉械囊恢智鳎橛衅骼帧Ｒ蛟谘葑嗉挤ê颓哟砩先苋肓四晌髯宸绺瘢猿啤澳晌鞴爬帧薄?古城之旅，夜晚最美的安排莫过于听纳西古乐。半个世纪前，旅居丽江的俄国人顾彼得在其《被遗忘的王画》一书里，曾绘声绘色地讲述古乐的感受：“这种音乐是地道的中国古典音乐，它超越时空，似乎在描述这样一块乐土：在这里多么宁静、安谧；有着不灭的和平、大面。

居住在风景如真的宁蒗沪沽湖畔的摩梭人，千百年来维系母系大家庭的传统和男不娶女不嫁的“阿夏婚”习俗。

The Lijiang Ancient City in Yunnan

Lijiang ancient city is the central township in the autonomous county of Naxi minority in Lijiang, Yunan, it is located in the northwest of Yuannan province, the exact geographic coordinate is 100°14′ in east longitude, and 26°52′ in north latitude.

The ancient city is situated in the middle area of the county, which is more than 2400 meters high above sea level. It enjoys beautiful scenes, an indeed famous city with long history and splendid culture; it is very rare in China that such well-preserved minority ancient city still exists.

Lijiang is running across the northwest part of the township, it is because the Gold Sand River passes through here that its name is given (Gold Sand River was originally named as Lijiang). Lijiang's fame comes from the Dayan ancient city on the foot of Jade Dragon Snow Mountain, Dongba culture of Naxi minority and the Mosuo matrilineal family.

Dayan ancient is known as "Oriental Venis", it is the aggregation area of Naxi minority, with its original status as the transfer station for the goods on their way. Most of the buildings in the city are made of wood and tiles, with the West street as the center, the roads here can lead to virtually place; the city is famous for its water, hence it is famed as "Oriental Venis", and was listed into the "Directory of World Cultural Heritage".

Dongba culture is the essence of Dayan ancient city; it consists of Bajiao, Dongba vocabulary, Dongba religious scriptures, Dongba dance, Dongba soldier and Dongba music. Among them, Dongba religious scripture, which recorded the history and myths of Naxi minority, now is the only hieroglyph exists in the world.

There are more than 20 thousand religious books collected in China and some foreign countries written in Dongba, they are about language and words, rel igion and folk custom, history and literature, astronomy and legislation, philosophy, etc, it is an all-inclusive book, it is known as the "encyclopedia" of ancient Naxi nationality. Dongba music is mainly a kind of tune sung during the activity of sacrifice, along with musical instrument. A trip to the ancient, the best thing to do in the night is to listen to the ancient Naxi music. Half a century ago, a Russian who traveled and lived in Lijiang wrote a book named "A Forgotten Royal Painting" in which he vividly described his feelings upon the music: this is indeed the very classical Chinese music, transcending the time and space, as if it is describing a kind of Utopia like this: what a serene and calm place; it is peaceful and generous.

Mosuo people are living on the beautiful banks of the Hugu lake, for thousands of years, they always remains the costume of matrilineal family and abide by the tradition of "Axia Marriage", for which the men and women are living free from marriage.

故 宫

故宫博物院是在明、清两代皇宫及其收藏的基础上建立起来的中国综合性博物馆。其位于北京市中心，前通天安门，后倚景山，东近王府井街市，西临中南海。1961年，经国务院批准，故宫被定为全国第一批重点文物保护单位。1987年，故宫被联合国教科文组织列入“世界文化遗产”名录。

依照中国古代星象学说，紫微垣（即北极星）位于中天，乃天帝所居，天人对应，是以皇帝的居所又称紫禁城。明代第三位皇帝朱棣在夺取帝位后，决定迁都北京，即开始营造这座宫殿，至明永乐十八年（1420年）落成。1911年，辛亥革命推翻了中国最后的封建帝制--清王朝，1924年逊帝溥仪被逐出宫禁。在这前后五百余年中，共有24位皇帝曾在这里生活居住和对全国实行统治。

紫禁城，四面环有高10m的城墙和宽52m的护城河。城南北长961m，东西宽753m，占地面积达780,000㎡。城墙四面各设城门一座，其中南面的午门和北面的神武门现专供参观者游览出入。城内宫殿建筑布局沿中轴线向东西两侧展开。红墙黄瓦，画栋雕梁，金碧辉煌。殿宇楼台，高低错落，壮观雄伟。朝暾夕曛中，仿若人间仙境。城之南半部以太和、中和、保和三大殿为中心，两侧辅以文华、武英两殿，是皇帝举行朝会的地方，称为“前朝”。北半部则以乾清、交泰、坤宁三宫及东西六宫和御花园为中心，其外东侧有奉先、皇极等殿，西侧有养心殿、雨花阁、慈宁宫等，是皇帝和后妃们居住、举行祭祀和宗教活动以及处理日常政务的地方，称为“后寝”。前后两部分宫殿建筑总面积达163,000㎡。整组宫殿建筑布局谨严，秩序井然，寸砖片瓦皆遵循着封建等级礼制，映现出帝王至高无上的权威。在封建帝制时代，普通的人民群众是不能也不敢靠近它一步的。

辛亥革命后，这座宫殿本应全部收归国有，但按照那时拟定的《清室优待条件》，逊帝溥仪却被允许“暂居宫禁”，即“后寝”部分。当时的政府决定，将热河（承德）行宫和盛京（沈阳）故宫的文物移至故宫的“前朝”部分，于1914年成立了“古物陈列所”。溥仪居宫内，一直与亡清残余势力勾结，图谋复辟，且以赏赐、典当、修补等名目，从宫中盗窃大量文物，引起了社会各界的严重关注。1924年，冯玉祥发动“北京政变”，将溥仪逐出宫禁，同时成立“清室善后委员会”，接管了故宫，对宫内文物进行清点。又经过一年的紧张筹备，于1925年10月10日在乾清门前广场举行了盛大的建院典礼，并通电全国，宣布故宫博物院正式成立。开放的第一天，人们以争先一睹这座神秘的皇宫及其宝藏为快，北京市内万人空巷，交通为之堵塞，此亦成为当天各大报纸的重大新闻。

经初步清点，清代宫廷遗留下来的文物，据1925年公开出版的二十八册《清室善后委员会点查报告》一书所载，计有一百一十七万余件，包括三代鼎彝、远古玉器、唐宋元明之法书名画、宋元陶瓷、珐琅、漆器、金银器、竹木牙角匏、金铜宗教造像以及大量的帝后妃嫔服饰、衣料和家具等等。可谓金翠珠玉，奇珍异宝，天下财富，尽聚于此。除此之外，还有大量图书典籍、文献档案。为此故宫博物院下设古物馆、图书馆、文献馆，分别组织人力继续对文物进行整理，并就宫内开辟展室，举办各种陈列，还编辑出版多种刊物，公开资料，进行宣传。各项工作开展得有声有色，人文荟萃，极一时之盛。

第二次世界大战全面爆发前夕，日本帝国主义鲸吞了中国东北领土，步步进逼华北，形势危急。为了保护故宫文物不至遭战火毁灭或被日本帝国主义掠夺，故宫博物院决定采取文物避敌南迁之策。从1933年2月至5月，宫内重要文物被装成13,427箱又64包，分五批先运抵上海，后又运至南京。遂于南京建立文物库房，并成立了故宫博物院南京分院。1937年，“七·七卢沟桥事变”爆发，抗日战争全面展开。南迁文物又沿三路辗转迁徙至四川，分别存于四川省的巴县、峨嵋和乐山。直到抗日战争胜利后，三处文物复集中于重庆，于1947年运回南京。在中国人民解放军即将渡江之际，自1948年底至1949年初，南京国民党政府从南京库房中挑选出2,972箱文物运往台湾，后于台北市士林外双溪建立新馆，公开对外展出。余下的大批文物，在1949年以后陆续运回故宫博物院一万余箱，但至今还有2,221箱仍封存于南京库房，委托南京博物院代为保管。在这场长达十余年的惨烈的战争期间，由于故宫博物院的工作人员不畏艰难险阻，尽职尽责，南迁文物数量虽巨，却没有一件丢失和损伤，故宫人员的精神、事迹，可歌可泣。可又是因为这场战争，致使故宫的文物分处异地。这份祖国传统文化之珍藏应是一个整体，而尤与紫禁城建筑不可分离，人们相信，终有一日，其终将得以完璧。

中华人民共和国成立后，故宫博物院的职工以崭新的精神面貌投入工作。拔除杂草，疏通河道，清理垃圾。50年代初，从宫内清除出去的上百年的垃圾竟达250,000立方米，自此院容焕然一新。故宫博物院制定了“着重保护、重点修缮、全面规划、逐步实施”的古建维修方针，经过几十年的努力，许多残破、渗漏、瀕临倒塌的大小殿堂楼阁得到了修复和油饰，愈显金碧辉煌。院内各处高大宫殿都安装了避雷设施，又以巨额投资建设了防火防盗监控系统和高压消防给水管网，使这座古老的宫殿建筑得到了更加有效的保护。特别是改革开放后，在人民政府的大力支持下，彻底整治了环绕故宫的筒子河，更好地凸现了昔日皇城的风貌。

在文物工作方面，五六十年代的重点是对故宫博物院旧藏的清宫文物重新清点核对，登记造册，进行鉴别、分类和建档，纠正了过去计件不确之处并增补了遗漏的文物，例如从杂物堆中发现了用草帘裹着的象牙席、修复漱芳斋戏台时发现在地板下存放的传为唐代卢棱伽的《六尊者像》册等。通过长达十余年的工作，总计清理出清宫旧藏文物七十一万余件。与此同时，还通过国家调拨、向社会征集和接受私人捐赠等方式，新入藏文物达二十二万余件之多，大幅度地填补了清宫旧藏文物时代、类别的空缺和不足，诸如石器时代的彩陶，商、周时代的青铜器、玉器，汉代的陶俑，南北朝时代的石造像，唐代的三彩等。而新入藏的古代法书名画尤为大宗，为世所注目。如晋代陆机《平复帖》、王珣《伯远帖》、顾恺之《洛神赋图卷》，隋代展子虔《游春图卷》，唐代韩滉《五牛图卷》、杜牧《张好好诗卷》，五代顾闳中《韩熙载夜宴图卷》，宋代李公麟《临韦偃牧放图卷》、郭熙《窠石平远图》、张择端《清明上河图卷》等，均是人间瑰宝。此项工作数十年坚持不懈，近年还从市场上以巨资购回宋代张先《十咏图卷》，元代迺贤《城南詠古诗》，明代沈周《仿黄公望富春山居图卷》，清代石涛《高呼与可图卷》等，尤其前两件是溥仪以赏溥杰为名从宫中盗出而流散民间的，今日复归宝藏。

为保护好这批数量巨大的古物瑰宝，从五六十年代起对原有库房进行了大规模的修整，采取了防潮、防虫的各种措施。九十年代后又建立了新的文物库房，可入藏文物六十余万件。新库房恒温、恒湿，防火、防盗，并采用现代化技术自动控制，可保文物安全无虞。自1950年开始，组建了文物修复工厂，1980年扩建为文物保护科学技术部，继承、利用传统工艺技术和引进自然科学新成果，对残损的文物进行修复，数十年来为本院及兄弟单位累计修复文物达十一万余件。

为了使院藏瑰宝和广大观众见面，在陈列展览方面，除了保存和复原三大殿、后三宫和西六宫等处的原状陈列之外，又不定期开辟了青铜、陶瓷、工艺、书画、珍宝、钟表等专馆，供参观者欣赏。还开设有临时展厅，举办各种主题性展览，如近年来的《古书画真伪对比展》、《古陶瓷真仿品对比及古窑址资料展》、《清代宫廷包装艺术展》、《五十年入藏文物精品展》等，都是广受社会各界欢迎的展览。同时也引进国内各兄弟博物馆和国外的收藏文物展。为满足广大群众的要求，故宫博物院还组织小型文物展到各省市博物馆展出，并应邀到国外举办各种形式的展览，特别是改革开放以来，此类展览愈见频繁。曾赴展的国家有英国、美国、法国、前苏联、德国、奥地利、西班牙、澳大利亚、日本、新加坡等，所到之处，无不引起当地观众的极大兴趣，使异国的人民得以了解中华民族悠久的历史和光辉灿烂的民族文化艺术，为促进我国与世界各国人民的友好关系和文化交流作出了应有的贡献。

近十几年来，故宫博物院平均每年接待中外观众600-800万人次，而且，随着旅游事业的发展，观众的人数有增无减，可见人们对紫禁城的兴趣长盛不衰。

The Palace Museum

The Palace Museum, historically and artistically one of the most comprehensive Chinese museums, was established on the foundation of the palace that was the ritual center of two dynasties, the Ming and the Qing, and their collections of treasures. Designated by the State Council as one of China's foremost protected monuments in 1961, the Palace Museum was also made a UNESCO World Heritage site in 1987.

Situated at the heart of Beijing, the Palace Museum is approached through Tiananmen Gate. Immediately to the north of the Palace Museum is Prospect Hill (also called Coal Hill), while on the east and west are Wangfujing and Zhongnanhai neighborhoods. It is a location endowed with cosmic significance by ancient China's astronomers. Correlating the emperor's abode, which they considered the pivot of the terrestrial world, with the Pole Star (Ziweiyuan), which they believed to be at the center of the heavens, they called the palace The Purple Forbidden City. The Forbidden City was built from 1406 to 1420 by the third Ming emperor Yongle who, upon usurping the throne, determined to move his capital north from Nanjing to Beijing. In 1911 the Qing dynasty fell to the republican revolutionaries. The last emperor, Puyi, continued living in the palace after his abdication until 1924. Twenty-four emperors lived and ruled from this palace during this 500-year span.

The Forbidden City is surrounded by 10-metre high walls and a 52-metre wide moat. Measuring 961 meters from north to south and 753 meters from east to west, it covers an area of 720,000 square meters. Each of four sides is pierced by a gate, such as Meridian Gate (Wu men) on the south and Spiritual Valor Gate (Shenwu men) on the north used as entrance and exit for tourists today. Once inside, visitors will see a succession of halls and palaces spreading out on either side of an invisible central axis. It is a magnificent sight, the buildings' glowing yellow roofs against vermilion walls, not to mention their painted ridges and carved beams, all contributing to the sumptuous effect.

Known as the Outer Court, the southern portion of the Forbidden City centers on the halls of Supreme Harmony, Central Harmony, and Preserving Harmony. These are flanked by the halls of Literary Glory and Military Eminence. It was here that the emperor held court and conducted his grand audiences.

Mirroring this arrangement is the Inner Court at the northern end of the Forbidden City, with the Palace of Heavenly Purity, the Hall of Union, and the Palace of Earthly Tranquility straddling the central axis, surrounded by the Six Palaces of the East and West and the Imperial Garden to the north. Other major buildings include the halls for Worshipping Ancestors and of Imperial Splendor on the east, and the Hall of Mental Cultivation, the Pavilion of the Rain of Flowers and the Palace of Benevolent Tranquility on the west. These contain not only the residences of the emperor and his empress, consorts and concubines but also the venues for religious rites and administrative activities.

In total, the buildings of the two courts account for an area of some 163,000 square meters. These were laid out precisely in accordance with a code of architectural hierarchy, which designated specific features to reflect the paramount authority and status of the emperor. No ordinary mortal would have been allowed or even dared to come within close proximity of these buildings.

After the republican revolution, this Palace as a whole would have been sequestered by the Nationalist government were it not for the "Articles of Favorable Treatment of the Qing House" which allowed Puyi to live on in the Inner Court after his abdication. Meanwhile, all of the imperial treasures from palaces in Rehe (today's Chengde) and Mukden (today's Shenyang) were moved to the Forbidden City for public display in History Museum established at the Outer Court in 1914. While confined to the Inner Court, Puyi continuously used such vestiges of influence as still remained to plot his own restoration. He also systematically stole or pawned a huge number of cultural relics under the pretext of granting them as rewards to his courtiers and minions or taking them out for repair.

In 1924, during a coup launched by the warlord Feng Yuxiang, Puyi was expelled from the Forbidden City and the management of the palace fell to the charge of a committee set up to deal with the concerns of the deposed imperial family. The committee began a sorting and counting of the imperial treasures. A year of intense preparations later, its members arranged a grand ceremony on 10 October 1925 in front of the Palace of Heavenly Purity to mark the inception of the Palace Museum. News of the opening flashed across the nation, and such was the scramble of visitors on the first day that traffic jams around Beijing brought the city almost to a standstill.

According to a 28-volume inventory published in 1925, the treasure trove left by the Qing numbered more than 1,170,000 items including sacrificial vessels and ancient jade artifacts from the earliest dynasties; paintings and calligraphy from the Tang, Song, Yuan and Ming dynasties; porcelain from the Song and Yuan; a variety of enamelware and lacquer ware; gold and silver ornaments; relics in bamboo, wood, horn and gourds; religious statues in gold and bronze; as well as numerous imperial robes and ornaments; textiles; and furniture. In addition, there were countless books, literary works and ancient records. All these were divided into separate collections of antiquities, library materials and historical documents and placed under teams of staff to sort and collate. Exhibition halls were opened to display some of the treasures, while writers and editors worked away at publishing in book or journal form all the new areas of research and academic inquiry that the establishment of the museum had ushered in. The Palace Museum was soon a hive of activity.

Shortly before the outbreak of World War II, the Japanese, having annexed territory in China's northeast, proceeded to march on Beijing. With this looming threat, the museum authorities decided to evacuate its collection rather than let it fall into enemy hands or risk destruction in battle. For four frantic months between February and May 1933, the most important pieces in the collection were packed into 13,427 crates and 64 bundles and sent to Shanghai in five batches. From there they were dispatched to Nanjing where a depository was built and a branch of the Palace Museum established.

On 7 July 1937 shots fired around Marco Polo Bridge west of Beijing heralded the eruption of the Sino-Japanese War. Within a year, the Japanese had penetrated to most of eastern China. Now the treasures stored in Nanjing had to be moved again, this time by three routes to Sichuan, where they were secreted in three locations, Baxian, Emei and Leshan. Only at the end of the war were they consolidated in Chongqing, whence they were returned to Nanjing in 1947. By then the Nationalists were considerably weakened, and with the imminent takeover by the Communist armies of areas south of the Yangtze, they began their retreat to Taiwan. Between the end of 1948 and the dawn of 1949, the Nationalists picked relics to fill 2,972 crates for shipping across the Strait. A rival Palace Museum was set up in Taipei to display these antiquities. Most of what was left was gradually returned to Beijing, although by now 2,221 crates remain in safe-keeping storage in Nanjing.

During this tumultuous decade of war and revolution, not one item of the treasures was lost or damaged even though the volume involved was enormous. This was largely due to the dedicated energy of the Palace Museum staff, whose achievement in preserving these treasures was nothing short of heroic. But it was also as a result of this long period of upheaval that the treasures have been dispersed. Yet the rationale for keeping the collection together, representative as it is of the motherland's traditional culture, seems so incontestable that most people believe the treasures will be re-united one day.

In the early 1950s, shortly after the establishment of the People's Republic, the Palace Museum staff worked with a new will and enthusiasm to return the Forbidden City to its former glory. Where previously the dirty and dilapidated halls and courts lay under weeds and piles of rubbish, some 250,000 cubic meters of accumulated debris were now cleared out, giving the place a sparkling fresh look. A policy of comprehensive rehabilitation was also launched, and in time the crumbling palace buildings, repaired, and redecorated, looked resplendent once more. All the tall buildings were equipped with lightning conductors, while modern systems of fire protection and security were installed. It has been a priority of the People's Government, particularly since the beginning of the reform era in the early 1980s, to keep the surrounding moat dredged and clean.

As for the collection of antiquities, a systematic inventory was completed during the 1950s and 1960s, redressing the legacy of inaccurate cataloguing. The collection was moreover augmented, for example by the salvage of a number of precious artifacts from a jumble of apparently worthless objects. After more than a decade of painstaking efforts, some 710,000 relics from the Qing palace were retrieved. At the same time, through national allocations, requisitions and private donations, more than 220,000 additional pieces of cultural significance were added, making up for such omissions from the original Qing collection as colored earthenware from the Stone Age, bronzes and jades from the Shang and Zhou Dynasties, pottery tomb figurines from the Han Dynasty, stone sculpture from the Northern and Southern Dynasties, and tri-color glazed pottery from the Tang Dynasty. The ancient paintings, scrolls and calligraphy added to the collection were particularly spectacular. These included, from the Jin Dynasty, Lu Ji's cursive calligraphy "A consoling letter" (Ping fu tie), Wang Xun's " Letter to Boyuan (Bo yuan tie) and Gu Kaizhi's "Goddess of the Luo River" (Luo shen fu tu); from the Sui Dynasty, Zhan Ziqian's landscape handscroll "Spring Outing" (You chun tu) ; from the Tang Dynasty, Han Huang's "Five Oxen" (Wu niu tu ), Du Mu's running-cursive script handscroll "Song of the Courtesan Zhan Haohao" (Zhang haohao shi) ; from the Five Dynasties, Gu Hongzhong's "The Night Revels of Han Xizai" (Han Xizai yeyan tu) "; from the Song Dynasty, Li Gonglin's "Painting after Wei Yan's Pasturing Horses" (Lin Wei Yan mu fang tu) Guo Xi's "Dry tree and rock, level distance landscape" (Ke shi pingyuan tu), and Zhang Zeduan's "Going up River on Spring Festival" (Qingming shang he tu)--all masterpieces without exception.

Unremitting though this attempt at recovery has been, however, there have been further exertions in recent years to acquire such works as Zhang Xian's "Landscape with Poems (Shi yong tu)" (Song Dynasty), Nai Xian's calligraphy "Ancient poem on south of the city" (Cheng nan yong gu shi) (Yuan Dynasty), Shen Zhou's landscape handscroll "After Huang Gongwang's 'Dwelling in the Fuchun Mountains'" (Fang Huang Gongwang fuchun shan ju tu) (Ming Dynasty), Shi Tao's ink bamboo "Calling Wen Yuke" (Gao hu Yu ke tu) (Qing Dynasty). The first two were spirited out of the palace by the last emperor Puyi on the excuse of bestowing them on his brother Pu Jie; they fell into the hands of others and only now have been returned to their rightful place in the Palace Museum collection.

From the 1950s onwards, the museum's existing storehouses were completely overhauled to provide a damp-proof and insect-proof environment for the treasures. In the 1990s a new storehouse with a capacity of over 600,000 items was built, equipped with controls for maintaining constant temperature and humidity, as well as safeguards against fire and theft. A workshop was established in the 1950s and expanded in the 1980s to encompass a scientific Conservation Department. These not only continued traditions of craftsmanship, but also drew upon scientific discoveries to facilitate the restoration of damaged relics. In the past few decades the Conservation Department has treated as many as 110,000 objects from the Palace Museum and other public collections. Besides its continuous refurbishment of the main courts and halls, the museum has opened galleries to display bronzes, porcelain, crafts, paintings and calligraphy, jewelry, and clocks to expand the scope of its exhibitions. A number of thematic shows have been held in galleries devoted to temporary exhibitions; in recent years these have included such acclaimed ones as "A Comparison of Authentic and Counterfeit Paintings and Calligraphy", "Genuine and Imitation Examples of Ancient Porcelain and Materials from Ancient Kilns", "The Art of Packaging at the Qing Court" and "Selections from the Finest Acquisitions of the Last Fifty Years". Traveling exhibitions have also graced various provincial museums and museums abroad. In fact, since the beginning of the economic-reform era, an increasing number of exhibitions have been mounted in countries such as Britain, the USA, France, the former Soviet Union, Germany, Austria, Spain, Australia, Japan and Singapore, among others. All of them have aroused great interest and admiration and played a key part in the promotion of international understanding and cultural exchange.

The number of visitors to the Palace Museum has risen along with the growth of tourism, in the last decade reaching six to eight million a year.

高句丽

高句丽政权始于公元前三十七年，止于公元六百六十八年，曾是中国东北地区影响较大的少数民族政权之一，在东北亚历史发展过程中发生过重要作用。高句丽政权发韧于今辽宁省桓仁县，公元三年迁都至国内城(今吉林集安)，四百二十七年再迁都至平壤。桓仁与集安是高句丽政权早中期的政治、文化、经济中心所在，累计共四百六十五年，是高句丽文化遗产分布最集中的地区。

二十世纪九十年代以来，中国考古工作者在集安、桓仁陆续发掘了多处高句丽王城和贵族墓葬遗迹，对部分遭受自然损害的王陵进行维修，高句丽丰富的文化内涵，轮廓逐渐清晰。

为保护高句丽历史文化遗产，中国政府于二00二年在集安启动了《高句丽王城王陵与贵族墓葬地保护规划》。这份规划共划定了包括国内城、丸都山城两个高句丽都城、十二座王陵与好太王碑等两处附属建筑、二十七座贵族墓葬的四十三处保护区。“保护高句丽文化遗产的真实性与完整性”成为集安经济和社会发展的重要基础。

此次列入《世界遗产名录》的高句丽王城、王陵及贵族墓葬主要包括五女山城、国内城、丸都山城、十二座王陵、二十六座贵族墓葬、好太王碑和将军坟一号陪冢，位于吉林省集安市和辽宁省桓仁县。

世界遗产委员会委托国际古迹遗址理事会对高句丽项目的考察评估结论认为，高句丽项目符合入选世界遗产名录六个标准中的五项。包括：它体现了人类创造和智慧的杰作；作为历史早期建造的都城和墓葬，它反映了汉民族对其他民族文化的影响以及风格独特的壁画艺术；它也体现了已经消失的高句丽文明；高句丽王朝利用石块、泥土等材料建筑的都城，对后来产生了影响；它展现了人类的创造与大自然的完美结合。

The Capital Cities and Tombs of the Ancient Koguryo Kingdom

The Koguryo Kingdom (37 BC - AD 668.) is believed to be the longest regime founded by an ethnic minority people in northeast China and it played a big role in the development of Northeast Asia.

Though collapsed over 1,300 years ago, relics of the kingdom remain in good condition. They include its capital city, fortifications, royal tombs and steles in today's Ji'an City, Jilin Province and the neighboring Huanren County of Liaoning Province.

Koguryo has two cities, Guonei and Wandu, which are respectively located on a plain and the nearby mountain in Ji'an City.

Its capital was originally built in Huanren in 37 BC, then called Wunu Mountain City. In AD 3, it was moved to Ji'an, called Guonei at that time, by the second Koguryo ruler.

Taking advantage of the local natural environment, the imperial cities developed their defense works with unique ethnic features, setting a good example in China's architectural history.

A number of cultural relics have been unearthed from the ruins of Guonei City, which is 2,738 meters in perimeter. They include a pair of jade earrings, 20 gold-plated arrowheads and large amounts of tiles with different kinds of decorative patterns.

The most famous relic in Ji'an is the Haotaiwang Stele inscribed with 1,775 Chinese characters, which was erected some 1,500 years ago. Experts believe it shows the impact of Chinese culture on the Koguryo, who did not have their own writing language by the time.

Wandu City, on the mountain top some 2.5 km north of Guonei City, has seven city gates, forming the main defensive system in the region.

It was built in 198 and destroyed in 342. The city had served as a garrison city and twice as the provisional capital city.

Statistics show murals have been found in 101 ancient tombs of the Koguryo Kingdom, of which 33 are scattered in Jilin Province and 68 in the Democratic People's Republic of Korea.

The murals are rich in contents, including lives of the noble families, such as feasting, dancing, drama-playing and outings. The murals were drawn on stone walls covered with lime.

Some of the earlier murals portray palaces, water wells, soldiers, maids, cattle and dogs, flowers and grasses and the sun and the moon.

When Buddhism was introduced into China, the designs of lotus began to appear in tomb murals.

Archeologists believe Koguryo cultural relics are of great historical value. The unique city structure represented by Guonei City and Wandu Mountain City heavily influenced the construction of later Koguryo capitals, while the Koguryo tombs provided outstanding examples of the evolution of piled-stone and earthen tomb construction. They demonstrate human creative genius in wall paintings and architecture.

四川都江堰和青城山

2000年11月，四川都江堰和青城山被联合国教科文组织评为”世界文化遗产” 都江堰位于民江中上都，距成都约57公里，是中国古代著名的一项水利工程，距今已有2200多年的历史。

岷江早先灾害频繁。蜀郡太守李冰变害为利，根据川西地形西北高，东南低的地理条件，带领百姓凿山引水，在岷江江心筑堤分水。堤的前端是“分水鱼嘴”，把岷江分为内、外二江，外江汇入长江，内江流入成都平原。为了不使洪水和泥沙过多混入内江，又在分水堤中段修了“飞沙堰”，使洪水、泥沙自动泄归外江，有效地控制了内江的流量，既保证了灌溉，又避免了水患。

都江堰是中国人民智慧的结晶。历史上劳动人民通过治理都江堰，总结了一套科学的治水经验，保障了此工程长期不废，当地人民世代受益。

都江堰的主要景观有伏龙观、二王庙、安澜桥等。

典故 安澜桥

安澜桥，又称夫妻桥，横垣岷江内、外两江，现全长５００米。它古名珠浦桥，明末时被毁，后只好改用渡船，行人往来十分危险。清朝嘉靖年间，私塾老师何先德夫妇倡议修桥并四处募集资金，穷心穷力，终于建成一座索桥。民间为感谢他夫妻二人的恩德，称此桥为“夫妻桥”。索桥建成后，两岸行 人可安渡狂澜，所以定名为“安澜桥”。

Dujiang Weirs and Qingchengshan Mountain in Sichuan Province

Dujiang Weirs and Qingchengshan Mountain was granted the name of "World Cultural Heritage" by UNESCO. Dujiang Weirs locates in the middle and upper reaches of Minjiang River with a 57-km distance to Chengdu. Dujiang Weirs, a very famous water resource project in the ancient China, was built over 2200 years ago.

At an earlier time, floods happened frequently along Minjiang River. Libing, the governor of Xichuan, transferred the floods into water resource. In Sichuan province, northwest is higher than southeast. According to this kind of terrain, Libing led people to carry out a water reserve project. They separated the water of Minjiang River by means of building a levee in the middle of the river. The front end of the levee is the "water-dividing mouth", which divides Mingjiang River into two parts, the internal river and the external river. The latter one flows into the Yangtze River and the former into Chengdu plains. In order to avoid more sands from flowing into the internal river, they built a "Feishaya" at the middle of the separation levee allowing the floods and mud and sand flow flowing into the external river automatically, resulting in an active control over the flow of the internal river, thus insuring the irrigation and avoiding the floods.

The building of Dujiang Weirs owes to the intelligence of Chinese people. The labors obtained lots of experiences in terms of the water control through the management of Dujiang Weirs, thus the project can be used in a long term and do more benefits to the local people.

In Dujiang Weirs, the main scenic sites are Fulong temple, Erwang temple and Anlan Bridge and so on.

Literary quotation:

Anlan Bridge

Anlan Bridge, also called Fuqi Bridge, connects the internal river with the external river in length of 500 meters. In the old time, it was called Zhupu Bridge and was destroyed at the end of Ming dynasty. Thereby the ferries were put into use, but it is dangerous for people to go by ferry. In the Jiaxing year of Qing dynasty, He Xiande and his wife, who are teachers of a school, proposed to build a bridge and took more efforts in collecting money. At last, they set up a rope bridge. The local named the bridge "Fuqi Bridge" as a way thanking for their kindness. Thanking for the setting up of the rope bridge, the people could pass safely, so the name of the bridge was set to be "Anlan Bridge".

重庆大足石刻

1999年12月1日，大足石刻被联合国教科文组织评为世界文化遗产

大足石刻是中国石窟艺术宝库中的一颗璀璨明珠，与云岗、龙门鼎足而三，齐名敦煌，是中国晚期石窟艺术的优秀代表。她集中国石窟艺术之大成，把中国石窟艺术推上了一个新的高峰：她是一件伟大的艺术杰作，对中国石窟艺术的创新发展有重要贡献，是石窟艺术生活化的典范，为中国佛教密宗史增添了新的一页，并且生动地反映了中国民间宗教信仰的重大发展变化。

大足石刻是中国重庆市大足县境内主要表现为摩崖造像的石窟艺术的总称。现公布为文物保护单位的摩崖造像多达75处，雕像5万余尊，铭文10万余字。

大足县位于四川盆地东南，西距成都271公里，东去重庆70公里。全县总面积约1400平方公里，人口约90万。大足建县于唐乾元元年（公元758年），距今已有1240多年历史，其县名取“大丰大足”之意。

大足石刻始创于唐永徽元年（公元650年），历经晚唐、五代，盛于两宋，绵延明清。其中全国重点文物保护单位有5处即北山（包括北塔）、宝顶山、南山、石门山、石篆山石刻也即“五山石刻”（世界遗产部分），重庆市文物保护单位有4处即尖山子、舒成岩、妙高山石刻、千佛岩石刻，大足县文物保护单位有66处如西山、圣水寺、三教寺、青山院、老君庙、半边庙、七拱桥、普和寺、陈家岩石刻等。北山、宝顶山、南山、石门山、石篆山是大足石刻中最具规模、最有价值、艺术最精美的石刻造像代表。

大足石刻以佛教造像为主，兼有儒、道造像。

北山石刻中的“转轮经藏窟”被许多艺术家誉为宋代石刻之精华和代表，此窟石刻造像秀美、雕刻精细、整体布局和谐协调、保存完好无损，堪称东方美神之大荟萃。特别是此窟中的普贤菩萨，具有东方女性美的特征，表情温柔娴静、典雅大方，被誉为“东方维纳斯”。另外，二十二章《古文孝经碑》，则被称为“寰宇间仅此一刻”。

宝顶山石刻，气势磅礴，宛如一卷镌刻在500多米的崖壁上的连环图画，前后内容连接，雕像无一雷同。而且佛教的世俗化、民族化、生活化特别显著，可以说完全是中国化了。

南山石刻是中国道教造像的代表，其中的三清古洞，是最完备而有系统的反映宋代道教神系的实物资料，是中国宋代雕刻最为精美的石窟。

石篆山石刻是典型的释、道、儒“三教”合一造像区，在石窟中罕见。如孔子龛、老君龛等。

石门山石刻是佛教、道教合一造像区，尤以道教造像最具有特色，如玉皇大帝龛外的千里眼像，眼如铜铃，似能目及千里；顺风耳面貌丑怪，张耳作细听状；二像肌肉丰健，筋脉显露，手法夸张。

中国石窟艺术在其长期的发展过程中，各个时期都积淀了自己独具特色的模式和内涵。以云岗石窟为代表的早期石窟艺术（魏晋时期，公元4-5世纪）受印度犍陀罗和笈多式艺术的影响较为明显，造像多呈现出“胡貌梵相”的特点。以龙门石窟为代表的中期石窟艺术（隋唐时期，公元6-9世纪）表现出印度文化与中国文化相融合的特点。作为晚期石窟艺术代表作的大足石刻在吸收、融化前期石窟艺术精华的基础上，于题材选择、艺术形式、造型技巧、审美情趣诸方面都较之前代有所突破，以鲜明的民族化、生活化特色，成为具有中国风格的石窟艺术的典范，与敦煌、云岗、龙门等石窟一起构成了一部完整的中国石窟艺术史。

“上朝峨眉，下朝宝顶”。“五山石刻”自古以来就是名胜之地。其中北山、宝顶山更是中外游客览胜、信众朝山进香、僧侣说法传经的集中地。特别是以“天府灵山”著称的宝顶山，历来每年的农历二月十九日（传为千手观音的生日）前后，游客如云，数以万计。自大足县1980年对外开放以来，游客日增，年均在35万人次以上，最高年达60万人次，最高日达万余人次。

Dazu Carved Stone in Chongqing

Dazu Carved Stone was granted "The World’s Cultural Heritage" by UNESCO on Dec. 1st, 1999. .

Dazu carved stone is an important one of the grotto art. It is as famous as the Yungang and Longmen grotto. It is a milestone for the development of grotto art and also has contributed much to the development of grotto art.

Dazu carved stone locates in Dazu County, Chongqing. It is a general term of all the grotto arts for Moya portraits. There have been over 50 thousand status and over 100 thousand words in 75 different grottos having been protected.

Dazu County locates in the southeast of Sichuan basin. Its west is 271kms away from Chengdu and its east is 70kms away from Chongqing. The total area of this county is 1400 squ.kms with a population of 0.9million. Dazu County was established in 758 with a 1240-year-long history. The meaning of Dazu is "rich and abundant".

Dazu carved stone was first built in the first year of Yonghu period of Tang dynasty going through the late Tang, the 5 Generations, North Song and South Song, Ming and Qing, most prosperous in the Two Song dynasty. The dazu carved stone includes 5 state historical and cultural relics, Beishan carved stone(including the North Tower), Baodingshan carved stone, Nanshan carved stone, Shimenshan carved stone and Shizhuanshan carved stone, all of which are the world heritages. There are also 4 historical and cultural relics in Chongqing city, Jianshanzi carved stone, Shuchengyan carved stone, Miaogaoshan carved stone and Qianfoyan carved stone. There are 66 historical and cultural relics in Dazu County, including the carved stone of Xishan, Shengshui temple, Sanjiao temple, qingshan yard, Laojun temple, Bianbian temple, Qigong Bridge, Puhe temple, Chenjiayan, etc. The carved stones of Beishan, Baodingshan, Nanshan, Shimenshan and Shizhuashan are the most famous ones among the Dazu carved stones.

Most of Dazu carved stones are the portraits of Buddha and there are also some of Confucian and Tao.

Beishan Carved Stone: in which the "Zhuanlunjingzang" grotto is highly appraised by many artists. This grotto has been well reserved. The Puxian Bodhisattva figure in this grotto has the characters of beauties of the oriental women. It also has another name—"Venus in the orient". In addition the "ancient prose of filial lection stele", which contains 22 chapters, is a unique one in the world.

Baodingshan carved stone: this one has great momentum like funnies carved on a 500-meter-long cliff. The statuses are all different to each other, from which we can see a live society.

Nanshan carved stone: it is a milestone of the Tao status. The Sanqing ancient hole provides the data recourses, which can fully and systematically show the system of Tao in Song dynasty.

Shizhuanshan carved stone: it contains statuses of Buddha, Tao and Confucian, for example the Kongzi niche and the Laojun niche and so on.

Shimenshan carved stone: it contains the statuses of Buddha and Tao. Especially the latter is better, for example, the Qianliyan status outside of Yuhuang Emperor neche. Its eyes are as big as a copper bell. It seems that they can see the things 1000kms away; the clairaudient status is ugly in a pose of listening; Er status is muscular.

The Chinese grottos have their special characters in different periods. The grotto art in earlier period (Wei and Jin period, 4-5 century) represented by the Yungang grotto were greatly affected by the art of Jiantuoluo and Jiduo in India. The grotto art in the middle period (Sui and Tang period, 6-9 century) represented by the Longmen grotto is characterized by the integration of cultures of India and China. Dazu carved stove, the representative in the late stage, absorbs the advantages of the former ones creating a milestone in terms of topic choose, art form, sculpt technology and taste.

Since the old times, "carved stones in the five mountains" had been a wonder. Among them, Beishan and Baodingshan are the most famous ones attracting tourists and monks from inside and outside China. As to Baodingshan, before and after every Feb 29 in Chinese traditional calendar, there are thousands of visitors coming here. Since Dazu County has been opened up, the amount of visitors increases day by day. The average amount of visitors is over 0.35million. In its top year, the amount reaches 0.6million and it is over 10 thousand in the top day.