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天坛公园简介中英文对照
(2006-08-19 15:43:58)2005-04 天坛是现存世界上最大的祭天建筑群。1998年12月被联合国教科文组织列入《世界遗产名录》。 天坛位于北京紫禁城的东南方，是明、清两朝皇帝举行祭天大典的场所，占地273公顷，平面布局北圆南方，象征天圆地方。两道坛墙将坛域分为内外坛，祭祀建筑集中于内坛，并分为南北两部分。南部为“ 圜丘坛”，北部为“祈谷坛”。南北两坛由一条长360米的甬道丹陛桥相连。祈谷坛西有斋宫。外坛西南分布有神乐署，牺牲所。 祭天在中国有非常悠久的历史，自西周时期统治者提出“君权天授”的理论后，祭天作为统治者维护自己政权的一种活动，得到历代皇帝的重视。朱元璋在南京建立明朝后，立即在钟山之阳（南）建圜丘坛以祭天，在钟山之阴（北）建方泽坛以祭地。不久改天地分祭为合祭制度，建天地坛合祭皇天后土。明成祖朱棣迁都北京后，仿照南京的规制建立了天地坛。北京天地坛建成于明朝永乐十八年十二月（公元1421年2月）主要建筑为大祀殿，基础在现在祈谷坛位置上，规模比南京天地坛大。天地合祭110年后，嘉靖皇帝又将天地合祭改为分祭。在北京城的东、南、西、北四郊建立了日坛、天坛、月坛和地坛，天坛又称为圜丘坛，专门祭祀皇天上帝。 天地分祀后大祀殿即废止。嘉靖十七年（公元1538年）拆大祀殿，在其旧址上仿古明堂建大享殿，以举行秋享上帝典礼。大享殿建在三层圆形坛基上，殿为圆形，三层重檐攒尖金顶。上檐蓝色，中檐黄色，下檐绿色，象征天地人三位一体。 清朝建立后，保留了明代的祭坛和祭祀制度，只是大享殿不再举行大享礼，改为举行祈谷典礼。乾隆十六年（公元 1751年）将大享殿改名祈年殿，门改为祈年门，以符祈谷之意。次年三层重檐及皇乾殿、祈年门、皇穹宇等建筑的屋顶均改为蓝色琉璃瓦，以象天色。乾隆十四年（公元1749年），乾隆皇帝将圜丘扩建，坛制不变，但栏板、望柱改为汉白玉，坛面则改铺艾叶青石，上层中心为一圆形石块，外铺九圈扇形石块，内圈九块，其余以九的倍数递增，中、下层亦皆如此。各层栏板、望柱数目和台阶数都为九或九的倍数，以象天数。北京天坛经过乾隆时期的调整完善之后，整个坛遗制度最终形成。同时，祭天礼仪制度也在乾隆时期得以最后确定，明清两朝，北京天坛共有22个皇帝举行过654次祭天大典。1911年清朝皇帝退位，祭天制度废除。天坛也从此失去了皇家祭坛的地位。但1914年袁世凯为复辟帝制，重新制定了一套祭天礼仪及祭祀服饰，于当年冬至举行祭天大典。不久袁世凯身死，洪宪帝制被废。这次祭祀也成为天坛历史上最后一次祭天大典。 作为中国祭天文化的物质载体，天坛积淀了深厚的民族文化内涵。天坛文化涉及中华民族文化的诸多领域，包括历史、政治、哲学、天文、建筑、历法、音乐、绘画、园林、伦理等等，是中国传统文化的集大成。1998年 12月 2日 ，在日本京都召开的第 22届世界遗产委员会会议上，天坛被列入世界遗产名录。同时，世界遗产委员会高度概括了天坛作为文化遗产的标准：“一、天坛是建筑和景观设计之杰作，朴素而鲜明地体现出对世界伟大文明之一的发展产生过深刻影响的一种极其重要的宇宙观。二、许多世纪以来，天坛所独具的象征性布局和设计，对远东地区的建筑和规制产生了深刻的影响。三、两千多年来，中国一直处于封建王朝统治之下，而天坛的设计和布局正是这些封建王朝合法性的象征。” 目前，在人民政府的精心保护下，天坛公园正以其深厚的民族文化内涵、宏伟的古典建筑景观、古朴的祭坛环境氛围吸引着成千上万的中外游客前来参观游览。 The Temple of Heaven The Temple of Heaven is the largest existing architectural complex in the world for the purpose of praying to heaven for good harvests. It was included in the World Heritage List by UNESCO in December 1998. Located to the southeast of the Forbidden City, the Temple of Heaven was where emperors of the Ming (1368-1644) and Qing (1644-1911) Dynasties worshipped heaven. It covers 273 hectares; the layout is circular in the north and square in the south to symbolize the circular heaven and the square earth. The compound has two surrounding walls; the main buildings for worship are located within the inner wall. The main buildings - the Circular Mound Altar in the south and the Altar of Prayer for Good Harvests in the north - are linked with a 360-meter-long passage, called Danbiqiao or Red Stairway Bridge. To the west of the Altar of Prayer for Good Harvests lies the Hall of Abstinence; to the southwest are the Divine Music Administration and the Department for Sacrifices. The Chinese have a long history of worshipping heaven. Because the rulers of the Western Zhou Dynasty (11th Century-771 BC) claimed that they were empowered by heaven, the worship of heaven was continued by almost all state rulers as a way to uphold their right of administration. After Zhu Yuanzhang, the first emperor of the Ming Dynasty, established his rule in Nanjing, he ordered a circular mound altar built on the southern slope of Zhongshan Mountain to worship heaven and a square altar built on the northern slope to worship earth. Later the ceremonies to worship heaven and earth were merged and held in one temple. After Zhu Li, the second emperor of the Ming Dynasty, moved the capital from Nanjing to Beijing, he had the Altar of Heaven and Earth built in the new capital based on the standards of the one in Nanjing, but larger in size. Construction was completed in February, 1421, at the site of today's Altar of Prayer for Good Harvests. The Hall of Worship was the main place for the ceremony. About 110 years later, Emperor Jiajing issued an order to separate the worship ceremony of heaven from that of earth. Four altars were then built in the four directions (east, south, west and north) of the city of Beijing to worship the sun, heaven, the moon and the earth. The Temple of Heaven, a1so known as the Circular Mound Altar, was built to worship heaven. The Hall of Worship was abandoned after the separation of the ceremonies and demolished in 1538. On that site was erected the Hall of Fruition, where ceremonies were held in autumn to present the harvest to heaven. The hall, sitting on a three -layer round base, was a round bui1ding with triple-eaved roof: the upper eave was blue, the middle eave yellow and the lower green. This symbolized the combination of the heaven, earth and the people. The rulers of the Qing Dynasty, which replaced the Ming Dynasty in 1644, kept the worship system. but changed the function of the Hall of Worship from presenting fruits to heaven to prayer for good harvests. The hall was renamed the Hall of Prayer for Good Harvests in 1751, and the entrance renamed the Gate of Prayer for Good Harvests. The following year the roofs of major buildings were replaced with blue glazed tiles to match the color of the sky. In 1749, Emperor Qianlong had the Circular Mound Altar expanded. The wooden railing and balustrades were replaced with white marble and the ground was paved with blue stones. In the middle of the upper terrace was placed a round stone surrounded by nine concentric rings of paving stones. The number of stones in the first ring is nine, in the second 18, and so on, up to 81 in the ninth ring. The middle and bottom terraces also have nine rings each. Even the numbers of the carved railing, the balustrades and the steps are also in multiples of nine, to coincide with the astronomical phenomena. With all these readjustments, the altar system was finally comp1eted and the worship of the heaven was reformed during the reign of Emperor Qianlong (1736-1795). A total of 22 Ming and Qing emperors held 654 ceremonies to worship the heaven in Beijing. The worship was abandoned in 1911 when the last emperor of the Qing court abdicated and the Temple of Heaven ended its role as an imperial altar. However, the last ceremony held at the Temple was on the Winter Solstice in 1914 by Yuan Shikai who attempted to reestablish a monarchy. Yuan developed a new ceremony and tailored special attire there for. Yuan died shortly thereafter and his regime was overthrown. As the place for the worship ceremony, the Temple of Heaven has deep cultural connotations for the Chinese nation. It is a comprehensive expression of Chinese history and culture, politics, philosophy, astronomy, architecture, calendar system, music, painting, gardening and ethics; it synthesizes the traditional culture of the Chinese nation. On December 2, 1998, the Temple of Heaven was placed onto the World Heritage List at the 22nd conference of the World Heritage Committee. The committee came to the conclusion that the Temple of Heaven is a masterpiece of architecture and landscape design which simply and graphically illustrates a cosmogony of great importance for the evolution of one of the world’s great civilizations. The symbolic layout and design of the Temple of Heaven had a profound influence on architecture and planning in the Far East over many centuries. For more than two thousand years China was ruled by a series of feudal dynasties, the legitimacy of which was symbolized by the design and layout of the Temple of Heaven. Every year, the Temple of Heaven receives millions of visitors from near and afar who are impressed by the complicated cultural presentation, the grand, ancient architectural complex and the secluded surroundings. |
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