Historic buildings in China
The square or round shallow caves excavated from Banpo site in Shaanxi have a history of six or seven thousand years.
It is a unique system in the history of world architecture, a world-class building with scientific, artistic, aesthetic and political ethics values, profound cultural heritage, distinctive humanistic characteristics, multi-ethnic, multi-ethnic, holistic and comprehensive! From the winding Great Wall in Wan Li, from the Epang Palace, which combines the essence and exquisiteness of the pre-Qin period, from the resplendent, clean and cheerful Daming Palace, to the existing 67. 1 m wooden pagoda of Fogong Temple in Yingxian County, Shanxi Province, and then to the Forbidden City in Beijing during the Ming and Qing Dynasties ... China's ancient buildings have left a deep impression on the world!
First, the scientific and cultural nature of ancient architecture in China.
(1) Scientific, ingenious and scientific frame structure is the most important feature of ancient architecture in China.
Mainly wooden frame structure, that is, the frame of the house is composed of wooden columns and beams. The weight of the roof and eaves is transferred to the column through the beam frame, and the wall only plays the role of partition, not the structural part that bears the weight of the house.
② Culture
A, readability China's ancient buildings are more humanistic than foreign buildings.
Although the formal language of buildings is very abstract, they are usually described as majestic, tall, light and beautiful.
However, the ancestors gave it human meaning.
B, Plasticity: The ancient buildings in China are based on "space" in plane and space, which brings a kind of elasticity. People can change their shape and function with the use process, and can disassemble, move and move at will.
C, most inward-looking foreign buildings attach great importance to form and appearance, while some ancient buildings in China, such as quadrangles, are simple in appearance, but they are found to be extremely rich after entering the courtyard, whether in visual, psychological feeling or connotation.
Another example is the Suzhou Garden, which is also tortuous and has a hole in the sky.
D, super stable China ancient feudal society lasted for thousands of years. Under the feudal system, people's values and lifestyles have not changed much, and the requirements for architecture have not changed much.
So some people say that the ancient buildings in China have been the same for thousands of years.
However, it should be noted that ancient relics cannot be simply praised or belittled.
They are formed after thousands of years of development and should be judged in a specific historical background.
Due to different perspectives, some people think that China ancient architecture has a long history and strong vitality.
E, Rong Yijing The way of thinking of ancient people in China was mostly influenced by Yijing. They think that if you put anything in the context of the Book of Changes, you can find its regularity.
The same is true in architecture.
For example, why ancient buildings in China prefer wood to stone is not a technical problem, but a social and cultural phenomenon.
"Gold, wood, water, fire and earth", "wood" symbolizes spring, green and life, and is used to build houses for the living; And "earth" is brick and stone, which is "nothing in this life and renewable" and is mostly used to build graves and burial rooms for the dead.
Eight diagrams, yin and yang, five elements, feng shui, etc. Have a lot of influence on the ancient architecture in China!
Second, the artistry of ancient architecture in China
Architecture is not only a technical science, but also an art.
Through long-term efforts, the ancient architecture in China has absorbed the characteristics of other traditional arts in China, especially the plastic arts such as painting, sculpture and arts and crafts, and created rich and colorful artistic images, and formed many characteristics in this respect.
Among them, the following three aspects are more prominent.
1, decorating the roof
Ancient craftsmen in China discovered the possibility of using roofs to achieve artistic effects very early.
In the Book of Songs, there is a phrase "wings of a temple", which shows that the poet praised the wings of the ancestral temple in his poems three thousand years ago.
In the Han Dynasty, there were five basic roof forms in the later generations-the Temple Ding Dian with four slopes, the pyramid-shaped roof with four, six and eight slopes or a circle, the hard roof with two gables on two slopes flush with the roof, the overhanging roof with two slopes protruding from the gables, and the sloping roof with hanging mountains on the upper part and sloping around the lower part.
Ancient craftsmen in China made full use of the characteristics of wood structure, created the roof's lifting and folding, the roof's tilting and protruding, and formed the soft and graceful curves of the cornices of birds' wings and various parts of the roof.
At the same time, the ridge end of the roof is properly carved and the eaves tiles are decorated.
After the Song Dynasty, glazed tiles were widely used to add color and luster to the roof. In addition, many other roof styles have appeared one after another, and various complex shapes with artistic effects have been combined from these roofs, which has made China ancient buildings gain rich experience in creating architectural artistic images by using roof forms and become one of the important features of ancient buildings in China.
2, the application of film building
The use of foil buildings is a common artistic treatment method for high-rise buildings such as palaces and temples in ancient China.
Its function is to set off the main building.
The earliest building with artistic characteristics was the "Que" built in front of the main entrance of the palace during the Spring and Autumn Period.
In the Han Dynasty, besides palaces and tombs, temples and large and medium-sized tombs were also used.
The existing Gaoyi Tomb in Ya 'an, Sichuan, is a typical work of the Han Dynasty, with exquisite shapes and carvings.
Various forms of defects can often be seen in sculptures and murals after the Han Dynasty. During the Ming and Qing Dynasties, Que evolved into the meridian gate of the Forbidden City.
Other common art setting-off buildings include huabiao, archway, zhaobi and stone lion in front of the palace.
3, the use of color
Ancient craftsmen in China were the boldest and the best at using colors in architectural decoration.
This feature is closely related to the wood structure system of buildings in China.
Because wood can't be used for a long time, China architecture has long adopted the method of painting and tung oil on wood, protecting wood and strengthening wood components through tenon-mortise combination, and at the same time increasing aesthetics, so as to achieve a combination of practicality, firmness and aesthetics.
Later, the columns and beams were decorated in red, or colored paintings were painted on the beams and squares of the bucket arch.
After long-term practice, China architecture has accumulated rich experience in color application. For example, in palaces and official buildings in the north, they are very good at using the contrast and harmony of bright colors.
The main part of the house, that is, the part that can often get the sun, is generally warm, especially vermilion; The shadow under the eaves is a cool color with blue and green.
This emphasizes the warmth of the sun and the gloom of the shadow, forming a pleasant contrast.
Scarlet doors and windows and blue-green eaves are often decorated with gold wires and dots, and there are also a few red dots between blue and green, which makes the colorful painting patterns on the building more vivid and enhances the decorative effect.
Some important memorial buildings, such as the Forbidden City and the Temple of Heaven in Beijing, have yellow, green or blue glazed tiles lined with one or even several layers of white marble abutments and railings. Under the crisp autumn sky in North China Plain and cloudless blue sky in Wan Li, its color effect is extremely moving.
Of course, the formation of this color style is also related to the natural environment in the north to a great extent.
Because on the flat and vast North China Plain, the scenery in winter is very monotonous and harsh.
In such a natural environment, this bright color brings vitality and interest to the building.
By the same token, in the south with beautiful mountains and rivers and evergreen seasons, the color of buildings is limited by the architectural hierarchy in feudal society on the one hand, and it is also because the south is evergreen and flowers bloom in all seasons. In order to coordinate the color of the building with the natural environment in the south, the color it uses is more elegant, and a beautiful and elegant style is composed of white walls, gray tiles and chestnut, black and dark green beams and columns.
This color gives people a cool feeling in the hot summer in the south, unlike strong colors, which are easy to stimulate people.
From here, we can also know that the color application of ancient buildings in China, in addition to the two main styles mentioned above, has some differences with different nationalities and regions.
The colors of China's architecture initially reflect the functions of nature. There was no color before the Tang Dynasty, but the natural color of the materials was outstanding.
Tang Dynasty: Color Reflects Taste
Song Dynasty: Color Reflects the Mainstream
Tang and Song Dynasties come down in one continuous line, and architecture in Song Dynasty is the inheritance and development of architecture in Tang Dynasty.
With the extensive use of paints and the influence of Indian Buddhism, the color of buildings is highlighted as red.
The colors of this period reflected the mainstream culture at that time.
The Song Dynasty likes stable, simple and elegant tones, which is caused by the social thought based on Confucian rationalism and Zen philosophy.
The architectural specifications of the Song Dynasty were generally smaller than those of the Tang Dynasty, but they were more exquisite, gorgeous and changeable than those of the Tang Dynasty, and various complex halls, attics, platforms and other forms appeared.
The buildings in Song Dynasty were greatly influenced by Tang Dynasty, mainly represented by halls, pagodas and tombs, and decorated with colored paintings, sculptures and glazed tiles. Building components began to be standardized, and architectural summary works such as wooden classics and architectural French appeared.
The organic combination of decoration and architecture is a major feature of the Song Dynasty. The temple tower is reasonable in decoration scale, complete in shape and vigorous.
Tiger Hill in Suzhou and Renshou Tower in Quanzhou are typical works.
The stone carvings and patterns in Zhaoling tomb are full of vitality and richness, which has guiding significance for the development of folk patterns later.
In terms of decoration, buildings in this period used a large number of openable doors and windows, which not only changed the appearance of the building, but also improved the indoor ventilation and lighting compared with the board doors and straight windows in Tang and Liao buildings.
Most of the Buddha statues in the lower part of the house are made of stone, with rich and colorful compositions and exquisite carvings.
The forms and carvings of column bases tend to be diversified.
In addition to circular, square and octagonal columns, there are melon-shaped columns, and a large number of stone columns are used, and the surface of the columns is often engraved with various patterns.
At the same time, it expands the indoor space and gives people a cheerful and lively feeling.
The roof is covered with glazed tiles, or glazed tiles with green tiles form a trimmed roof.
The proportion, composition and color of color painting and decoration all reached a certain artistic effect, so the impression of the building at that time was soft and brilliant.
Yuan Dynasty: Beautiful and Gorgeous Style
Palace buildings in the Yuan Dynasty also inherited the traditions since the Tang and Song Dynasties. After the Yuan Dynasty, the decorative patterns tended to be plain and realistic, and the colors and patterns of palace buildings were carefully studied, with beautiful and gorgeous styles.
After the death of the Song Dynasty, architecture was once influenced by foreign craftsmen, mainly northern craftsmen. Its architectural structure is bold and rough, and its artistic style is wild and uninhibited.
There were many nationalities in the Yuan Dynasty, and each nationality had different religions and cultures. Through mutual communication, some new factors have been added to the traditional architectural art.
At this time, religious buildings were quite developed, and many Lamaism temples and towers were built from Tibet to Dadu, bringing some new decorative themes and new techniques of sculpture and mural painting.
Islamic worship temples have been built in Dadu, Xinjiang, Yunnan and some cities in the southeast, and they have begun to combine with the buildings in China to form an independent style, and the decoration and color have gradually merged.
The Cross Pagoda is another building type of Lamaism.
Yuntai in Beijing is the most famous.
On the inner wall of the coupon stone and coupon cave in Yuntai, there are Tibetan patterns such as gods, golden winged birds, dragons and clouds and scriptures in six languages.
These sculptures are all high reliefs, the postures and expressions of the characters are vigorous, and all kinds of patterns have a lively and jumping atmosphere, which is different from the traditional style of the Han nationality and is a fine sculpture in the Yuan Dynasty.
The sculpture theme and techniques of Lamaism had a great influence on the architectural art of Ming and Qing Dynasties, especially on the official architecture.
Ming Dynasty: Strong colors are pleasing to the eye.
Nanjing was founded in the early Ming Dynasty, mainly relying on Jiangnan craftsmen.
Yongle moved its capital to Beijing, and the construction of Beijing Palace was mainly based on southern craftsmen.
The architecture of Ming Dynasty is rigorous, beautiful, exquisite and elegant, which has the style of Jiangnan art, but it has been rendered by royal nobles, and it is huge in volume and strong in color, which is far from the elegance of Jiangnan.
But its root system is similar to that of Jiangnan architecture.
The output of bricks has greatly increased, and the quantity and quality of glazed tiles have surpassed that of any previous dynasty.
Official buildings have been highly standardized and modeled.
The main part of the house, that is, the part that can often get sunshine, is generally warmer, especially vermilion; For shaded areas, use cool shades of green and blue.
This emphasizes the warmth of the sun and the shade of the shadow, forming a pleasing contrast.
In feudal society, the use of color was restricted by the hierarchy.
In general civil residential buildings, blue-gray brick walls and tile roofs are mostly used, and beams and doors and windows are mostly made of natural wood, which is also very elegant.
Third, the political and theoretical value of ancient architecture in China.
According to ancient documents, there is a concise organizational rule in the plane layout of ancient buildings in China, that is, every house, palace, official residence, temple and other buildings are surrounded by several single buildings, some cloisters and courtyard walls.
Generally speaking, most courtyards are connected in series, reaching the backyard through the front yard, which is the product of China's feudal society's thought of "orderly aging, different inside and outside".
The main characters in the family, or people who should be isolated from the outside world (such as girls from aristocratic families), often live in courtyards far from the outside door, forming a deep spatial organization of courtyards after courtyards.
How deep is the courtyard written by Ouyang Xiu in Song Dynasty? In other words, the ancients once described the residence of a big bureaucrat as "the door is as deep as the sea", which vividly illustrated the important features of the layout of China architecture.
At the same time, this courtyard-style group and layout are generally designed symmetrically along the longitudinal axis (also known as the front and rear axis) and the horizontal axis.
The more important buildings are placed on the vertical axis, and the secondary houses are placed on its left and right sides on the horizontal axis. The group layout of the Forbidden City in Beijing and the northern quadrangles is the typical example that best embodies this principle of group layout.
This layout is closely related to the patriarchal clan system and the ethical code system in China feudal society.
According to the feudal patriarchal clan system and hierarchical concept, it is most convenient to make a clear distinction between generations, generations, men and women, masters and servants in housing.
Fourthly, the integrity of China's ancient architectural culture.
Many archaeological data prove that paying attention to people's living environment is an important part of China's local culture.
As early as six or seven thousand years ago, the ancestors of China had reached a very high level in their choice and understanding of their own living environment.
There is an obvious tendency of "environmental choice" in settlement site selection during Yangshao culture period, which is mainly manifested in being close to water sources, which is not only convenient for domestic water intake, but also conducive to the development of agricultural production; Located at the intersection of rivers, with convenient transportation; Located on the river steps, it not only has fertile farming soil, but also can avoid being attacked by floods; If you are on a hillside, you will generally face the sunny slope.
For example, Banpo site is a typical geomantic pattern of Shangji, which is surrounded by mountains and waters, and the two waters intersect.
Rivers and living environment
It can be clearly seen from the ruins of palaces in Shang Dynasty that people's understanding of the relationship between rivers and living environment has reached a quite high level.
Xiaotun Village, two kilometers northwest of Anyang, Henan Province, was the capital of Yin and Shang Dynasties.
Huanshui turns from northwest to south here, and then turns to the east.
On both sides of this river, the area around Xiaotun Village at the corner of the south bank is where the palaces of Shang Dynasty are located. The large areas in the west, south, southeast and east of Huan River of the Palace are houses, workshops and cemeteries for civilians and small and medium-sized nobles. Houjia Village and Wuguan Village on its north shore are tombs of Shang princes and nobles.
What needs to be emphasized is that no matter the palace area, residential area, production area or mausoleum area, they are all located in the winding embrace of the river, which fully proves that the concept of pursuing "Qu Zi Gui Ji" in later Feng Shui has a long history.
Just like Boshan? "On Water" said: "The ocean is surging and Shui Ge is rich.
Shui Ge is expensive because of twists and turns.
"Jiang Pingjie's Water Dragon Classic also said:" The natural water law must be remembered, which is nothing more than love. If you don't want to wash it away, you have to hug the curved ring.
""When water meets three bends, you will have a long life, bend towards it, and be rich and glorious.
"In short, the requirement for water flow is to' bend around and hug' and pay attention to' Qu Youqing' because' the bend of the river is also a dragon gathering'. "
In geomantic omen, the inner side of meandering is auspicious, and the outer side of meandering is fierce.
"Revealing the Mystery" said: "Water can find the land while holding it, but water can't go against the edge.
"Shui Long Jing" also thinks that all kinds of terrain such as "anti-flying", "anti-submarine", "anti-water" and "anti-bow water" are fierce places, which are not conducive to living and living.
The so-called "love is water, as if it belongs to the point."
Water is the pulse of the dragon, and it shoots with an irreversible bow.
"Obviously, this is the conclusion drawn by ancient ancestors in their long-term observation and practice of the relationship between the natural environment and urban and rural buildings in river areas, which is consistent with the changing law of modern river landforms about meandering rivers.
In other words, the view that "water is auspicious and affectionate" summarized in ancient architectural geomantic omen is rooted in this scientific understanding.
Southwest Chaoyang of architecture
Feng Shui emphasizes that cities and buildings face south and face the sun, which has a profound cultural background and a very reasonable scientific basis.
From a cultural point of view, this is closely related to the study of Zhouyi.
"Zhouyi? Oracle said: "The sage listens to the world from the south.
"Later generations said that the emperor's strategy of governing the country was' southern art', which originated from this.
In addition, the astronomical star map of China is drawn with the method of facing south and the sky facing up, and the map is drawn with the geographical method of overlooking.
Therefore, China's ancient concept of orientation is also unique: the front is south and the back is north, and Zuo Dong is around, which is just the opposite of the widely used concept of orientation from the west (up and down, north and south) today.
The emergence of this idea of "facing south and facing the sun" is determined by its specific environmental characteristics.
Because China is located in the northern hemisphere, most of the time the sun shines from the south, and people's life and production are based on direct contact with the sun, which determines that the direction of people's lighting must be the south.
And choosing to live south is also related to the seasonal wind direction.
Cold northerly winds prevail in most areas of China in winter and warm and humid southerly winds prevail in summer, which determines that the basic pattern of China's geomantic environment model should be: facing south, surrounded by mountains on three sides in the west, north and east, resisting the cold winter wind, and opening slightly in the south to welcome the warm and humid summer monsoon.
Because it is "living in the south", in Feng Shui, Qinglong, Baihu, Suzaku and Xuanwu are often used to indicate the orientation.
For example, the Book of Burial says, "Take the dragon on the left, the white tiger on the right, the suzaku in front and the Xuanwu in the back.
"Ten Books of Yangzhai" said: "Anyone who has running water on the left side of the house is called Qinglong; There is a long road on the right, called white tiger; There is a sweat pool in front, called Suzaku; There is a hill behind it, called Xuanwu, which is the most expensive place.
"So, Qinglong, Baihu, Suzaku and Xuanwu have become the names of the four major gods respected in Feng Shui.
However, when these four animals began to serve as the orientation gods in Feng Shui, there was no textual research for a while.
However, in Yangshao cultural tombs found in Xishuipo, Ziyang, Henan Province, there are obvious patterns of "Qinglong" and "White Tiger" made of clam shells, which are located on both sides of the tombs.
If the figures of "Qinglong" and "White Tiger" in tombs also have the function of pointing the direction, then the idea of "Qinglong leaping, white tiger crouching tiger" in later Feng Shui works can be traced back to Yangshao culture period 6000 years ago.
In fact, in ancient times, people had a clear concept of orientation god.
Like the Book of Rites? Quli Shang Dao: "Good, Suzaku is in front and then Xuanwu, left Qinglong and right White Tiger.
"The names of the four gods represent the names of the four gods, forming four celestial phenomena, east, west, north and south.
So, Huainanzi? Astronomical training says: "God is more expensive than Qinglong.
"Qinglong, Baihu, Suzaku and Xuanwu, as the gods of the four directions, were later respected by Taoism and had a wide influence in China culture.
"geomantic treasure land"
Four gods, such as Qinglong and Baihu, are orientation gods, and each town guards the city, town and house. Those who meet the following conditions can be called "land of four gods" or "land of four spirits".
Its conditions are "Xuanwu bows its head, Suzaku dances, Qinglong winds and white tigers tame."
"That is, the peaks in the direction of Xuanwu look down, and the peaks in the direction of Suzaku come to sing and dance. The left Qinglong Mountain is constantly ups and downs, and the right white tiger is in a mountainous position. Such an environment is a "land of geomantic omen".
The composition of a geomantic treasure-house requires not only "four images are complete", but also the context, case sand, hall, nozzle and orientation.
"Ten Books of Yangzhai" said: "The place where people live should be dominated by mountains and rivers, and its origin is the most powerful, which is the most important.
""Yang Zhai, like the original story, should live with a broad and flat potential.
Tang Ming should accommodate 10,000 horses ... or from mountains or plains.
Surrounded by water, it's expensive, and so are the surrounding roads.
""more need to tidy up the nozzle, don't be too reluctant to plug into a small device.
The stars are close to the hall, and the record is not narrow.
This statement is based on the general situation, and there is no strange classification.
"This is a geomantic treasure-house model in the macro environment: endless mountains in the north, low hills echoing far and near in the south, surrounded by mountains on the left and right sides, heavily guarded, with clear halls in the middle, spacious terrain and winding water. This is an ideal land of geomantic omen.
As Fo Yin said in "Feng Shui Lecture Notes", "The mountains are undulating, the heights are scattered, the winding paths are secluded, the center is out of the vein, the acupoints are protruding, the dragons and tigers are surrounded by sand, and the mountains are surrounded by water. It is a rich place with layers of guards."
Natural architecture geomantic omen
"Like a man."
In ancient geomantic omen, the earth was often compared to the human body to consider various factors. There is a saying in Feng Shui that "the land is like a man".
For example, "The Cape Sutra of the Dark Girl" says that "Tuolong's situation is like a person, but when his body moves, his hands and feet should react; The main out, with the soldiers.
""Your own dragon should be long-term, your body should stand upright, your brothers and sisters should be harmonious, young and old should obey, and guests and friends should be surprised when they meet.
"On the basis of this idea of similarity between man and land, according to the structure of the human body, Long Mai's true acupoints are often divided into three types in Feng Shui, one in the head, one in the navel and the third in * * *, and its * * position is:" The acupoints gathered together, such as the baby's head, are not full at birth and have tiny nests, that is, the acupoints on the top of the mountain; Gathering points is like a person's navel, and his hands are dragons and tigers; The point where people gather is like scrotum, and both feet are dragons and tigers.
(Positive Solution of Meng Hao's Xue Xin Fu in Qing Dynasty) In Geography written by Liu Pu Shen Xin in Qing Dynasty, there is a map of Feng Shui acupoints based on the human body's "orifices", which can best vividly reflect this concept of similar people and land.
Emphasize the unity of heaven and man
Because the foundation of ancient geomantic omen is based on China's traditional philosophy of Yin and Yang, it is natural to regard the idea of "the unity of man and nature" and "the unity of all things" as the soul that runs through the whole geomantic omen.
In ancient China, people discovered the running laws of the sun, the moon, the 28 stars and the five planets of water, earth and fire in Jin Mu, and their relationship with the seasonal changes and disasters of the earth day and night.
In the eyes of the ancients, the movement of heaven and earth is directly related to the growth of people.
"Garden Story" said: "The human body is like a small world, with five elements of yin and yang, four seasons and eight festivals, which can be used in one body." The world is a big universe, the human body is a small universe, and the human body and the universe are isomorphic.
Heaven and earth are divided into yin and yang, and the human body is divided into yin and yang.
There are five stars and five mountains in heaven and earth, and the human body also has five senses and five internal organs.
The sky is divided into ten days, which means that the earth goes around the sun and people have ten fingers.
The earth is divided into twelve branches, that is to say, the moon revolves around the earth twelve times a year, and people also have twelve meridians and twelve skins ... The whole meridian system of people expands periodically with time, year, month, day and time, and the rise and fall of people implies that the emergence of human beings is no accident. It embodies the life of the whole universe, and the human body is completely.
"Heaven and earth positioning, mountains and rivers ventilation, lightning wind thin, fire and water (not).
""Heaven and earth coexist with the beginning, and everything is one with me.
"The vitality reverberates between heaven and earth, and the qi gathers in the human body. People are actually regarded as a part of the natural ecological chain. Compared with nature, man is small.
Any activity of human existence should be in harmony with nature and get along with nature.
Therefore, to avoid living in an atmosphere and environment that is not conducive to human survival, human construction activities should be conducive to the harmony of nature.
In feng shui theory, qi is used to explain the natural environment. In the relationship between man and the natural environment of heaven and earth, as long as the harmony between heaven and earth and all natural things is achieved in accordance with the law of the movement and change of qi, that is, in accordance with the natural order, peace and happiness will be achieved, so as to achieve the goal of seeking good fortune and avoiding evil.
The basic significance of feng shui site selection is to find a suitable place for human beings.
The area where life is hidden between heaven and earth is an ideal place for human growth and reproduction.
To sum up, all the concrete measures of Feng Shui are centered on how to find the condensation point of Qi, how to satisfy, accept and gather Qi, and through catering, guiding and adapting to the Qi of the universe and heaven, make the Qi of the human body harmonious with it, thus contributing to improving the living environment and ensuring the physical and mental health of mankind and the reproduction of future generations.
In this sense, Feng Shui can be said to be the art of combining the qi of the universe with the qi of the human body.
Feng Shui emphasizes the choice of ideal environment, which is mainly composed of mountains and water, especially water as the source of life.
"Shui Long Jing" said: "Although the cave is in the mountains, the fortunes are in the water.
""Stone is the bone of the mountain, soil is the meat of the mountain, water is the blood of the mountain, and vegetation is the fur of the mountain, all of which are connected by blood.
"Because the stone is the bone of the mountain and the water is the blood of the mountain.
Mountains take water as blood, and water itself is organic.
The viewpoint in The Yellow Emperor's House Classic is more clear: "The house takes the situation as the body, the spring as the blood, the ground as the meat, the vegetation as the hair, the house as the clothes, and the portal as the crown belt. If so, it is elegant and auspicious.
"Here, the house is obviously regarded as a part of the earth organism, emphasizing the harmony between the building and the surrounding environment, which is the main theme of Feng Shui architectural thought.
There is also a very deep philosophical foundation, such as "Pipe? "Land and Water" said: "Water is the blood of the earth, like a flowing tendon, so it is said that water has material.
"Wang Chong" in general? Xu Shu said, "There are hundreds of rivers in heaven and earth, but there is still blood.
Blood flow, pan-yang movement. "
The greatest influence of geomantic omen on ancient architecture in China is to pursue a suitable atmosphere, that is, the most favorable external environment for human growth and development.
This environment needs beautiful scenery and good weather.
Because there are mountains, there is "bone", and there is water, there is "life", and mountains and rivers complement each other.
Therefore, almost all feng shui environments pay attention to the collocation of mountains and rivers, and are combined according to a certain feng shui spatial structure.
Why can many geomantic places become ideal places for people to cultivate themselves and recuperate? The reason is that its landscape combination is reasonable, which can give people a feeling of elegance, comfort and awe.
In this sense, "outstanding people" makes sense.
No wonder people will tirelessly pursue a reasonable combination of landscape environment.