The Similarities and Differences of Ancient Urban Layout in China and Its Influence on Commercial Development
After the mid-19th century, with the change of social nature and the massive import of foreign architecture, especially western architecture, China's architecture had more contacts and exchanges with the world's architecture, and its architectural style changed dramatically, which is generally known as modern architectural art in China.
China's ancient architectural art
China's ancient architectural art has matured in feudal society. It is a unique artistic system with the longest history, the widest distribution area and the most obvious style, which is dominated by Han wooden buildings and also includes excellent buildings of various ethnic minorities. China's ancient architecture had a direct influence on Japanese, Korean and Vietnamese ancient architecture, and also had an influence on Europe after the 17th century.
artistic features
compared with European ancient architectural art, China ancient architectural art has three basic features:
① the unity of aesthetic value and political and ethical value. Buildings with high artistic value also play a role in maintaining and strengthening social, political and ethical systems and ideology.
② rooted in profound traditional culture, it shows a distinct humanistic spirit. All the elements of architectural art, such as scale, rhythm, composition, form, character and style, are based on the aesthetic psychology of contemporary people, which can be appreciated and understood by people, and there is no ups and downs, weird and incomprehensible image.
③ it is overall and comprehensive. Ancient excellent architectural works almost all mobilized all the factors and techniques that might constitute architectural art at that time to form a whole image. From the overall environment to a single house, from the external sequence to the internal space, from color decoration to affiliated art, every part is not dispensable, and if one of them is removed, the overall effect will be damaged.
These basic characteristics are embodied as follows:
Attach importance to the overall management of the environment
Since the Spring and Autumn Period and the Warring States Period, China has had the concept of the overall management of the built environment. Although all the planning systems in Zhou Li about the wild, the metropolis, the vulgar, the countryside, the city, the hill and the Dian may not have come true, it at least shows that there was a large-scale regional planning idea of systematic planning. Guan Zi Riding on a Horse claims that "every country is a capital, not under the mountains, but above Guangchuan", indicating that environmental relations must be considered in urban site selection. China's theory of geomancy originated very early, except for the cloak of superstition, most of them emphasized the relationship between environment and architecture. Ancient cities paid attention to the unified management of urban ontology and surrounding environment. Xianyang, Qin Dynasty, is a super-scale urban environment, which covers the northern Sakan in the north, runs through the Wei River in the middle and reaches Nanshan in the south, and reaches 2-3 miles in the east and west at its peak. Chang 'an (now Xi 'an, Shaanxi Province), Luoyang (Northern Wei Dynasty), Jiankang (now Nanjing, Jiangsu Province), Beijing (Ming and Qing Dynasties) and other famous capitals, their business scope also far exceeds the city wall; Even the general government, state and county towns integrate the suburbs into the overall urban environment. Important scenic spots, such as Wuyue and Five Towns, Buddhism and Taoism, suburban gardens, etc., also put < P > environmental management in the first place; The mausoleum area of the emperor pays more attention to geomantic geography. Most of the buildings in these places rely on the environment to show their artistic charm.
Monomer image melts into group sequence
Monomer buildings in ancient China are relatively simple, and most of them are stereotyped. Isolated Monomer buildings do not constitute a complete artistic image, and the artistic effect of buildings mainly depends on group sequence. A temple, as a foil in the sequence, will not be too big and its image may be relatively dull, but if it is the main body, it may be very tall. For example, there are not many styles of single buildings in Beijing Palace in Ming and Qing Dynasties, but through different spatial sequence transformation, each single building shows its independent character in the whole.
The structural technology and artistic image are unified. The wood structure system of ancient buildings in China has strong adaptability. This system is composed of four columns, two beams and two beams, which form a basic framework called compartments. The compartments can be connected left and right, connected back and forth, overlapped up and down, combined at random, or modified into octagons, hexagons, circles, sectors or other shapes. There are two kinds of roof frames: beam-lifting type and bucket-piercing type. In either case, the
surface of the house can be curved without changing the frame system, and cornices with upturned corners can be made at the corners of the house, and styles such as double eaves, hook connection, interspersed and draped can also be made. The artistic modeling of single building mainly depends on the flexible collocation of rooms and the curved roof with many styles. In addition, the components of the wood structure are convenient for carving and painting to enhance the artistic expression of the building. Therefore, the beauty of ancient architecture in China is also manifested in the beauty of structure to a great extent.
China ancient building roof frame style
Standardization and diversification are unified. The buildings in China are mainly made of wood structures. In order to facilitate the manufacture, installation and estimation of work and materials, it is inevitable to standardize the components and promote the modularization of design. As early as the Spring and Autumn Period, there was a bud of standardization and modularization in Kao Gong Ji, which was mature at the latest in the Tang Dynasty.
By the third year of the Song and Yuan Dynasties (11), the "Building Method" was completely standardized, and the "Code of Practice for Works of the Ministry of Industry" promulgated in the twelfth year of Yongzheng in Qing Dynasty (1734) was further simplified. The standardization of architecture promotes the unification of architectural styles and ensures that each building can reach a certain artistic level. Normalization does not limit the composition of sequence too much, so the standardization of single building and the diversification of group sequence can go hand in hand. As a kind of space art, it is obviously a mature phenomenon of progress. The single building in ancient China seems to be a little less changeable, but the group combination is varied, because of the high unity of standardization and diversification.
China ancient building roof frame style
poetic natural garden
China garden is an outstanding achievement of ancient architectural art in China, and it is also an important typical garden in various departments in the world.
China gardens are based on nature, absorbing the essence of natural beauty, and injecting the aesthetic interest of people with rich cultural literacy. By adopting the method of architectural space composition, the natural beauty is typified and turned into garden beauty. The interest contained in it is poetic and picturesque; The spatial composition technique adopted is the free, flexible and fluent sequence design. China gardens pay attention to "being skillful in borrowing, being skillful in body and fitting", and attach importance to the subtle deduction of scenery and scenery, so as to organize rich viewing pictures. At the same time, it also simulates natural mountains and rivers, creating a special skill of overlapping mountains and managing water. No matter whether mountains and rivers are connected, they can make poetry and painting more profound and interesting.
Pay attention to the expression of architectural character and symbolic meaning
The political and ethical content of China ancient architectural art requires it to show distinctive character and specific symbolic meaning, and many methods are used for this purpose. The most important thing is to use the environment to render different emotional appeal and atmosphere, so that people can get a variety of aesthetic feelings from it; Secondly, different building grades, including volume, color, style, decoration, etc., are stipulated to express social system and building content; At the same time, we also try our best to use many figurative affiliated arts, even the words of plaques and inscriptions, to reveal and explain the character and content of the building. Important buildings, such as palaces, temples and temples, have specific symbolic themes. For example, Qin Shihuang built Xianyang, with palaces symbolizing Ziwei, Weishui symbolizing Tianhan, and Shanglinyuan digging ponds symbolizing Penglai in the East China Sea. Kangxi and Qianlong in Qing Dynasty built Yuanmingyuan, Summer Resort and Chengde
Outer Eight Temples, which simulated the important national buildings and places of interest and symbolized the unity within the house. There are five rooms and twelve halls on the top and bottom of the Ming Hall, symbolizing everything in the world. The composition of some temples symbolizes the Buddhist world of Mount Sumi.
Art form
The art form of China's ancient architecture is composed of the following elements:
The laid-out spatial sequence China's architectural art is mainly the art of group combination, and the connection, transition and transformation among groups constitute a rich spatial sequence. Houses with wooden structures are mostly low-rise buildings (mainly single floors), so the group sequence is basically laid out horizontally. The basic unit of space is the courtyard, and there are three forms of * * *:
① The cross axis is symmetrical, and the main building is placed in the center. This kind of courtyard is mostly used for ritual buildings and religious buildings with high specifications and strong commemoration, and the number is small;
② The vertical axis is the main axis, supplemented by the horizontal axis, and the main building is placed at the back, forming a quadrangle or three-way courtyard, which is widely used from palaces to houses, with the largest number;
③ The axis is tortuous, or there is no obvious axis, which is mostly used in garden space. There are differences between regular and free sequences. The most outstanding representative of the existing regular sequence is the Beijing Palace in Ming and Qing Dynasties.
In the freestyle sequence, some courtyards blend in with the environment, and the rhythm of the sequence changes slowly, such as the buildings in the imperial cemetery and natural scenic spots; There are also courtyards that blend in with landscape flowers and trees, and the rhythm of sequence changes is relatively tight, such as artificial gardens. But no matter what kind of sequence, it is composed of preface, transition, climax and ending, and it is cadenced through.
China ancient architecture group combination type
Monomer modeling with standardized specifications There are more than a dozen names of single buildings in ancient China, but most of them have little difference. There are three main types:
① Palace, the basic plane is rectangular, but there are also a few squares and circles, which rarely appear alone;
② Pavilion, whose basic plane is square, perfect circle, hexagon, octagon and other
shapes, can be independent of the group;
(3) Gallery, which is mainly used as the connection between individual buildings. A hall or pavilion is a pavilion or tower. In the early days, there was also a terrace with a large rammed earth platform as the center, and multi-storey houses were built along the platform, but they were no longer built after the Eastern Han Dynasty. The size of the hall is distinguished by the number of rooms on the front and purlins (or rafters) on the side. Before the Han dynasty, there were odd numbers and even numbers, and then they were all odd numbers. By the Qing dynasty, 11 rooms were the largest on the front, 3 rooms were the smallest, and 13 purlins were the largest and 5 purlins were the smallest on the side. There are several levels of spacing between purlins and purlins, and there are also several stereotyped arrangements of internal column grids. If the number of front sides is equal, it can become a square hall, and the rooms can also be arranged in a staggered way, showing a variety of variant hall planes.
The single building type of ancient China
No matter the halls, pavilions and corridors, they are all composed of three parts: abutment, roof and roof, and there is a certain proportion among them. The abutment of advanced buildings can be increased to 2 ~ 3 floors, and there are complex carvings. The house is composed of columns, beams, doors and windows. If it is a pavilion, the upper horizontal flat seats (veranda) and flat seat railings are set. Most of the top floors are stereotyped styles, mainly including five types: hard mountain, hanging mountain, rest mountain, Xian Dian and Jian Dian. Hard mountain has the lowest grade, Xian Dian has the highest, and Jian Dian is mainly used in pavilions (see the roof structure of ancient buildings in China). The corridor is simpler
, which is basically a continuous repetition of one room. The standardization of single-seat buildings reached its peak in Qing Dynasty. The Code of Practice for Works of Ministry of Industry stipulated 27 types of stereotypes, and the scale and proportion of each type were strictly regulated. From palaces to residential buildings and gardens, many moving artistic images were made up of a few stereotyped buildings.
Curved roofs with prominent images account for a large proportion in single-seat buildings, which can generally reach about half of the elevation height. The beam-frame combination of ancient wood structure can naturally make the top of the slope form a curve, not only the slope surface is a curve, but also the front ridge and eaves end can be a curve, and the cornice can also be made up at the corner where the eaves turn. The huge volume and gentle curves make the roof the most prominent image in China's architecture. The basic form of the roof
is simple, but there are many changes. For example, the roof can add gorgeous kissing animals and carvings; Roof tiles can be made of gray clay tiles, colored glazed tiles and even gold-plated copper tiles; Curves can be steep and gentle, eaves can be short and long, and two-story eaves and three-story eaves can be made. You can also combine many styles by inserting, hooking and lapping; You can also add skylights and seal volcanic walls, and the up and down, left and right, and front and back forms can also be different. The grade, character and style of architecture are largely reflected in the volume, form, color, decoration and texture of the roof.
The flexible indoor space makes the single-seat building with simple specifications full of different personalities, and it is mainly handled by flexible indoor space. For example, an ordinary small hall of three or five rooms can become a completely different building with different contents, such as the gate of the mansion, the main hall of the temple, the main hall of the official office, the porch of the garden, the living room of the house, the value room of the soldiers and so on.
Indoor space processing mainly depends on flexible space separation, that is, in the middle of a neat column network, different sizes of spaces are separated by board walls, fans (green sand cabinets), curtains, various forms of flower covers, flying covers and antique shelves, and some rooms are added with attics and cloisters to vertically divide the space into multiple floors. With different decorations and furniture, the character of the building is more distinct. In addition, ceilings, algae wells, colored paintings, plaques, Buddhist niches, walls, fences, calligraphy and painting, lamps, banners, furnaces, etc. also play an important role in creating the art of indoor space.
Gorgeous colors. China architecture uses bold and strong colors. Gorgeous colors and colorful paintings are, first of all, the means of expression of architectural level and content. The color of the roof is the most important, and the yellow (especially bright yellow) glazed tile roof is the most distinguished, which is dedicated to the buildings (such as Confucius Temple) specially approved by emperors and emperors. Except for very few special requirements, all buildings in the palace, regardless of size, are made of yellow glazed tiles. Below the palace, the temples, palaces and temples are mixed with yellow-green < P > (trimmed), green and green-gray according to their grades; Residential buildings have the lowest grade, and only gray pottery tiles can be used. The temples and walls of the main buildings are all red, the wooden structures of the secondary buildings can be green, and the houses and gardens are mixed with red, green, brown and black. Liang Fang, Dou Gong and rafters painted many colorful paintings, mainly in blue and green, with gold, red and black in between, and the grades were distinguished by the number of gold and dragons.
The golden dragon and the seal are the most honorable and the realgar is the lowest. Folk houses generally do not draw colored pictures, or only draw "hoop heads" at the junction of beams and Fang. Landscape architecture is the most free in color painting, and people, landscapes and flowers and birds can be painted. The abutment is generally made of brick and stone, and white marble is used for important buildings. Colors and colorful paintings also reflect the aesthetic standards of the nation. First of all, diversity lies in unity. The colors of a group of buildings, no matter how complex and gorgeous, always have a keynote, such as the palace is mainly red and yellow, the Temple of Heaven is mainly blue and white, and the garden is mainly gray, green and brown. Secondly, contrast lies in harmony. Because the tone is unified, the overall effect is harmonious; Although many complementary colors and contrasting colors are in the same building, the contrast is quite strong, but they only enrich the harmonious tone and will not interfere with or replace it. Finally, artistic expression lies in the content requirements. For example, the palace is the most important and the color is the strongest; Tanmiao, Mausoleum and Temple are in turn, and the intensity of color is decreasing. People
are the most common and the colors are the simplest.
The law of formal beauty China ancient architecture is a very mature art system, so there are also a set of mature rules of formal beauty, including general rules with visual psychological requirements and special rules with national aesthetic psychological requirements, but so far there is no comprehensive and systematic summary. Phenomenologically, there are four aspects as follows:
① Symmetry and balance. Environment and large groups (such as Miyagi, scenic spots, etc.), many