China Architectural Art and China Architectural Art
The Chinese nation is a nation that particularly emphasizes and advocates the "golden mean". "The Doctrine of the Mean" refers to running in the middle of the natural way of heaven and earth, symbolizing that things adhere to the doctrine of the mean, acting in an impartial and timely manner, and symbolizing the harmony of truth, goodness and beauty.
As early as when the ancient ancestors marked the tether, Fuxi explained innate gossip according to Hetuluo's book. "It is based on the way of establishing heaven, yin and yang, the way of standing on the ground, the way of being firm and soft, the way of establishing people, and the combination of benevolence and righteousness, so Yi is painted as six hexagrams. (Book of Changes, Biography of Eight Diagrams) Six paintings are divided into the first, second, third, fourth, fifth and sixth places. Make sure that people are in the sky and the earth is on earth. Of the six, two of the inner ones and five of the outer ones are called "middle" and "winning" because they are in the middle. In the past, those who divined divination and got two or five divinations were called "moral and Chinese", and there were many auspicious judgments.
China's traditional culture recognizes that the ancestors of the Chinese nation live in the center of heaven and earth, which is an intercontinental region directly under the jurisdiction of heaven. This country is smart, beautiful, vast and rich. The history of these ethnic groups can be traced back to the written records of the Xia Dynasty, so they are called Huaxia, China, Shenzhou and Kyushu.
According to the traditional philosophy of the Chinese nation, China is a country with a round sky and a round place, a round man in the middle and a round earth in the middle. Kyoto is the center of the country, the palace is the center of Kyoto, and the highest authority of the country is the central government. Originally refers to the Yellow Emperor, also refers to the capital city built by Yao Shunyu. Later, many countries appeared, generally referring to the Central Plains or Central China. When the Republic of China was founded, it was officially named as the country name. 1949 10 10/day, People's Republic of China (PRC) was founded.
Definition of China's Architectural Art
China's architectural art has increasingly developed into the essence of China's traditional culture, which integrates astronomy, geography, geology, ecology, physics, landscape, architecture, ethics, mechanics, energetics, informatics, psychology and aesthetics.
developmental pattern
Generally speaking, there are two development modes of architectural art in China: one is official architecture, which embodies the highest artistic level in a certain social period because of its absolute advantages in thought, technology, materials and manpower; One is folk architecture. Although limited by materials and technology, its design and construction are more flexible, integrated with the local environment and have strong local characteristics. In addition, there are some buildings that cannot be simply classified, such as pagodas, bridges, city platforms, drum towers, bell towers, and towers in the city center.
Basic themes and expressions
China's architectural art is a huge treasure house of material and cultural knowledge, which almost includes all, comprehensive and main typical parts of the natural changes, material production, cultural knowledge and life customs of the Chinese nation from ancient times to the present. However, its main function is practicality; As far as its essence is concerned, it is "people-oriented", which suits and meets the needs of people's material life and spiritual life. Its core is expressed in the simplest way: livable.
There are two forms of architectural art in China. One is the external form. Qin bricks, Han tiles, Sui and Tang pagodas, temples in the Song and Yuan Dynasties, palaces in the Ming and Qing Dynasties, royal gardens, private gardens, archway cities, mausoleum temples and characteristic houses all show the architectural art forms of China. The first is the disciplinary essence of connotation. In all kinds of architectural art forms, every building contains China's philosophical thoughts and artistic norms of architectural art, with unique romantic form and rational stylization of connotation; Single building standardization, group sequence diversification. For example, the architectural art in China has inherent and concise structural modeling and organizational rules in the plane layout, that is, a single building is composed of "rooms", and the artistic modeling of a single building mainly depends on the flexible collocation of rooms, various styles of curved roofs and decorations. Then the single building forms a courtyard, and then several courtyards form a courtyard group and various large-scale buildings or urban agglomerations. Isolated single buildings do not constitute a complete artistic image, and the artistic effect of buildings mainly depends on the combination order of groups. The planning, design and construction of regions, cities, groups and single buildings all follow China's philosophy, ancestral traditions and artistic and technical norms, and are laid out in an orderly and balanced manner according to geographical location, azimuth area, central axis, north-south orientation, mathematical thought, spatial imagination, structural function, proportion system, arrangement and combination, high and low light and dark, straight and straight, color matching and visual relief. Even under the influence of topography, folk customs or other reasons, people try to make the architectural group achieve psychological and ideological balance and harmony to some extent, such as balance, harmony between yin and yang, complementarity of five elements and so on.
It can be seen that we must deeply study China's thoughts and theories on the subject of the essence of architectural art in order to have a deeper understanding and understanding of China's architectural art, because "what you feel may not be able to understand it, only what you understand can feel it more deeply." The significance of China's architectural art lies not only in the material and functional form of the building itself, but also in the spiritual essence of China culture, such as the thoughts, feelings, concepts and consciousness of the nation and country contained and passed down by the building. It has great historical significance and far-reaching promotion significance.
for instance
The Book of Changes has a profound influence on China architecture. In ancient times, it gave birth to China's unique ancient geomantic omen with the thinking mode of combining "meaning" with "image" and the principle of coordination of Yin and Yang. At the same time, this knowledge has been fully utilized in the field of architecture in China.
Take Beijing City and the Forbidden City as examples. According to the Book of Changes, Beijing calls the palace the Forbidden City, which corresponds to the purple walls in the sky. When there is no water outside the city, the golden "water" river is artificially opened. The whole building is dominated by "wood", covered with "gold" glazed tiles, and the walls are painted with gorgeous "fire" red, standing on the "earth" ground. Take the complementary meaning of the five elements.
Aerial view of Forbidden City
The three halls of the Forbidden City: Hall of Supreme Harmony, Hall of Zhonghe and Hall of Baohe symbolize the three walls of Tianque. The front hall is sunny and the back hall is cloudy. The three main palaces in the back hall are Gan Qing Palace, Kunning Palace and Jiaotai Palace. The names of the three palaces are in line with the principles in the Book of Changes, that is, doing for the sky, Kun for the land, doing for the king, Kun for the minister, doing for the father and Kun for the mother. The so-called dry sky and clear light, Kun turbid and condensed dew, heaven and earth mixed into Thailand, and human relations flourished. Around the three palaces, it is divided into the left and right twelve palaces, that is, the East Sixth Palace and the West Sixth Palace, which are combined into fifteen palaces to echo the beauty of the central axis of Heluo. Things in the twelfth house, in response to the twelfth birthday, symbolize that women follow the tunnel and accomplish nothing.
There are seven gates in the outer city of Beijing, indicating that the south is ruled by the Ming Dynasty, and nine gates in the inner city, indicating that the Ninth Five-Year Plan governs four palaces. The gate of the Imperial City has Tiananmen Square in the south, Di 'anmen in the north, Dong 'anmen in the east and Xi 'anmen in the west, which symbolizes the pattern of innate gossip's "endless dry days, leaving the sun and the moon". There are also 28 astronomical phenomena such as Suzaku, Xuanwu, Qinglong and Baihu in Wumen, Shenwumen, Donghuamen and Xihuamen. Chongwen Gate in the southeast of the inner city and Xuanwu Gate in the southwest symbolize Wenzuo and You Wu. Andingmen in the northeast and Deshengmen in the northwest symbolize the martial arts of Wenzhi and the softness of the world. Dongzhimen and Xizhimen, the yin and yang avenues symbolizing the sun and the moon. The central axis is fifteen miles, which symbolizes that the central axis of Heluo remains unchanged. This is a typical case of China ancient architecture applying the concept of the Book of Changes.
Similarly, in today's modern architecture, we can also find such an example. For example, I.M. Pei, a world-famous architect, designed the Xiangshan Hotel in the 1980s. No matter the overall layout or details, designers are almost constantly and repeatedly using easy-to-learn symbols to strengthen the national culture and artistic connotation of the building itself. This shows that the idea of "harmony between man and nature" in the Book of Changes, which is based on local conditions, is still modern in China. (The picture shows the founder/editing and publishing of Yijing/Shaanxi Normal University Press)
Position in the world architectural art
"From a global perspective, ancient architectural culture can be divided into seven main independent systems, but some architectural systems such as ancient Egypt, two river basins, ancient India and ancient America. It has been interrupted for a long time, some have not spread widely, and some have limited influence. Only China architecture, European architecture and Islamic architecture are considered as the three major architectural systems in the world. Among them, the most widely spread, the longest lasting and the most brilliant achievements are the ancient architecture in China and the ancient architecture in Europe. " (Preface of Wang Qijun's Building China-History of Ancient Architecture in China, China Architecture Publishing House, 2008).
Significance of research
⑴ Understand the artistic standards and norms contained in China's architecture with philosophical thoughts, and explore and inherit the main ideas of China's architectural art: nature, harmony, etiquette, mathematics, tradition and romance. ⑵ Interpret the beauty of historical regional environment and architecture with the concept of culture. ⑶ Examine the space, symbol and spiritual beauty of architectural art with emotional consciousness. ⑷ Through the comparison between China and the West, we can understand and study the reality and development of China's architectural art, inherit and carry forward China's traditional culture, and create and develop through inheritance. 5. Create, realize and meet the people's growing material, cultural and spiritual needs.
Inheritance, Reference and Development of China Architectural Art
Today in the 2 1 century, people finally realize that in the global village, if people with different cultural backgrounds and living habits want to survive, they must develop architectural culture that represents their own characteristics and take "the beauty of the city" as the urban development strategy. An urban cultural renaissance is taking place around the world. Starting from the increasingly urgent global environmental problems, the theme of urban renaissance is "transforming power into form, energy into culture, dead things into vivid artistic images, and biological reproduction into social innovation", and urban construction is gradually transitioning from the hardware era to the software era. The cultural connotation of the city has become the internal driving force for the development of urban design. Therefore, architecture, sculpture, environmental art, decoration and home design have also stepped out of a single and personal expression, and started to create works that are closely related to the urban environment, interpret the urban connotation, have urban functions and reveal the future. (Excerpted from Baidu Encyclopedia "Space Art", this article has been revised).
When the research on China's architectural art reaches a certain height and breadth, we need to strive to upgrade it to a more systematic height. That is, consciously, sensitively and creatively explore, summarize, inherit and develop China's architectural art theory. "In order to feel and understand this spiritual world, this intangible world, we must deeply introspect ... Therefore, to understand architecture as a kind of history, we must find myths and beliefs that create various architectural forms around us. Otherwise, in the process of seeking roots, we are likely to fall into the danger of superficial form transformation "(edited by China Architecture Publishing House, edited by Charles Correa and edited by Wang Fang).
The specialized theoretical works of China's architectural thought are far from meeting the requirements of current and future social development. In order to systematically study China's architectural art theory, it is necessary to have certain basic conditions besides sorting out historical materials and investigating physical objects. It is necessary to have a broad understanding of China's thought and literature, philosophy and literary theory, as well as a foundation of western cultural theory, and to learn from western historical methods. Learn from it and create something.
At present, some China architects lack an in-depth or even basic understanding of the richness and outstanding achievements of traditional architectural art in China. Secondly, there is a lack of interest in exploring and even excavating the profound cultural connotation in China traditional architecture. Third, the understanding of the West is not systematic and profound enough to be combined with China's own understanding. Often they do not pay attention to the expression of the inherent cultural content of their own nation and place, nor do they pay attention to the creation under the coordination of inheritance and the surrounding natural and artificial environment. It seems to be dominated by a popular, transcendental and personal preference of architects, who superficially pursue some fashionable technologies.
Regarding inheritance and development, Mr. Wu put forward the idea of "abstract inheritance": firstly, it refers to the development of the design principles and the essence of basic theories (design philosophy, principles, etc.) of traditional architecture. ) and apply it to actual creation; The second is to extract the most distinctive part of the traditional image, and through abstraction, concentration and perfection, as a matrix, it contains new ideas to inspire the image creation of current design creation. In the past, the so-called dispute between "similarity in form" and "similarity in spirit" can also be solved to a certain extent, seeking similarity in spirit without excluding some degree or detail. This is the inheritance of recreation, not plagiarism.
The creators of urban construction have multiple tasks. It can be said that their ultimate goal is to create a suitable living environment with good spatial organization and perfect artistic image. Excellent architecture and its artistic environment have long-term and even eternal attraction. (History of Architectural Art in China, edited by Wu, History of Architectural Art in China, China Academy of Fine Arts). This requires that the creators of urban construction should not only go deep into the study of social history and geographical history, but also combine with the study of related works of art. The creation of large-scale works of art should first clarify the architectural language to be expressed in order to meet the requirements of idealized aesthetic theory, not just design a special venue; Through the subtle influence of its cultural significance, it has a subtle influence on the city's own thoughts, characteristics, development direction or hidden eternal existence (quoted from Baidu Encyclopedia "Space Art").