Why are ancient Chinese buildings mainly made of wood?
In fact, it is not easy to truly explain why ancient Chinese architecture was dominated by wooden structures. Even if we start with the method of counter-evidence, we will easily overturn the so-called "material determination theory". China has many mountains and rivers, and there is no shortage of stones. China's wood will not be more suitable for tree growth than Europe, whose climate and geographical conditions are both many. The "technological determination theory" is also difficult to establish. The Chinese have used stone materials in construction no later than the Europeans. The remains of megalithic buildings from the primitive era are an example. The stone tombs and tomb temples of the Han Dynasty, as well as the stone palace in front of the tomb, still remain today. The Han Dynasty people had mastered the arch and dome technology and applied it to tomb construction. The Zhaozhou Stone Bridge built in the Sui Dynasty was far ahead in the world in terms of its span and shape. The history of using stones to build city walls is even longer. Nanjing, which is world-famous as the "Stone City", already had stone walls as early as the Three Kingdoms period. The stone pagodas in Chinese history have attracted the world's attention for their exquisite technology and superb craftsmanship. In fact, if you take a look at the exquisitely carved stone platforms and railings, tall Huabiao stone pillars, huge Bixi stone tablets in front of the mausoleums, and white marble stone bridges in Chinese architecture, you will know that the Chinese are very advanced in stone construction and stone carving technology. No less than any other country of the same period. Obviously, it is unacceptable to say that the Chinese adopted wooden buildings because of their backward stone construction technology. The Chinese have both stone sources and stone-making technology foundations, but they do not use them in houses for human use, but only in tombs and mausoleums of the deceased, or military facilities and some ceremonial and decorative structures. According to the author's assumption, the ancient Chinese people's attitude towards stone structure buildings was that it was either impossible or right.
Why ancient Chinese architecture became the mainstream of wooden structures can be analyzed from the perspective of cultural orientation, architectural purpose, and architectural concepts.
The mainstream of ancient Chinese architecture is wooden structure, while the mainstream of ancient European architecture is stone structure. The difference between the two is very obvious. The reasons for this difference, in the author's opinion, are probably as follows.
One is the architectural purpose. The mainstream architecture in ancient and medieval times in the West was built for the gods on the other side. Spirits or God are the supreme beings. They are gods and God's buildings. They must be eternal, magnificent, and have the power to intimidate people. Westerners often spend hundreds of years building a cathedral, because it is from the other side, not this world, and the builders do not expect to build it successfully in a short period of time. The mainstream buildings in ancient China were built for living people, such as emperors' palaces, gardens, government offices and various levels of residences. These are the mainstream parts of Chinese architecture. This is what the ancients meant when they said, "The palace system was originally intended to give birth to people" (quoted from "Northern History"). China also has religious buildings, such as Buddhist temples, Taoist temples, ancestral temples, etc. However, the Chinese treat Buddhist temples and Taoist temples the same as they treat ordinary people's residences. They mainly want to shelter idols of gods and Buddhas from wind and rain, and do not seek the longevity of buildings and sculptures. Therefore, the more prestigious and popular temples are, , the more frequent the renovation, just like renovating a new house for mortal people. Therefore, Western architecture, which pursues eternity and eternity, adopts stone structures; Chinese architecture, which does not seek eternity and eternity and focuses on the present world, adopts wooden structures.
The second is cultural orientation. Westerners have a special fondness for stones. In ancient Greek mythology, humans who suffered a great flood were recreated from stones. Stone is the material that created human beings. Therefore, it is reasonable to use stones to build the most important buildings. Apprentices in the Middle Ages were regarded as uncarved stones, while those who achieved success were regarded as pillars. Therefore, it can be speculated that in the cultural symbol genealogy of Westerners, stones are at a higher level. Levels, such as altars in Western temples and churches, are carved from stone. The situation in China is different. The ancient Chinese emphasized Yin and Yang and the Five Elements. The five materials in the Five Elements, metal, wood, water, fire, and earth, correspond to the five directions (west, east, north, south, and center). Among them, earth represents the center, representing the earth that carries and nourishes all things. Therefore, earth virtue has a very high status. The three main halls of the Forbidden City in Beijing in the Ming and Qing Dynasties, which symbolize the center, are built on a three-layer white marble platform in the shape of "earth". On the altar, the Sheji altar, which represents the country, is also symbolized by "five-color soil". Wood among the five elements represents spring, the east, and the power of life and growth.
In addition, gold among the five elements symbolizes the West, as well as force and punishment. Therefore, all buildings related to martial arts, such as the Wuying Hall of the Forbidden City and the Xuanwu Gate in the inner city of Beijing, are located on the west side of the central axis of the city or palace. Water among the five elements symbolizes the north. The Qin'an Hall at the northern end of the central axis of the Forbidden City in Beijing is dedicated to Emperor Xuanwu, the god of water, and also symbolizes the aversion to fire. In addition, the interior of the building is decorated with caissons and the roof of the building is decorated with owl kisses. , all have the symbolic function of aversion to fire associated with water. Obviously, among the five materials most admired by the Chinese represented by the Five Elements, only earth and wood are the most suitable for building houses for people to live in. Therefore, the basic materials of ancient Chinese architecture are "earth and wood". People live in houses made of It is carried by "earth" (pedestal) and in a space surrounded by wood (pillars and beams).
The third is the architectural concept. Ancient Roman architects proposed the three architectural principles of "sturdiness, practicality, and beauty" as early as 2,000 years ago. Buildings must first be solid. Solidity and longevity are linked together. If you want to be solid and long-lasting, stone is the most appropriate building material. In addition, Westerners pay attention to the external beauty of buildings, that is, buildings should give people a pleasant feeling. Therefore, great importance is attached to the external shape of the building, but in Western culture, there is not much discussion about the quality of the internal space of the building. No matter how huge the building is or how gloomy the interior is, as long as it is sturdy and durable, and as long as it looks pleasing to the eye, it is good. The Chinese are different. In ancient times, the Chinese did not seek the durability of buildings, nor did they simply regard the beauty of the building's appearance as a goal. Chinese people pursue more of the suitability of space and the harmony of yin and yang. Lao Tzu said that "all things carry yin and embrace yang, and the energy is in harmony." Obviously, contrary to Westerners who focus on the solidity and beauty of architectural entities, the Chinese pay more attention to the carrying and embracing of space, and the harmony of yin and yang. The basic spatial ideal of ancient Chinese people is to live in a space where yin and yang are negative and yin and yang are in harmony. In other words, Chinese houses are not for looking at, but for living in. The best state of residence is the harmony of yin and yang. This can be seen from the architectural names of the Ming and Qing Forbidden City in Beijing, such as the first three palaces of Taihe, Zhonghe and Baohe, and the back three palaces of Qianqing, Jiaotai and Kun. Ning, like the Summer Palace, its name symbolizes the harmony of yin and yang. Ancient Chinese Feng Shui also revolves around the harmony of Yin and Yang. In order to ensure the harmony of yin and yang, the scale of the building should not be too large, and the height of the building does not need to be too high. Since it does not need to be too high or too large, single-story or two-story halls and pavilions of moderate size built with wooden structures are the best building choices. Also for the sake of the harmony of yin and yang, "civil wood" that best expresses yin and yang in performance is the best building material.
Ancient Chinese architecture fully embodies the rationality and wisdom of the ancient Chinese people with its flexible and convenient wooden frame structure.
Of course, to explain this issue very clearly from a theoretical perspective will require a lot of research, excavation, and extensive quotations. But in any case, what needs to be emphasized is that both Chinese and Western traditional architecture have their most valuable advantages. The advantages of Western architecture have been talked about a lot, but Chinese architecture, with its flexible and convenient wooden frame structure, makes it easier to create flexible and changeable spaces; it uses wood that can be recycled and does not cause pollution as the main building material. It is more environmentally sustainable; the two mountains and the north side of the building are thick walls, while the front facing the courtyard is light door and window grilles. The depth of the house is very moderate. This pattern not only blocks the invasion of the northwest wind, It also admits sufficient sunlight and air, and uses a sloped roof to prevent summer exposure, which fully embodies the rationality and wisdom of the ancient Chinese people.