How does the Taoist concept of harmony affect the Feng Shui layout of Chinese residential buildings?

1. Confucianism:

1. The cosmology of the unity of man and nature

2. The orderly environment of yin and yang

3. The social psychological structure of introversion, ancestor worship and moderation

2. Taoism

The origin of Taoist culture is the same as that of Confucianism. It was also developed and founded on the basis of "The Book of Changes" and also based on heaven. It is based on the cosmology of the unity of man. The influence of Taoist culture on ancient Chinese architecture is mainly reflected in the following aspects

2.1 The view of nature in which things and I are integrated

The view of nature is people’s understanding of the natural world within their reach. In ancient Chinese civilization, it originally refers to nature. Laozi's "Tao Te Ching" talks about "Tao follows nature", and "Zhuangzi·Equality of Things" also talks about, "Natural ears... use the words of heaven" That’s why we understand it’s natural.” Taoist culture regards nature as the concept of the unity of things and self that includes human beings. It believes that people, mountains and rivers, flowers and plants, fish and insects, etc. are all subordinate to the material world system, and believes that the origin of the world is "Tao". This idea lays the ideological foundation for establishing the harmonious relationship between man and nature.

In the field of architecture, this ideological concept is more concentratedly reflected in garden architecture. "Although it is made by humans, it looks like the sky is open" in the garden has become the artistic conception pursuit of the artificial environment in ancient China.

Secondly, give the various elements of the environment the attributes of being interdependent and orderly. On the basis of the "Book of Changes", Taoism developed the theory of the Five Elements, which was later linked to the Confucian etiquette culture, making orientation, color, etc. also have master-slave and superiority and inferiority.

Thirdly, Taoist culture later derived from Taoism and enriched ancient Chinese architecture in terms of architectural types. However, since Taoist culture does not advocate complete escape from the world, Taoist architecture and secular architecture are not the same in essence and form. Big difference.

2.2 The philosophical view of virtuality as big

In the Taoist cultural concept, virtuality is big, reality is second, virtuality is in the middle, and reality is all around. A typical example is what Laozi said in the Tao Te Ching: "Thirty spokes can be used to build a roof. If it is not there, it can be used as a cart. If it is not there, it can be used as a tool. If it is not available, it can be used as a tool. If it is not there, it can be used as a room." , When there is nothing, it is useful. Therefore, if it is there, it is beneficial, and if it is not, it is useful. The influence on Chinese architecture is very great.

It first explains that the purpose of architecture is virtual space, and our use of materials for construction is only a means. This concept has had a great influence on ancient Chinese architecture. The gradual stylization of individual ancient Chinese buildings and the pursuit of space creation for buildings, building groups and even cities can be said to be related to this understanding.

Another example is that in Chinese classical gardens, quite a lot of gardens are centered on water. It is believed that a garden will not be alive without water, and water is exactly empty. This example of combining virtuality and reality is also reflected in other buildings, such as our common building facades, with the roof on top and the ground below, solid gables on the left and right, and virtual doors and windows in the middle, etc.

2.3 The Contradictory View of the Unity of Opposites

Taoists believe that all things have opposites and unity. “One yin and one yang are called Tao.” “Everything must have harmony,... There is a yin and yang in each combination.” "Everything in the world must be right" and "all things must be right". "Existence and non-existence arise from each other, difficulty and ease complement each other, long and short complement each other, high and low lean towards each other, sound and sound harmonize each other, front and rear follow each other" and so on.

And this concept has a huge impact on architecture. Ancient Chinese architecture emphasizes contrast and unity. For example, the artistic conception and spatial atmosphere of Chinese courtyard spaces are the manifestation of the unified relationship between opposites between buildings. A typical example is the Forbidden City in Beijing. Courtyards of various sizes are arranged in an orderly manner on a vertical axis. The contrast between the courtyard space and the contrast of the building size highlights the majesty of the royal family. Another example is the common practice in gardens of suppressing first and then raising, using small to set off large, etc., which are all specific applications of the unity of opposites.

2.4 The mentality of pursuing artistic conception

Taoist culture pursues an artistic conception that is understood by heart and soul, and its external expression is mainly stillness, believing that stillness is the most important, and movement is the supplement. Moving comes second. This is integrated with the introversion of China's entire culture and has a great impact on Chinese architecture.

For example, in ancient Chinese residential buildings, the introverted courtyard space is exactly conducive to forming a quiet residence, which is conducive to peace and tranquility of people's mentality.

Another example is why Chinese gardens are called landscape gardens? This is because Chinese classical gardens emphasize artistic conception and embrace infinite nature in a limited space.

Many ideas of Taoist culture, especially on the relationship between man and nature, still have valuable value today