Architecture is the most magnificent material product created by ancient humans. It not only has the practical function of sheltering from the wind and rain and satisfying people's daily production and life, but also can express some reverence and belief, as well as the spiritual function of dividing social classes, so it occupies a more important position in China's traditional culture. ?
Although the Book of Changes was originally a divination book, it has preserved a large number of historical materials about China's ancient humanities and science and technology in the long-term circulation process, and is the source of China's traditional culture and ancient architecture. Although there are not many historical materials directly related to ancient architecture, Yi-ology is an ancient book theory in China, so these historical materials are of great value to the study of ancient architecture in China. With an exploratory attitude, this paper attempts to explore the influence of Yi-ology on traditional architecture in China.
Hexagrams and ancient architecture
The Book of Changes says: "The ancients were the kings of the Xi family. When he looked up, he looked at the sky; When he looked down, he looked at the law and the land; When he looks at birds and beasts, he looks at the body and the land; When he is close to the body, he takes things far away, so he starts gossip to communicate the virtues of the gods and the feelings of all things. " Then the relationship between the thirteen hexagrams and everything in the world is discussed respectively. This is the famous theory of taking images and making devices in Zhouyi.
Yi Shu and Ancient Architecture
The "number" of quantity has different philosophical interpretations. From the easy number, the number of yarrow is used to explain the emergence and change of things. "I ching copula upload": "participating in martial arts, there are countless changes; Through its changes, it has become a text of heaven and earth; A very small number will set the image of the world. " The number of images in Yi-ology has extremely rich philosophical connotations. As a tool and means of metaphor and symbol, it has been widely used and embodied in traditional architecture in China, especially in palace architecture. Among them, three (three poles) and nine (using nine) are the most prominent.
Harmony between Yin and Yang and China Architecture
Cohesion says: "One yin and one yang are the Tao"; "Under the Cohesion" said: "Yin and Yang combine virtue, and rigidity and softness combine." These are the main philosophical thoughts that run through Zhouyi. Looking at art with this simple dialectics, we should not only focus on the beauty of femininity and masculinity, but also make it harmonious and unified. Therefore, traditional art can only be regarded as a wonderful work if it contains both rigidity and flexibility. Everything in the world and its changes can be brought into the category of the unity of opposites of Yin and Yang, including the concept of composition and image characteristics in architecture, and it is no exception. Such as rigidity, lightness and darkness, concavity and convexity, softness and hardness. It can be regarded as just yang as soft as yin; Ming is yang and dark is yin; Convex for Yang, concave for Yin; Hard for yang, soft for yin and so on.
(1) plane layout
The architectural style of the pre-Qin and Han dynasties also pays attention to the masculine and magnificent performance. The image pursues "elegance" and the details pursue "wrong gold", which complement each other with the formal architecture. It is necessary to show a garden with feminine beauty and also pursue a panoramic view. There are many high platforms and exotic flowers and birds in the garden. As described in the Great Fu of the Pre-Han Dynasty, the garden at this time is grand and all-encompassing, showing luxury and wealth as much as possible, without the poetic and lasting appeal of later gardens. Therefore, from the aesthetic concept of combining Yin and Yang, combining rigidity and softness, the architectural art at this time is naive, overexposed and a rough and material grasp of the outside world. With the development of history to the Wei, Jin, Southern and Northern Dynasties, the turbulent social politics made a large number of literati consciously keep a distance from the real society, and talked about the rise of Xuanfeng, respecting Zhouyi and Laozi and Zhuangzi as San Xuan, which also injected new life into the more orthodox and boring art theory since the Han Dynasty, which was manifested in the rapid development of simple, elegant, quiet and natural rural gardens as a supplement to the high-rise buildings in Guangdian.
In layout design and environmental awareness, the ancient buildings in China show a strong concept of combining yin and yang. The famous phrase "How deep is the courtyard" by Feng Yansi, a poet in the Southern Tang Dynasty, is often used to describe the endless extension of traditional architecture in China. Courtyard generally refers to the space surrounded by front and rear buildings and corridors or walls on both sides. Here, the architectural reality dominates the sun, while the courtyard dominates the shade. The "vestibule" and "backyard" formed by the combination of reality and reality are promoted in an orderly and continuous manner according to the central axis, which greatly enhances the artistic charm of the combination of yin and yang in traditional architecture. This may be the main reason why the Forbidden City in Beijing, the Confucius Temple in Qufu, Shandong and other buildings will leave a deep impression on thousands of tourists in Qian Qian. If we look at the main halls of these groups individually and in isolation, their basic shapes have not changed much, and they cannot reflect the colorful art of ancient buildings. However, once they are organically combined with corridors, gatehouses, pavilions and partitions. Their appeal will be multiplied, such as the "imperial court" mentioned many times in the Book of Changes, which illustrates this feature. Even in the Qin and Han dynasties, architecture mainly showed masculine beauty, and the combination of outdoor space was not completely ignored. For example, the Qin Epang Palace mentioned earlier is not a single building, but a huge building complex, consisting of temples, buildings, pavilions, and many overhead tunnels and roads. In its masculine beauty, it also reveals a touch of beauty. Tao Yuanming was honored as "the ancestor of reclusive poets in ancient and modern times" by Zhong Rong's poems, and praised the pastoral beauty from this famous pastoral poet's poems. It also reveals the changes of literati's pursuit of architectural style at that time. "There are more than ten acres of square houses, eight or nine thatched houses, the back eaves of Yu Liu Yin, and Luo tang qian in Li Tao" ("Returning to the Garden"), "I am proud of leaning against the south window, the city is easy to secure, and the garden day is interesting. Although the door is set, it is always closed "("Home "). This compact and simple architectural environment and leisurely living atmosphere condense the quiet, beautiful and subtle female beauty.
(2) Facade modeling
The facade modeling of China architecture pays great attention to the complementarity of Yin and Yang. On the harmony and change of Yin and Yang in composition and modeling, Ding Biao, a painting theorist in Qing Dynasty, said: "Everything in the world is nothing but Yin and Yang. As far as light is concerned, there are bright and sunny, dark and cloudy; As far as the house is concerned, it is external yang and internal yin; In terms of things, the yang is high and the yin is low; As far as Pei Lou is concerned, it is Yang and Yin. ..... Only yin has yang, and yang has yin, so the pen is empty and solid, empty and self-absent, and it is also rendered; When a real person sees a trace, it is really dyed. Deficiency is the exterior of yang, but it is actually the interior of yin, so it depends on reality. "
As far as the composition principle of building facade is concerned, it is also manifested in the above-mentioned high and low bumps, yin and yang changes and the combination of light and shade. The basic facade of a traditional building consists of three sections, with a pedestal or abutment at the bottom, a column eaves bucket arch in the middle and a large roof with national characteristics at the top. This image itself shows a regular change between reality and reality. The abutment is fixed as a sun, the column of the bucket arch is empty and exquisite, and the roof is covered with a sun. These three parts have their own changes of yin and yang. Although the abutment is solid, it is often made of light-colored stone such as white, blue and gray. If the abutment of an important building is high, it is often divided into several layers and surrounded by carefully carved arches (such as the Hall of Prayer for the New Year in the Temple of Heaven and the white marble abutment in the Hall of Supreme Harmony) to avoid its appearance being too solid, and there is yin in the yang. Although the pillars are relatively empty, they hold up the big roof tall and straight, and are often painted red. The bucket arch is also in the shape of a bucket arch and a beam, which makes it look empty and masculine in the shade. The most wonderful thing is the roof of an ancient building in China. Just as the main difference between orientals and westerners focuses on the head, the roof also reflects the different Shen Feng sentiment of Chinese and western architecture. Western buildings are round, with onion-shaped domes and triangular roofs, which protrude upward and have a strong sense of outward tension, while the roofs of China buildings are slightly bent upward, forming a very soft and beautiful concave curve. The corner of the house has also undergone special artistic treatment-exaggeratedly rolled out into a beautiful cornice. In this way, although the huge roof mainly shows the beauty of masculinity, its non-geometric shape is quite restrained, with the characteristics of flying, lightness and jumping, which achieves the harmonious unity of taking yin for yang and combining reality with reality.
China architecture, as an important part of Chinese civilization, originated from Zhouyi, which is closely related to the development and changes of Zhouyi. It is of great benefit to study China architecture in combination with Yi-ology to study China architectural culture. 1. Please wait a moment:
As a special plastic art with strong sociality, architecture has a strong appeal. At first, people often intuitively feel and know him from their vertical forms and plane combinations.
The ancient buildings in China and the ancient culture in China started and developed almost simultaneously, with a very long history and a very stable system. On the stability of China's architectural culture: I'm afraid there is no second one in the history of world art, which is in sharp contrast with the ever-changing western architectural culture with different styles.
Some western historians believe that "traditionalism and opposition to reform have always been the main features of China's lifestyle, and their architectural history has proved this most vividly", which is basically objective. "The laws of ancestors cannot be changed" is the code of conduct of ancient people in China. The idea of respecting ancestors and observing ancestors requires that the previous architectural forms and structural techniques should not be greatly changed, so it is impossible to change the western style and update the technical means in the history of ancient buildings in China. In the image of building facade, during the two thousand years from Qin dynasty to Qing dynasty, the three-stage basic shape of abutment, column arch and big roof remained unchanged; In the plane combination, regardless of the use requirements, the monomer and courtyard extend outward along the ground surface to form a layered courtyard.
The wooden frame of beam-column combination has been used from ancient times to the late Qing Dynasty, which is also the most convincing example of the stability and durability of China's architectural culture system. In fact, the ancients had long known that wood was perishable, unstable and easy to catch fire, and with the improvement of tools, the stone structure construction technology in ancient China was not worse than that in western countries at the same time. However, when important buildings in ancient Egypt and Greece gradually replaced wood with stones, this substitution did not occur in ancient buildings in China. Because China is used to using wood because of the traditional fatalism, the concept of Yin and Yang and the five elements, and the tradition is not easy to change, in the Ming and Qing Dynasties, long-term logging made the forests in the Central Plains dry up, and even the palace was short of columns and building materials. At this time, it is better to use iron hoops to combine small materials than to use stones instead of wood, which reflects the incomparable love for wood and strict adherence to tradition.
2. Coordination:
Influenced by Confucianism, Taoism and Buddhism, the traditional architectural culture in China has always advocated conforming to nature. Never think that architecture is eternal, immortal and memorable like the west, and certainly it can't compete with nature. In the eyes of ancient ancestors, architecture, like other daily necessities, needs constant renewal, metabolism and harmony with nature.
China's architecture does not want to coexist with nature and manpower for a long time, but maintains a harmonious relationship with nature. This concept also affects the layout and image characteristics of the building. China architecture wins by groups, pays attention to the combination of reality and reality, and expresses the artistic concept of conforming to nature and coordinated development through the concave curve of adduction and the image characteristics of sticking to the ground.
The design of houses also tries to embody the same concept as nature. Due to the advantages of the wooden frame system, the wall can be opened at will, without bearing the pressure of the superstructure, especially in the south, the side leading to the courtyard is often covered with a row of floor-to-ceiling windows. Once opened, the indoor and outdoor spaces are completely circulated together. In traditional courtyards, the main buildings are surrounded by corridors. Cloister is actually the transition between indoor architectural space and outdoor natural space, and it is the intermediary and bridge to maintain the harmony between architecture and nature in China.
The exterior modeling of ancient buildings in China also tries to show the idea of harmony with nature. Unlike western architecture, it is a solid behemoth, but it is virtual and real, with soft outline and rich curves, showing certain changes in stability. In addition to the waterproof and anti-corrosion function of wood structure, abutment can also increase the sense of stability of ancient buildings. The wooden frame composed of columns, beams and arches is light and transparent, giving people a smart impression. The huge roof is paved with beautiful reverse curves and light and colorful wing angles, which gives the building a flexible sense of adaptation and makes it quite harmonious with the natural environment such as mountains, rivers and trees.
China's architecture conforms to nature and attaches great importance to the choice of housing base and orientation, which is the ancient geomantic theory of China. In this regard, Dr. Needham once pointed out: "No other place embodies their great ideas with enthusiasm like China people. Man cannot leave nature. "
3. Group:
The characteristics of palace architecture art in image: that is, they all attach great importance to rendering the magnificent momentum of the building. The supreme ruler of the centralized regime hopes to show the power and majesty of the empire through architectural art to symbolize the supreme and eternal kingship. China Palace emphasizes groups, and sets off specific themes through a series of combinations and alternation of space and entity.
Among the ancient buildings in China, although there is a single building in a certain center, it does not occupy an overwhelming advantage in the whole building. Just like the Hall of Supreme Harmony in the Forbidden City, if it is placed alone in the mountains and rivers in the suburbs, it will not look very big, and its artistic appeal cannot be compared with Versailles. However, due to the construction of five gatehouses and many courtyard spaces in front of him, his artistic courage and momentum have been greatly strengthened.
The reason why ancient palaces in China emphasized the imposing manner of groups was that the sequence of groups helped to render the majesty of the ruling dynasty, and the layout of groups helped to reflect the dignity of the patriarchal hierarchy. In the artistic conception of the whole architectural sequence, the gate of China Hall plays the role of guiding and leading the whole theme. With the alternation of reality and reality of doors and courtyards, the whole architectural sequence has some characteristics of time art. Doors with different shapes are like small themes that flow and jump in time, which leads to the emergence of the final central theme.
Judging from the layout of the palace, the Chinese palace has strict primary and secondary levels, internal and external levels. His outer court and inner bedroom are completely separated, and the feudal etiquette thought of "the palace wall is high enough to be used as a gift for men and women" is the most prominent in palace architecture. Because the inner bedroom is occupied by empresses, it is completely closed, with dense buildings and complete functions, just like an independent small world. The level of the building is even reflected in the three halls juxtaposed on the base of the large platform: Taihe Hall is the highest level, with double eaves as the roof, and Zhonghe Hall is the preparation room of the emperor's great dynasty, so only the pyramid-shaped roof with one eaves and four corners is used, and Baohe Hall is more important than Zhonghe Hall, so it is used to rest at the top of the mountain.
As far as the Forbidden City Palace is concerned, the public activities of the three foreign dynasties are very limited, and it is impossible to have fun with the monarch and his ministers. The largest Hall of Supreme Harmony only emphasizes the area where the throne is located, and concentrates on rendering the majesty and supremacy of the emperor. This has a lot to do with China's feudal centralized regime which has been the supremacy of monarchical power for thousands of years.
4. Gods and ancestors
China people worship their ancestors, which leads to China's buildings clinging to the earth and developing horizontally. Ancestor worship has always been highly valued in China. It is said that when the Three Emperors and Five Emperors were in Gu Shan, they had the habit of offering sacrifices to heaven and ancestors, and in the Shang Dynasty, a kind of sacrificial building called "Famous Hall" appeared. Zhou Li recorded this, and stipulated that the planning of the city must attach importance to the status of the ancestral hall, which was arranged according to the principle of "left ancestors and right houses". China's ancient patriarchal ideology originated from the basic belief of "respecting ancestors".
Patriarchal clan system is based on natural consanguinity and originated from ancestor worship of primitive clan commune. This idea has a profound influence on architecture; First of all, the concept of clan requires father and son and relatives to live together, so as not to weaken the power of clan, which determines that the basic mode of architecture is a group of many rooms combined together; In addition, in ancient China, agriculture was the foundation and land was the foundation of clan origin. Therefore, houses must be based on soil, which excludes the possibility of upward development of buildings. Under the restriction of patriarchal clan system, the ancient architecture in China has typical particularity: a single-storey building complex with a house as the center and extending from front to back and left to right.
Among the ancient buildings in China, palaces and patriarchal buildings show distinct ancestor worship, even foreign buildings are no exception. Take ancient religious buildings as an example. The religious beliefs in ancient China are actually very complicated, including Taoism, Buddhism from India, Islam from the Tang Dynasty, Christianity from the late Ming Dynasty and so on. However, the temples where they hold prayer activities and ceremonies still basically follow the layout of traditional buildings in China and the wooden house system with big roofs. So generally speaking, the traditional temples and temples of various religions in China rarely show the particularity of their respective beliefs. Like other types of ancient buildings, they are more restricted and influenced by patriarchal ideology brought about by ancestor worship.
It is generally believed that Islam has the strictest canon, and its worship temples also have their own special regulations and requirements. However, since it was introduced to China, the worship halls in most parts of the Central Plains belong to the traditional architectural culture system of China, and the form of Islamic dome and Baike building has not been adopted. Huajiegang Temple, which has been preserved to this day, is one of the most complete and magnificent Islamic temples in China. Its courtyard layout and architectural form are completely traditional in China, but its orientation is limited by Islamic teachings, and it is regarded as a building facing west and east.
Except for the original White Horse Temple, Buddhist architecture was built according to Indian style, but it was soon sinicized, so that it could be "built as a temple" and was included in the category of traditional architectural art.
From these two examples, we can see that the similarity of most religious buildings in China can be said to be formed by some local changes and some religious vocabulary under the framework of traditional buildings in China. It can be seen that the traditional architecture in China is deeply influenced by the idea of "respecting ancestors", and the compatibility of ancient architecture in China and the strong assimilation of architectural culture in China.
Compound roof gardens are also classified as courtyards. There are several European styles: elegant ancient style, exquisite medieval style, rich Renaissance style, romantic Baroque style, Rococo style, all the way to Pompeii style and imperial neoclassical style. There are all kinds of wonderful performances in each period, which is an indispensable part of European customs.
The European style is characterized by simplicity, clear lines and symmetry, and the use of light and dark colors to influence vision. From the attitude, people feel luxurious, elegant and romantic. It is precisely because the style of European architecture has the power of infinite yearning and daydream that many real estate developers flock to invest their funds in the wave of European real estate development. In order to gain their own maximum benefits, I am afraid that only a few people can really develop authentic European architecture, and even fewer can integrate various styles, so that it is difficult for people who love European architecture and have high demands on life to find their own real home.