/kloc-After the mid-9th century, with the change of social nature and the massive import of foreign architecture, especially western architecture, China's architecture has had more contacts and exchanges with the world's architecture, and its architectural style has undergone tremendous changes, which is generally called modern architectural art in China.
Ancient architectural art in China
China's ancient architectural art matured in feudal society. It is a unique art system with the longest history, the widest distribution area and the most obvious style. The ancient architecture in China has a direct influence on the ancient architecture in Japan, Korea and Vietnam, and it has also had an influence on Europe since17th century.
Artistic feature
Compared with European ancient architectural art, China ancient architectural art has three basic characteristics:
(1) The unity of aesthetic value and political and ethical value. Buildings with high artistic value also play a role in maintaining and strengthening the social, political and ethical system 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, personality and style, are based on the aesthetic psychology of contemporary people, which people can appreciate and understand, without ups and downs and strange and inexplicable images.
(3) Integrity and comprehensiveness. Almost all the outstanding architectural works in ancient times mobilized all the factors and techniques that might constitute architectural art at that time, forming an overall image. From the overall environment to the single house, from the external sequence to the internal space, from the color decoration to the affiliated art, every part is not dispensable. If one of them is removed, the overall effect will be damaged.
These basic features are 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 integrated management of the built environment. Although the planning system of Zhou Li's wilderness, metropolis, lowlands, townships, cities, mountains and temples may not have been fully realized, it at least shows that there was a systematic planning concept for large-scale areas at that time. "Guanzi Riding" declares that "every country is based on mountains." Apart from superstition, most of them emphasize the relationship between environment and architecture. Ancient cities paid attention to the unified management of the city itself and its surrounding environment. Xianyang, Qin, was a super-scale urban environment at that time, covering the north of Sakan, running through Weishui in the middle and Nanshan in the south. Chang 'an (now Shaanxi Xi), Luoyang (Northern Wei Dynasty), Jiankang (now Jiangsu Nanjing), Beijing (Ming and Qing Dynasties) and other famous capitals. Even ordinary governments, prefectures and counties have integrated the suburbs into the overall urban environment. Wuyue five towns, Buddhism and Taoism, suburban gardens and other important attractions are also included.
The first is environmental management; The Mausoleum emphasizes geomantic geography. Most of the buildings in these places rely on the environment to show their artistic charm.
Monomer images are integrated into group sequences.
In ancient China, the form of single buildings was relatively simple, and most of them were stereotyped styles. Isolated single buildings do not constitute a complete artistic image, and the artistic effect of buildings mainly depends on the group sequence. When a temple is used as a foil in the sequence, its shape 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 single architectural styles in the Forbidden City in Beijing in the Ming and Qing Dynasties, and only through the transformation of different spatial sequences can each single building show itself.
Structural technology and artistic image are unified. The wood structure system of ancient buildings in China has strong adaptability. This system consists of four columns, two beams and two beams, which can be connected left and right, front and back, and overlapped up and down. It can also be combined at will, or modified into octagon, hexagon, circle, sector or other shapes. There are two kinds of roof structures: beam-lifting type and bucket-piercing type, and in either case, the structure can be changed.
Make a curved surface, and make cornices with upturned corners at the corners. You can also make double eaves, hooks, interspersed, draperies and other styles. The artistic modeling of single building mainly depends on the flexible collocation of rooms and curved roofs of various styles. In addition, the components of the wood structure are convenient for carving and painting, so as to enhance the artistic expression of the building. Therefore, the beauty of ancient buildings in China is also reflected in the structural beauty to a great extent.
Roof frame style of ancient buildings in China
The Unity of Standardization and Diversification: The buildings in China are mainly wood structures. In order to facilitate the manufacture, installation and estimation of work and materials, it is necessary to standardize components and promote the modularization of design. As early as the Spring and Autumn Period, standardization and modularity sprouted in Gong Ji and matured in the Tang Dynasty at the latest.
By the third year of Song and Yuan Dynasties (1 100), the "architectural style" was completely standardized, and the "Code of Practice for Works of the Ministry of Industry" promulgated in the twelfth year of Qing Dynasty (1734) was further simplified. The standardization of architecture promotes the unity of architectural style and ensures that all buildings can reach a certain artistic level. Therefore, the standardization of single building and the diversification of group sequence can go hand in hand. As a space art, this is obviously a mature and progressive phenomenon. The single building in ancient China seems to have changed slightly, but the group combination is changeable because of the high unity of standardization and diversification.
Roof frame style of ancient buildings in China
Poetic and picturesque natural gardens
China Garden is an outstanding achievement of ancient architectural art in China and an important typical garden in the world.
China gardens are based on nature, absorbing the essence of natural beauty and injecting the aesthetic taste of people with rich cultural literacy. Using the method of building space composition, the natural beauty is typified and transformed into garden beauty. The interest contained in it is poetic; The spatial composition technique adopted is free, flexible and smooth sequence design. China Gardens pay attention to "skillfully borrowing and fitting the body" and attach importance to the exquisite interpretation of scenery and scenery, so as to enrich the organization.
At the same time, it also simulates natural mountains and rivers, creating a special skill of overlapping mountains and managing water, which can make poetry and painting more profound and interesting, regardless of mountains and rivers.
Pay attention to the expression of architectural features and symbolic meaning
The political and ethical content of ancient architectural art in China requires it to show distinctive personality and specific symbolic significance, so many methods have been adopted. 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. Secondly, different building grades include volume, color, style and decoration. , is stipulated to express the social system and architectural content; At the same time, we also try our best to reveal and explain the character and content of the building by using many figurative affiliated arts, even inscriptions. Important buildings, such as palaces, altars and temples, also have specific symbolic themes. For example, Qin Shihuang built Xianyang, the palace symbolized Wei Zi, Weishui symbolized Tianhan, and Shanglinyuan dug a pond symbolized Penglai in the East China Sea. Emperor Kangxi of Qing Dynasty built Yuanmingyuan, Summer Resort and Chengde.
The Waiba Temple, which simulates important national buildings and places of interest, symbolizes the unity in the house. There are five rooms and twelve halls in the Mingtang, which symbolize everything in the world. The composition of some temples symbolizes the Buddhist world of Xumi Mountain.
artistic form
The artistic form of ancient architecture in China is caused by the following reasons.
Element composition:
The spatial sequence of China's layout is mainly the art of group combination. The connection, transition and transformation among groups constitute a rich spatial sequence. Most wooden houses are low-rise buildings (mainly single floors), so the group order is basically horizontal layout. The basic unit of space is the courtyard, which has three forms of * * *:
(1) transverse axis symmetry, the main building in the center. This kind of courtyard is mostly used for ritual buildings and religious buildings with high specifications and strong commemorative, and the number is small;
② The longitudinal axis is the main axis, supplemented by the horizontal axis, and the main building is placed at the back, forming quadrangles or three-way courtyards, which are widely used from palaces to houses, with the largest number;
(3) axis twists and turns, or no obvious axis, mostly used in garden space. There is a difference between regular sequences and freestyle sequences. The most outstanding representative of the existing regular sequence is the Forbidden City in Beijing in Ming and Qing Dynasties.
In the freestyle sequence, some courtyards are integrated into 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 are integrated with landscape flowers and trees, and the sequence changes faster, such as artificial gardens. But no matter which order, it is composed of overture, transition, climax and ending, and it is rhythmic.
Combination of ancient buildings in China
There are more than a dozen names of ancient single buildings in China, but most of them have little difference. There are three main types:
(1) The basic plane of the temple is rectangular, with several squares, which are round and rarely appear alone;
② Pavilion, the basic plane is square, perfect circle, hexagon, octagon and so on.
Form, can be independent of the group;
(3) Corridor, which is mainly used as the connection between single buildings. A hall or pavilion is a pavilion or tower. In the early days, there was a pavilion with a large rammed earth platform as the center, and multi-storey houses were built along the platform, which was no longer built after the Eastern Han Dynasty. The size of the hall is measured by the number of front and side rooms.
It is distinguished by purlins (or rafters). There were odd numbers and even numbers before the Han dynasty, and then they were all odd numbers. In the Qing Dynasty, the frontal 1 1 was the largest, the smallest was 3, the lateral 13 purlin was the largest, and the smallest was 5 purlin.
The Single Type of Ancient Architecture in China
Whether it is a hall, a pavilion or a corridor, it is composed of abutment, roof and a certain proportion. The abutment of high-grade buildings can be increased to 2-3 floors, and there are complex carvings. The roof consists of columns, beams, doors and windows. In the case of a pavilion, a horizontal flat seat (corridor) and a flat railing on the upper floor are set up. The top floor is mostly fixed style, mainly hard.
Simplicity is basically a continuous repetition of a single building. The standardization of single building reached its peak in Qing Dynasty. The Code of Work of the Ministry of Industry stipulates 27 stereotypes, and the scale and proportion of each form are strictly regulated. From palaces to residential buildings and gardens, many moving artistic images are composed of several identical buildings.
Curved roofs with prominent images account for a large proportion in single-seat buildings, which can generally reach about half the height of the facade. The beam-frame combination of ancient wooden structures can naturally make the top of the slope form a curve, not only the slope surface is a curve, but also the roof and eaves. At the corner of the eaves, you can also make upturned cornices. The huge volume and soft curves make the roof the most prominent image in China's architecture. The basic form of the roof.
Simple as it is, it changes a lot. For example, gorgeous kissing animals and sculptures can be added to the roof; Roof tiles can be gray clay tiles, colored glazed tiles or even gold-plated copper tiles; The curve can be steep or slow, the eaves can be short or long, and it can be made into two-story eaves and three-story eaves. You can also combine a variety of styles by inserting, hooking and overlapping; You can also add skylights and seal volcanic walls, and the form can be different from top to bottom, left and right. The grade, character and style of a building are largely reflected in the volume, form, color, decoration and texture of the roof.
Flexible indoor space makes a single building with simple specifications full of different personalities, which is mainly handled by flexible indoor space. For example, an ordinary small hall with three or five rooms can be completely different from the main hall of a mansion, the main hall of a temple, the main hall of a yamen, the porch of a garden, the living room of a house and the duty room of a soldier through different treatment methods.
Indoor space processing mainly depends on flexible space separation, that is, in the middle of neat column network, different sizes of spaces are separated by partition walls, fans (green sand cabinets), curtains, various forms of flower covers, flying covers, antique racks, etc. Some rooms are also added with attics and cloisters, which vertically divide the space into multiple floors. Different decorations and furnishings make the building more distinctive. In addition, ceilings and algae wells.
They also play an important role in art.
Gorgeous colors China architecture uses bold and strong colors. Gorgeous colors and colorful paintings are the first means of expression of architectural level and content. The color of the roof is the most important, and the yellow glazed tile roof is the most noble, which is dedicated to the buildings specially approved by the emperor and the emperor (such as the Confucius Temple). Except for a few special requirements, all buildings in the palace, regardless of size, are yellow glazed tiles. Below are palaces, temples and temples.
(Pruning), green, green and gray mixed; Residential buildings have the lowest grade, and only gray pottery tiles can be used. The halls and walls of the main buildings are all red, the wooden structures of the secondary buildings are green, and the houses and gardens are mixed with red, green, brown, black and other colors. Beams, arches and rafters are painted in many colors, mainly blue and green, with gold, red and black in the middle.
In official buildings, the golden dragon and seal are the most distinguished, while realgar wine is the lowest. Generally speaking, residential buildings do not draw colorful paintings, or only draw "hoop heads" at the junction of beams and squares. The color painting of garden buildings is the most free, and figures, landscapes and flowers and birds can be painted. Abutment is generally masonry, and white marble is used for important buildings. Colors and colorful paintings also reflect national aesthetics. First, diversity lies in unity. The colors of a group of buildings. The Temple of Heaven is dominated by blue, white and cool colors, and the gardens are dominated by gray, green and brown. Secondly, the 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 the tone. Finally, the artistic expression lies in the content requirements. For example, the palace is the most important and has the strongest color; Tanmiao and Lingmiao are in turn, and the color intensity decreases. the people
Home is the most common and the color is the simplest.
The law of formal beauty of ancient architecture in China is a very mature art system, so there is also a set of mature laws of formal beauty, including the general law requiring visual psychology and the special law requiring national aesthetic psychology, but there is still a lack of comprehensive and systematic summary. Phenomenologically, there are generally the following four aspects:
① Symmetry and balance. Environment and large groups (such as Miyagi, scenic spots, etc. ) mostly for the multi-directional balance of vertical axis; Generally, multiple arrays are mirror images with longitudinal symmetry; The garden combines the two.
(2) sequence and rhythm. All the general rules that constitute sequence transformation are used, such as transition, access barriers, rhythm and alternation between reality and reality. The rhythm of a single building is unified and the group changes greatly.
③ Contrast and nuance. We attach great importance to the contrast in modeling, which is in shape, color and quality, but the contrast lies in unity. At the same time, we also attach great importance to the subtle differences in modeling, such as the curve of the roof, the side foot of the house, the cutting of the end of the component, the fading of the color painting and so on. These are all in line with visual psychology.
④ Proportion and scale. The degree of modularity is very high, and the proportional relationship of formal beauty is also very mature. Whether it is urban composition, group sequence, single building, or even a component and floral decoration, we strive to obtain a neat and unified scale figure. Proportion and scale are combined, and some specific dimensions are specified to ensure the harmony of all parts of the architectural form.
It should conform to the aesthetic psychology of normal people.
Types and Styles Although there are many types of ancient buildings in China, they can be summarized into four basic styles.
(1) solemn commemorative style. Most of them are embodied in ritual sacrificial buildings, mausoleum buildings and religious buildings with special meanings.
Its characteristics are simple group combination, prominent subject image and rich symbolic significance. There are some special regulations on the scale, shape and meaning of the whole building, such as the ancient Ming Hall, the imperial tomb and the big altar, as well as the King Kong throne, the altar and the giant Buddha pavilion in Buddhist architecture.
The graceful and gorgeous court style is mostly reflected in palaces, mansions, government offices and general Buddhist temples. It is characterized by rich sequence combinations, clear priorities, and appropriate sizes of buildings in the group, which meet people's normal aesthetic standards; Single-seat building has strict modeling proportion, appropriate scale and gorgeous decoration.
(3) Friendly and pleasant residential style is mainly reflected in ordinary houses, including buildings that people use most often, such as halls and shops. Its characteristics are that the sequence combination is closely combined with life, and the scale is pleasant without twists and turns; The building is restrained, simple in shape and exquisite in decoration.
(4) Free and euphemistic garden style is mainly reflected in private gardens, including some royal gardens and mountain temples, which are characterized by rich spatial changes, eclectic building scale and form, elegant colors and exquisite decoration; More importantly, the building is integrated with flowers, trees, mountains and rivers, and natural scenery is integrated into the building. The above four styles are often alternately embodied in a certain group of buildings, such as princes' houses and some temples, including palace, residence and garden, while the imperial tombs include memorial and palace.
Local Ethnic Styles China has a vast territory, great differences in natural conditions, and strong closeness between regions (especially ethnic minority settlements and mountainous areas). Therefore, the buildings of various places and nationalities have some special styles, which can generally be summarized into the following eight categories:
① Northern style. It is concentrated in the vast plain area from the north of Huaihe River to the south of Heilongjiang. The group is square and regular, with a large courtyard, but the scale is appropriate; The architectural form is not undulating, the house is low and flat, and the roof is curved.
Gentle; Multi-purpose brick, wood structure with large materials and simple decoration. The overall style is cheerful and generous.
(2) Northwest wind. It is concentrated in the Loess Plateau from the west of the Yellow River to Ningxia, Gansu. The yard is closed, the roof is low and the slope is low. There are many buildings with flat roofs.
Bricks and tiles are used, adobe or rammed earth walls are often used, and wooden decoration is relatively simple. In this area, there are also cave buildings, in addition to the kilns dug on the cliff, there are pit kilns and peace vouchers kilns. The overall style is simple and simple. However, there are many mosques in the Hui inhabited areas, which are tall, steep in roof, luxuriant in decoration and strong in color, which are obviously different from ordinary folk buildings.
(3) Jiangnan style. It is concentrated in the river network area in the middle and lower reaches of the Yangtze River. The group is dense and the courtyard is narrow. There are many large and medium-sized organizations (big houses, halls, shops, temples, ancestral halls, etc.). ) In the town, there are buildings. Small buildings (ordinary houses and shops) are free and flexible. The roof slope is steep, the wing angle is high and the decoration is exquisite and rich.
Li, there are many sculptures and paintings here. The overall style is beautiful and dexterous.
④ Lingnan style. It is concentrated in the mountainous and hilly areas of the Pearl River Basin. The building plane is relatively regular, the yard is very small, the house is very high, the doors and windows are very narrow, and there are many volcanic walls. The roof has a steep slope and a large wing angle. Township buildings are dense and closed. Decoration, sculpture and painting are rich and complex, with fine techniques. The overall style is light and delicate.
⑤ Southwest wind. It is concentrated in the southwest mountainous areas, and a considerable number of ethnic groups such as Zhuang, Dai, Yao and Miao live there. Make more use of mountains.
The sloping building is a trunk building with lower overhead floors. Plane and modeling are quite free, and rarely appear in groups. Structural members such as beams and columns are exposed, and only slab walls or floor mats are used as maintenance barriers. The roof has a soft curve, long and far-reaching, covered with shingles or straw. The overall style is free and flexible. Among them, the Dai Buddhist temple in southern Yunnan is huge in space and richly decorated. The shape of the pagoda is similar to that of Myanmar, and the national style is very distinctive.
6 Tibetan style. It is concentrated in the vast grasslands and mountainous areas where Tibetans live in concentrated communities, such as Tibet, Qinghai, Gannan and northern Sichuan. Most herders live in brown rectangular tents. Most residents in the village live in bunkers, which are small patio-style wooden buildings with 2-3 floors. The walls are covered with stone walls, which are divided into large parts and have flat roofs. The doors and windows on the stone wall are narrow, with black trapezoidal window covers painted outside the window and decorative lines on the top eaves, which are very expressive.
There are many temples, all built on high ground, with large volume and strong colors. They also use thick walls and flat roofs, and highlight a small number of slopes at key locations. The overall style is solid and heavy.
⑦ Mongolian customs. It is concentrated in grassland areas, where Mongolians live together. Herdsmen live in round felt bags (yurts). The big felt bag of the nobility can reach 10 meter in diameter, with columns inside and luxurious decoration. □ Ma Temple embodies the style of Mongolian architecture, comes from the prototype of Tibetan □ Ma Temple, and absorbs the architectural artistic techniques of Hui and Han nationalities in the surrounding areas. It is both heavy and gorgeous.
⑧ Uygur style. Concentrated in Xinjiang Uygur Autonomous Region. The exterior of the building is completely closed and has a flat roof. The internal courtyard is friendly in scale, free in plane layout and green in decoration. There is a spacious veranda in front of the house, and there are detailed colored wood carvings and plaster decorations indoors and outdoors. The overall style is simple and monotonous outside, flexible and exquisite inside. Mosques and Uyghur leaders' cemeteries are the most concentrated places of architectural art, with huge volume, towering towers and brick carvings.
The style of the times has not changed much because of the function and material structure of ancient buildings in China for a long time, and the main factor that forms different styles of the times is the difference of aesthetic tendency; At the same time, due to the close relationship between ethnic groups and regions in ancient society, once it is impacted by foreign cultures, or the sharp blending of cultures among ethnic groups in various regions, the artistic style will also change. According to these two points, the architectural art after Shang and Zhou Dynasties can be divided into three typical styles of the times:
(1) Qin and Han styles. Some important artistic features of China architecture were initially formed in Shang and Zhou Dynasties, such as square and regular courtyards, vertical symmetrical layout, wooden beam frame structure system, single shape composed of roof, house body and pedestal, etc. The roof accounts for a large proportion in the facade. However, there were also regional and temporal differences in the Shang and Zhou Dynasties. During the Spring and Autumn Period and the Warring States Period, different feudal regimes had different architectural styles. Generally speaking, it can be summarized. That is, the northern style of the Central Plains dominated by Qi and Jin and the Jianghuai style dominated by Chu and Wu. Qin unified the whole country and concentrated the cultures of various countries in Guanzhong. Han inherited Qin culture, and the national architectural styles tended to be unified, representing the Qin and Han styles.
Mainly capitals, palaces, tombs and sacrificial buildings. Its characteristics are that the capital is divided regularly, and the living quarters and markets are closed with high walls; Palaces and tombs are large groups, and the main body is tall and heavy terraced buildings; Most of the important monomers are cross-axis commemorative, with huge scale and outstanding image; The roof is large and the curve is not obvious, but the eaves have "fallen"; Sculpture has many colors and decorations, complex themes, exaggerated shapes and strong colors; Important buildings pursue symbolic meaning, although they have religious content, they can be understood by people. The architecture of Qin and Han Dynasties laid the rationalism foundation of China architecture, with clear ethical content, rigorous layout and neat composition, and at the same time showed a simple, rich, clear and strong artistic style.
② Sui and Tang styles. The Wei, Jin, Southern and Northern Dynasties were a period of great changes in China's architectural style. The gentry of the Central Plains went south, and the northern minorities entered the Central Plains. With the great ethnic integration, the profound Central Plains culture was introduced to the south, which also affected the north and northwest. Buddhism developed unprecedentedly in the Southern and Northern Dynasties. Foreign Buddhist culture has had a great influence on almost all traditional literature and art, increasing the types and means of expression of traditional art and changing the original style. At the same time, the literati's interest in seclusion in the mountains, the appearance of pastoral poems and the development of beautiful scenery in the south of the Yangtze River formally formed the aesthetic thought and basic style of China gardens, and also continued the romantic artistic conception.
During the Sui and Tang Dynasties, the national unity and frequent contact with the western regions promoted the cultural and artistic exchanges among many ethnic groups. Since the Qin and Han Dynasties, the traditional rational spirit has blended with Buddhism, the exotic customs of the western regions, and the romantic sentiment since the Southern and Northern Dynasties, and finally formed a prosperous Tang style with rationality and romance intertwined. Its characteristics are: the capital is magnificent and square; The sequence of large groups such as palaces and temples. Broad and stretched, with a large spatial scale; The architectural modeling is vigorous and the outline is parameterized.
Poor, gorgeous decoration; Buddhist temples, pagodas and cave temples are extremely rich in scale, form and color, showing a fresh look of close integration of Chinese and foreign cultures.
(3) Ming and Qing styles. From the Five Dynasties to the Song Dynasty, the urban commodity economy in China feudal society developed greatly, and the content of urban life and people's aesthetic tendency also changed significantly, which also changed the artistic style. During the Five Dynasties and Ten Kingdoms and the Song, Liao, Jin and Yuan Dynasties, the cultures and arts of various ethnic groups and regions in China exchanged and merged again. The development of Tibet and Mongolia and the absorption of Arab culture in the Yuan Dynasty added fresh blood to traditional culture. The Ming Dynasty reunified the whole country again and finally formed a unified multi-ethnic country in the Qing Dynasty. China architecture finally formed its last mature style in the heyday of the Qing Dynasty (18th century). Its characteristic is that the city is still standardized, but the closed alleys and markets in the city have become open streets and shops facing the street. There are many scenic spots in or around the city, and there are many places for citizens to visit; Important buildings are completely stereotyped and standardized, but the group order forms are diverse and the methods are rich; The quality and artistic level of folk buildings and buildings in minority areas have generally improved, forming a variety of styles of various regions and ethnic groups; A large number of private gardens and imperial home forests have appeared, and the gardening art has flourished unprecedentedly, and the gardening technology has finally matured. In a word, Shengqing architecture inherited the rational spirit and romantic mood of the previous generation, and finally formed a mature typical style of China architectural art according to the unique laws of architectural art-graceful and generous, rigorous and elegant, clear mechanism and full of human touch.
Qin and Han Dynasties, Sui and Tang Dynasties, Ming and Qing Dynasties, basically the same time interval. They are three times of great national unity and great national integration, and they are also the representative dynasties in the early, middle and late feudal society. As an architectural art that actively and comprehensively reflects life, the contents contained in these three eras obviously go far beyond the scope of pure art; The typical significance of architectural art style and its reflection function obviously go far beyond the architectural art itself.
Chinese modern architectural art
Modern Chinese architectural art was formed with the disintegration of feudal society and the introduction of western architecture. Its development is directly related to the social system, mode of production, lifestyle and aesthetic taste at various stages. The main performance is as follows:
(1) Traditional buildings are still dominant in number, but due to
The new aesthetic taste has changed the architectural style and some artistic techniques.
(2) Modern industrial production and new social life dominated by public activities.
Live, produced a new type of building.
New materials, new structures and new processes also need corresponding new forms.
(4) The abolition of feudal hierarchy and the change of social system have fundamentally shaken many important aesthetic values on which traditional architectural art depends, and the social function of architectural art has changed, so it is necessary to create new forms that can reflect new aesthetic values and adapt to new social functions.
⑤ Traditional aesthetic psychology, new aesthetic value and new social value.
New contradictions have arisen, and whether and how to embody traditional forms in new buildings has become the core issue of modern architectural aesthetics and artistic creation.
Faced with the complex background of the above social and architectural changes, modern architecture in China presents some new artistic features:
The gardens and decorative arts of traditional buildings have a new style. In traditional architecture, gardens and decorations are the most sensitive parts due to the change of aesthetic taste. /kloc-After the middle of the 0/9th century, most of the gardens in the south of the Yangtze River, represented by Suzhou, and the gardens in the north, represented by Beijing, have been rebuilt and rebuilt, and the same tendency is that the proportion of buildings has greatly increased, the space is tortuous and changeable, the decoration is complicated and exquisite, and the rockery is crooked. A considerable part is a mere formality. Architectural decoration is generally carved in a large area, with gorgeous colors, expensive materials, expanded themes and meticulous techniques. There are also some baroque and rococo techniques in the west, and some composers and artists are also influenced by them.
It highlights the types and styles of architecture. At the beginning, most of the new buildings in modern times directly copied similar buildings in the west, and most of the western buildings had a set of basic stereotypes. At that time, there were colonialism, classical revival, Gothic revival, eclecticism and so on. From Harbin to Hong Kong, from Qingdao to Kashgar, all institutions, banks, shopping malls, halls, apartments, houses, schools, etc. have marked their own contents in the form of basic stereotypes. However, the forms of the same type are similar, rarely showing the unique local national characteristics, and even the phenomenon of deep balcony shutters (colonial style) for northern buildings and fireplaces (classical revival style) for southern buildings has appeared. However, after the rise of creating national forms in the 1920s and 1930s, most of them used the official French architectural style of a certain period in ancient times (mainly in the Qing Dynasty), which made Guangzhou's national form architecture not much different from Beijing's. Only after the 1980s.
Single building pays attention to the expression of solid modeling. Modern architecture breaks the traditional aesthetic concept of being closed and restrained, pays attention to the expression of spatial artistic conception, and highlights the public and open ornamental function, which is consistent with the aesthetic concept of western architecture that pays attention to the expression of body shape at the same time. The artistic form of modern architecture in China contains two kinds of contents. First, some large and memorable buildings still attach great importance to the social value of plastic arts.
The function of beauty requires a strong political and ethical content, that is, to express certain spiritual significance in a specific form. For example, banks and customs often adopt solemn and luxurious western classical forms to show their strong financial resources; Some government agencies and memorial buildings absorb traditional forms to show the spirit of inheriting traditional culture and carrying forward the quintessence of the country. Secondly, most civil buildings generally only start from aesthetic taste, on the one hand, they pursue fashion and novelty, and at the same time, they are influenced by traditional aesthetic taste. From the end of 2008 to the beginning of the 20th century, foreign-style storefronts, foreign schools, foreign theaters, and urban alleys were all so-called combinations of Chinese and Western styles. In the future, it will directly adopt the more popular forms in the west; After 1980s, the pursuit of local flavor appeared, which is consistent with the aesthetic taste of contemporary people.