Ancient Chinese architecture has a long historical tradition and glorious achievements.
It has a history of six or seven thousand years from the square or round shallow cave-style houses excavated at the Banpo site in Shaanxi to the present.
It is a unique system in the history of world architecture. It is a collection of science, art, aesthetic values ??and political and ethical values, with profound cultural heritage, distinctive humanism, multi-ethnicity, multi-border, integrity and comprehensiveness. A world-class building in one! From the Great Wall that winds thousands of miles above the lofty mountains, from the elite Epang Palace that embodies the essence of the pre-Qin Dynasty, from the majestic, solemn and cheerful Daming Palace, to the existing 67.1-meter-high wooden pagoda of Fogong Temple in Yingxian County, Shanxi, to The Forbidden City of the Ming and Qing dynasties in Beijing...ancient Chinese architecture have left a lasting impression on the world!
1. The scientific and cultural nature of ancient Chinese architecture
(1) Scientific nature. The ingenious and scientific frame structure is the most important structural feature of ancient Chinese architecture. .
It is mainly a wooden frame structure, that is, wooden columns and wooden beams are used to form the frame of the house. The weight of the roof and eaves is transferred to the columns through the beams. The walls only serve as partitions, rather than bearing the weight of the house. structural part.
(2) Cultural
a. Readability. Ancient Chinese architecture has more humanistic features than foreign architecture.
Although the formal language of buildings is very abstract, they are often described as majestic, tall, light, beautiful, etc.
However, our ancestors gave it a man-made meaning.
b. Plasticity Ancient Chinese buildings are based on "room" in both plane and space, which brings a kind of flexibility. People can change its form and function as the use process progresses. Dismantle, move, and move at will.
c. Introversion Most foreign buildings pay great attention to form and appearance, but although some ancient Chinese buildings are simple in appearance, such as courtyards, they are found to be extremely rich after entering the courtyard, whether it is visual, psychological or connotation.
Another example is Suzhou gardens. The same is true, with twists and turns and unique caves.
d, Super Stability Ancient Chinese feudal society lasted for thousands of years. Under the feudal system, people's values ??and lifestyles did not change much, and their requirements for architecture did not change much.
So some people comment that ancient Chinese architecture is the same for thousands of years.
However, we must pay attention to the fact that when evaluating ancient relics, we should not give simple and absolute praise or criticism.
They have been developed over thousands of years and must be judged in a specific historical context.
Due to different perspectives, some people believe that ancient Chinese architecture has lasted for a long time and has strong vitality.
e. The way of thinking of ancient Chinese people was mostly influenced by the Book of Changes. They believed that by understanding anything in the context of the Book of Changes, we can discover its regularities. .
The same is true in architecture.
For example, why ancient Chinese buildings preferred to use wood instead of stone is not a technical problem, but a social and cultural phenomenon.
"Metal, wood, water, fire, earth", "wood" symbolizes spring, green, and life, and is used to build houses for the living; while "earth" is bricks and stones, "return to the earth in this life" "None, renewable", mostly used to build mausoleums and tombs for the deceased.
Bagua, Yin Yang and Five Elements, Feng Shui, etc. have many influences on ancient Chinese architecture!
2. The artistry of ancient Chinese architecture
Architecture is not only a technical science, but also an art.
After a long period of hard work, ancient Chinese architecture also absorbed the characteristics of other traditional Chinese arts, especially painting, sculpture, arts and crafts and other plastic arts, creating a rich and colorful artistic image, and in this regard Many characteristics have been formed.
Among them, the following three aspects are more prominent.
1. Decorative roofs
Ancient Chinese craftsmen have long discovered the possibility of using roofs to achieve artistic effects.
The "Book of Songs" contains the sentence "make temple wings", which shows that poets three thousand years ago were already praising the wings-like roof of the ancestral temple in their poems.
By the Han Dynasty, there were five basic roof styles in later generations - the "veranda roof" with four slopes, the "single roof" with four, six, eight or round slopes, and the two-slope roof. There are "hard tops" where the gables and roofs are aligned, "hanging tops" where the two sides are sloping and the roofs protrude beyond the gables, and "rest tops" where the upper half is a cantilevered hill and the lower half is sloped on all sides.
Ancient Chinese craftsmen made full use of the characteristics of wooden structures to create roof folding and roof warping, forming eaves extending like bird wings and soft and graceful curves of various parts of the roof.
At the same time, appropriate carvings are added to the ridge ends of the roof, and the tiles on the cornice are also decorated.
After the Song Dynasty, a large number of glazed tiles were used to add color and luster to the roof. In addition, many other roof styles appeared one after another, as well as various complex artistic effects composed of these roofs. Shape has enabled ancient Chinese architecture to gain rich experience in using roof forms to create artistic images of buildings, and has become one of the important features of ancient Chinese architecture.
2. The application of foil architecture
The application of foil architecture is a commonly used artistic treatment technique for high-end buildings such as palaces and temples in ancient China.
Its function is to set off the main building.
The earliest applied and artistically designed foil building was the "que" built in front of the palace's main entrance since the Spring and Autumn Period.
In the Han Dynasty, in addition to palaces and mausoleums, ancestral temples and large and medium-sized tombs were also used.
The existing tomb of Gao Yi in Ya'an, Sichuan has exquisite shapes and carvings and is a typical tomb of the Han Dynasty.
Various forms of que can often be seen in sculptures and murals after the Han Dynasty. By the Ming and Qing dynasties, the que evolved into the Meridian Gate of the Forbidden City today.
Other common artistic supporting buildings include Chinese watches, archways, screen walls, stone lions, etc. in front of the palace's main entrance.
3. The use of color
Ancient Chinese craftsmen were the most daring and adept at using color in architectural decoration.
This feature is inseparable from the wooden structure system of Chinese architecture.
Because wood is not durable, Chinese architecture has long adopted the method of painting wood with tung oil to protect the wood and reinforce the joints of the wood components with mortise and tenon joints, and at the same time increase the beauty and achieve Practical, sturdy and beautiful combined.
Later, red was used to decorate the pillars and beams, or draw colorful paintings on the brackets, beams, and rafters.
After long-term practice, Chinese architecture has accumulated rich experience in the use of color. For example, in palaces and government buildings in the north, they are very good at using contrast and harmony of bright colors.
The main part of the house, that is, the part that often gets sunlight, generally uses warm colors, especially vermilion; the shadowed parts under the eaves use cool colors that match blue and green.
This emphasizes the warmth of the sun and the coolness of the shadows, creating a pleasing contrast.
Gold threads and gold dots are often added to the vermilion doors and windows and the blue and green eaves. A few red dots are also interspersed between the blue and green, making the painted patterns on the building appear more evocative. Lively, enhances the decorative effect.
Some important monumental buildings, such as the Forbidden City and the Temple of Heaven in Beijing, are decorated with yellow, green or blue glazed tiles, and are lined with one or even several layers of snow-white white marble platform bases and railings. Under the clear autumn air and cloudless blue sky of the North China Plain, its color effect is extremely moving.
Of course, the formation of this color style is also related to the natural environment in the north to a large extent.
Because in the flat and vast North China Plain, the colors of winter scenery are very monotonous and harsh.
In such a natural environment, this bright color brings liveliness and interest to the building.
For the same reason, in the south, where mountains and rivers are beautiful and green all year round, the color of buildings is limited by the architectural hierarchy of feudal society. On the other hand, it is also because the south is green all year round and flowers bloom all year round. , in order to harmonize the color of the building with the natural environment in the south, the colors used are relatively elegant, using mostly white walls, gray tiles and beams and columns in chestnut, black, dark green and other colors to form a beautiful and elegant style.
This color gives people a sense of coolness in the hot southern summer, unlike strong colors that can easily make people irritable.
From here we can also know that in addition to the two main styles mentioned above, there are also some differences in the use of colors in ancient buildings in my country according to different ethnic groups and regions.
The color of Chinese architecture originally reflected the function of nature. Before the Tang Dynasty, there was no color, and the original color of the material was highlighted.
Tang Dynasty: Color reflects grade
Song Dynasty: Color reflects mainstream
The Tang and Song Dynasties are of the same origin, and the architecture of the Song Dynasty is the inheritance and development of the architecture of the Tang Dynasty.
The extensive use of paint, as well as the influence of Indian Buddhism, the architectural color is highlighted as red.
The colors of this period reflected the prevailing culture of the time.
The Song Dynasty liked stable, simple, light and elegant colors, which was caused by the social thought of the Song Dynasty based on Confucian rationalism and Zen philosophy.
The architectural specifications of the Song Dynasty were generally smaller than those of the Tang Dynasty, but they were more beautiful, gorgeous and varied than those of the Tang Dynasty, with various complex forms of palaces and pavilions appearing.
The architecture of the Song Dynasty was greatly influenced by the Tang Dynasty, mainly represented by palaces, temples, towers and tomb buildings. Colored paintings, carvings and glazed bricks were mostly used for decoration. Building components began to become standardized, and there was Comprehensive works on architecture such as "The Wooden Classic" and "Building French Style".
The organic combination of decoration and architecture is a major feature of the Song Dynasty. The decoration of temples and towers is of reasonable scale and complete and vigorous in shape.
Suzhou Huqiu Pagoda and Quanzhou Renshou Pagoda are both typical works.
The stone carvings of Zhaoling and the patterns in the tomb chambers have strong and magnificent beauty, which have guiding significance for the subsequent development of folk patterns.
In terms of decoration, buildings during this period used a large number of doors and windows that could be opened and had extremely rich combinations of lattice bars. Compared with the panel doors and straight lattice windows of the Tang and Liao buildings, it not only changed the appearance of the building , and improve indoor ventilation and lighting.
The Xumizuo in the lower part of the house and the Buddha's seat inside the Buddhist hall are mostly made of stone, with rich and colorful compositions and exquisite carvings.
The forms and carvings of column bases tend to be diverse.
In addition to round, square, and octagonal pillars, there are also melon-shaped pillars, and a large number of stone pillars are used. Various patterns are often carved on the surface of the pillars.
At the same time, the indoor space is enlarged, giving people a cheerful and bright feeling.
The roof may be entirely covered with glazed tiles, or the glazed tiles may be combined with blue tiles to form a shear-edge roof.
The proportions, composition and colors of the paintings and decorations all achieved a certain artistic effect, so the buildings at that time gave people a soft and brilliant impression.
Yuan Dynasty: Beautiful and splendid style
The palace architecture of the Yuan Dynasty also inherited the tradition since the Tang and Song Dynasties. After the Yuan Dynasty, the decorative patterns tended to be plain and realistic, and the colors and colors of the palace buildings were The patterns are carefully researched and the style is beautiful and gorgeous.
After the death of the Song Dynasty and the rise of the Yuan Dynasty, the architecture was once influenced by foreign craftsmen, mainly northern craftsmen. Their architectural structures were often bold and rough, and their artistic styles were also wild and uninhibited.
Due to the large number of ethnic groups in the Yuan Dynasty, each ethnic group had different religions and cultures. Through mutual exchanges, several new factors were added to the art of traditional architecture.
Religious architecture was quite developed at this time. Many Lamaist temples and pagodas were built from Tibet to Dadu, bringing some new decorative themes and new techniques for sculptures and murals.
Islamic mosques were built one after another in Dadu, Xinjiang, Yunnan and some cities in the southeast. They began to be combined with Chinese architecture to form an independent style, and decorations and colors were gradually integrated.
The street crossing tower is another type of Lamaist building.
Beijing’s Yuntai is the most famous.
On the stone of Yuntai and the inner wall of the cave, there are Lamaist patterns such as gods, garuda, dragons and clouds, as well as scriptures in six languages.
These carvings are all high-relief. The figures' postures and expressions are very vigorous, and the various patterns have a vivid and lively atmosphere. They are different from the traditional Han style and are excellent works of Yuan Dynasty carvings.
Lamaist carving themes and techniques had a great influence on the architectural art of the Ming and Qing Dynasties, especially on official architecture.
Ming Dynasty: The colors are rich and pleasing to the eye
When Nanjing was founded in the early Ming Dynasty, it mainly relied on craftsmen from the south of the Yangtze River.
Yongle moved his capital to Beijing, and the construction of Beijing palaces and gardens was mainly based on southern craftsmen.
The architecture of the Ming Dynasty is rigorous, beautiful, delicate and elegant, and has the style of Jiangnan art. However, after being exaggerated by the royal nobles, it is huge in size and rich in color, and it is far away from the elegance and blandness of Jiangnan.
But its root system is actually similar to Jiangnan architecture.
The production of bricks increased significantly, and the quantity and quality of glazed tiles exceeded those of any previous dynasty.
Official architecture has been highly standardized and stereotyped.
The main part of the house, that is, the part that often gets sunlight, generally uses warm colors, especially vermilion; the shaded parts under the grid use cool colors that match green and blue.
In this way, the warmth of the sun and the coolness of the shadows are emphasized, creating a pleasing contrast.
The use of color was restricted by the hierarchy in feudal society.
In general civil residential buildings, blue-grey brick walls and tile roofs are mostly used, and the beams, doors and windows are mostly made of natural wood, which also looks very elegant.
3. The political theoretical value of ancient Chinese architecture
According to ancient documents, there is a simple organizational law in the layout of ancient Chinese architecture, which is that every residence and palace , government offices, temples and other buildings are composed of a number of single buildings and some corridors, walls and the like surrounding courtyards.
Generally speaking, most courtyards are connected from front to back, and you can reach the backyard through the front yard. This is the product of the ideology of "old and young in order, and distinction between inside and outside" in China's feudal society.
The main characters in the family, or those who should be isolated from the outside world (such as girls from aristocratic families), often live in courtyards far away from the outer gate, which creates a courtyard with layers of depth. spatial organization.
Ouyang Xiu's "Butterfly Love Flower" in the Song Dynasty contains the words "How deep is the courtyard?" It shows the important characteristics of the layout of Chinese architecture.
At the same time, this kind of courtyard-style grouping and layout is generally designed in a balanced and symmetrical manner along the longitudinal axis (also called the front and rear axis) and the horizontal axis.
The more important buildings are placed on the vertical axis, and the secondary buildings are placed on the horizontal axis on the left and right sides. The group layout of the Forbidden City in Beijing and the courtyard houses in the north best reflect this group. Typical example of layout principles.
This layout is closely related to the patriarchal clan and ethical system of China's feudal society.
It is most convenient to make obvious differences in housing between superiority and inferiority, elder and younger, male and female, master and servant according to the feudal clan system and hierarchical concepts.
4. Kanyu culture of ancient Chinese architecture
Many archaeological data prove that attaching importance to people's living environment is an important part of Chinese local culture.
As early as six or seven thousand years ago, the Chinese ancestors had reached a very high level in their choice and understanding of their living environment.
The location selection of settlements during the Yangshao Culture period has a clear tendency of "environmental selection", which is mainly reflected in the fact that it is close to water sources, which is not only convenient for daily water collection, but also conducive to the development of agricultural production; it is located at the intersection of rivers , convenient transportation; located on river terraces, not only has fertile farming soil, but also can avoid floods; if it is on a hillside, it is generally on a sunny slope.
For example, the Banpo site is a typical Shangji Feng Shui pattern surrounded by mountains, rivers, and the intersection of two rivers.
Rivers and Living Environment
From the palace ruins of the Yin and Shang Dynasties, it can be clearly seen that people's understanding of the relationship between rivers and living environment has reached a very high level.
Xiaotun Village, two kilometers northwest of Anyang in present-day Henan, was the capital of the Yin and Shang dynasties.
Here the Huan River turns from the northwest to the south, and then flows to the east.
On both sides of the river, the Xiaotun Village area at the bend of the south bank is where the palaces of the Shang Dynasty were located; the west, south, southeast of the palaces and the large areas east of the Huan River were It is the residence, workshop and cemetery of common people and small and medium-sized nobles; the Houjia Village and Military Officer Village on the north bank are the mausoleum areas of Shang kings and nobles.
What needs to be emphasized is that whether it is the palace area, residential area, production area, or mausoleum area, they are all located in the meandering embrace of the river. This fully proves that in the Feng Shui of later generations, the pursuit of "qun means good luck" "The idea has a long history.
Just as it is said in "Boshan Pian? On Water": "The ocean tide is vast, the water grid is rich.
The twists and turns, the water grid is precious.
"Jiang Pingjie's "Water Dragon Sutra" also says: "The king of natural water law must remember that it is nothing but bending and affection. It does not want to rush away and is not straight. It must be wrapped around and bent.
"" When the water sees three bends, it brings happiness and peace of mind, and when it bends, it brings prosperity and wealth.
"In short, the requirement for water flow is to be "curved and embraced", and pay attention to "the bends are affectionate", because "the bends of the river are affectionate." It is the gathering of dragon energy. "
In Feng Shui, the inside of the meander is considered auspicious place, and the outside of the meander is considered an unlucky place.
"Kanyu Reveals the Secret" says: "You can find ground when water hugs the side, but you can't get down when the water is on the other side.
"The Water Dragon Sutra" also believes that any "water flying back", Landforms such as "anti-diving water", "heavy anti-water" and "anti-bending water" are all dangerous areas, which are not conducive to fertility and living.
As the saying goes, "Those who desire water like it to circle around and point toward the acupoint.
Water is the connection of the dragon's veins, so avoid rushing back and bowing.
"Obviously , this is a conclusion reached by ancient ancestors through long-term observation and practice of the relationship between the natural environment and urban and rural architecture in river areas. This conclusion is consistent with the changing laws of modern river landforms regarding river meanders.
In other words, the view that "water holding emotions is good luck" summarized in ancient architectural Feng Shui is based on this scientific understanding.
The southwest facing sun of buildings
Feng Shui emphasizes the "south facing sun" of cities and buildings. This has both a profound cultural background and a very reasonable scientific basis.
From a cultural perspective, this is closely related to the study of "Zhouyi".
"The Book of Changes? Shuo Gua" says: "The sage faces the south and listens to the world."
"Later generations called the emperor's strategy of ruling the country the "Southern Technique", which originated from this.
In addition, China’s astronomical star maps are drawn by standing facing south and looking up to the sky, and maps are drawn by standing facing south and looking down on the geography method.
Therefore, the ancient Chinese orientation concept is also very unique: front, south, back and north, left, east, right and west, which is exactly the opposite of the orientation concept from the West (up, south, down, north) commonly used by people today.
The emergence of this idea of ??"facing the south and facing the sun" is determined by its specific environmental characteristics.
Because China is in the northern hemisphere, the sunlight shines from the south most of the time. People’s life and production are based on direct access to sunlight, which determines that the direction of people’s lighting must be south. towards.
Furthermore, the choice of living facing the south is also related to the seasonal wind direction.
In most areas of China, the cold northerly wind prevails in winter, while the warm and humid southerly wind prevails in summer. This determines that the basic pattern of the Chinese Feng Shui environmental model should be facing north. In the south, there are many surrounding mountains on its west, north and east sides to resist the cold winter winds. The south side is slightly open to welcome the warm and humid summer winds.
Because it "lives facing the south", Feng Shui often uses green dragon, white tiger, red bird, and Xuanwu to represent the direction.
For example, "The Book of Burial" says: "The green dragon is on the left, the white tiger is on the right, the red bird is in the front, and the Xuanwu is in the back."
"Ten Books on Yangzhai" says: "Fanzhai There is flowing water on the left, which is called Qinglong; there is a long road on the right, which is called White Tiger; there is a sweat pond in front, which is called Suzaku; there are hills behind, which is called Xuanwu, which is the most noble place.
"Therefore, Qinglong. , White Tiger, Suzaku and Xuanwu have become the names of the four directions gods respected in Feng Shui.
However, it is unclear when these four animals began to be used as direction gods in Feng Shui.
However, in the tombs of the Yangshao culture 6,000 years ago discovered in Xishuipo, Ziyang, Henan, there is a clear pattern of "green dragon" and "white tiger" made of clam shells. "Figures, located on both sides of the buried person.
If the "green dragon" and "white tiger" graphics in tombs also have the function of pointing the direction, then the idea of ??"green dragon meandering and white tiger squatting" in later Feng Shui works can be traced back to 6,000 years ago. Yangshao culture period.
In fact, in ancient times, people had a clearer concept of azimuth gods.
Just as "The Book of Rites? Qu Lishang" says: "Okay, in front is the red bird and then behind is the basalt. On the left is the green dragon and on the right is the white tiger.
"The names of the gods in these four directions also represent The names of the four gods constitute the four celestial phenomena of north, south, east and west.
Therefore, "Huainanzi? Tianwen Xun" says: "The noblest gods are none more noble than the Qinglong.
"The Qinglong, White Tiger, Suzaku, and Xuanwu are the gods of the four directions, and later they are the gods of the four directions. It is respected by Taoism and has a wide influence in Chinese culture.
"Feng Shui Treasure Land"
The four gods such as Qinglong and White Tiger are directional gods, each performing a certain role in guarding cities, towns and houses. Those who meet the following requirements can be called "Four Gods" or "Four Spirits".
The conditions are "Xuanwu bows his head, Suzaku dances, the green dragon meanders, and the white tiger tamely bows."
"That is, the peaks in the direction of Xuanwu bow their heads, and the mountains in the direction of Suzaku are to When it comes to singing and dancing, the mountain shape of the green dragon on the left should be undulating and the white tiger on the right should be lying down and supple. This environment is a "feng shui treasure land".
The composition of the Feng Shui treasure land requires not only the "four elephants", but also the dragon, the sand table, the bright hall, the water mouth, the vertical direction, etc.
"Ten Books on Yangzhai" says: "The place where people live should be dominated by the earth, mountains and rivers. Their origins are the most powerful and have the most important bearing on people's disaster and wealth.
"" The Yangzhai is no different from Longyuan. The residence must be wide and flat.
The bright hall must be able to accommodate thousands of horses...either from a mountain or a plain.
There is water in the front and on the left. The same is true when there is a road.
"More importantly, the water outlet should be tightened, and it should not be too tight.
The bright hall is wide when the stars are close to the case.
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This statement is based on the overall situation and has a unique ranking.
"This is a Feng Shui treasure land pattern from the perspective of the overall environment: it requires an endless group of people in the north. There are steep mountains, low hills echoing far and near in the south, surrounded by mountains on the left and right sides, heavily guarded, with clear halls in the middle, spacious terrain, and surrounded by winding water. This is an ideal Feng Shui treasure place.
Just as Fo Yin said in "Lectures on Feng Shui": "The backing of the mountain is undulating, with scattered heights and twists and turns, like a living thing, with veins emerging from the center, protruding acupuncture points, dragon sand and tiger sand, surrounded by layers, with mountains and water outside. It is a place of prosperity and wealth that protects people. "
Emphasis on natural architectural Feng Shui
"The land is like the person."
In ancient Feng Shui, it is often said. Comparing the earth to the human body to consider various factors, there is a saying in Feng Shui that "the earth is like the person."
""The dragon of oneself must be long-lasting, the body must be upright, the hands and feet must be in harmony, the elders and the young must be humble and obedient, and the guest of honor must be greeted with surprise
"Based on this idea that people and land are similar, Feng Shui often divides the true points of the dragon vein into three types according to the structure of the human body. One is on the head, the second is on the navel, and the third is on the vagina. *** The position is: "The point at the upper Ju is like a child's head. When a child is born, the chimney is not full and there is a slight nest, it is the top of the mountain; the point at the Middle Ju is like a person's navel, and the two hands are like dragons and tigers; the lower point is like a human's navel. The gathering point is like a human scrotum, and the two feet are like a dragon and a tiger.
"(Qing Meng Hao's "Xue Xin Fu Zhengjie") There is a picture in the Qing Dynasty's "Mr. Liupu Shen Xin's Geoscience". The Feng Shui acupuncture point map based on the "apertures" of the human body can best vividly reflect this concept of people and earth being of the same kind.
Emphasis on the unity of nature and man
Since the foundation of ancient Feng Shui is based on the theory of yin and yang and vitality of traditional Chinese philosophy, it is natural to combine "the unity of nature and man" , the idea of ??"all things are one" serves as the soul that runs through the entire Feng Shui science.
The ancient Chinese discovered very early the movement patterns of the sun, the moon, the 28 constellations, and the five planets of metal, wood, water, earth, and fire, as well as their relationship with the changes in the earth’s day and night seasons and disasters.
In the eyes of the ancients, the movement of heaven and earth is directly related to human growth.
"Lv Yuan Cong Hua" said: "The human body is like a small heaven and earth. Yin and Yang, five elements, four seasons and eight festivals can all be used in one body." structure.
The heaven and earth are divided into Yin and Yang, and the human body is also divided into Yin and Yang.
There are five stars and five mountains in heaven and earth, and the human body also has five senses and five internal organs.
The sky is divided into ten heavenly stems, which means that the earth revolves around the sun, and humans also have ten fingers correspondingly.
The earth is divided into twelve earthly branches, which means that the moon goes around the earth twelve times in a year. People also have twelve meridians, twelve meridians, and twelve skin parts... The entire meridian system of a person follows According to the sequence of time, year, month, day and hour, the periodic flow of Qi and blood, the ups and downs of opening and closing, and people responding to the orders of the time and the month, all of this implies to us that the emergence of human beings is by no means accidental, it embodies the whole The life of the universe, the human body is completely consistent with the universe, and the energy of the human body communicates with the energy of the universe.
"The sky and the earth are positioned, the mountains and rivers are ventilated, the thunder and wind are thin, and the water and fire are (not) shooting at each other.
""Heaven and earth are born together with the beginning, and all things are one with me.
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"The vitality reverberates between the universe and the earth, and the qi gathers in the human body. Human beings are actually regarded as a link in the natural ecological chain. Compared with nature, humans are small.
Any activities in human life must be consistent with nature and must be in harmony with the nature of heaven and earth.
Therefore, to avoid living in an atmosphere and environment that is not conducive to human survival, human construction activities must be conducive to the harmony of nature.
In Feng Shui theory, Qi is used to explain the natural environment. In the relationship between man and the natural environment of heaven and earth, as long as we follow the movement and change rules of Qi, that is, according to the natural order, we can achieve harmony with the heaven, earth and all natural things. If you are in harmony, you will gain peace and happiness, thereby achieving the purpose of pursuing good luck and avoiding bad luck.
The basic meaning of Feng Shui site selection is to find a suitable place for human beings to live.
The area that hides the vitality between heaven and earth is an ideal place for human beings to grow and reproduce.
In summary, all the specific measures of Feng Shui theory are centered around how to find the gathering point of Qi, how to welcome Qi, receive Qi, and gather Qi. Through catering, guiding and adapting to the Qi of the universe, heaven and earth, The Qi of the human body can be harmonized with it, thus helping to improve the living environment and ensure the physical and mental health of human beings and the prosperity of future generations.
In this sense, Feng Shui can be said to be the art of harmonizing the energy of the universe with the energy of the human body.
The most important thing in Feng Shui is the selection of the ideal environment, and the ideal environment in Feng Shui is mainly composed of mountains and water, especially water as the source of vitality.
"Shui Long Jing" says: "Although the cave is in the mountain, misfortunes and blessings are in the water.
"The stone is the bone of the mountain, the earth is the flesh of the mountain, and the water is the mountain. The blood, the vegetation is the skin of the mountain, and they are all connected by blood.
"Because the stone is the bone of the mountain, and the water is the blood of the mountain."
Mountains have water as their blood and are organic in themselves.
The view of "Huangdi's House Classic" is more clear: "The house takes the shape as the body, the spring water as the blood, the land as the skin, the vegetation as the hair, the house as the clothes, and the door as the crown. If you get it like this, it will be elegant and auspicious.
"Here it is obvious that the house is regarded as a part of the earth's organism, and the harmony between the building and the surrounding environment is emphasized. This is what Feng Shui is about architecture. The purport of thought.
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"Wang Chong's "Lunheng? Shuxu" said: "There are hundreds of rivers in heaven and earth, and there are blood vessels in human beings.
The blood flows and spreads movement and stillness. p> The greatest influence of Feng Shui on ancient Chinese architecture is the pursuit of a suitable earth aura, that is, the most beneficial external environment for human growth and development.
This environment should have clear mountains and clear waters, and good weather and good weather.
Because where there are mountains, there are "bones", and where there is water, there is "living". The mountains and rivers complement each other and complement each other.
Therefore, almost all Feng Shui environments pay attention to the matching of mountains and rivers, and are combined according to a certain Feng Shui space structure.
Why can many Feng Shui lands become ideal places for people to cultivate their minds, nature, and recuperate? The reason is that their landscape combinations are reasonable and can give people a sense of elegance, comfort, and splendor.
In this sense, "the outstanding people of the land" are not unreasonable.
No wonder people are diligently pursuing a reasonable combination of landscape environment.