Looking at the historical development of traditional architecture in China under the background of aesthetic culture and pursuing its unique aesthetic charm, we can easily find that there are many basic elements different from those in the West. From the semi-crypt houses built by Banpo ancestors on river banks with wooden frames and grass mud in ancient times, to the Qin Epang Palace built by the first emperor, which is known as "stepping over 300 miles to isolate the sun", and then to contemporary American architects. Kang Bei is called "the greatest personal project of mankind on the earth's surface". The aesthetic pursuit of China architecture in site selection, style structure and design thought has gone through a long period.
Looking at the historical development of traditional architecture in China under the background of aesthetic culture and pursuing its unique aesthetic charm, we can easily find that there are many basic elements different from those in the West. From the semi-crypt houses built by Banpo ancestors on river banks with wooden frames and grass mud in ancient times, to the Qin Epang Palace built by the first emperor, which is known as "stepping over 300 miles to isolate the sun", and then to contemporary American architects. Kang Bei is known as "the greatest personal project of mankind on the earth's surface". After a long period of development, the aesthetic pursuit of China's architecture in site selection, style and structure, design ideas, etc., has evolved from naive to mature, and finally accumulated into the basic dimension of China's architectural aesthetic spirit, which has become the key for us to understand the "eternal charm" of China's architecture.
First, feng shui
Feng Shui is the soul of China's architectural aesthetic spirit. Our ancestors attached great importance to environmental factors, such as topography, the distance between mountains and rivers, lighting and ventilation, etc. There is a saying that "those who are beautiful in the earth must have a spirit of peace, and their descendants will have generations, if their roots are repaired, their leaves will be numerous." They believe that the quality of the building environment is not only related to the safety of residents themselves, but also to the rise and fall of future generations, and even the flowers and trees planted around the building will be affected. Obviously, in the eyes of the ancients, if the environment is good, it is possible to live a long and healthy life inside, with children and grandchildren; On the contrary, it will affect people's physical and mental health, and the basic meaning of architecture will be lost. The former is called "beautiful house" and the latter is called "haunted house". This is the ancient and mysterious theory of Feng Shui. The reason why the geomantic omen theory is deeply rooted in people's hearts has a long history in the architectural history of China, which is related to the close relationship between man and nature formed in the long process of farming economy, and also to the same ancient philosophical spirit of "harmony between man and nature". Of course, it has indeed brought people material or spiritual benefits in the implementation process. Today, we can not only see people's concern for the surrounding environment when building cities, transforming cottages and building tombs from Kao Gong Ji, which appeared in the Spring and Autumn Period and the Warring States Period, but also see the changes in the concept of geomantic omen from the names of lost classics written in the Han Dynasty. Not only can we systematically see people's understanding of geomantic omen from comprehensive special works such as The Yellow Emperor's House Classic accompanied with metaphysics, but also we can really feel the builders' good intentions in choosing the environment from a large number of ancient palaces and city sites preserved in Xi, Nanjing and Beijing.
Although some scholars believe that paying attention to the living environment is not unique to China, there are traditions similar to geomantic omen in the site selection and orientation of buildings all over the world. However, to find the source of Feng Shui thought, we have to turn our attention to China. Because there are not only Yangshao cultural sites preserved in physical form, but also vividly show the importance that ancestors attached to landscape, vegetation and other factors when choosing their own homes six or seven thousand years ago, and have revealed a hazy feng shui consciousness; It can also be seen that the main records in this regard were first formed in this land. Today, we can still see the contents of early Feng Shui thoughts from the classics such as The Book of Changes, Zhou Li and Historical Records.
Atmosphere is the embodiment of China's architectural aesthetic structural style. The big roof, the wooden structure, and then they are connected in the form of a bucket arch, which constitutes the most basic structural form of China traditional architecture that has remained unchanged for almost a thousand years. The formation of this structural style is due to the convenience of using local materials and adapting to local conditions, as well as the patriarchal spirit of unity of God and separation of family and country. Throughout history, the representative buildings that remain on the land of China are mostly palaces closely related to daily life, which are made of "earth" and "wood" with vitality, instead of cold and hard stones as in the West. The purpose of building a temple is to point to the other side of the world, embody the supremacy of gods, guide believers to respect gods, and lay the psychological foundation for the development of western architecture to heaven. The emperor who lives in the palace is dominated by all the people in the world, which is not only a symbol of power, but also a model of the nation. Therefore, modeling does not aim at the height of the sky, but pursues the expansion and deepening of the plane as much as possible, creating a magnificent atmosphere in the deep courtyard, which can not only show the majesty and solemnity of the emperor, but also guide and standardize people's realistic association.
Artistic conception is the charm of China's architectural aesthetic spirit. Different from the stone castles in Rome and the religious temples all over the western world, the traditional buildings in China often like to rise up from the ground and form a group, paying attention to the mutual echo, clear order, clear priorities and pursuing overall harmony and multi-level progressive aesthetic effect. Generally speaking, the traditional architecture in China is not a simple image, but has the artistic beauty of scenery in objects, objects in scenery, and the coexistence of reality and reality. This situation can be seen in the royal gardens and palace communities preserved in the north of China, and can also be learned from the ancient village houses scattered in the north and south of the Yangtze River and inside and outside the Great Wall. In the aesthetic vision of our ancestors, architecture seems to be a living carrier.
This aesthetic effect is typical in the garden buildings left over from Ming and Qing Dynasties, but its source can be traced back to the architectural sites of Zhou and Qin Dynasties thousands of years ago. Taking Qin Dou, the first imperial palace in China, as an example, according to archaeological excavations and literature records, this huge city covering an area of 45 square kilometers, with Qinling Mountains in the south, Weishui in the west, Lishan Mountain in the east and Tuyuan in the north, well embodies the artistic beauty of "there are things in the scenery, and there are things in the scenery, and the reality and the reality coexist". In the central area of Qin Dou, magnificent and tall palaces and other large buildings are lined up, which constitute the main part of the Imperial City.
The architecture of Qin Dynasty has a milestone significance in the history of China. It follows the Shang and Zhou Dynasties, and is actually an induction and summary of predecessors' architectural aesthetic thoughts. After the Han and Tang Dynasties, it provided a model for later architectural activities in both theory and practice, which influenced the architectural trend of the Chinese nation and had a far-reaching impact on the formation of China's architectural aesthetic thoughts.
Second, return to nature.
Through this analysis, we can easily find that all three elements of China's architectural aesthetic spirit have a common direction: returning to the original. Whether it is the architectural concept of getting water with the wind, or the beautiful architectural form derived from "rough soil", or the architectural artistic conception obtained through the transfer and blending of the environment, there is an obvious aesthetic tendency of learning from nature and integrating man with nature. In the eyes of our ancestors, the highest state of beauty is not the ethereal world on the other side, nor a certain proportional relationship obtained by careful carving, but the harmonious state between man and nature. Therefore, compared with western traditional buildings, China traditional buildings are trying their best to conform to nature in site selection, materials and physical design, so that people living in them can fully enjoy the breath of nature. This obvious pursuit of transcending the secular and returning to the truth is exactly the same as the aesthetic view of "giving people a boring pleasure" which originated from Kant and later influenced the whole aesthetic world. The difference is that this aesthetic theory transcends utility, desire and concept, in short, it is all kinds of things related to one's own self-interest, and then reaches a transcendental state of no self; What China's traditional architectural aesthetics wants to surpass is something from "technology" to "Tao", and then reach a state of communication with "God's will".
Under the background of globalization, architecture is one of the first industries to be in line with international standards. In a short time, in the face of the urbanization process of thousands of cities, more and more people feel the importance of national culture in urban construction. Therefore, both architectural theory researchers and some large-scale enterprises that have completed the accumulation of primitive capital have begun to look to the traditional culture of China, seek the way out for China's urban construction on the background of traditional culture, and try to create modern buildings and cities with oriental characteristics. This is undoubtedly a vision. Judging from the situation of developed countries such as Europe and Japan, when they completed the process of urbanization, they did not completely smash their own culture and copied the ready-made experience of others, but tried their best to preserve the excellent traditional culture. Today, walking in some cities of these countries, facing the well-designed buildings and street environment, we can feel the modern atmosphere and the ubiquitous national spirit at the same time. China is an ancient nation, which has maintained a unified, complete, sustained and stable cultural form for thousands of years. It has created a world-renowned material civilization and spiritual civilization and won a prominent position in the three major world cultural systems of Greece and India. As the carrier of this ancient culture, traditional architecture undoubtedly embodies many genes with strong vitality. Whether it is the idea of getting the beauty of geomantic omen, the pursuit of great beauty, or the ingenuity of creating the beauty of artistic conception, people at that time not only felt the charm of architecture, but also provided experience for the architectural behavior of later generations, and eventually became the soul of China architecture because it contained rich factors that contributed to the development of life.
In the process of learning excellent traditional culture, there are three realms: learning its shape, learning its spirit and learning its soul. "Shape" is a form, which can completely draw a tiger according to a cat; "God" is the content, which can also be substituted from ancient records. The soul is much deeper. It is not only the symbol of life, but also the essence and foundation of life. It is useless to use "painting a tiger according to a cat" and "replacing trees with flowers". The inheritance of "soul" needs to start from the roots of China culture, and needs to be experienced with heart. Only in this way can we grasp the life charm of China traditional architecture and continue the aesthetic spirit of China architecture.
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