The ancient ancestral temple in Rucheng is very beautiful. Beauty is gorgeous, dignified and solemn, it is vicissitudes and simple, and it is rich, loaded and applicable. From site selection, layout orientation, feng shui environment to the overall harmony of the walls of Tianlin Road and Menping Lane, from French architectural style, structural style, materials and materials to sculpture, oil painting and lacquer art decoration, it is dynamic, colorful and harmonious. Appreciating an ancient temple is like walking through a long corridor of history; Meeting an ancient temple is like listening to the voice of an old man in the Ming Dynasty.
The ancient ancestral temple in Rucheng is of great value. As a historical heritage, it is the witness, record, concentration and specimen of history. As the heritage of architecture, it has profound cultural value in itself, its appendages, its contents and its implications, and is an indispensable resource for studying ancient culture, ancient architecture, ancient folk customs, ancient patriarchal clan system and ancient migration. As a cultural heritage, poetry couplets, inscriptions, sculptures, plaques and hall numbers complement each other with genealogy and family rules, and form a grand view garden of ancestral temple culture.
Jinshan Yejiamiao, Lushijia Temple, Jinjiang Zhushi Ancestral Hall, Guang 'an Lee Ancestral Hall, Waisha Taibai, an embroidered garment workshop (including Fanjiamiao and Zhongchenggong Temple) and other ancient buildings, which are exquisite in craftsmanship, magnificent in style, well preserved and built earlier, represent the essence of Rucheng ancient ancestral hall culture and have high historical, cultural and scientific value. There are more than 300 ancient ancestral temples in Rucheng, and the environmental aesthetics is very distinctive, which is mainly reflected in the traditional environmental aesthetics thought of "harmony between man and nature". According to local conditions, the environment is utilized and improved, and various expression methods are adopted according to the actual terrain space and actual needs, so as to achieve the purpose of harmonious coexistence between environment and nature and enlighten future generations. Because the main function of ancestral temple is to worship ancestors and hold large-scale activities, it is the leader of the whole village. In the folk, the quality of ancestral temple affects the development of the whole village. Therefore, the ancient ancestral temple should occupy a leading position in environmental aesthetics in terms of appearance, site selection, indoor layout, sitting orientation, gates, environmental buildings behind the front and rear doors, roads, Shui Mu, etc., so as to ensure the primary position of the ancestral temple in the whole village. It fully embodies the ancient design concept that individuals serve the collective, parts serve the whole, and the whole and nature are harmonious and harmonious to promote development. The environment of Jinshan ancient ancestral temple group, Lushi family temple "Xulun Hall". The Xulun Hall is southwest to northeast, with three rooms wide and three depths, and three sides closed by a volcano wall. Those who count by "three" take the meaning of "three lives" It is 30.4 meters long, 9.2 meters wide and covers an area of 366.8 square meters. There is a side door of the same size on the left and right of the main entrance, which has obvious aesthetic feeling and symmetry. Under the eaves, various patterns are painted on the forehead of Ruyi Dougong. The dragon and phoenix are auspicious and the dragon plays with pearls, which are lifelike. The Eight Immortals are omnipotent immortals, and the dragon and phoenix are supreme, which means longing for wealth. There are words such as "Celebrity of Southern Chu" in the middle of the forehead, the color of the gate is mainly red, and there are two patios for lighting, which means that heaven and earth are connected, aiming at "harmony between heaven and man". There is a semi-circular pond about 18 meters in front of the door, with a diameter of about 30 meters. "Air gathers into water and pneumatic wind becomes wind." This pond has the function of collecting air. There are thousands of meters of open space outside the pond, implying that "the front door is open and Wan Li has a bright future". On the left and right sides of the ancestral hall are residential buildings, which are about two-thirds of the height of the ancestral hall, basically symmetrical, and located about one foot behind the ancestral hall. From a distance, the ancestral temple is like a dragon head leading a group of future generations forward. It fully embodies the ancient people's design thought of respecting and inheriting the fine traditions of their ancestors and obeying the overall harmony in individual development. There is an attic on the left and right of the front hall near the wall to store things, which is designed from a practical point of view to store things for family activities. The road leading to the ancestral hall enters from both sides around the pond to avoid the road rushing straight into the ancestral hall to form a straight rush. The environmental design of Xulun Hall not only pays attention to practical function, but also pays attention to overall harmony.
About half a mile northeast of Xulun Hall is the Dunben Hall of Yejiamiao, which consists of the family temple and the Chaomen. Yejiamiao sits facing south, with three rooms and three wells. It is 23.9 meters long and 6.86 meters wide. There are residential buildings in front, and residential buildings on the left and right sides of Chaomen, half as high as the ancestral hall gate. Generally speaking, there should be no residential buildings in front of the door. Why did the ancients design this way? It turns out that the Yejia Temple faces north, the north wind is cold wind, and the gossip is the ridge the day after tomorrow, and the ridge is water, and water dominates the cold. Innate gossip in the north is Kun, and Kun is the old yin, which is too heavy. In addition, the north is empty and the water vapor is too heavy, so residential houses are used to block the cold wind in front of the door. As a whole, it embodies the team spirit of individual service. Chaomen is in the northeast of the gate. Innate gossip is an earthquake, an earthquake is wood, and wood can be turned into aquatic fire. Therefore, Chaomen played the role of customs clearance preheating. The day after tomorrow, the northeast gossip is divination, and the five behaviors have the power of water. Thereby solving the problem of heavy water vapor in the north. This pattern, facing the door, plays the role of customs clearance and turns disadvantages into advantages. No wonder this door-to-door is one of the three and a half famous doors in Rucheng, which can reflect the infinite wisdom of the ancients in improving the environment. Chaomen is 9.2 meters long and 7.6 meters wide. There is a pool in front of the chaomen, about 20 meters wide, 15 meters. Water can collect gas. There is a high mountain with its back to the open space a few miles in front of the pool, which has the function of wind protection. The Hongmenliang in the ancestral hall carved dragons and played with pearls, surrounded by clouds and water, creating a festive atmosphere. There is a plaque of "Yejiamiao" hanging on the beams. The houses on the left and right sides of the temple face the ancestral hall. There is a meaning of ancestor worship. The environmental design of Dunbentang is a model for the ancients to improve the environment. It is a classic of the application of traditional environmental aesthetics.
Jinshan Ancient Ancestral Hall Group also includes Longxi Hall of Lijiamiao, which faces south, with a length of 20.7 meters, a width of 10.33 meters and an area of 240 square meters. Its environmental aesthetics focuses on practicality and aims at environmental harmony. I don't want to elaborate here, but I can make a field investigation myself. The overall layout of Xulun Hall, Dunben Hall and Longxi Hall is an equilateral triangle, which has a stabilizing effect and affects the whole body, fully embodying the harmonious relationship of Lu, Ye and Li in the same boat, living in harmony and common development. In environmental aesthetics, justice, overall balance and harmonious development have been realized. This is the essence of traditional environmental aesthetics. Li's Ancestral Hall is located in Tuqiao Village, tuqiao town, with three bays facing east, with a length of 32.3 1 m and a width of1.27 m, covering an area of 364 square meters. It consists of a gatehouse, a front hall, a middle hall, a back hall, a patio and a kitchen. The gatehouse is not high, and it is not as imposing as the gatehouse of Jinshan Xuluntang. It seems that the momentum is not magnificent at close range, but it has a calm and heavy aesthetic feeling at a distance. The reason why the ancients designed this way is because the Li family is located on the earth bridge, the space is too wide, and the airflow is fast and big. The gatehouse is too high to be damaged by the wind, and the airflow is fast and difficult to gather gas, so there is no higher gatehouse designed. It embodies the environmental aesthetic thought of "advocating nature" and "learning from nature". In addition, the Li Ancestral Hall was built to reward famous military generals in the Ming Dynasty. The soldiers were brave and steady, consistent with the situation at that time. There are two dragon play beads carved on the beam of Hong Men, and the "iron coupon" given by the emperor is hung on the door to show the emperor's kindness and make his country his home. There is a right door in the center of the ancestral hall to collect righteousness, and a small door on both sides, which is the same size and has a symmetrical aesthetic feeling. There is a gatekeeper painted on the door to show the protection of the gods. There is a semi-circular pool in front of the door, which is used to gather the atmosphere. The semi-circular pool is used because it is dry and round. The overall shape of the ancestral hall is rectangular, and the ground is square, which means the integration of heaven and earth and the integration of heaven and earth. The front hall, the middle hall and the back hall are separated by two patios, which not only have the function of lighting and drainage, but also reflect the auspicious atmosphere of heaven falling and air rising. There are residential buildings on the left and right sides of the Li Ancestral Hall, and the residential buildings are of the same height. The front building is slightly shorter than the back building, and there is a trend of overlapping buildings before and after. There are also four banners, a couplet and a stone carving "imperial edict" in the Li ancestral hall, which have both decorative and inspiring functions. On the whole, the environmental aesthetics of Li Ancestral Hall is a beautiful and practical design adapted to local conditions, which is integrated with architectural art and various sculpture arts, and finally realizes the balanced development between man and nature.
To sum up, it is difficult to comprehensively summarize the essence of environmental aesthetics of Rucheng ancient ancestral temple. There are 300 ancient ancestral temples in Rucheng. The environmental pattern of each ancestral temple is different, and the environmental aesthetic design is also different, each with its own characteristics and no similarities. However, most of them are guided by "harmony between man and nature", "harmony between five elements" and "harmony between five elements", focusing on the overall situation, being in harmony with nature, paying attention to practicality and beauty according to the needs of the times and the actual situation of the local environment, adopting various expression techniques and integrating various arts to achieve a stable and atmospheric appearance; Not only is the overall atmosphere mild, but it is also in harmony with nature. The environmental aesthetics concept of Rucheng ancient ancestral temple can still be used for reference in modern architecture, and its design spirit paves the way for the harmonious coexistence and "sustainable development" between architecture and nature in the future, and provides a solid theoretical basis for the development of environmental aesthetics today.