Guangji Bridge, commonly known as Xiangzi Bridge, is located outside Guangji Gate in Chaozhou City, across the banks of Hanjiang River. With its unique and spectacular scenery and architectural culture and art, it is called the four ancient bridges in China together with Zhao Zhouqiao, Luoyang Bridge and Lugou Bridge. Belonging to the national key protected cultural relics, it is a precious heritage in Chinese bridge architecture. Guangji Bridge, as the main historical landmark of Chaozhou culture, is an important landscape that embodies Chaozhou style and features, and it is also a treasure that chaozhou people is proud of. There is an old saying that "the victory of my tide lies in Guangji Bridge". It is this "God Bridge" that embodies the wisdom, sweat and dreams of hipsters, which makes the author, who grew up in Sri Lanka and listened to the folk proverb "Eighteen shuttles sail on twenty-four continents, and two Niu Yi only fly", open a bright window for the development of Chaoshan tourism through the evaluation and promotion of Guangji Bridge in history, aesthetics, geomantic omen and other cultural aspects with deep feelings and attachment.
1. Wonderful architectural works that have experienced vicissitudes.
The Guangji facade in Chaozhou City faces the Han River, which has been the traffic artery of Guangdong, Fujian and Jiangxi provinces since ancient times, and merchants come and go in an endless stream. The Hanjiang River is wide and fast, and there is no bridge to cross. Therefore, people often cross the river by ferry, which is not only time-consuming, but also very dangerous and often leads to the disaster of capsizing and drowning. There was no bridge on the Han River, which obviously didn't match the increasingly busy traffic at that time, so it was people's long-cherished wish to build a bridge on the river.
1. 1 the history of the bridge
Chaozhou was known as "Zou Lu by the Sea" in the Southern Song Dynasty, since Han Yu pricked the tide, drove crocodiles to release maids, developed production, promoted education and spread literature. The development of social production provides a material basis for the construction of bridges, and the prosperity of culture provides scientific and technological conditions for the construction of bridges. In the seventh year of the Southern Song Dynasty (1 17 1), Zeng Wang, the magistrate of Chaozhou, built a wharf in the middle of the river with a slightly slow water level. The dock was made up of 86 wooden boats connected by chains, which realized the desire of the hipsters to "turn the moat into a thoroughfare" and named the bridge Jikang Bridge, which not only met the needs of people at that time, but also opened the bridge's history of nearly a thousand years. Since then, tidal officials of past dynasties have continuously improved and repaired Jikang Bridge on this basis. Due to the rapidity of the river, it is impossible to build piers in the middle of the river, so this bridge has always retained the characteristics of combining beam bridges with pontoons. In the third year of Taiding in Yuan Dynasty (1326), craftsmen used slate instead of wooden beams for the first time, which was a pioneering work and laid the foundation for future generations to bridge with Liang Shi. In the tenth year of Xuande in Ming Dynasty (1435), the magistrate Roy rebuilt the bridge on a large scale. The rebuilt bridge consists of 23 piers and 24 shuttle boats. There are 12 pavilions on the pier (each pavilion is divided into east and west floors, so there are actually 24 pavilions), and 126 pavilions. Roy personally named the bridge "Guangji Bridge", which has been in use ever since. The majestic scenery of the bridge amazed the world, so it was called "the first bridge in the south of the Yangtze River". In the ninth year of Jiajing (15 13), the magistrate Tan Lun lost six shuttle boats, forming a unique pattern of "eighteen shuttles and twenty-four continents". In fact, Guangji Bridge has only 23 piers. Because the ancients preferred even numbers to odd numbers, they called them "twenty-four continents". In the second year of Yongzheng in Qing Dynasty (1724), Zhang Ziqian, the magistrate, cast two cows at a level. Who knows that the cattle did not make the level quiet, but were washed into the river by the flood. Therefore, the folk song goes: "Chaozhou Xiangqiao is so romantic. There are 24 ships on 24 continents 18, and there are 24 units on the 24th floor. Only two Niu Yi ships have slipped away."
1.2 magic color of ancient bridge
Guangji Bridge, which began in Song and Yuan Dynasties and flourished in Ming and Qing Dynasties, was in ruins before liberation. 1958, the government carried out a comprehensive maintenance of the bridge, demolished the pontoon structure of the 18-shuttle ship, kept the old pier, and converted it into a three-hole rigid truss and two high-piled cap bridges. 1976 was expanded again, and both sides of the bridge were widened by 2 meters for sidewalks. As a result, the popular folk songs in the past became legends.
During 1998, Chaozhou implemented the strategy of "revitalizing the city through tourism", and the restoration of Guangji Bridge was put on the agenda. In 2003, the restoration project was officially started. In 2007, the long-awaited Guangji Bridge was renovated, and this bridge, which made the influx of people at home and abroad dream, reappeared in front of the world with a brand-new look. The restored Guangji Bridge is unique and dazzling in the world with its exquisite charm and architectural style in Ming Dynasty, and has written a brilliant chapter in the history of human bridge construction with its historical, artistic and scientific values.
2. The unique mode of Liang Zhou combination.
In ancient Minnan, Liang Shi Bridge was built on the river. Chaozhou has been pro-Fujian and pro-Guangdong since ancient times, and so has Guangji Bridge, but it has formed a unique architectural form.
2. 1 Liangzhou is a bridge
The piers of Guangji Bridge in the "Mainland" mentioned by folk proverbs are all made of stone. Due to the limitation of material strength, the distance between two piers should not be too large; In order to bear the weight of Liang Shi between two piers, the pier's volume should not be too small, so it was extremely huge at that time, which was unheard of. Therefore, the artistic expression of the pier also focuses on its height and thickness, as well as its shape, concave and convex, lines and so on. Strive to be vigorous and reflect the beauty of heroism. The bridge connecting the piers is based on a straight line extending horizontally, and its volume is quite huge. Artistic expression focuses on straightness, smoothness and smoothness. The stone railing and the bridge form a whole, which changes the monotony of the linearity of the bridge, increases the sense of span and makes the bridge more accessible and beautiful.
Because the bridge adopts the form of Liang Shi Bridge, the total length of all piers accounts for nearly half of the total length of the bridge, which greatly reduces the actual width of the Han River. Moreover, when crossing the bridge, the river flow rate increases rapidly, especially in the flood season, when the flow rate in the middle reaches is too high, it is difficult to build piers, so a pontoon bridge has to be used instead. In the pontoon section of Guangji Bridge, eighteen wooden boats are connected with the bridge by ropes. Wooden boats are covered with boards, and wooden railings are erected as bridge decks for pedestrians. The wooden boat is simple in shape, streamlined, with two pointed ends and a small drum in the middle, which is like the shuttle of ancient women spinning and weaving, so it is also called "shuttle boat". Eighteen shuttle boats are neatly arranged, symmetrical and balanced, with light posture, rigorous and ingenious connection of all parts, and float lightly in the Han River.
Due to the unique combination of beam and ship, Guangji Bridge is a masterpiece of architectural art, with obvious characteristics only in form. No wonder Qiu Youshi praised: "Twenty-four rivers in the Western Heaven, eighteen red boats with iron chains".
2.2 Combining rigidity with softness
The architectural form and unique pattern of the combination of Guangji Bridge and pontoon bridge give people aesthetic pleasure. |
Stone is a heavy, solid and heavy traditional building material, so stone architecture gives people a feeling of enduring for thousands of years. Since the Song Dynasty, in the south where the gentle and feminine wind prevailed and the beautiful scenery prevailed, the collocation of stone piers, small bridges and stone railings showed a kind of masculine beauty, which was steady and solid, like a magnificent poem sung by stones. The pier stands like a mainstay in the torrent of "its flow is like a horse, and whoever touches it will go". In contrast, shuttle boats are made of wood, light and slender. In addition, the hull adopts the form of leakage, which enhances the ethereal and transparent effect and makes people feel unstable and vain. There is a conflict between the two. One of the stone piers and shuttle boats in Liang Shi is made of stone, and the other is made of wood. The materials themselves are in sharp contrast, which leads to the beauty of contrast. From the material of the bridge to the form of the bridge, there are contrasts everywhere, such as high and low, static and dynamic, heavy and light, masculine and feminine, cold and warm, solemn and lively, but on the whole, they are very harmonious and stable, which makes the form of the bridge not go to the extreme of being too masculine or too feminine, and makes people feel the beauty of combining rigidity with softness.
2.3 Harmony and sensibility
The morphological characteristics of Liang Shi Bridge are one-dimensional straightness and prominence in the horizontal direction, which has a strong sense of crossing and also embodies a kind of masculinity and solemnity. The pontoon bridge of Guangji Bridge is composed of flexible and lively shuttle boats, which avoids the defect that the shape of beam bridge is too straight, and expounds a kind of gentle beauty. It is precisely because of the contrast and adjustment between beam bridge and pontoon bridge that harmony can not be lost.
It's more interesting when the Han River is at high tide. Shuttle boats fluctuate with the tide, which greatly enriches the changes of the outer contour of Guangji Bridge. At this time, the bridge is no longer just a static straight line across the river, it is alive and full of movement. This vitality is given to the bridge by the shuttle boat in the middle of the river, which makes the pontoon part of the bridge jump like a piano keyboard. The roof style of the pavilions on the pier adopts the architectural forms such as folding eaves and cornices, just like the swallowtail of the eight-part essay in Han Dynasty, which makes the building look like a wing and the shape of the bridge more light and lively. In this way, the contrast between shuttle boats and docks, pavilions and docks is adjusted to the rhythm of movement and severity, which is very rhythmic. The shape of the whole bridge is smooth, rigid and flexible, dynamic and static, and the rhythm is very moving, which embodies a harmonious and affectionate aesthetic feature.
3. A beautiful water castle
In the architecture of China, pavilions with rich ornamental features are dazzling and there are many scenic spots. The pavilions arranged on Guangji Bridge have become the center and highlight of the bridge. It is true that it is rainy in the south. There are bridges and pavilions for pedestrians to shelter from the wind and rain. However, it is really rare for a bridge to have such a large scale, so many forms and so beautiful decoration.
3. 1 pavilion style
The pavilions on the bridge are rich in architectural styles, simple, broad, quiet, exquisite and elegant, with different styles, which not only shows the simple and atmospheric style of Ming architecture, but also reveals the majestic style of Han and Tang dynasties, and has an indescribable moving image of Xianshan Pavilion.
The volume, space and style of the upper pavilion of Guangji Bridge are coordinated and unified, thus showing its overall harmonious beauty. The plane layout and three-dimensional outline of the exhibition hall are symmetrical, which also gives people a harmonious aesthetic feeling. The abutment not only plays its own structural function, but also cooperates with the prism, which increases the sense of stability of the architectural appearance. Most pavilions have odd bays, with clear bays for beams, the largest bay in the middle and smaller bays on both sides, forming a rhythmic rhythm, which not only meets the functional needs, but also makes the spatial form receive a clear and prioritized artistic effect. The organizational system of pavilions is more free, including rectangular pavilions, square pavilions, hexagonal pavilions and fan-shaped pavilions. , all kinds of stretching, light.
Most pavilions do not have walls, and this space is open to accommodate the external scenery. The beautiful scenery outside the bridge was carefully selected, cut and integrated into the exhibition hall. If there are walls around and there are leaking windows on the walls, you can enjoy different scenery by walking through the windows. Surrounding and infiltrating the internal space of the building makes the landscape outside the bridge richer and deeper.
The roof full of soft curves is a major feature of China architecture. The roof on Guangji Bridge is "like a wing, like a flying wing", and its image is light and handsome. Far-reaching eaves, elastic cornice curves, slightly curved roofs formed by lifting frames, slightly upturned corners, and changes in various roof forms, such as resting mountains, hanging mountains, hard mountains and gathering points, make the shape and outline of the pavilion more and more abundant. Through these cornices pointing to the sky, we seem to appreciate the spirit of people looking forward to embracing the blue sky since ancient times.
3.2 Carving beams and painting buildings
Pavilions and pavilions are not an isolated body. Artisans mobilize all architectural elements and skillfully process architectural components by using the combination of wooden frames, thus achieving the unity of architecture and art.
After the artistic treatment of beams, purlins, eaves, rafters, sparrows, buckets, etc. from modeling to combination, these seemingly simple Woods appear as works of art in buildings, and the vertical columns are processed into octagonal columns or shuttle columns, and the column base is carved and the column body is carved; When the column diaphragm is inserted into the column, the lower part of the sparrow bends to make it more powerful; The beam is processed into a slightly arched center, which becomes a moon beam with elastic curve, causing the feeling of lifting weights easily; Joists on both sides of the short column are used as bending joists; Tilt the bottom of the bucket and twist the head of the bucket to make the bucket made of monotonous small wood have decorative effect. , make people feel the internal relationship between the stress state and the image of the component itself, and achieve the unity of strength and beauty. The internal structure of the building shows the rhythm of lines and many distinctive lines. Through the combined use of various structural forms, there is both a sense of solemnity and a sense of order. Craftsmen properly handle the subordinate relationship of various lines, which are full but not chaotic, complex and simple, and intertwined with each other, thus creating an artistic effect of overlapping up and down and creating a rich and splendid internal space rhythm.
Architectural decoration makes buildings have artistic appearance and expressive force of ideological connotation. In order to coordinate the color of the building with the natural environment in the south, the colors used in the building tend to be elegant, with only white columns, gray tiles, beams of mahogany and chestnut and red lanterns. The style is beautiful and elegant, which brings closer affinity to tourists. The artistic form of the gable roof has the local characteristics of Chaozhou. The roundness of the roof of Venus, the straightness of the roof of Jupiter, the rigidity of the roof of Mercury, the fierce flame of the roof of Mars and the square height of the roof of Saturn not only contain profound symbolic significance, but also make the architectural decoration look colorful. |
3.3 Reconnect the Exhibition Hall
As for the buildings on the bridge, the highest style of the roof is just the mountain-resting style, mostly the hanging mountain style and the pointed building style, and the pavilions are only two floors at most. However, according to the ideological and artistic requirements, craftsmen use simple single buildings to combine lines and surfaces in space, making it a complete and rigorous architectural art group system. The outline of the couplet pavilion is a beautiful curve, which reminds people of the melody of music. Seen from a distance, the skyline of the bridge shows the perfection of change and rhythm.
Guangji Bridge is arranged along the longitudinal axis, with balanced layout and clear direction. Pavilions and pavilions are embedded in this line layer by layer in turn, forming a layered deep space. From a distance, each pier is a line, but from a close point of view, it is patchwork, with different heights, which constitutes the beauty of patchwork. The pavilion on the bridge gradually rises from Guangji Building to North Korea Building, and then gradually descends to the junction of Liangzhou. Small buildings such as squares, corridors, doors and railings are arranged on the axis, which also plays the role of connection and partition. Layers of pavilions overlap, either hidden or present, and the arrangement of hiding and leaking makes people feel endless beauty. The space on the bridge is large and small, wide and narrow, which forms a strong sense of rhythm with the change of architectural modeling. This dynamic beauty can be seen everywhere in architecture. With people walking, the scenery is constantly changing, people's scattered density, distance contrast, high and low echo, the looming changes of buildings, resulting in changes in aesthetic taste.
"Architecture is solidified music", and the architecture on the bridge is like a colorful and distinctive theme music. Only by carefully understanding the notes and movements in music can we understand the whole picture and climax of music. Roof, bucket arch, beam, column, fang, purlin, etc. It's a note in the movement. A single pavilion is just an action, and actions can be combined to form large-scale music. Through overture and different movements, it gradually reached the climax of the whole song, and then came to an end. Each movement has its own characteristics, ups and downs, unified under the main theme, forming a perfect and harmonious whole.
4. Interesting couplet plaque
People can enjoy not only the beauty of architecture, but also some couplets on Guangji Bridge. These exciting couplets are decorated with pavilions and pavilions, which not only express the poetic meaning of the bridge, but also deepen the artistic aesthetic taste of the bridge, fully embodying the national characteristics of China architecture.
4. 1 Flying dragons fly away.
Calligraphy is deeply rooted in China culture and bears the humanistic ideals and pursuits of the Chinese nation. Calligraphy art is attached to bridge buildings in the form of plaques and couplets. Moreover, the ancient customs are particularly visible, with a strong book fragrance and high ornamental value.
In the couplets of Lingxiao Building, "One Tower Clouds Write and Three Peaks Bridge Shake Empty", calligrapher Liu Yi combines the brushwork of regular script and cursive script, which has the characteristics of rigorous structure, delicate and vivid regular script, continuous cursive brush strokes and smooth font structure. The whole picture of couplets is radiant, full of momentum and patchwork. Calligraphers make full use of the weight of pens, the strength of stippling lines and the ups and downs of rules to create rhythmic changes, which vividly show the beauty of calligraphy and the rhyme of pen and ink, and the style is simple and meaningful.
The couplets of Deyuelou are full of gas and light, and Wan Li remains unchanged. The style tends to be refined, showing a quaint beauty. Calligrapher Tong Wei adopted a delicate and elegant Cao Zhang, which is characterized by the interruption of words without entanglement, and the inherent knot of cursive characters, which rarely changes at will, in order to achieve the same goal at one go. The lines are smooth, elastic and flat, which contains risks. Cao Zhang's waves are used properly, which makes the words sometimes introverted and sometimes open, which increases the sense of change and rhythm. From a distance, the static plane of the font is gradually transformed into a dynamic space, as if dancing on a pillar.
Compared with the calligraphy of Deyue Building, the couplet of Yunqu Building is "Clouds around Yingzhou, rivers out of the sky; Qu Tang Peng boarded the island and boarded the sun pavilion, which embodies a kind of bodybuilding and good weather, a kind of masculinity of the times. "This kind of beauty is different from the obscure and profound spirit of stone scrolls pursued by literati since the Ming and Qing Dynasties, but it contains a kind of awe-inspiring spirit of' blocking darkness'. Zhang Hai, a calligrapher, is characterized by his hearty brushwork. Although his works are full of vigor and vitality, he thinks they are pleasant, readable and have artistic affinity with readers. The calligrapher is good at various styles, so that his fonts are painted in strange ways in vertical and horizontal rotation. There is calmness in flying, boldness in writing, and vigor and calmness in breath. Instead of sticking to the so-called center and flank, we try our best to change the style of writing.
The couplets in Curling House, "Spring and Autumn History is a golden mirror, and the heart of ice and snow poetry is in the jade pot", although cursive, are completely different from the current calligraphy. The works insist on pursuing the beauty of being heavy, clumsy and great, and infect the audience with a profound sense of strength. His book style is integrated with inscriptions, and his spirit is broad-minded. It is dignified, old-fashioned and rough, regardless of structure and lines, it is not artificial and unnatural. At the same time, calligrapher Shen Wansheng pays attention to the rich changes of lines, the avoidance of words and the vertical and horizontal combination of stippling, thus making his works have strong visual tension and the spirit of the times. When he set out to write a book, it was full of waves, round and square, dry and moist, overlooking the vast expanse, cool and moist without losing charm. The lines between the lines are full of frankness and openness, giving people a free and easy aesthetic feeling.
In addition, there are many famous works on the bridge, including Zen Buddhism, quiet and elegant, delicate and smart artistic style, vigorous and vigorous, and chic calligraphy style. All kinds of calligraphy have different styles, and the mystery of their spiritual images makes the viewer relaxed and happy, which leads to different levels of aesthetic feelings. The whole bridge brings people not only the wonder of form and technology, but also the edification of art and culture.
4.2 scene fusion
Although couplets are only a few words, they are very implicit literature. Literati often express or entrust some thoughts with freehand brushwork, render the environmental characteristics of architectural landscape, expand the limited space in front of them to infinite nature, and create a broad and far-reaching artistic conception.
There are two forms of rendering the architectural landscape by couplets: the first is that the content of couplets is not particularly closely related to the architectural image, and its aesthetic value is fully reflected in neat and beautiful proverbs, elegant remarks and beautiful words. Such as Deng Yinglou, Xiao Penglai Lou, Fenglinzhou Lou and other pavilions, as well as the couplets of Chaoxian Lou, such as "the moon plays the flute, Yingzhou is beautiful, and writes poems". Ancient Chaozhou "coastal county, heavy weight, majestic mountains and rivers, mountains and rivers win." Since ancient times, it has been called Yingzhou Cloud. " Yang Wanli, a poet in the Southern Song Dynasty, once wrote a poem: "The jade pot lies at the bottom of the ice, and the three overseas mountains fall in sight." Reading these couplets now, we can combine the real scene in front of us with historical fantasies and legends and myths, and use both the virtual and the real, which deepens the beauty of artistic conception and greatly improves the aesthetic value. Second, the content of couplets has some special connection with the architectural form or environment, which plays the role of making the finishing point. Located at the easternmost end of the bridge, the pavilion is named Hanyang Pavilion because it is adjacent to Hanshan and Hanwengong Temple, and in order to express the admiration of hipsters for Hanyu. The plaques of Lingxiao Building, Chengjian Building, Zengbi Pavilion, Qingyi Pavilion, Xiazi Pavilion and Moon Pavilion respectively depict the four seasons scenery that can be seen on the bridge: towering into the sky in the morning; A river like a mirror; At high tide, the blue waves of the Han River rippled; Hazy smoke after rain; The colorful clouds in the sky at dusk and the bright moon hanging in the sky at night can vividly describe the landscapes of different periods and create an imaginative space in the scene where the subject and the object blend. |
However, in contrast, a group of old and new couplets on the bridge are more attractive, and each pair is unique.
You Tong Lou's couplet "Three peaks in the cloud meet the threshold, and a water in the smoke holds the city" is written as a whole, which shows the momentum. Chaozhou city has a pattern of "three mountains and one water protecting the city wall" since ancient times, and Guangji Bridge is the only way for people to enter and leave the city gate, so the bridge is compared to the threshold. "Cloud" and "smoke" construct a misty and rainy scene, which vividly displays the spatial environment of the bridge and makes people have a long aftertaste.
Facing the picturesque scenery, the author wrote a couplet of "flute playing on the sea and moon, beautiful scenery in Yingzhou and writing poems". This combination of scenery and scenery not only expresses admiration for Chaozhou scenery, but also expresses the feeling of its beautiful scenery and the feeling of carefree when enjoying the scenery. This couplet is full of a relaxed and quiet spirit.
In the couplets of Feiyue Building, the pavilion name is skillfully used. The first part about mountain scenery is to look up, and the word "breeze" renders the mountain scenery to the extreme with a gentle breeze. The second part of the waterscape is overlooking, and the word "shake" describes the dynamics of water waves. The All-China Federation wrote a vibrant scene along the Han River, injecting dynamic vitality into the original static picture.
The couplet of Wonder Building "locks the long bridge on the boat and floats on the Gankun line;" The pavilion is far away from the mountain, and the sun and the moon leap for thousands of years. "It is rare in the world to describe the structure and style of Guangji Bridge. "The boat locks the long bridge, and the Gankun floats on the first line" vividly shows the scene of the shuttle boat locking the bridge and the floating bridge lying on the water, while "the pavilion is far from the ridge" implies that there is a pavilion on the bridge. Words such as "lock", "float", "title" and "jump" properly describe the state of the scenery and play a wonderful role in conveying feelings through the scenery.
In Hongfei Building, "the pavilion is green and there are two rainbows on the river"; In Deng Yinglou, "Phoenix and terrace are separated by 3,000 boundaries, and crocodile waves are divided into 24 continents"; In Cui Qi Mansion, "Crocodile waves are green, Korean temple trees are green" ... These couplets are like freehand sketches, each with its own characteristics.
5. Cultural design concept of "harmony between man and nature"
"Harmony between man and nature" is the core idea of China's traditional philosophy, and it is also reflected in China's traditional architectural culture. It embodies the good wishes of human beings to respect nature and live in harmony with nature, as well as the national cultural view and aesthetic view, so as to achieve the perfect unity of humanistic ecology and natural ecology, which has its scientific value. When chaozhou people built Guangji Bridge, it was no exception. From the site selection, layout and modeling of the bridge to the relationship with the surrounding environment, this philosophy and cultural design concept are integrated into the Guangji Bridge.
5. 1 Feng Xia
Chaozhou has always been the spatial form of Bijia Mountain, Hulu Mountain and Jinshan Mountain, and the Hanjiang River is surrounded by water. Guangjimen is the gate for people entering and leaving the city, and it is where the harmony and potential of the city lie. The Guangji Building on the door pays attention to the distinction between yin and yang of the building, which embodies the balanced architectural feng shui pattern. From the geomantic analysis, this area is a collection of Chaozhou culture essence. The Hanjiang River goes out of the city from north to south via DC, and the water flow in Guangjimen is more turbulent. Building a bridge in front of the door can play a symbolic role in locking the water flow and retaining the financial resources, and converge into a vein of feng shui cohesion, so the bridge is also a treasure house of feng shui in history. According to the modern scientific concept, this site selection is reasonable. A bridge can radiate the whole city, and it is also conducive to communication with the outside world. Guangji Bridge is the only road from eastern Guangdong to Fujian and Jiangxi, and Hanjiang River is the traffic artery of eastern Guangdong. Therefore, once the bridge is completed, it will become an important hub for the distribution and transshipment of goods. There are many shops on the bridge, which is very lively, so there is a story of "a long bridge in one mile, a city in one mile". A bridge has both traffic function and commercial function, which is rare in the history of Chinese bridges.
The design of the bridge itself also attaches great importance to the theory of Yin-Yang and Five Elements. Chaozhou people's spirituality and emotion promoted the function of the bridge from the material level to the spiritual level. From the two piers connecting the beam bridge and the pontoon bridge to the shuttle boat, there are 24 steps, which are designed according to the 24 solar terms, symbolizing the harmony between Yin and Yang of the bridge. In order to keep the bridge from flooding, the craftsman cast a cow on the bridge. According to the theory of five elements, cattle belong to ugliness. Among the twelve branches, ugliness belongs to soil, and "soil can win water". The ancients also used four elephants to match four directions. The dragon making waves in the water is located in the east, and its attribute is wood. Casting cattle with metal can strengthen their functions of "water potential" and "bad water"
From today's perspective, similar feng shui symbols naturally did not play a role in real life, but at that time they had a positive impact on people's psychological role and also played a very good role in beautifying the environment. In fact, the concept of Feng Shui under the cover of Taoism, religion and superstition has its scientific value.
5.2 Strong sound of science and technology
The nearly thousand-year history of Guangji Bridge bears the heavy development history of Chaozhou civilization, the brilliant wisdom of hipsters and the essence of science and technology.
The reason why Guangji Bridge still stands on the river after the flood is because of its reasonable structure and superb construction technology. Shuttle boats can be opened and closed, which is convenient for navigation and also has flood discharge function. Craftsmen cut the angular section of the pier into a boat-like shape, and the water surface is pointed, which is convenient for water distribution and is not easy to be hit and entangled by floating objects, thus reducing the impact of river water on the pier. The gaps between the stones of the pier are not filled with mortar, but are chiseled with mortises and tenons to make them combined, firm and elastic. The arrangement of piers seems normal, but it is built on the residual vein extending from Bijia Mountain to Han River, so the bridge is stronger. This kind of building truly achieves the integration of nature and labor, and fully demonstrates the craftsman's design concept of "harmony between man and nature".
Structurally, hipsters also have many creations. When the bridge was built, because the Liang Shi was too big and heavy, craftsmen put Liang Shi on the boat and set it on the pier at the high tide of the Han River. This is what people often call the Upright method. In addition, in the construction of bridge foundations and piers, craftsmen have many inventions, some of which are still in use today.
It is the wisdom and painstaking efforts of hipsters that make the scientific value contained in this bridge manifest and influence it to this day. In the history of Chinese bridges, there is an isolated Guangji Bridge, which integrates beam bridge, arch bridge and pontoon bridge. The "world's earliest opening and closing bridge" can be settled in Chaozhou. |
5.3 Harmonious ecology
Goethe said: Beauty is relationship. The bridge and the surrounding environment exist in a specific space at the same time, and are combined in the overall image of the landscape. Bridges should not only have their own formal beauty, but also coordinate with the surrounding landscape to achieve harmony with the environment, thus protecting the beauty of nature and creating the beauty of bridges.
The environment of Guangji Bridge is very rich in the artistic conception of natural landscape. Craftsmen skillfully use scenery comparison and borrowing scenery to put all the nearby landscapes in the best position to enjoy the scenery, and take the best natural environment as the foil of the bridge to create and strengthen the aesthetic characteristics of the harmonious ecology of Guangji Bridge, so that people will always marvel at and praise the scenery beside the bridge.
Guangji Bridge is located in the South Korean water god, with Bifeng in the east, an ancient city in the west, Phoenix Island in the south and jincheng mountain in the north, which constitutes a magnificent picture of the ancient city protected by water-colored mountains. In addition, with the Phoenix Peak in the distance as the background and foil, there are mountains outside the mountain, forming a multi-level three-dimensional contour line, which increases the sense of depth and distance of the landscape. The rolling Bijia Mountain and the winding Han River with jade belts are full of gentle twists and turns, making the picture smoother and more lively. The majestic bridge leads the way, crossing the Han River like a rainbow, connecting the two banks and becoming a beautiful landscape on the river. The famous "Eight Scenes of Chaoshan" at home and abroad, such as the oak tree in the Han Temple, the rain in the Phoenix, the Long Ta, the beige Buddha lamp, the crocodile crossing the autumn wind and the Gu Song in Jinshan, are scattered in this beautiful picture. These beautiful scenery, which are suitable for both poetry and painting, complement each other with Guangji Bridge, expand people's spatial feelings when enjoying the scenery on the bridge, and sublimate people's thoughts and feelings. The bridge at night has a unique style, and the ancient bridge and the bright moon of the stars blend together to form a quiet night scene. Stop on the bridge to watch the night scene, and suddenly look back at the dim light.
6. Eternal and precious cultural heritage
The eternal value of Guangji Bridge is gradually formed with people's life for thousands of years. In the whole architectural system of Guangji Bridge, the unique modeling style is reflected by the special bridge type, which makes people feel something. The comprehensive artistic value is expressed in a concise architectural form, which makes people know something; Subjective association is triggered by objective symbolic means, which makes people understand; With superb architectural technology, it conveys rich scientific information for people to understand; It constitutes an absolute environmental atmosphere with a relative spatial scale, which makes people feel something. The integration of various elements has sublimated the bridge from a simple architectural level to an artistic level, and gained great historical, cultural and scientific value. Her vicissitudes and beauty are undoubtedly a valuable cultural heritage. She belongs not only to Chaozhou, but also to the Chinese nation, and she also belongs to all mankind.