Characteristics of ancient Chinese architectural art Appreciation of pictures of Chinese classical gardens

Chinese architecture has a long historical tradition and glorious achievements. Whether it is the beauty of Suzhou gardens or the splendor of the Forbidden City, they all reveal the wisdom of ancient Chinese architecture. The characteristics of ancient Chinese architectural art are multifaceted. Today, the editor will first introduce to you the characteristics of the layout angle.

Frame structure

This is the most important structural feature of ancient Chinese architecture. Because ancient Chinese architecture 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 play the role of partitions, rather than the structural part that bears the weight of the house. . The old proverb "the house does not collapse when the wall falls" summarizes the most important characteristics of the frame structure of Chinese architecture. This structure allows the house to meet the ever-changing functional requirements of life and production under different climate conditions. At the same time, since the walls of the house do not bear weight, there is great flexibility in the setting of doors and windows. In addition, this frame-type wooden structure forms a unique component that was only found in palaces, temples and other high-end buildings in the past, namely the bunches of "bucket arches" under the eaves. It is composed of bucket-shaped wooden blocks and bow-shaped crossbars, crisscrossed and stretched out layer by layer, forming a large upper and smaller bracket. This component not only supports the load beam, but also has a decorative effect. However, after the Ming and Qing Dynasties, due to the simplification of the structure, the beams were placed directly on the columns, causing the structural role of the brackets to almost completely disappear, turning them into almost pure decorations.

Courtyard group layout

From ancient literature records, images of ancient buildings in paintings to existing ancient buildings, ancient Chinese buildings have a concise layout in terms of layout. The organizational law is that every residence, palace, government office, temple and other buildings are composed of several single buildings and some corridors, walls and the like surrounded by 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 China's feudal society of "ordering the young and old, and distinguishing the inside and outside." 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 forms a deep spatial organization of courtyards. Ouyang Xiu's poem "Butterfly Loves Flowers" in the Song Dynasty contains the words "How deep is the courtyard?". The ancients once described the residence of big bureaucrats as "The Houmen is as deep as the sea", which vividly illustrates the layout of Chinese architecture. important features.

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 are typical examples that best embody this group layout principle. This layout is closely related to the patriarchal and ethical systems 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.

The artistic effect created by China's courtyard-style group layout has its unique artistic charm compared with European architecture. Generally speaking, a European building is relatively self-explanatory. However, China's ancient buildings are like a long scroll of Chinese painting, which must be viewed step by step, and it is impossible to see them all at the same time. When entering an ancient Chinese building, you can only walk from one courtyard to another. You must walk through them all to see it all. The Forbidden City in Beijing is the most outstanding example. When people enter from Tiananmen, every time they pass through a door, they enter another courtyard; walking from one end of the courtyard to the other, the scenery changes step by step, giving people a profound impression. feelings. The artistic image of the Forbidden City has remained deeply in people's minds.

Ground layout

The floor plan of a building is an important factor in determining the shape of a building, a group of buildings, a group of buildings, or even a village, town, or city. In ancient Chinese architecture, there are basically two ways of layout. One is solemn and majestic, neat and symmetrical, and the other is twists and turns, flexible and diverse. Most of the imperial palaces, temples, and mausoleums in Kyoto, government offices, palaces, and residences, religious temples, palaces, ancestral halls, and guild halls all adopt the former form.

Its plan layout is characterized by an obvious central axis, on which the main buildings are arranged, and the supporting buildings are arranged on both sides of the central axis. This layout has clear priorities and is symmetrical. Taking temples in Beijing as an example, there is a screen wall or archway at the front on its central axis, followed by the mountain gate. Within the mountain gate is the front hall, followed by the main hall (or the main hall), and then the back hall and the sutra collection building. The supporting buildings are arranged on both sides of the central axis, which are uniform and symmetrical. For example, there are side doors on both sides of the mountain gate, auxiliary halls on both sides of the main hall, verandas, auxiliary halls, etc. on both sides of the other halls. The craftsmen used techniques such as the clouds to support the moon and the green leaves to support the red flowers to set off the solemnity and majesty of the main buildings. This type of building generally adopts this layout technique regardless of the number of buildings or the size of the building complex. From one gate and one hall to two, three and even nine palaces, this is the pattern in the huge imperial capital. This solemn, majestic, neat, symmetrical, and foil-based approach fully meets the needs of rulers and the teachings of gods and Buddhas for respect, sublimity, and solemnity. Therefore, it has been passed down and followed for thousands of years, and has been gradually improved. Another layout method is the opposite. It does not seek uniformity or symmetry, but is arranged appropriately according to local conditions. Most of the landscape gardens, residential buildings, mountain villages, water towns, etc. adopt this form. Its layout method is to flexibly lay out according to the mountain and river situation, geographical environment and natural conditions. For example, residential buildings, even temples and government offices, which are located at the foot of mountains and rivers, are always built facing the river and facing the mountains, and are built layer by layer according to the mountain topography. This situation is most suitable for southwest mountainous areas and Jiangnan water network areas as well as locations with more terrain changes. This layout principle has been used for thousands of years and has a scientific theoretical basis because it adapts to the needs of my country's vast areas with different natural conditions and the different cultural characteristics and customs of multiple ethnic groups. Chinese-style gardens are examples of flexible layout and twists and turns. The layout of cities, villages and towns in mountain cities and water towns is also based on the natural situation and river network conditions, and is determined according to local conditions. Many ancient town plans and architectural styles that are both practical and beautiful have emerged.

Architecture is not just a technical science, but 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 becoming an intangible cultural heritage of Chinese culture. .

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