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Liang Sicheng's 20th Lecture on China Architectural Art Lecture 6: The Evolution of China Architecture

This article is excerpted from Preface to Ancient Buildings and published in the 3rd issue of Cultural Relics Reference 1953, with the title added by the editor.

It is not enough to know the types of various buildings in the motherland, appreciate their art and estimate their historical value. Archaeologists have the task of preserving and studying cultural relics. First of all, they must have at least knowledge of the history of architectural development. How did the architecture of China system develop? It develops with the development of China society. It is based on a certain social and economic foundation of each era, which is inseparable from the productivity and production relations of the society at that time, and also inseparable from the dominant world outlook at that time, that is, the ideology accepted and recognized by people at that time.

On several main stages of China's history and its architecture at that time. For example: (1) Shang Dynasty was considerate to the Spring and Autumn Period and the Warring States Period; (2) Qin and Han Dynasties to the Three Kingdoms; (3) Wei, Jin and Six Dynasties; (4) Sui and Tang Dynasties to Five Dynasties; (5) Liao Song to Jin Yuan: (6) Ming and Qing Dynasties.

The first stage: Shang, Yin, Zhou, Spring and Autumn Period and Warring States Period. Shang Yin is the era of slave society. Although from the early Zhou Dynasty to the Spring and Autumn Period and the Warring States Period, there was a feudal social system, but basically slavery still existed, and serfs and prisoners were slaves of feudal lords. Slave owners and princes in the early feudal period owned all the wealth: their property included people who worked for them-slaves and prisoners. Every emperor and king forced these people to build the buildings they needed. What kind of buildings do they need? Most of them use the labor of many slaves to build huge buildings. For example, because they want to confuse those who serve them with ghosts and gods, they want to build altars for sacrifice; Because they often go out hunting, they need to build a high platform to climb high and look far; Before they die, they will build themselves a particularly noble and tall house, the so-called "ruling the palace" to show their dominance; After death, we must dig an extremely luxurious and solid cellar, the so-called "Jianling", to preserve their bodies and bury many of their belongings with them, so as to satisfy the concept that they can still possess property after death. They need to defend against the nations or tribes that are hostile to them, and they need fortresses, city walls and beacon towers for defense. Although the structure of the palace in the Yin Dynasty was simple, it certainly made great progress compared with the simpler and primitive cave era and the era with wooden structure. By the beginning of this week, the construction engineering technology has taken another step. The Book of Songs describes that "Sikong" and "Situ" were called at the beginning of the Zhou Dynasty, which proves that there are also people in charge of the project and some engineering organization to carry out construction activities. The so-called "building a country and building a house" means building a city in a planned way. The so-called "temple wing", "high door" and "response door" are obviously artistic treatments of the structure, shape, type and location of the building. During the Spring and Autumn Period and the Warring States Period, not only the productivity was improved, but also the relations of production changed greatly. At that time, there were small farmers and businessmen, and not all craftsmen engaged in handicrafts were slaves. Some people are engaged in various handicraft production, and Mozi is one of them. Another example is the record of "the cleverness of the public lost the child." It is said that Lu Ban is the most skillful craftsman among carpenters, which can also prove that although some skilled craftsmen at that time were still exploited working people, they were valued by ordinary people because of his "cleverness". In architecture, the feudal lords of Yan, Zhao, Chu and Qin in the Seven Kingdoms were very extravagant. The so-called "high platform" and "beautiful palace" are all very prosperous. According to records, someone saw Qin Gong say, "It is tiring to make ghosts do it, and it is also painful for people to do it." In this case, we can infer that the construction technology at that time must be more advanced than before, and it also needs a lot of manpower.

The second stage: Qin and Han Dynasties to the Three Kingdoms. Qin unified China, and Qin Shihuang's architectural activities are common in the records, which are very prominent and large-scale. Such as: building the Great Wall, paving roads, etc. He also imitated various palaces and built them in the north of Xianyang. First, there are more than 100 palaces, which is not enough. He also built the famous Epang Palace. The front hall of the palace is said to be "500 paces from east to west, 50 feet from north to south, with 10,000 people on top and 50-foot flags on the bottom". Of course, it's a big scale. Qin Shihuang also drove craftsmen to build his huge and complicated mausoleum. In engineering and architectural arts, people have certainly created many new experiences in developing their smart construction architecture. However, the exploitation and enjoyment of the rulers and the annexation of powerful countries concentrated the land in the hands of a few people, causing great resistance from farmers. At the end of Qin dynasty and the beginning of Han dynasty, farmers revolted in succession. Xiang Yu hit Xianyang and set fire to Qin Gong, but the fire did not go out in March. In architecture, the essence of people's wealth and technology is often regarded as something that represents the greed and cruelty of rulers, so it is destroyed in the struggle. Xiang Yu's burning of Qin Gong is the earliest and most typical example. After Liu Bang's victory in unifying China in the early Han Dynasty, he still usurped the dominant position with the feudal system. His descendants were extravagant emperors from the Western Han Dynasty to the Eastern Han Dynasty, constantly building palaces and leaving them for themselves; According to Hanshu, there are famous Weiyang Palace, Changle Palace, Zhangjian Palace, Gong Bei Palace, Guigong Palace and Mingguang Palace in the Grand Palace in Chang 'an, the capital of Han Dynasty, which are all huge buildings. There are many descriptions of architecture in the literary works of Han Dynasty, which praised the architectural art at that time and its gorgeous and rich image. Such as the famous Lu Lingguang.

Dian Fu, Du Liang Fu, Liang Jing Fu and so on. In fact, there are still so-called "stone tombs" and "stone shrines" in front of the Han tombs today. There are stone murals on the shrine (in Sichuan, Shandong and Henan provinces) and "cliff tombs" carved from hanging stone cliffs. In addition, there are "funerary objects" buried in the tomb (many of them are ceramic models of various houses), and large hollow bricks and brick columns with patterns. Therefore, we can still see the true image and detailed technical outline of Han architecture today. The prosperity of industry and commerce in Han Dynasty, the increase of population, the expansion of territory and foreign trade, and the development of splendid early feudal culture spread all over the country, just because emperors, nobles, bureaucrats, landlords, businessmen and tycoons all exploited farmers and handicraft workers together and squeezed them with super economic violence. At the end of the Han dynasty, after a long period of destruction, the famine uprising and the warlord regime killed each other to a terrible extent. The richest places were severely damaged, and hundreds of miles around Beijing were completely destroyed. The densely populated areas in the Yellow River Basin are actually "thousands of miles away" or "people eat people". The essence of Han architecture and the level of comprehensive image are by no means represented by the remaining objects today. We know little about the architecture of the Han Dynasty. From the ruins of the Three Kingdoms or the early Jin Dynasty, we can see that some important traditions and characteristics of the mature culture and art in the late Han Dynasty survived the disaster. The so-called three kingdoms, except Wei in the north, have been distributed in Wu along the Yangtze River in the southeast, and in the mountainous basins of southwest Sichuan during the Shu-Han period. Architecture and various crafts can be preserved or developed in very different environments. The original essence of Chang 'an and Luoyang was completely destroyed. However, although the people were poor in the war, the rulers rushed to build some pavilions for fun from time to time. Cao Cao's bronze sparrow terrace is a famous example. In art, the Three Kingdoms period is basically the end of the Han style.

The third stage: Jin, Wei, Jin and Six Dynasties. After a great robbery, the culture and art of the Han Dynasty continued to the early Jin Dynasty. Due to the external influence of the western regions, many new factors have emerged in artistic style. In the mature Chinese techniques, a relatively gentle and extremely rich change has developed. However, in the Northern Wei Dynasty, after the Five Dynasties and Ten Kingdoms Rebellion, the northern minorities entered the Central Plains and occupied a dominant position, which brought many artistic influences different from China culture. Great changes have taken place in China's craft and architectural activities. Shi Hu and Helian Bobo, the rulers of the two northern nationalities, built palaces after they entered China. These buildings are only recorded in literature, and there is no physical witness. I don't know what the formal method is. We can infer that the wooden buildings have not changed much. At that time, the skilled workers were basically Han Chinese, but many of them were influenced by the outside world and carved lotus flowers from stones to build bathrooms. The ruler of the Northern Wei Dynasty was Xianbei nationality. At the same time, when its capital is big, it chisels the Dashiku Temple in Yungang. The original style used to rely on monks from the Western Regions, so the carvings and patterns have a strong western and Indian sentiment. After moving the capital to Luoyang, Longmen Grottoes were built. At that time, craftsmen in China were very skilled in carving Buddha statues and Buddhist stories. Their artistic style was to absorb foreign influences from China's primitive art and try their own creations. Although the theme is still foreign Buddhism, it has a strong flavor and style of China traditional art in expression. In the architectural activities of this period, except for the palace, the main theme was religious architecture; Such as monasteries, temples, cave temples or cliff statues, wooden pagodas, brick pagodas and stone pagodas, there are many outstanding new creations. The influence of Greek and Persian art in India spread to China through Buddhism. In terms of wooden buildings, the external influence has always been small, but some changes have been made in the original structure or plane layout to solve the contents needed by Buddhism. The most obvious example is the tower. At that time, the tower was basically a "heavy house" in the Han Dynasty, that is, a small pavilion with many floors, on which Buddhist symbols were added, such as the "cover bowl" and "phase wheel" at the top of the tower (this part is called the "brake" at the top of the tower, which is a miniature Indian tomb tower, transliterated as "slope" or "pagoda girl" in China). At that time, temples were basically the same as other non-religious courtyards and halls in China, except for pagodas, but their internal functions changed their nature. Because they serve Buddhism, all arts, decorations and murals mainly convey religious ideas. At that time, the working people were permeated with devout religious enthusiasm and created active and brilliant art. During this period, many buildings and sculptures made of stones and bricks have been preserved to this day, which are more durable than wood structures. They are the most valuable cultural relics in China today. They mainly represent sculptures, but they also show the architecture at that time. Such as: Dunhuang, Yungang, Longmen, Xiangtang Mountain, Tianlong Mountain and other famous grottoes, as well as some small "statue stones". There are also independent buildings, such as the brick tower of Song Yue Temple in Songshan and the Simen Pagoda on the outskirts of Jinan. The wooden buildings at that time have not been preserved until now because of various unfavorable conditions. Most of the essence of Buddhism in the Southern Dynasties is made of wood, and there is no real thing at present. All we see now are stone carvings, watches and lions in front of the mausoleum. During the Southern and Northern Dynasties, there was only one wooden tower in China, which was described in detail in the literature, that is, the famous "Hu Taihou Wooden Tower" in Luoyang in the Northern Wei Dynasty. This realistic record gives us a lot of valuable concrete information for our reference, which can be compared with the wood structure and tower type after Sui and Tang Dynasties.

The fourth stage: Sui, Tang and Five Dynasties Liao. After constant wars in the Northern and Southern Dynasties, the Sui Dynasty unified China, and the redistribution of land improved productivity, so before the middle of the Tang Dynasty, it was called a peaceful and prosperous time. At that time, the ruling class made full use of religious power to help them rule the people, so they strongly advocated Buddhism. While suffering, people rely on the illusion of Buddhism crossing the afterlife to eliminate the pain, and also need religious comfort. Therefore, the more popular Buddhism is, the more temples and towers are built, and religious architectural activities can be seen everywhere. At the same time, the Taoist forces loved by the ruling class became active because of the support of feudal lords. Resplendent Buddhist temples and Taoist temples are all over China. At that time, craftsmen put their enthusiasm and strength into many artistic creations, such as painting, sculpture, silk, gold and silver vessels and so on. Architectural art reached a high degree of perfection at that time. Due to the prosperity of culture and the prevalence of religious buildings in various places, the number of skilled craftsmen has increased, and there are more opportunities to spread to apprentices. The practices of various departments in construction and the accumulated experience of revision have been gradually summed up, becoming a system and solidified. In the Tang Dynasty, architectural modeling, detail treatment, decorative patterns, wood carving and stone carving all had meticulous and wonderful methods, and the soft or steady effect of the outer wheel line became the characteristics of that era. The physical objects of the Five Dynasties and Liao Dynasty basically inherited the styles and practices solidified in the Tang Dynasty, and even the large buildings in the early Song Dynasty were still very close to the styles of the late Tang Dynasty. Undoubtedly, before the Middle Tang Dynasty, China's architectural art reached an artistic peak, which could not be compared with it in the subsequent feudal cultural climax of Song, Yuan, Ming and Qing Dynasties. The biggest reason is that the creation of religion and art has been carried forward from people at that time to a brilliant peak. The feudal ruling class only grasped the vitality of these arts to serve its own political power and court life, and supported it with great political and economic strength. Huge palaces, gardens, detached palaces and other pavilions were created by working people. Until the people were crushed to hunger and cold, poverty and poverty, the rulers were corrupt, ignorant and greedy, and the economic and military strength could no longer maintain political power. In addition, when the threats from other regimes and nationalities in the border areas became more and more severe, and the peasant uprising and resistance became more and more fierce, the working people lost interest in creating architectural art. In such a period, the rulers' buildings were forced to serve and relied on skilled workers to maintain traditional methods. In Chang 'an, the capital of the political power center, the forces of prosperity and destruction are just two extremes. However, until the end of the Tang Dynasty, attitudes towards religious architecture were always different all over the country. The people were deceived by the happiness of religious fantasy, but they still didn't lose their enthusiasm. These elaborate works of art are still often exhibited in temples, pagodas, Buddha statues and sculptures.

The fifth stage: Song, Jin and Yuan Dynasties. The architecture in the early Song Dynasty is also the format of the Five Dynasties and the end of the Tang Dynasty, which is not much different from the architecture in the Liao Dynasty. However, around the year 1000 (Song Zhenzong), due to the dredging of the canal and its opening to the south of the Yangtze River, industry and commerce developed greatly, and the public and private buildings in the capital city of the Song Dynasty (now Kaifeng) flourished, and the creativity of the builders came into play. The techniques began to be meticulous and feminine, and they paid more attention to the shaping of every part of the building. All kinds of pavilions and buildings are elegant. As the capital and cultural center of the Northern Song Dynasty, Bianliang is in the middle of two different architectural tendencies, influenced by the beauty of the south and the majestic style of the north. The architectural style of the Song capital in this period can be said to be more or less a combination of north and south styles, and it also played a role in bridging the gap between the north and south. At that time, Bianjing was a combination of heavy buildings and pavilions, just like Tokyo described by Fan Lou in The Chinese Dream. In the backyard of the banquet in the palace, every generation has a library pavilion, and the pavilion for observing the beauty of China in the temple also occupies an extremely important position. Their general style and posture can also be seen in many Song paintings, the most realistic ones are: Yellow Crane Tower, Pavilion, Pool, etc. The architecture of Kamakura era in Japan was also influenced by the architecture of this period in Song Dynasty. One of the main features is the mansion in front of Xieshan Flower House. This format almost disappeared from the Song Dynasty, except for a few examples in the Jin and Yuan Dynasties. This was a common style at that time. Today, the watchtower of the Forbidden City in Beijing is the heritage of this style. After the Northern Song Dynasty, the cultural center moved south. On the one hand, Nanjing's architecture was influenced by the official system of the Northern Song Dynasty. On the other hand, it has the factors and technologies of southern natural environment materials and certain traditional conditions. The developed buildings have their own characteristics, which are different from those in the Northern Song Dynasty. In terms of verve, it lost the grandeur of the heyday of the Tang Dynasty, but in terms of beauty and exquisite processing, the Song Dynasty made great contributions. The Jin and Yuan Dynasties were the times when the northern nationalities ruled China, because the Jurchen nationality in Jin and the Mongolian nationality in Heyuan were both nomadic peoples with much backward culture in China at that time, and they treated the people in the Central Plains as prisoners and slaves. Even though we value skilled craftsmen, we regard them as spoils of plunder and drive them to work for the rulers. Moreover, the construction of Jinyuan was destroyed after a period of time. In that case, the technical level was greatly reduced and could not be restored to the level of the Song Dynasty. In appearance, Jin's architecture imitates the palace or slender style of the capital of the Southern Song Dynasty. It does not necessarily respect tradition, but it often changes its structural combination. Instead, it abandoned the simple, reasonable and beautiful practices of the Song Dynasty and added tedious and useless parts. We can see from the physical objects of the palaces in the Jin Dynasty that many of them are not as good as those in the Song Dynasty. According to the records of the Southern Song Dynasty, the palaces in Jin Zhongdu are "extremely poor and ingenious", but "the system is not enough", which means that the rulers of Jin Dynasty tried to waste luxury in architecture, but the system form did not follow the tradition and was quite chaotic. However, the Jin people themselves did not have a high cultural tradition, and they all accepted the Chinese system. At that time, Jin's "Zhongdu" scale imitated the border beams of the Northern Song Dynasty, thus retaining many characteristics of the layout of Miyagi in the Song Dynasty. This format can be spread from the Yuan Dynasty to the Ming and Qing Dynasties, and has been preserved to this day. During the reign of the Yuan Dynasty, China's territory expanded unprecedentedly, spanning Europe and Asia, and the traffic on the mainland made some cultural exchanges between China and Europe. However, the rulers of Mongolia exploited people's wealth, imposed extremely harsh taxes, and especially oppressed and enslaved the Han nationality. The economy is weak, and only Jiangsu and Zhejiang have a slightly better industrial and commercial situation. Although the people are miserable, palace buildings and religious buildings (mainly Lamaism at that time) are still very luxurious. At that time, people from other countries often came to China by land and sea, and there were also some architectural influences from Arabia, Persia or Tibet, such as taking water from Kublai Khan's palace as a fountain and using colored glazed tiles on brick buildings. Among the remains of the Yuan Dynasty, the most brilliant example is the planning and layout scale of the inner city of Beijing, which was designed according to Beijing's special topography and actual water conservancy situation, summing up the fine traditions of ancient capitals and referring to the scale of the ancient imperial capital of China. Today, it is the most beautiful and magnificent urban pattern that the motherland is proud of. After the construction of Ming and Qing dynasties, the wooden structure buildings in Yuan Dynasty have been preserved in kind. There are still several places in China, but only one or two places in Beijing are suspicious and destroyed and rebuilt unconditionally, so the original materials of the Yuan Dynasty are very valuable research materials. Judging from the physical objects we have seen, there are many concrete examples of their techniques left over from the Song Dynasty and changed from the Jin Dynasty, such as the I-shaped hall and the mountain flower forward style.

The sixth stage: Ming and Qing Dynasties. The overthrow of Yuan's ruling regime in Ming Dynasty was a powerful force for national rejuvenation. It turned out that Zhu Yuanzhang's capital was located in Nanjing, and he sent people to destroy the Forbidden City in Beijing, so the essence of Yuan architecture was lost. In Nanjing, more than 200,000 craftsmen from all over the country were recruited to build palaces. The scale is very grand, with great strength, with special emphasis on China's primitive religious etiquette, such as the suburban worship of the son of heaven (the god of heaven, earth and grain), so the altar and temple system has been attached importance. Forty years later, Yongle moved back to Beijing as its capital and rebuilt it on the basis of the capital of the Yuan Dynasty. Today, the Forbidden City in Beijing was built in the early Ming Dynasty. Although most of the individual halls were rebuilt in the Qing Dynasty, several complete groups and individual halls were left in the Ming Dynasty. She Ji Tan, Ancestral Temple (now Zhongshan Park and Working People's Cultural Palace) and the Temple of Heaven are all magnificent buildings created in the Ming Dynasty, especially the scale and shape of the Temple of Heaven are masterpieces. The early Ming Dynasty was a period of feudal economic revival, and Han artisans changed from semi-slaves to handicraft artisans. The creativity of workers has been greatly improved, and the progress of industry and commerce has exceeded any previous period.

In architecture, it is a magnificent large-scale building complex, using strong and good wood and serious engineering technology. Accurate and correct technology is the characteristic of the Ming Dynasty. In the Ming Dynasty, Linqing brick was used as the wall, nanmu column as the important building, and the woodworking stone carving was meticulous, with complete structural description, and its appearance was more simple and solid than that in the Qing Dynasty. The material used in the beam frame is much larger than that stipulated in the Song Dynasty, and the tile slope is steeper than that in the Song Dynasty. However, since the Song Dynasty, some easement arcs have still been used in individual buildings, such as the structure and treatment of slightly upturned eaves and corners when corner columns are upturned, or the stigma is "rolled up", which makes the outline of columns much softer. However, after the Jin Dynasty, the most significant change was that in addition to supporting the load, it also emphasized the role of bucket in decoration. They were added between two pillars on the front eaves, and the proportion of each bucket in the building was also reduced, making it a row of decorations on the front eaves. The battlements in Ming and Qing Dynasties were compact and small, unlike those in Liao, Jin and Song Dynasties.

The buildings of Hongwu and Yongle in the early Ming Dynasty were large in scale. After Yongle, eunuchs were in power, politics were corrupt, feudal lords were incompetent, and the butchers of intellectuals were rats who had no vision and only fought for trivial matters. The artistic expression led by literati in Ming Dynasty is far less than the spirit of Tang and Song Dynasties. However, the industry in the Ming Dynasty was very developed. On the one hand, the building is mastered by old craftsmen, on the other hand, it is supervised by government bureaucrats and built according to official regulations. There is no exuberant creativity, but the technology is very neat. After the middle of the Ming Dynasty, many temples were built for the blessing of corrupt officials and eunuchs, such as shrines in Wei Zhongxian. In a building like this, the craftsmen stick to the rules and scrutinize the details without charm. However, many handicraft workshops and urban houses all over the country are honest projects that reach a high level. All-brick building and building technology using glazed tiles have also gradually developed. Technology has made great progress. Today, the architectural objects of the Ming Dynasty have a structure of 3,500 years, most of which are very valuable, and some of them are particularly worth studying.

The architectural forms of Ming and Qing dynasties are very similar. After entering the customs in the early Qing Dynasty, the buildings designated by the ruling class were all formed during the years of Michelle Ye (Kangxi) and Yinzhen (Yongzheng).

Strong and ambitious, a small number of them have some technical characteristics of the Ming Dynasty, such as Zheng Zaijing; But most of them are more rigid and bulky than those in the Ming Dynasty, especially the materials used for beams are too extravagant, the proportion is unreasonable and the structure is wasteful. When he arrived in Li Hong (Qianlong), he accumulated a lot of people's wealth and enjoyed it to the fullest. Since arriving in the south of the Yangtze River, he has loved the scenery and architecture in the south, deliberately asked craftsmen to imitate the style and techniques in the south, adopted many tortuous and delicate patterns, and produced so-called "Soviet-style" color paintings. Because artisans catered to the interests of the ruling class, many architectural methods after this period were different from those in the early Qing Dynasty, just like those in the publishing period of "Building French" between the late Northern Song Dynasty and the early Northern Song Dynasty, most of them dealt with details and tried to make patterns skillfully, resulting in many exquisite, small, lazy and cumbersome styles. This bias often appears in small buildings or garden buildings. From the pavilions of Yuanmingyuan, it generally developed into mansion buildings, affecting all buildings in the late Qing Dynasty. Many garden buildings in the Qing Palace Garden are just solemn and stable palace-style buildings, which adopt the excellent and flexible layout of Jiangnan architecture and natural scenery.

Examples are the whole group of the Summer Palace Humorous Garden, the north veranda of Qionghua Island in Beihai, and the meditation room.

During this period, the architecture of China suddenly appeared the trend of imitating the West, which also started from the psychology of court curiosity and the "Western Building" built by Yuanmingyuan. At that time, the so-called western influence mainly imitated the classical floor of the Italian Renaissance, the circular window for issuing coupons, the Roman column with carved capitals, the sculpture of colored glass and mussel grass, and the western-style decorations such as stone pillars, railings, flower pots, chopping boards, lions and balls. These things, originally used in Yuanmingyuan, were specially fired with glazed tiles and supervised by Italian Lang Shining; But in general, this pattern is carved with bricks, such as Gongwangfu Garden and some buildings in Sanhai. The gate of Beijing Xijiao Park (today's zoo) is also a typical example. The brick carving at the entrance of Beijing Xijiao Park was demolished on 1966. Others are most easily seen on the facade of city shops. Zhou Shi in the Summer Palace is the representative of this style. China's architecture has begun to show a complex and chaotic phenomenon in shape, which is the forerunner of the idea of worshipping foreign things and admiring foreign things. At that time, the imperial court was fascinated by western goods out of curiosity and had no understanding of western culture. After the Opium War, imperialism invaded the port cities by force, and the comprador class's thought of worshipping foreign things and admiring foreign countries and feeling inferior appeared. Britain and the United States built houses suitable for their living habits on the land of our motherland and colonized us with arrogance. A large number of houses and mansions have been built from the "Thirteen Rows" outside Guangzhou and houses built by Portuguese businessmen in Macao. The architectural tradition and artistic tradition of the motherland and the harmonious appearance of the city have been greatly destroyed since then. In the past 30 years, China's architectural design has been transferred to intellectuals. They all studied in Europe and America, or indirectly studied European and American architecture. They moved the buildings of various countries and eras to the cities of China intact, even despised their own culture and their own inherent architectural art traditions, and seized the architectural theories of various schools in modern western capitalist countries ideologically. After liberation, we gradually realized the greatness of the motherland tradition through the study of patriotism. The architecture of the motherland is the crystallization of the wisdom of the working people in the past in the long-term labor of the motherland, and it is our very proud and brilliant artistic heritage. This understanding promptly corrected many people's contempt and destruction of the architectural heritage of the motherland in previous years, but the work of protecting architectural cultural relics has just begun, and the task before us is very arduous.