The Aesthetic Value of China Garden Architecture?

From the beauty of layout, nothingness, rhythm, modeling, artistic conception and cultural beauty of China's garden architecture, it analyzes and discusses the internal cultural connotation and aesthetic value of China's garden architecture, and draws some ideas, hoping that people can fully realize the inestimable value of China's garden architecture art, so as to make people pay more attention to China's traditional architectural art, and protect and carry it forward. The following consultation in Zhong Da will show you the aesthetic value of China garden architecture.

Architecture is an important part of human culture and an indispensable part of China landscape. It preserves a large number of cultural and artistic treasures and reflects people's aesthetic requirements. At the same time, ancient architecture is a symbol of the legitimate rights of class society. He said in "An Introduction to China Culture": "The ancient buildings in China were formed from the late primitive society to the Spring and Autumn Period and the Warring States Period, and matured from the Qin and Han Dynasties to the Three Kingdoms period. The Wei, Jin, Southern and Northern Dynasties was the period when China's primitive architectural form absorbed Buddhist architecture, and reached its peak in Sui and Tang Dynasties. Song and Yuan Dynasties are the transitional period of ancient architecture style, while Ming and Qing Dynasties are the gradual period. The official large-scale buildings are completely stylized and modeled, and the feudal consciousness embodied in architectural forms has accumulated into a psychological set. " The ancient architecture in China is a very unique system, with special emphasis on the relationship between man and the universe and between man and social life. It is not the unusually empty internal space that can make people feel a sense of fear, but a simple combination of internal spaces that are very close to daily life, forming a group building with a courtyard as the unit; Not Leng Shi, generally use warm wood, is a "wooden frame"; It is not to let people get some mysterious and nervous inspiration, confession or passion, but to provide some clear and practical conceptual artistic conception. Its aesthetic spirit can be summarized by borrowing a famous saying of Mr. Zong Baihua: "See infinity in finite, and return to finite in finite." It is this aesthetic spirit that conveys China people's unique sense of "cosmic mode" and creates the soul of ancient buildings.

Garden architecture contains rich cultural significance. The combination of architecture and landscape flowers and trees creates a variety of garden landscapes, cultivates people's body and mind, and stimulates people's intelligence, all of which belong to intrinsic values, that is, spiritual functions. Landscape architecture pays more attention to its intrinsic value. The aesthetic value of traditional architecture in China is closely related to the traditional ritual and music culture of the Chinese nation. Ceremony and music complement each other, and reason and reason depend on each other. Rationality and propriety are ethical and political norms, which are mandatory, while happiness and affection are aesthetic interests, voluntary and converted. In ancient times, people showed reverence and worship for natural phenomena such as vast land, dark day and night, the movement of stars, storms and lightning. They feel superman's huge volume from these objective phenomena in nature, and apply it to architectural behavior, making it dignified and sublime, so volume becomes an architectural art. Marx said: "The huge image is shocking and amazing. ..... "The spirit feels depressed under the weight of material, and the feeling of depression is the starting point of worship. There are different "rites" in architecture, such as the order of honor and inferiority, which is first reflected in the quantity reflecting the concept of architectural hierarchy. "Nothing is too grand but not powerful", using the huge courtyard space controlled by buildings and buildings to create a strong and dignified atmosphere. Under the feudal patriarchal clan system, China ancient architecture was endowed with a sense of order, including social beauty, ethical beauty, religious beauty and technical beauty, which greatly deepened the depth and breadth of architectural beauty from modeling to color, from outdoor setting to indoor decoration.

There are rich spiritual contents in the material shell of garden buildings, such as pavilions, halls, pavilions, pavilions, pavilions and pavilions. As a material medium, it communicates with "heaven and earth" and "ancestors" in cultural etiquette and customs. The prototype of Taiwan Province is Lingtai, whose main function is to pay homage to the ancestors of heaven and earth. The palace in the garden is characterized by "great beauty" and emphasizes the ritual system of "harmony between man and nature" advocated by Confucianism. Rites emphasize the sense of the central axis and hierarchical order of "God's will", which embodies the cultural psychology of being the only one and adapts to the political needs of ruling the people. Once architecture violates the etiquette system of feudal society, it will be condemned. According to Jiaqing, item 13 of the indictment of that year, "Yesterday, the property was seized, and the nanmu houses built were all modeled after Ningshou Palace, and their garden decoration was no different from Pengdao Yaotai in Yuanmingyuan. I don't know what it is. " Of course, garden architecture is more important for aesthetic needs.

1. The layout requires strict structural symmetry, which simulates the beauty of layout close to nature.

The classical gardens in China are multifunctional, and the garden architecture presents two forms: strictly symmetrical structural beauty and tortuous natural beauty, which are full of interest and close to nature. Palace buildings in royal gardens, residential buildings and temple buildings in private gardens are mostly square or rectangular in design. The main buildings are arranged on the north-south longitudinal axis, and the secondary buildings are arranged on the east-west horizontal axis. The whole enclosure is composed of walls and corridors, which is serious, square and orderly. It is the architectural reflection of ancient closed thinking mode and small-scale peasant economic consciousness. There is a saying in Laozi that "all things are negative and embrace the yang", but the consciousness of worshipping the south was not established in the pre-Qin period, but gradually became clear with the admiration and sanctification of imperial power. From Dong Zhongshu in Han Dynasty to Neo-Confucianism in Song Dynasty, the ethical philosophy of "three cardinal guides and five permanents" emphasized by Confucianism has become more and more rigorous, and the venerable person is in the central position, followed by facing east and west, and facing north is the lowest. In quadrangles, Li (south), Xun (southeast) and Zhen (east) are auspicious, and the southeast is the best. The gate is an air inlet. After living in Kyrgyzstan, you must face peaks, mountain passes and water flows, so as to welcome the natural atmosphere. Palaces, temples, government offices and scholar-officials' mansions are all bound by feudal ethics and dominated by Confucian ethics. The pattern of garden palaces, including structure, order and configuration, should be formulated according to etiquette. For example, the overall layout of Jingming Garden is irregular and asymmetrical, but its buildings, such as Dongyue Temple, Shengyuan Temple, Hanhui Hall and painting boat, are symmetrical on the central axis. The overall layout of the Summer Palace "humorous garden" is asymmetric. The whole garden layout is characterized by the arrangement of L-shaped pools in the environment surrounded by earth mountains, surrounded by buildings connected in series with verandahs, and Hanyuantang as the whole garden. Hanyuantang, Zhichuntang, Chengshuangzhai, Xuan and Zhichunge emphasize the central axis consciousness. The same is true of the residential part of private gardens. For example, the residential part of Suzhou Humble Administrator's Garden is located in the south of the landscape garden, which is divided into two parts: the front room and the back garden. The residence is located in the north-south direction, with four entrances. There are two parallel axes. The main shaft consists of screen wall, ship port, gate, gate two, sedan chair hall, river crossing hall and main room. The side shaft is arranged with a mandarin duck basket hall, a flower hall, a square hall, a building hall and a small garden. The two shafts are separated and connected by a long and narrow "avoiding lane". The gate of the house is in the southeast, avoiding the meridian due south, because it is dedicated to feudal imperial power and theocracy. Temple garden architecture in China is isomorphic with palaces and residential buildings, which is different from the religious architecture system in ancient India. For example, the overall layout of Huanglongdong Garden in Hangzhou is asymmetric, but the buildings in the garden, such as the mountain gate, the front hall and the Sanqing Hall, strictly abide by the standard of symmetrical central axis. This architectural pattern is balanced, symmetrical and harmonious, with elegant and solemn beauty. Contrary to the balance and symmetry of Confucianism, the gardening of China's classical gardens follows the principle of imitating nature, and returns to the original, showing an irregular and asymmetric layout. The composition of environmental space is flexible and changeable. Spacious and spacious, appropriate density, winding secluded, bright future, dazzling, chic and detached, interesting. Pursuing natural interest is the basic spirit of China's classical gardening art, which combines natural beauty with artificial beauty and artistic realm with real life examples to form a livable, tourable and considerable real material space that integrates social life, natural environment, people's interests and beautiful ideals.

2. Appreciate the beauty of nothingness in infinite space within the limits.

The beauty of nothingness is the cultural aesthetic connotation of ancient buildings. China culture attaches great importance to the beauty of nothingness, and the so-called "beauty of reality comes from emptiness".

"gather far away by high-rise buildings and clean up for a while by idle people." "On Garden and Metallurgical Garden" said: "The porch is Gao Shuang, and the window is empty; A thousand hectares of Wang Yang are brilliant at four o'clock. " Ni Yunlin Zhang's topic "Color Map of Xiting Mountain" says: "The mountains and rivers are infinitely beautiful, all in one pavilion." Su Shi's poem "Han Xuting" says: "Only this pavilion has nothing, so you can have a panoramic view." "I often lean on the music bar to watch the water, and I am uneasy and afraid of building a mountain." All the above poems show that the aesthetic value of the pavilions on the balcony lies in that through these buildings themselves, you can enjoy the natural scenery in the infinite space outside, so that the natural beauty of commercial abundance can be happily integrated into the realm of life beauty. The architectural space and the landscape penetrate each other, so people can communicate with nature without leaving home, and experience the ups and downs of the universe and the changes of the four seasons of the body, thus creating a garden "habitat" full of natural beauty.

3. The external beauty of landscape architecture.

As a plastic art in a broad sense, landscape architecture pays attention to the plastic beauty of composition appearance. This static form constitutes an artistic conception, which gives people association, especially the curvaceous beauty of architecture. There is no straight line in nature that cannot be transformed by people. Rectangular space and various three-dimensional surfaces that make up the space are mostly flat, and many straight lines and plane facade networks are formed on the chessboard, which reflects people's conquest of nature. China garden buildings that adapt to nature can be seen everywhere, and their shapes are curvy. "The same line shape, different thickness and length, and different straightness will produce different emotions ... Curves are more likely to cause pleasure, which is recognized by most people." The winding rivers and buildings of various shapes in the garden, mainly the objects composed of so-called wavy lines and serpentine lines, are the most beautiful lines, which guide the eyes to pursue vagaries and make people feel happy. The reason why the curve is beautiful is that it has the beauty of flowing, which makes people feel free and more in line with people's psychological rhythm. The garden building adopts lifting and folding, and the roof tilts upward and outward, forming an elegant cornice like a bird's wing and beautiful curves of all parts of the roof, which is vivid, beautiful, light and comfortable, "like a bird" and presents dynamic beauty. Some roofs are also undulating with huge carved dragons. The head, body, tail and claws of this dragon are all curved, as if swimming and soaring. The undulating mountain promenade and wavy promenade in the park are light and winding, such as Changhong Dike.

Arch bridges with different shapes and beautiful curves in the garden, with stone arches like rings, are agile and have a sense of overhead; The covered bridge falls into the water like a rainbow. When the water ripples, the shadow of the bridge wants to fly and connect with reality. The common beam-type stone bridges in gardens include nine bends, five bends and three bends. The winding water surface, its aesthetic effect can constantly change the direction of sight, change the scene and expand the landscape, which is prohibitive; Second, because of the bridge and the level, people walk on it, just like a slight step, making the water interesting; Thirdly, because the bridge body is low near the water surface, the surrounding hills, valleys and pavilions are steeper and steeper, forming a strong contrast; Fourth, some curved bridges have no columns, which are extremely natural and simple, full of wild interest. The above effects are all caused by the shape of the bridge itself. Small and medium-sized pavilions in the park vary in shape from triangle, quadrangle, pentagon, plum blossom, hexagon, cross laurel, octagon to cross. Suzhou Humble Administrator's Garden has "Li Pavilion" and Huanxiu Villa has "Haitang Pavilion", which is elegant and beautiful. The pavilion is parabolic at most, with no doors or windows, half walls or half columns, showing exquisite jade. Some people call the pavilion a key part of garden architecture, which makes the whole garden architecture full of vitality, endless interest and wonderful "understanding the scenery". The moon cave of the cloud wall brick in the garden is fine in workmanship, thin in arch, and wavy at the top, like a cloud head; The bottom is undulating along the mountain, and the wall is winding, just like a jade belt. Doors and windows in gardens present various shapes, including geometric shapes and natural shapes. Geometrical patterns are mostly composed of straight lines, arcs and circles. Straight lines are all swastikas, Ding Sheng, hexagons, diamonds, book strips, chain links, olives and ice lines. Arc lines are fish scales, lines, autumn leaves, begonia and Ruyi, and more than two lines are swastikas, hexagons and various light lines. There are also geometric patterns on the four sides and pictures in the middle. The lines are concise and smooth, rich in three-dimensional sense. Natural patterns are based on flowers, birds, animals and people's stories. Such as pine, cypress, peony, plum, orchid, lotus and bergamot. Lions, tigers, dragons, phoenixes and cranes are the themes of birds and animals. Character stories are mostly based on novels and legends, Buddhist stories and some scenes in drama. The leaky windows in the same garden are different from each other. There are 108 leaking windows in Suzhou Canglang Pavilion, and there are more than 30 leaking windows in Liuyuan. The forms of cave doors in gardens are also colorful, including round, horizontal, straight, long, long hexagon, regular octagon, long octagon, Ding Sheng, begonia, gourd, autumn leaves and China bottles. From the line point of view, regular modeling lines will form certain aesthetic characteristics such as harmony, proportion and symmetry, and become beautiful lines with aesthetic value.

4. The rhythmic beauty reflected in the overall layout and mutual care of garden buildings.

Garden architecture shows its rhythmic beauty in the ingenious and exquisite plastic arts, and this beautiful form has a great influence on the cultivation and cultivation of people's hearts, and has the same artistic effect as music. "Architecture is a kind of solidified music", which is a famous saying of Goethe, a great German poet, because "the artistic conception caused by architecture is very close to the effect of music". The Parthenon in Greece is all made of exquisite marble, gold and ivory, without cement and nails, all of which are combined in a correct and exquisite way. It is flawless and can be called the "crown of world art" in the history of art. When people look at such a perfect work of art every day, they unconsciously cultivate their spirit and feelings, and naturally develop a sound personality. This kind of building has the same musical effect.

China's landscape architecture does not rely on the modeling of single buildings, but on the structural layout and coordination of the whole building complex. Very simple basic units have formed a complex group structure, and the form is still changing in strict symmetry, maintaining a unified style in various changes. This flowing beauty is essentially a process of time, which embodies a harmonious effect of rationality and reason, comfort and practicality, and a distinct sense of rhythm, which is different from European or Islamic or Indian architecture. The beauty of architecture in China is not the beauty of the appearance of a house, but the beauty of the connection of a group of houses. The main house, slave house, porch, pavilions and pavilions have different sizes and shapes, but in the process of change, they come down in one continuous line and constitute a huge scale.

Landscape architecture embodies the beauty of rhythm and rhythm through the patchwork of structural changes. China's group buildings, from houses to palaces, have core parts, with clear priorities and comprehensive care. Its rational order and logic have ups and downs, from the main entrance to the last courtyard, like China traditional opera music, showing a prelude, climax and ending, vivid charm and harmonious rhythm. Schopenhauer once said in "On Artistic Features": "If you look at it from the plane, it is the arrangement of' attic, gallery and pavilion', which is three-quarters of the beat in music; From the vertical direction, it is also a pile of tables, columns, columns and billboards, much like 4/4 beats in the rhythm of music. " This sense of rhythm and rhythm is called musical beauty. Like music, the combination of garden architectural space appears rhythmically from one movement to another. It is often introduced step by step with different shapes, sizes, opening and closing contrasts, dark virtual reality and so on. Until the scenery is completely presented, then gradually converge and end after reaching the viewing climax. This harmonious and perfect continuous spatial sequence presents a strong sense of rhythm. In this respect, the architecture of Suzhou Lingering Garden is excellent. From Liuyuanmen to Gumudu, there are many aisles, from dark to bright, from narrow to wide, from one space to another, 50 meters long. Due to the arrangement of architectural sketches such as leaky windows, bluestone, lake stone flower beds, doors and windows, and the contrast of space size, direction and light and shade, the spatial combination is very rich. After small ups and downs, small turning points, fast frequency and fast rhythm changes, the rhythm of "Ancient Wood Crossing" began to slow down; Although it is close at hand from the ancient wood intersection to the green shade, through the west window of the ancient wood intersection, you can see the green shade pavilion, the bright color building and the Hanbi Mountain Room, and then turn to the Wu Fengxian Mountain Pavilion after several twists and turns, and finally reach the small space of the Shilinyuan in the southeast corner of the whole park. Similarly, from "Quxilou" to "Forest Springs Museum", there are all architectural courtyard spaces with different sizes and different scenery, and the relationship between them is series, juxtaposition, matching and changing. The changing characteristics of the above-mentioned architectural spatial sequence, such as the change size and strong contrast, do have the same rhythm as the strength, height, urgency, distance and discontinuity of musical phonemes.

5. The inner beauty of the artistic conception of garden architecture.

China's lyrical and freehand artistic personality endows the single garden building with rich cultural connotation, makes the artistic conception meaningful and shows an ideal and beautiful life realm. The beauty of artistic conception is often highlighted by literary naming. For example, the main building name of Suzhou Furong Garden is "Chengqu Caotang", which means "Cattle cross the Tianhe River, willow smoke fills the city" in the poem "Shi Chengxiao" in Tang Dynasty, in order to express the poor feelings of the owner and his wife to the White House of Chengqu Caotang, but not to envy the beautiful feelings of flowers in the city. The "Tingling Building" and "Kuixing Pavilion" in the garden are two small buildings, with a pavilion on the first floor, snuggling up to each other, just like a couple, which is consistent with the "lotus root". It is also a dry boat, but it has different connotations and chewiness in private gardens, royal gardens and temple gardens. The dry boat in the private garden, or "not tied to the boat", symbolizes an absolutely free and carefree life. A leaf in a boat, free from attachments and floating indefinitely, is to promote a well-known philosophical realm of life. Or: "wash my dust", reflecting the lofty interest of seclusion and self-discipline; Or take Song Ouyang Xiu's "So it's hard to save money and not live in peace" which means "Fang Huazhai"; Or call it "home in a small storm" or "boat without waves", and regard officialdom as a dangerous road, which shows that self-protection is a wise move and reflects the value ideal of feudal literati. "Blue Rock Boat", a dry boat in the Summer Palace, means "water can carry a boat, but it can also overturn it", and "Qing Yan" means to make the country prosperous and the people safe, obey the emperor's wishes and praise the saints. The dry boat in the temple garden has the religious meaning of transcending all living beings to the other side of the world. For example, the dry boat at Ji Jian Temple in Tianchi Mountain, Suzhou, takes the meaning of "love to sail all beings" in Buddhism.

6. Cultural beauty

The bridge in the garden is not only practical, but also the most distinctive cultural device in the turning point of various life dramas. It has a double symbolic meaning, symbolizing not only the difficulties on the road of life, but also the hopes and opportunities on the road. It is a road full of dangers and hopes. The pavilion in the garden has gradually become a symbol of elegance because it can be used for literati to drink tea, play the piano, drink poetry and enjoy the scenery. The pavilion takes the sky as the circle method and the earth as the square image, and the mathematical symbols of gossip symbolize the order of yin and yang. The ceiling of the building hall is often painted with painted and algae well patterns, which also contains rich cultural heritage. During the development of China's landscape architecture, it constantly absorbs the nutrients of landscape architecture from all over the world, and promotes the high development of China's landscape architecture, among which Yuanmingyuan is a masterpiece of technical cooperation between China and foreign countries. The technical exchange of landscape architecture is the window of China's foreign cultural exchange.

China's architecture is rich in cultural heritage, accompanied by China's long civilization. The artistic conception, aesthetic value and rich culture of garden architecture are priceless. It can cultivate people's sentiment, improve our aesthetic taste and enrich our horizons. As China people, architects should absorb, learn from and carry forward, so as not to be overwhelmed.

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