The difference between Chinese architectural features and Western architectural features

Ideas and fantasies Victor Hugo, a famous French writer, highly summarized the fundamental differences between the two major architectural systems of the East and the West. He believed that "art has two origins: one is the idea, from which comes European art; the other is the fantasy, from which comes Eastern art." That is to say, the Western architecture in the shape of the sculptural features, its focus on the two degrees of the fa?ade and three degrees of the form, etc.; and Chinese architecture has the characteristics of painting, its focus is on the rich mood of the picture, is not very much attention to the volume of a single building, modeling, and perspective, etc., and is often committed to a single unit of a single body, in the planar and spatial extension of the effect of the group. The West attaches importance to the building as a whole and local, as well as local proportion, balance, rhythm and other principles of formal beauty; China attaches importance to space, the importance of people in the architectural environment, "step by step" of the spatial feeling, dynamic beauty, spatial beauty, the unity of God's beauty. Therefore, it can be argued that the conceptualization of European architecture is mainly concentrated in the "real", while the fantasy of Chinese architecture is mainly reflected in the "empty". Imitation and Illustration According to Aristotle, art originates from imitation, and art is the product of imitation. Ancient Greek architecture of different columns is to imitate the beauty of the human body of different genders. Europeans pay more attention to formal logic, realistic, rely on argumentation, focus on reflecting the geometric analysis, in the architectural conception of art and the overall layout of the more emphasis on symmetry, figurative, and simulation of geometric patterns of beauty. Chinese people attach importance to the human inner world of external things to understand, feel and grasp, and how to artistically embody the understanding of the mind and inner feelings, has a strong sense of writing. It is a kind of abstract beauty of generalization and perception, is a kind of tangible scene and it symbolizes the infinite virtual scene of the combination or integration, the pursuit of the "get the idea to forget the image" of the mood. Chinese people also pay attention to realism, argumentation, but must be written in the nature of the "God" as a prerequisite, and the likeness is inferior to the likeness of God. For example, China's classical buildings on the roof of the shape of the flying eaves and wings like the wind, its evocative of ideality is very rich in the Tang Dynasty painter Zhang Wentong so-called "outside the master of the creation, in the source of the heart," the passion for art, giving people a strong psychological infection. Rites and Music and Logic The concept of rites and music originated from the "Records of Music" during the Spring and Autumn Period, that is, the close relationship between beauty and goodness, art and canon, emotion and reason, psychology and ethics. Ritual is the ethical standard of the society, and music is the emotional standard of the society. "Ritual and music" or the close cooperation of ritual and music is the manifestation of the spirit of rationality in China. It can be said that the artistic power of Chinese architecture is the romantic mood (music) emanating from the rational (ritual) basis, which embodies and contains a certain "poetic" beauty of Chinese architecture. This point and the Chinese people in the behavioral mode of "thinking square and acting round" strategy has the same flavor. Western architectural culture pays more attention to logic and argumentation, and its characteristics can be attributed to the spirit of rationality and resistance, individual and subjective consciousness, the Kingdom of Heaven and the concept of religion, the rationality of architectural art and logic, as well as emphasize the art, technology, coordination and layout of the environment, and pay attention to the proportion of the appropriate and artistic sophistication, and so on. All these characteristics have been mentioned or elaborated more in the architectural theories of Europeans, and are also more expressed in their architectural entities. Closed and open China's courtyard, walls, walls, etc., showing some kind of inward-looking, closed and even "once and for all" tendency of the idea of peace and security, and even some people believe that: "closed courtyard symbolizes our closed society", "China is a 'Qin brick and Han tile' walled world"...... Western emphasis should be placed on the external space, called the central square as "the living room of the city The West emphasizes the importance of exterior space, calling the central square "the living room of the city" and "the living room of the city", with the intention of transforming the interior into the exterior. For example, the Palace of Versailles, France, built in 1756, which covers an area of 220 acres of the back garden and the symmetrical and neatly cut trees on both sides, one after another pool group sculpture that is integrated, has been extended to the far side of the urban forest ...... China, some of the larger mansions or mansions, generally the back garden simulated into the natural landscape, with the building and the courtyard wall To enclose, within the crescent river, three or five pavilions, rockery scattered ...... obviously have the tendency to natural domination within. It can be said that this is the Chinese people on the internal peace and self-defense, external prevention and security of a purely defensive, self-enclosed, inward inhibition of the cultural mentality in the architectural reflection and embodiment. Conservative and enterprising Chinese people to create the garden or preferred natural scenery, etc., are generally noble and secluded, or to avoid the world, reflecting the long-term life in the agricultural society of the Chinese people, the natural environment of the long friendship and guarding the soil and agriculture of the idyllic consciousness. In the overall layout of the building, spatial settings, functional division, etc., is more focused on other people and self "live in peace, do not offend each other," the internal requirements, which to a certain extent to meet the Chinese leaning to the conservative, precautionary, harmony and peace of mind needs, but also seems to be with the "external self-preservation, internal peace of mind It also seems to be the same with the "external self-protection, internal peace of mind," the character cultivation of the same orientation. The European continent's rules of the garden in the layout, composition and mood and so on, all give a person with a wide-open, grandiose ideas, complex techniques, romantic feeling; and its geometric garden is embodied in the heaven and man against the sky, the people of the sky, the sky and the people of the habit of thinking and spiritual concepts. In a sense, this reflects the Western conquest of nature's outward-looking, aggressive, outward-looking behavioral patterns and values. Groups and Individuals Chinese architecture, especially courtyard architecture focus on group combination, "courtyard" is generally the basic unit of the combination, which is a reflection of the Chinese cultural tradition of more emphasis on the group and inhibit or even stifle the development of individuality, or have a lot to do with it. For example, a vast expanse of large and small, square courtyard houses, unfolding layer by layer from the ground, presenting her rhythms in time, and under each greenish gray roof, a warm home resides. If you look at the scenery in the rain, the mood of "two phoenix queens in the imperial city in the clouds, and ten thousand homes in the trees in the rain" is even more remote and long, and intriguing. The Western monolithic architecture is the expression of individuality and "personality" of the independent, that individual prominence is immortal and heirloom works. Like the Pantheon in Paris, France, up to 320 meters high Eiffel Tower, Florence, Italy, the Leaning Tower of Pisa, the United States of America, Boston's John Hancock Building, and so on, are typical of this philosophical thinking or cultural concepts. These outstandingly independent, each with its own style of architecture, can give a person prominent, radical, upward shock and infectious force. Static and dynamic Chinese gardens, pools, rivers and canals, generally show some kind of euphemistic, delicate state, the microwave weak Lans of the situation. The layout is more focused on the virtual, the combination of the real, the mood is more emphasized movement, static separation and more static and less dynamic. This idea and pattern is more suitable for shaping loose and sparse, quiet and elegant environment space, is conducive to highlighting the clear and natural, change and coordination, the humanistic temperament of the sentiments in the scene, expressing the "feelings and scenery will be, and the meaning of the elephant through" the mood. Like the Chinese landscape painting, generally leave a little "blank" to the so-called "know white to keep black" to achieve the flavor, show the aura, now the artistic effect of the implication and infectious. Western gardens in the fountain, waterfalls, fountains, etc., most of the magnificent and dynamic sense of strong, can show some kind of exuberance, dynamic, enthusiastic, before the influx of potential. This is like the Chinese invented qigong (static), and Westerners developed competitive sports (dynamic), the similarities and differences and interest, both confusing, and very intriguing. Contained and exposed China emphasizes the beauty of curves and subtleties, i.e., "allegory and falsehoods, not to take the straight and narrow". The layout of the garden, the intention, choose the scene, etc., all emphasize the combination of reality, text and quality complement each other. Or the pursuit of natural feelings, or love of idyllic landscapes, or the curvilinear sentiments. Work on the "borrowed scenery" to achieve subtle, subtle, gestures; clever use of "curves" in order to make nature, the environment, the garden in the individuality and the overall coordination of each other, suitable Ning and恬, complement each other and like the heavens open. "Skillful in the borrowing, fine in the body appropriate" approach, similar to the classical Chinese poetry, "Bixing" or "hidden show", heavy outside the words, outside the meaning of the words. Seemingly careless, running water, but the cut is strange, meticulous and far-reaching meaning. The West is straight, exposed, large-scale, majestic for the beauty, such as open and flat lawns, huge open-air stadiums, majestic high-rise buildings and so on, all emphasize the axis and geometric analysis, straight, open, exposed and so on are undoubtedly the important characteristics of the depth of the important characteristics of the Chinese architecture with the symbolic, suggestive, implicit and so on with a different aesthetic concepts. Inheritance and Innovation China's grasp of formal beauty and engineering technology is often based on intuition and experience, with more emphasis on the mastery of skills and the application of techniques. In the teaching of architectural theory and knowledge, it is generally inherited from masters and disciples or taught orally. In the transmission line of architectural skills or building techniques, master and disciple or father and son are the main ones, if there is no successor or apprentice, then people often die and the art is gone. In the application of architectural skills and techniques, there is generally more inheritance than innovation. In the choice of architectural styles, there is often more imitation than transcendence. In terms of architectural theory, the focus on building materials, construction techniques and management insights of the account, the lack of detailed summarization and theoretical construction. In contrast, the West starts from geometric analysis, emphasizes the strictness and precision of architectural data, pays more attention to breakthroughs and innovations in architectural theory, actively explores new architectural forms, advocates the formation of different architectural styles and schools, and adopts a systematic and rationalized approach to architectural education, etc. In a sense, this is the same as that in the West. In a sense, this is strikingly similar to the differences between Chinese and Western medical practitioners in terms of practice, pharmacological operation and teaching. The compatibility of Chinese culture also determines that traditional Chinese culture does not exclude foreign cultures, but rather absorbs and creates them according to its own situation from a practical point of view, so as to better integrate them into the cultural system of the nation. From the architectural style, about BCE after the Eastern Han Dynasty, Buddhism was introduced to China from India, the introduction of the form of the Indian tower created the Chinese tower. After the Tang Dynasty, Islam was imported from the Middle East, the introduction of Islamic mosque architecture created the Chinese mosque complex style. In the 18th century, the Qing dynasty Qianlong period, the introduction of the Italian-style garden built in Beijing's Yuanmingyuan, and so on. It should be said that China is quite pay attention to the introduction and absorption of foreign excellent architectural style and design techniques. In short, as a carrier of culture, cities, gardens, buildings, etc. have profound cultural imprints and strong elements of humanism behind them. Attaching importance to cultural traditions, exploring national characteristics, and activating the special cultural values of the country have become one of the international architectural trends, and architectural styles have entered the era of "each one showing its own strengths", and the pursuit of humanism has become a new measure of architectural value. By comparing the differences between Chinese and Western architectural cultures, we can see that Chinese and Western architectural styles have different cultural backgrounds and unique performance flavor. As a result, in order to produce cities, gardens and buildings with Chinese style and cultural heritage, historical spirit and national appearance, it is necessary to draw on the basis of the excellent architectural culture of other nations, and strive to skillfully integrate the excellent culture of the Chinese nation into it, combining the elements of the nation, the times, the culture and the development, in order to create excellent architectural works and cities reflecting the characteristics of the national culture.

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