What are the ethical norms in China's traditional culture and the feudal system reflected in palace buildings?

1. The embodiment of "harmony between man and nature" in architecture-the concept of "harmony between man and nature" in Gan Lan culture was first expounded by Zhuangzi, and later developed into a philosophical system of harmony between man and nature by Dong Zhongshu, a thinker and yin and yang scientist in Han Dynasty, and thus constructed the main body of China traditional culture. The most important point in the system of "harmony between man and nature" is the harmony between man and nature. For China architecture, the idea of harmony between man and nature not only clarified the development direction of China traditional architecture, but also established the existing mode and related laws of China architecture, which influenced the value aesthetic orientation of China traditional architecture. The harmony between man and nature is the ideal architectural environment pursued by ancient people in China. The concrete application of the idea of "harmony between man and nature" in architecture is not the independent existence of a single building, but the combination of groups, which requires the harmony between indoor and outdoor, man and nature. Traditional architecture does not seek to develop to a higher place, but spreads close to the earth, close to the earth, and the integration of architecture and surrounding natural landscape is more natural. For example, "Gan Lan culture", the main body of architectural culture in southern China in ancient times, is an architectural system with wood structure as the main body, which pays attention to a high degree of coordination with and respect for nature. In the selection of materials, wood can be seen everywhere in the south, giving people implicit and deep natural beauty. Light, tough and easy to process, it is also a gift from nature, just in line with ancient China people. In terms of artistic character, it embodies the characteristics of neutrality, simplicity and implication. For another example, in the arc design of some building roofs, the artistic curve is steep first and then slow, forming an arc surface, which not only forces more evenly, but also facilitates the reasonable discharge of rain and snow on the roof, which is also the embodiment of the idea of harmony between man and nature. In a word, the traditional architecture in China presents a kind of posture that adapts to and coordinates with nature from modeling to internal structure, and unconsciously incorporates the idea of harmony between man and nature.

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The embodiment of hierarchy in architecture —— The social ideology of the Forbidden City in China feudal society has a strong hierarchical concept with imperial power as the core, which emphasizes patriarchal clan system, while ethics emphasizes respecting ancestors, preventing men and women, shocking the world, divine sovereignty, orderly aging, and other internal and external norms. Influenced by feudal patriarchal ethics, the square is arranged symmetrically in the north-south longitudinal direction, and the east and west wing rooms are the younger generation. The roof styles of ancient buildings in China represent different levels. The highest floor is the Ding Dian, also known as the Wuling Hall. This kind of roof can only be used by royal palaces or temples; Next to the top of the temple is Xieding Mountain, also known as Jiuji Hall. This kind of roof is mostly used in buildings with important architectural nature and large volume. The color of the building also has obvious grades. The buildings of princes and nobles are different from those of ordinary people. Some people who don't build houses according to the prescribed grades will be punished. The strict hierarchical system leads to the distinct embodiment of hierarchy in architecture. In ancient China, the building that can fully embody the hierarchy can be said to be the Forbidden City. Since ancient times, the construction of the Forbidden City has followed the preemptive system of "Zuo Zu Qiang You Zong" and "facing the market outlook". As far as the famous Forbidden City is concerned, its temples and countries are located in front of the Forbidden City and on the east and west sides of Tiananmen Square. On the central axis of the Forbidden City in the Ming Dynasty, there were three halls facing the outside world: the Imperial Palace, the nave and the Jianji Hall. The three halls outside are places where the emperor holds ceremonies and handles state affairs, and the three palaces in the inner court are the residence and service facilities of the emperor. The empress, concubines, prince and empress dowager are all outside the central axis.

3. The embodiment of China traditional culture in modern architecture-Green building In recent years, green building has become a low-carbon city.