The threefold dimension of the spirit of Chinese ancient architecture aesthetics?

What is the specific content of the three dimensions of the spirit of Chinese ancient architecture aesthetics, the following in the consulting answer for you.

Looking at the historical development of traditional Chinese architecture in the context of aesthetic culture and pursuing its unique aesthetic appeal, it is not difficult to realize that there are many basic elements that are different from those of the West. From the semi-cave houses built with wood frames and grass mud by the ancestors of Half-slope in the ancient times along the river bank, to the A-fang Palace of Qin, which is said to have been built by the First Emperor, and which was "pressurized for more than 300 miles, isolated from the sky", to the building which has been called "the most beautiful building on earth" by the contemporary American architect, Ernest Baikang. Bekham called "the greatest individual project of mankind on the surface of the earth" Beijing City, Chinese architecture in the choice of address, style structure, design ideas expressed in the pursuit of aesthetics, after a long period of time

In the aesthetic culture in the context of the historical development of traditional Chinese architecture, to trace the unique aesthetic charm, we will not be difficult to find that there are a lot of different from the West's basic elements. From the semi-cave houses built with wood frames and grass mud by the ancestors of the Half Slope on the riverbank in ancient times, to the A-fang Palace of the Qin Dynasty, which was claimed to have been built by the First Emperor, and which was isolated from the sky for more than 300 miles, to the building of the A-fang Palace of the Qin Dynasty, which has been described as "the most beautiful building on earth" by the contemporary architect of the United States, Mr. Enn Bakan. Bekham called "the greatest individual project of mankind on the surface of the earth" Beijing, Chinese architecture in the choice of address, style and structure, design ideas expressed in the aesthetic pursuit, after a long period of time, from naivety to maturity, and ultimately precipitated into the basic dimensions of the spirit of Chinese architectural aesthetics, which has become the key to our understanding of the "eternal charm" of the Chinese architecture.

Feng Shui

Feng Shui is the soul of Chinese architectural aesthetics. Our ancestors attached great importance to the topography, landscape distance, lighting and ventilation and other environmental factors, and there is "the beauty of the ground, the spirit of peace, prosperity, such as cultivation of its roots and leaves," said that the building environment is not only good or bad, not only is related to the occupants of their own safety and security, but also to the future generations of the rise and fall of the building, and even planted in the building around the flowers, plants and trees should be affected. Obviously, in the eyes of the ancients, the environment is good, living in which may be healthy and long life, full of children and grandchildren; on the contrary, it affects the physical and mental health of people, the basic significance of the building will be lost. The former is called "beautiful house", the latter is called "evil house". This is the ancient and mysterious Feng Shui theory. Feng Shui theory in the history of Chinese architecture is y rooted in people's hearts and has a long history, and the long process of agrarian economy between man and nature to form an intimate relationship with the same old "unity of man and nature" philosophical spirit is related to, of course, is due to the implementation of the process does bring material or spiritual benefits to the people. To this day, we can not only see from the Spring and Autumn and the Warring States period, the emergence of the "Kao Gong Ji" in the construction of cities, villages, mausoleums, people in the construction of the surroundings of the environment, but also from the book in the Han Dynasty, now lost in the name of the "Kam Chi Jin Gui", "Palace Topography" and other canonical collection of the concept of feng shui on the changes in the situation; not only from the emergence of metaphysics, like the "Yellow Emperor's Residence Jing," the collection of specialized works. Not only can we systematically see people's understanding of feng shui from the specialized works like "Huang Di Zha Jing" that appeared along with the metaphysics, but we can also feel the painstaking efforts of the builders in choosing the environment from the ruins of a large number of ancient palaces and citadels preserved in Xi'an, Nanjing, Beijing and other places.

While some scholars believe that paying attention to the living environment is not unique to China, and that buildings all over the world have a feng shui tradition similar to that of choosing the location and orientation. However, to find the source of feng shui thinking, we can not help but turn our attention to China. Because there are not only the Yangshao culture sites preserved in physical form, showing the image of 6,000 to 7,000 years ago, the ancestors in the choice of their own place of residence on the landscape, grass and trees and other factors of importance, has revealed a shadowy sense of feng shui; but also see the main records in this area was first formed in this land. To this day, we can still see the early contents of feng shui thinking in the I Ching, the Zhou Li, the Historical Records and other texts.

Atmosphere, the structural style that embodies the aesthetics of Chinese architecture. Large roofs, wooden structures, and then connect the two in the form of arches, constituting the most basic structural form of traditional Chinese architecture almost unchanged for thousands of years. The formation of this structural style, out of the convenience of local materials, according to the local conditions, but also human and God unity, the family and the country are not separated from the patriarchal spirit of considerations. Throughout history, the representative buildings that remain on the Chinese land are mostly palaces built with the vitality of "earth" and "wood", which are closely related to daily life, unlike the representative buildings in the West, which are mostly built with cold and hard stones. Temples built arc proud cold, pointing straight to the sky, is to point to the other side of the world, reflecting the supremacy of the gods, guiding believers in the worship of the gods, but also laid the psychological foundation for the development of Western architecture to the high altitude; while the palace in the residence of the emperor is the master of the world's people, both as a symbol of power, but also a model of the nation, so the modeling is not pointing straight to the sky of the tall, but the pursuit of the plane of the expansion of the deep, in the deep courtyard, the emperor is a symbol of the people, not only is the symbol of the power, but also a national example. Extended deep, deep in the courtyard to create a majestic atmosphere, not only can show the emperor's majesty and solemnity, but also play a role in guiding and regulating people's realistic associations.

The mood, the spirit of Chinese architectural aesthetics where the flavor. With the Roman stone castles and religious temples throughout the Western world to pursue the independent upright different, traditional Chinese architecture often like to build on the landscape, borrowing the flat ground, into a group of momentum, pay attention to the buildings echo each other, well-organized, the main and secondary, the pursuit of an overall harmony, multi-level progressive aesthetic effect. Chinese traditional architecture in the overall effect is not a mere object, but with the object in the scene, the scene in the object, the beauty of the mood of the real and imaginary. This situation can be seen in the royal gardens and palaces preserved all over the north, as well as in the ancient villages scattered in the north and south of the Yangtze River, inside and outside the Great Wall. In the aesthetic vision of our ancestors, architecture seems to be a living carrier.

This aesthetic effect in the Ming and Qing dynasties left behind in the garden architecture has a typical embodiment, but the source can be traced back thousands of years ago to the Zhou Qin architectural sites. China's first imperial palace of Qin Du, for example, according to archaeological exploration and documentation, this south of the Qinling Mountains, west across the Weihe River, east of Mount Li, near the north of Tuyuan, covering an area of 45 square kilometers of the huge city, a good embodiment of the "thing in the scene, the scene in the thing, the real and the imaginary," the beauty of the mood. In the center of the Qin capital, brilliant and tall palaces and other large buildings are lined up, layer upon layer, constituting the main part of this imperial capital.

The architecture of the Qin Dynasty is a landmark in Chinese history. It succeeded the Shang and Zhou Dynasties, which actually summarized and summarized the architectural aesthetics of its predecessors. It also inspired the Han and Tang Dynasties, which provided a model for the architectural activities of the later generations in terms of theory and practice, influenced the direction of the architecture of the Chinese nation, and exerted a far-reaching influence on the shaping of the architectural aesthetics of the Chinese architecture.

Second, the return to the true

After such an analysis, it is not difficult to find that the spirit of Chinese architectural aesthetics of the three major constituent elements are coincidentally have a *** with the same point: the return to the true. Whether it is the architectural concept of the wind and water, or from the "soil", in order to the beauty of the building form, or by the environment to transfer, intermingling and through the architectural mood, all have a clear master of nature, the aesthetic tendency of the unity of mankind. In the eyes of our ancestors, the highest realm of beauty, not the imaginary world of the other side of the world, not by carving a certain proportion of the relationship, but a state of harmony between man and nature. Thus, compared with the traditional architecture of the West, traditional Chinese architecture, whether it is the choice of address, the materials used, or the shape of the design, are trying to find ways to comply with nature, so that people living in them can fully enjoy the breath of nature. This kind of obvious with the pursuit of transcendence from the world, back to basics, precisely and from Kant, and later influenced the whole aesthetic world, "no harm and can give people a sense of pleasure," the aesthetics of a different flavor. The difference is that this aesthetic theory is to transcend the utilitarian, desire and concept, in short, is a variety of self-interested things, and then reach a kind of forgetfulness of the transcendent; and traditional Chinese architectural aesthetics to transcend a kind of "technology" and into the "way" of things, and then reach a kind of "heavenly will" and "will of heaven" to communicate the situation.

In the context of globalization, architecture is one of the first industries to connect with the international community. In a short period of time, facing the urbanization process of a thousand cities, more and more people feel the importance of national culture in urban construction. As a result, both researchers of architectural theories and some large-scale enterprises that have completed their primitive capital accumulation have begun to turn their attention to traditional Chinese culture, looking for a way out of Chinese urban construction in the context of traditional culture, and trying to create modernized buildings and cities with an oriental outlook. This is undoubtedly a kind of foresight. From the situation of Europe and Japan and other developed countries, when they completed the process of urbanization, they did not completely break up the culture of their own people, to copy the ready-made experience of others, but by all means to preserve the excellent traditional culture. Today, strolling in some cities of these countries, facing a building carefully designed, a street environment, while feeling the modern atmosphere, can also feel a ubiquitous national spirit. China is an ancient nation that has maintained a united, complete and stable culture for thousands of years, creating a world-renowned material and spiritual civilization, and earning a prominent position as one of the three major cultural systems in the world, compared to Greece and India. As the carrier of this ancient culture, traditional architecture has undoubtedly gathered a lot of genes with strong vitality. Whether it is the idea of the beauty of feng shui, the pursuit of the beauty of greatness, or the craftsmanship of creating the beauty of meaning, it not only made the people at that time feel the charm of architecture, but also provided experience for the architectural behavior of the descendants, and eventually became the soul of Chinese architecture because of the richness of the factors that contribute to the development of life. The soul of Chinese architecture.

In the process of learning the excellent traditional culture, there are three realms: learning its form, learning its spirit and learning its soul." Shape" is the form, can be painted by the cat; "God" is the content, but also from the canonical materials in the wood; "soul" is much deeper, is a symbol of life, but also the essence of life, but also the root of life, with "painting by the cat" and "wood" is not helpful. The inheritance of the "soul" needs to start from the root of Chinese culture, and it needs to be experienced by heart. In this way we can grasp the charm of life of traditional Chinese architecture, the continuation of the aesthetic spirit of Chinese architecture.

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