On the Influence of Confucianism and Taoism on China's Ancient Design.

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The function of China's traditional philosophy is to purify people's minds, transcend the real world and experience values higher than morality. Confucianism and Taoism are the mainstream of China's thought, which has a decisive influence on the formation and development of China's traditional interior design thought, and the etiquette culture and laws and regulations have become the core of China's traditional interior design thought.

First, the strict layout of ethics

The ancient people in China used etiquette and Confucianism to establish spatial order, and then influenced people's behavior. Confucian etiquette thought divides China's traditional social relations into five categories: "monarch and minister, father and son, brother Kun, couple and friend". Among these five social relations, three are family relations, and the other two can be regarded as extensions of family relations. For example, the relationship between monarch and minister is also regarded as a father-son relationship, while friends are regarded as brothers. "(1) This strict orientation of social relations embodies the social ethical value of neatness and order and peace and order. Confucianism preaches that there is a difference between wisdom and stupidity, so there are so-called ethical principles. In the ethical culture, the "three cardinal guides and five permanents" (2) is used to maintain the relationship between people, and it is combined with the patriarchal society to form a ritual order, which has become the social norm advocated by the feudal rulers in China. Therefore, China has strictly defined various organizational systems, including architecture and interior design.

As the representative of traditional houses in China, quadrangles, based on seniority, age and gender, form a distinction between intimacy and inferiority by arranging the main room, wing room, back building room and inverted building in a house. The pattern of traditional architecture in China is based on the concept of "home". Through the creation of environmental atmosphere, the values of ethics and morality are transformed into the consciousness of beauty, so that the aesthetic concepts of architecture and interior design are under rational control. Ethical spirit has become a unique feature of traditional architecture and interior design in China.

The plane of traditional buildings in China often has a clear axis. Single buildings determine a clear master-slave relationship through orientation and modeling, and then run through the whole group through strict axial symmetry to form a unified whole. In fact, the theory of "central axis selection" has a long history in China. As early as the Neolithic Liangzhu cultural site, the concept of "China is the most important" has been expressed and embodied in the architecture.

The interior layout of traditional buildings is also mostly in the form of axial symmetry, and the scale, color and decoration are divided into high and low, large and small, complex and simple, and light and shade are used to express the primary and secondary and order in turn. This kind of indoor layout is undoubtedly the materialization of the Confucian thought of "the quality of courtesy without hesitation", which is not only the comprehensive expression of external art forms, but also the concrete embodiment of internal life philosophy.

The layout of indoor furniture is generally symmetrical in groups or sets, with the console table near the window and the kang at the front and back eaves as the layout center, and groups of chairs, cabinets, cupboards, shelves, etc. , put in pairs, and strive to be rigorous and unified.

Second, the decorative expression of heaven and earth.

Yi Zhuan said: "Heaven is humble and Gan Kun is determined; Humble to Chen, noble and humble. " In feudal society, the concept of respect and inferiority firmly restricted the traditional architectural forms. A building is not only different in size, form and practice, but also has a series of grading regulations for indoor decoration, furnishings, colors and patterns. Since the "architectural style" in Song Dynasty, the hall structure has been clearly distinguished. The Code of Engineering Practice promulgated by the Ministry of Industry in Qing Dynasty further subdivided large-scale and small-scale practices into different levels.

The beams, columns, arches, eaves, rafters, paintings and window oil decoration of building components are all within the grade limit. As the most direct symbol of family status, the door system is more detailed. Not only the shelf of the door is limited, but also the paint color of the door is limited, and the animal face is paved, and even the three levels of copper ring and iron ring of the door ring are rigidly stipulated.

In terms of color, yellow is the most admired, followed by red, green, cyan, blue, black and gray. Palace buildings use three colors of gold, yellow and red, and the first building can only use black, gray and white.

The order of traditional architectural color painting is: color painting with seal is the highest level, and only palaces, temples, halls and gates can be used. The gold-plated powder of the main lines and patterns is less dizzy, which is mainly compared with the blue-green background to set off the gold pattern; Zi Xuan color painting is second only to Hexi color painting, which is mainly used in the main hall of government offices and temples and the secondary halls of palaces and altars. Su-style color paintings are generally used by the people, mostly in gardens and houses.

Dragon and phoenix are the most expensive patterns, followed by brocade geometric patterns, and flowers, landscapes and figures are mostly used in garden buildings. Palace buildings adopt dragon and phoenix patterns or auspicious grass patterns, and then add images such as passion fruit and ganoderma lucidum; Lotus petals, Buddhist scriptures, Sanskrit or Buddhist architectural utensils and other patterns; The layout of ordinary first-class buildings is more regular, the hall decoration is more rigorous, and the decorative patterns choose patterns that express etiquette, loyalty, filial piety and auspiciousness. The overall layout of garden buildings is free, and the coordination with the surrounding environment is emphasized. Images of plants, flowers and Bo Gu artifacts, such as Three Friends of the Cold, Qin Qi, calligraphy and painting, are often used as patterns and are full of books.

Hundreds of decorative patterns are preserved in the hot samples and archives of the architectural family "Style Lei" in Qing Dynasty. These schemata reflect the strict hierarchical differences of all social strata and people's different aesthetic orientations at that time. The emperor pursues the divine right of monarchy, and the imperial power is eternal; The people yearn for the number one scholar, and the prosperity is endless.

Third, the aesthetic structure modeling.

The harmonious unity of structural modeling and architectural decoration is a remarkable feature of traditional architecture in China. In traditional buildings with wooden frame as structural system, many main components such as columns, beams, purlins and rafters are exposed, and most of these wooden components are artistically treated in the process of log manufacturing. In "Architectural Method" and "Examples of Engineering Practice of the Ministry of Clean Industry", in addition to specifying the required dimensions and construction methods of columns, beams, buckets, arches and other components, artistic treatment methods are also formulated in order to give full play to their decorative effects through artistic treatment, which is actually the embodiment of the concept of "paying equal attention to quality and literature" in China's traditional philosophy.

As for the decorative treatment of building components, Liang Sicheng summed it up in the article "Characteristics of China Architecture": "Make the beam head into a sharp beam head or a grasshopper head; The forehead is made into a' overlord fist'; The lower end of Ang is made into an "Angkou" and the upper end is made into a "six points" or a "chrysanthemum head"; Fix the upper sections of several layers of ang together to make' Wang Fuyun' and so on; Or, for example, a complete set of bucket arches, carved flowers on doors and windows, knockers and angle leaves, but roofs, ridges, kisses and tiles all belong to this category. They are all structural parts, and after such processing, they have achieved a high decorative effect.

Traditional architecture attaches great importance to the internal unity of decoration and structural components. China's traditional architecture and interior design have great vitality because they are based on structural needs, not affectation. In the bucket beam frame, although the surface of the beam is plain, the center of the beam is slightly arched upward during processing, forming an elastic moon beam. The short column on the beam is also made into a stigma, and the lower end of the short column rides on the melon column of the beam in a pointed petal shape. The supporting wood on both sides of the short column becomes a curved supporting beam, and the supporting wood between the upper and lower beams is made into various humps. The inclined wood supporting eaves under eaves is mostly processed into brackets and brackets with various animal shapes and geometric shapes. These components are decorated on the basis of the original building components, so the overall effect is beautiful and natural.

The gates of ancient palace buildings are inlaid with regular doornails, with a pair of animal-faced knockers in the center and polygonal or petal-shaped doornails on the crossbar of the door frame; The windows of ancient buildings are composed of various pane patterns, such as animals, plants, figures or diamond patterns. In order to prevent the deformation of the whole window frame, copper sheets are nailed to the horizontal and vertical seams of the window frame, and various patterns are pressed on these copper sheets to make them very decorative. These seemingly additional decorations are actually related to the structure, and have become an important part of the traditional architectural decoration in China through the artistic processing of China ancient craftsmen.

Fourth, free and flexible spatial combination.

China's classical philosophy holds that the universe is a combination of yin and yang, and it is a combination of reality and reality. Everything in the universe is constantly changing and developing, with life and death, free and real. From the perspective of spatial consciousness, calligraphers not only pay attention to "real" strokes, but also pay attention to the blank parts between strokes, which are regarded as an organic part of characters. Mr. Deng, a great calligrapher and seal engraver in the Qing Dynasty, once said: "Calligraphy and painting can be sketched, and secrecy cannot be airtight. White is often regarded as black, and curiosity is out. "

China's traditional indoor layout is characterized by putting indoor space, decoration and furnishings together, treating space as blank paper, decoration and furnishings as strokes, applying the philosophical thought of "counting white as black", and completing the artistic treatment of space layout, facade modeling and furniture furnishings through the flexible combination of indoor spaces.

Traditional architecture in China pays attention to the combination of "emptiness" and "reality" in space. At the same time, the traditional wooden frame structure gives the greatest freedom to the internal space, and the group combination of single buildings changes, creating a spatial form of dynamic and static combination and implicit change. Lao Tzu said, "Thirty spokes and one hub; When it's okay, there is a car. Think of it as a device; When it's nothing, it works. Chisel the family into a room; When there is nothing, there is room for it. Therefore, it is beneficial and useless. " This kind of "being" and "nothing" is the unity of opposites between "entity" and "emptiness" in architecture.

In the traditional wooden structure building system in China, the main body of the building is made of wood as column and beam, which becomes a beam frame. Each auxiliary beam frame has two rows and more than two layers of beams. The building plane takes "rooms" as the unit, and rooms can be separated and communicated, so the use of space is very flexible and convenient, and the location and treatment of doors and windows are also very free. In the indoor space, "in addition to fixed partitions and partitions, movable screens, semi-open covers, antique bookshelves, etc. are combined with furniture to increase the level and depth of organizing indoor space". By dividing the space with different functions, the hall can be divided and combined, with rich types, and it is convenient to arrange furniture according to the use requirements.

China's traditional paintings and calligraphy, plaque couplets, Four Treasures of the Study, hanging screens, Ding Yi and other furnishings can not only participate in the free and flexible space combination, but also reflect the master's cultural accomplishment and aesthetic taste. In the Qing Dynasty, Li Yu advocated that furniture furnishings should be "not exclusive, expensive and flexible" in Li Weng's Family History. In his view, except the building itself, other furnishings can be freely moved and combined. "Vision and mentality. If you want to live your heart, you must live your eyes first. "

In ancient times, most of the displayed artworks were randomly placed, and the decorative effect was compared by color, shape and texture. Among them, paintings, hanging screens, Wan Wen, utensils, potted flowers, bonsai and other furnishings are all brightly colored and beautifully shaped, which together with furniture and other architectural decorative components form a unique decorative effect, enriching monotonous space and increasing indoor vitality and interest.

Fifth, learn from nature to create artistic conception.

As early as the pre-Qin period, people put forward the concepts of "astronomy" and "humanity". "Look at astronomy to observe time-varying; Look at humanity and turn it into the world. " Man and nature are not antagonistic here. "Astronomy" refers to the natural order, and "humanity" refers to the personnel organization. Both have their own ideas and complement each other. Dong Zhongshu of Han Dynasty believed in the story of Spring and Autumn that the evolution of the four seasons was the result of the operation of Yin and Yang. He proposed: "Heaven is normal, one yin and one yang. Yang is heaven's virtue and Yin is heaven's punishment. " Dong Zhongshu believes: "God's will is to make Yang not be Yin, and virtue is not easy to punish." He also proved that "heaven and man are one". This idea of "harmony between man and nature" has become the essence of China traditional culture.

Regarding the basic problem of world outlook, Laozi, the founder of Taoist thought, wrote: "Man, earth, heaven, heaven and Taoism are natural." Laozi's philosophy holds that nature operates according to its inherent laws, so nature is selfless, selfless and selfless, so he advocates "the law of nature" Ji Cheng, a gardener in the late Ming Dynasty, put forward "skillful borrowing" in his earliest gardening monograph in the world, and created ever-changing classical gardens based on the gardening theory of advocating nature. In addition to gardens, Taoism has a profound influence on the development of traditional interior design in China.

In the traditional architecture and interior design of China, the yearning and pursuit of the natural environment is first manifested in the connection and infiltration of the internal and external space. The characteristics of blending inside and outside the traditional buildings in China show that people transcend the entity and pursue the spiritual enjoyment of natural beauty. Doors and windows can be regarded as channels for connecting and infiltrating indoor and outdoor environments. "Liu Xi's" Han Shi Ming Shi "said:' The spirit of the window is the spirit from the inside out.' ⑤ In the traditional quadrangle buildings in the north, the partition wall separating the inner courtyard from the interior is generally a wooden partition wall, and the sash and door leaf with step brocade or rib pattern are embedded between the columns, which can be flexibly disassembled. The indoor space penetrates into the indoor courtyard and the natural landscape around the room through doors and windows, continuous partition windows and verandahs. Due to geographical and climatic reasons, the main hall and patio of residential buildings in the south of China are completely open-air. At the same time, the open cloisters and large overhangs around the patio make indoor and outdoor an inclusive and unified whole; The circulation space in the garden buildings in the south of the Yangtze River is a continuous and dynamic space whole through the treatment of reality and reality. The empty pavilions, open halls, pavilions and porch windows in Jiangnan gardens introduce more poetic beauty and beautiful stones into the indoor space, which invisibly expands the scope of the indoor space pattern, and at the same time, through the participation of people, it produces the effect of "changing scenery".

Creating indoor artificial environment atmosphere is another feature of traditional architecture and interior design. The ancient people in China often said that "moving the sky and shrinking the land" is actually introducing flowers, grass, trees, wood, mountains and stones into indoor space through bonsai and flower arrangement, imitating nature, endowing flowers, trees and stones with anthropomorphic personality, making them have extraordinary aesthetic value, and pinning people's feelings and interests through the creation of artificial environment.

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