China ancient architectural style

First, the local ethnic style (geography)

China has a vast territory, diverse natural conditions and a very closed region (especially ethnic minority areas and mountainous areas). Therefore, the buildings of various places and nationalities have some special styles, which can generally be summarized into the following eight categories:

1, northern style. It is concentrated in the vast plain area from the north of Huaihe River to the south of Heilongjiang. The group is regular, the courtyard is large, but the scale is appropriate; The architectural shape is not undulating, the house is low and flat, and the roof curve is flat; Multi-purpose bricks and tiles, large wood structure materials, relatively simple decoration. The general style is cheerful and generous.

2. Northwest wind. It is concentrated in the Loess Plateau from the west of the Yellow River to Ningxia, Gansu. The courtyard is very closed, the house is very low, the roof slope is low and gentle, and quite a few buildings use flat roofs. Bricks and tiles are rarely used, adobe or rammed earth walls are used, and wooden decoration is simpler. In this area, there are often cave buildings, including pit kilns and peace vouchers kilns. The general style is simple. However, there are many mosques in Hui inhabited areas, which are tall, steep in roof, luxuriant in decoration and strong in color, which are obviously different from ordinary folk buildings.

3. Jiangnan style. It is concentrated in the river network area in the middle and lower reaches of the Yangtze River. The group is dense and the courtyard is narrow. There are many large and medium-sized groups (big houses, halls, shops, temples, ancestral halls, etc.). ) in the town, there are buildings; Small buildings (ordinary houses and shops) are free and flexible. The roof slope is steep, the wing angle is high, the decoration is exquisite and rich, and there are many carvings. The overall style is beautiful and dexterous.

4. Lingnan style. Concentrated in the mountainous and hilly areas of the Pearl River Basin. The building plane is relatively regular, the courtyard is small, the house is tall, the doors and windows are narrow, there are many volcanic walls, the roof slope is steep, and the wing angle is inclined. Villages and towns have dense buildings, strong closeness, rich and complex sculptures and paintings, and fine craftsmanship. The general style is light and delicate.

5. Southwest style. It is concentrated in the southwest mountainous areas, and a considerable part of them are areas where Zhuang, Dai, Yao and Miao nationalities live together. More houses are built on hillsides, which are dry column buildings and overhead floors. Plane and modeling are quite free, and rarely appear in groups. Structural members such as beams and columns are exposed, and only slab walls or floor mats are used as maintenance barriers. The curve of the house is soft, it has been dragged for a long time, the eaves are far away, and the decorative effect of shingles or straw stalks is not very strong. The overall style is free and flexible. Among them, the Dai Buddhist temple in southern Yunnan is huge in space and richly decorated. The shape of the pagoda is similar to that of Myanmar, and the national style is very distinctive.

6. Tibetan style. It is concentrated in the vast grasslands and mountainous areas where Tibetans live in concentrated communities, such as Tibet, Qinghai, Gannan and northern Sichuan. Herdsmen live in brown rectangular tents. The villagers live in bunkers, mostly small patio wooden houses with 2-3 floors, with stone walls made of bread outside, a large part of which has a flat roof on the mountain. Stone wall. The mound doors and windows are narrow, with black trapezoidal window covers outside the window and decorative lines on the top eaves, which are very expressive. There are many temples in Lal, all built in highland _ hill. They are tall and have strong colors. They also use thick walls and flat roofs, and highlight a small number of slopes at key locations. The overall style is solid and heavy.

7. Mongolian style. Concentrated in the grassland areas where Mongolian people live in compact communities. Herdsmen live in a round felt bag (Mongolian yurt), and the big felt bag of the nobility has a diameter of 10 meter, and there are columns in it, which are luxuriantly decorated. Cima Temple embodies the style of Mongolian architecture, which comes from the prototype of Tibetan Lama Temple and absorbs the architectural artistic techniques of Hui and Han nationalities in the surrounding areas. It is both heavy and gorgeous.

8. Uygur style. Concentrated in Xinjiang Uygur residential areas. The exterior of the building is fully enclosed, with a flat roof, and the internal courtyard is friendly in scale, with free plane layout and green embellishment. There is a spacious veranda in front of the house, and there are detailed colored wood carvings and plaster decorations indoors and outdoors. The overall style is simple and monotonous outside, flexible and exquisite inside. Mosque and Ayatollah cemetery are the most concentrated places of architectural art, with huge volume, towering towers, rich and exquisite brick carving, wood carving and gypsum decoration. It also adopts an arched coupon structure, which is full of curve rhythm.

Second, the style of the times (dynasty)

Because the function and material structure of ancient buildings in China have not changed much for a long time, the main factor that forms the styles of different times is the difference of aesthetic inclination. At the same time, due to the close relationship between ethnic groups and regions in ancient society, once they are impacted by foreign cultures, or the cultures of ethnic groups in various regions have undergone a sharp blending, their artistic styles will also change. According to these two points, the architectural art after Shang and Zhou Dynasties can be divided into three typical styles of the times:

1, Qin and Han styles. During the Shang and Zhou dynasties, it was initially formed. Some important artistic features of China architects, such as square courtyard, vertical symmetrical layout, wooden beam frame structure system, single shape composed of roof, house body and pedestal, etc., account for a large proportion in the facade. However, there are also regional and time differences in the architecture of Shang and Zhou Dynasties. During the Spring and Autumn Period and the Warring States Period, the feudal lords were separated, and the architectural style was not uniform because of different cultures. The human body can be divided into two styles, namely, the northern style of the Central Plains bounded by Qi and Jin and the Jianghuai style dominated by Chu and Wu. Qin unified the whole country, concentrated the cultures of Guanzhong countries, and Han inherited Qin culture, which made the national architectural style trend.

In unification. The styles of Qin and Han Dynasties are mainly represented by capitals, palaces, tombs and ritual buildings. Its characteristics are: the division of capital cities is regular, and residential alleys and markets are closed with high walls; Palaces and tombs are large groups, and the main body is tall and heavy terraced buildings; Most of the important monomers are cross-axis commemorative, with huge scale and outstanding image; The roof is large and the curve is not obvious, but there is already a' reverse space' at the eaves; The sculpture is decorated in many colors, with mysterious orange as the theme, exaggerated modeling and strong color tone; Important buildings pursue symbolic meaning. Although there are many religious contents, they can be understood by people. The architecture of Qin and Han Dynasties laid the rationalism foundation of China architecture, with clear ethical content, clear layout and neat composition, and at the same time showed a simple, rich, clear and strong artistic style.

2. Sui and Tang styles. The Wei, Jin, Southern and Northern Dynasties were a period of great changes in China's architectural style. The gentry of the Central Plains went south, and the northern minorities entered the Central Plains. With the great ethnic integration, the profound Central Plains culture was introduced to the south, which also affected the north and northwest. Buddhism achieved unprecedented development in the Southern and Northern Dynasties, and the imported Buddhist culture had a great influence on almost all traditional literature and art, increasing the types and means of expression of traditional art and changing the original style. At the same time, the literati retired.

The taste of life in secluded mountains, the appearance of landscape poems in Sichuan Garden and the development of beautiful scenery in the south of the Yangtze River have formally formed the aesthetic thinking and basic style of China gardens, and also derived the romantic mood. During the Sui and Tang Dynasties, national unity and frequent exchanges with the western regions promoted cultural and artistic exchanges among many ethnic groups. Since the Qin and Han Dynasties, the traditional rational spirit has blended with Buddhism, the exotic customs of the western regions, and the romantic sentiment since the Southern and Northern Dynasties, and finally formed a prosperous Tang style with rationality and romance intertwined. Its characteristics are: the capital is magnificent and square; The sequence of large groups such as palaces and temples. Broad and stretched, with a large spatial scale; The building has rich modeling, uneven outline and gorgeous decoration; Buddhist temples, pagodas and cave temples are extremely rich in scale, form and color, showing a fresh look of close integration of Chinese and foreign cultures.

3. Ming and Qing styles. From the Five Dynasties to the Song Dynasty, the urban commodity economy in China feudal society developed greatly, and the content of urban life and people's aesthetic tendency also changed significantly, which also changed the artistic style. During the Five Dynasties and Ten Kingdoms and the Song, Liao, Jin and Yuan Dynasties, the cultures and arts of various ethnic groups and regions in China exchanged and merged again. The development of Tibet and Mongolia and the absorption of Arab culture in the Yuan Dynasty added fresh blood to traditional culture. The Ming Dynasty reunified the whole country after the Yuan Dynasty, and finally formed a unified multi-ethnic country in the Qing Dynasty. The last mature style of China architecture was formed in the heyday of the Qing Dynasty (18th century). Its characteristic is that the city is still square in specifications, but the closed alleys and markets in the city have become open streets, shops facing the street and lively markets; There are many scenic spots in or around the city, and there are many places for citizens to visit; Important buildings are completely stereotyped and standardized, but they are in various forms and rich in techniques: the quality and artistic level of residential buildings and buildings in ethnic areas have generally improved, forming diverse styles of various regions and ethnic groups; A large number of private and royal family forests appeared, the gardening art flourished unprecedentedly, and the gardening technology finally matured. In a word, Shengqing architecture inherited the rational spirit and romantic mood of the previous generation, and finally formed the typical mature style of China architectural art-generous, rigorous and elegant, clear mechanism and full of human touch.

Qin and Han Dynasties, Sui and Tang Dynasties, Ming and Qing Dynasties, basically the same time interval. They are the three periods of national unity and national integration, and also the representative dynasties of the three stages of feudal society. As an architectural art that actively and comprehensively reflects life, the contents contained in these three times styles obviously go far beyond the scope of pure art; The typical significance of architectural art style and its reflection function obviously go far beyond the architectural art itself.

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