Ancient Chinese City Layout of *** Same Characteristics and Impact on Commercial Development

The characteristic forms and styles of Chinese architecture with aesthetic value. Since the pre-Qin to the middle of the 19th century before basically a closed independent system, more than 2000 years of little change in style, commonly known as the ancient Chinese architectural art.

After the middle of the 19th century, with the change of the nature of society, foreign architecture, especially the import of a large number of Western architecture, Chinese architecture and world architecture have more contact and exchange, architectural style has undergone a drastic change, commonly known as China's modern architectural art.

Ancient Chinese architectural art

Ancient Chinese architectural art developed and matured in the feudal society, which took the Han wooden structure building as the main body, and also included the excellent architecture of various ethnic minorities, and was a unique art system with the longest continuation history, the widest geographical distribution, and the most obvious style in the world. Ancient Chinese architecture had a direct influence on the ancient architecture of Japan, Korea and Vietnam, and after the 17th century, it also had an influence on Europe.

Artistic Characteristics

Compared with European ancient architecture, there are three basic characteristics of ancient Chinese architecture:

1) The unity of aesthetic value and political and ethical value. Buildings with high artistic value also played the role of maintaining and strengthening the political and ethical system and ideology of the society at the same time.

②Rooted in the deep traditional culture, showing a distinctive spirit of humanism. All the constituent factors of architectural art, such as scale, rhythm, composition, form, character, style, etc., are from the aesthetic psychology of contemporary people, which can be appreciated and understood by people, and there are no big ups and downs, weird and treacherous, incomprehensible images.

3 Overall and comprehensive is very strong. Ancient excellent architectural works, almost all mobilized at that time may constitute the architectural art of all the factors and techniques synthesized into a whole image, from the overall environment to a single house, from the external sequence to the internal space, from the color decorations to the ancillary art, each part is not dispensable, one of which is abstracted, but also damage to the overall effect.

These basic features are specifically expressed as follows:

Emphasis on the overall management of the environment

From the Spring and Autumn Period and the Warring States period onwards, China has had the concept of the overall management of the built environment. Zhou Li" on the wild, all, despicable, township, village, coccyx, li, eup, hill, Dian and other planning system, although not all may not be a fact, but at least shows that there has been a systematic planning of the concept of large regional planning. Guan Zi - multiplying horses" advocates that "wherever the capital of a country is established, it is not under a big mountain, but above a wide river", indicating that the location of a city must take into account the environmental relationship. The origin of Chinese geomancy is very early, removing the superstitious veneer, the vast majority of the relationship between the environment and the building. Ancient cities are focused on the city itself and the surrounding environment, unified management. Qin Xianyang was a superbly scaled urban environment with its north encompassing Beiban, its center running through the Weishui River, and its south reaching Nanshan Mountain, reaching two to three hundred miles east to west at its peak. Chang'an (now Xi'an, Shaanxi Province), Luoyang (Northern Wei Dynasty), Jiankang (now Nanjing, Jiangsu Province), Beijing (Ming and Qing dynasties) and other famous capitals, its business scope are far more than within the city walls; even the general government, state, and county towns, but also will be included in the suburbs in the city's overall environment of the unified layout. Important scenic spots, such as the five mountains and five towns, Buddhist and Taoist mountains, eup suburban gardens, etc., also put

Environmental management in the first place; the emperor's tomb area, but also focus on geography of feng shui, most of these places are relying on the environment of the building to show the charms of its art.

Monolithic image in the group sequence

Ancient China's monolithic buildings in a relatively simple form, most of the stereotyped style, isolated monolithic buildings do not constitute a complete artistic image, the building's artistic effect relies on the group sequence to obtain. A temple, as a companion in the sequence, the shape will not be too large, the image may also be relatively bland, but as the main body, it may be very tall. For example, the Ming and Qing palaces in Beijing in a single building style is not much, but through different spatial sequences of conversion, each single building shows its own independent character in the whole.

Constructive technology and artistic image of unity of ancient Chinese architecture of wood structure system is very adaptable. This system of four columns, two beams and two square forms a basic framework known as between the left and right can be connected, can also be connected to the front and back, and can be stacked on top of each other, can also be staggered combination, or to be adapted to become an octagonal, hexagonal, circular, fan-shaped or other shapes. Roof frames have lifting beam and through the bucket type two kinds, no matter which one, can not change the frame system and the roof

Face to make a curve, and in the corner of the roof to make the corner of the eaves, but also to make the eave, hooked, interspersed, phi, and other styles. The artistic modeling of a single building, mainly relying on the flexibility of the collocation between and numerous styles of curved roof performance. In addition, the wooden structure of the components to facilitate the carving and painting, in order to enhance the artistic expression of the building. Therefore, the modeling beauty of ancient Chinese architecture is largely expressed as structural beauty.

Ancient Chinese building roof frame pattern

Specification and diversification of unity Chinese buildings are mainly wooden structure, in order to facilitate the production of components, installation and estimation of material, inevitably towards the specification of components, also prompted the design of modularity. As early as the Spring and Autumn period in the "Kao Gong Ji", there is a specification, the germ of the modularization, by the Tang Dynasty has been more mature.

To the Song Yuan □ three years (1100) compiled the "construction method", modular completely stereotyped, the Qing Yongzheng twelve years (1734) issued by the Ministry of Works engineering practice rules and regulations have been further simplified. The specification of the building, prompting the unity of architectural style, but also to ensure that each building can achieve a certain level of art. Specification is not overly restrictive sequence composition, so the specification of a single building and the diversity of the group sequence can go hand in hand, as a kind of spatial art, it is clear that this is a mature phenomenon of progress. Ancient Chinese architectural monoliths seem to be slightly less varied, but group combinations are varied, because of the high degree of unity between specification and diversity.

Ancient Chinese Architecture Roof Framing Patterns

Poetic and Natural Gardens

Chinese gardens are an outstanding achievement of the ancient Chinese architectural art, and also an important typical of the world's gardens of various systems.

Chinese gardens take nature as the blueprint, take in the essence of natural beauty, and injected with the aesthetic interests of culturally rich people, take the architectural spatial composition of the approach, so that the natural beauty of the typical beauty of the garden into the beauty of the garden. The interest contained therein is poetic and picturesque; the spatial composition method adopted is the free and flexible, smooth movement of the sequence design. Chinese gardens pay attention to the "skillful in the borrowing, fine in the body appropriate", pay attention to the subtle push into the scene and get the scene, in order to organize a rich

viewing picture. At the same time, it also simulates the natural landscape, creating a special technique of folding mountains and water, no matter the earth and stone mountains, or mountains and water together, can make the poetic and pictorial meaning deeper and more interesting.

Emphasis on the performance of the building's character and symbolic meaning

Ancient Chinese architectural art of political and ethical content, it is required to show a distinctive character and a specific symbolic meaning, and for this reason, the use of a lot of techniques. The most important is the use of the environment to render different moods and atmospheres, so that people get a variety of aesthetic sensations; followed by the provision of different levels of architecture, including volume, color, style, decoration, etc., to show the social system and architectural content; while also trying to use many figurative accessory art, up to the plaques, tablets, the text of the building to reveal and illustrate the character and content of the building. Important buildings, such as palaces, altars, temples, temples, etc., there are specific symbolic themes. For example, the first emperor of Qin created Xianyang, the palace symbolizes the Ziwei, WeiShui symbolizes the TianHan, ShangLinYuan dug pool symbolizes the East China Sea PengLai. Kangxi, Qianlong Qing Dynasty to create the Yuanmingyuan, Summer Palace and Chengde

Wai eight temples, simulating the national important buildings and attractions, symbolizing the unity of the universe. Hall on the round below, five rooms and twelve halls, symbolizing the world. The composition of some temples symbolizes the Buddhist world of Mount Sumeru.

Art form

The art form of ancient Chinese architecture consists of some of the following

Factors:

The spatial sequence of the unfolding of the Chinese architectural art is mainly a combination of the art of the group, the link between the group, transition, transformation, constituting a rich spatial sequence. Wooden houses are mostly low-rise (mainly single-story), so the sequence of groups is basically horizontal. The basic unit of space is the courtyard, *** there are three forms:

① cross axis symmetry, the main building is placed in the center, the courtyard is mostly used for very high specifications, strong monumental ceremonial and religious buildings, the number is not large;

② the vertical axis is the main axis, supplemented by the horizontal axis, the main building is placed in the back to form the quadrangle or triplex, from the palace to small homes are widely used, the most numerous;

2 the main axis is the main axis, the main building is placed in the back to form a courtyard or triad, widely used from the Palace small homes are widely used. The largest number;

③ axis zigzag, or no obvious axis, mostly used in garden space. Sequence and there are regular and free-form difference. The most outstanding representative of the existing regular type sequence is the Ming and Qing Dynasty Beijing Palace.

In the free-form sequence, some courtyards are integrated into the environment, the sequence of changes in the rhythm of the slower, such as the imperial mausoleums and natural scenery in the building; there are also courtyards are integrated into the landscape flowers and trees, the sequence of changes in the rhythm of the tighter, such as artificial management of the gardens. But no matter what kind of sequence, are by the prelude, transition, climax, ending several parts of the composition, the rhythm of a gas through.

Ancient Chinese architectural group combination

Specification of stereotyped monolithic modeling Ancient Chinese monolithic buildings have more than a dozen names, but most of the form of the difference is not significant, the main three kinds:

①Temple, the basic plane is rectangular, there are a small number of squares, square, round, rarely alone;

②The pavilion, the basic plane is a square, square and round, hexagonal, octagonal and other

shapes, can be independent of the group;

③ gallery, mainly as a link between the individual buildings. A hall or pavilion stacked above and below is a pavilion or tower. Early there is also a kind of Taiwan, the center of the large rammed earth platform, along the platform to build multi-storey houses, but after the Eastern Han Dynasty, that is no longer built. The size of the hall, the front to the number of rooms, side

To purlin (or rafters) number of difference. Before the Han Dynasty, there are odd and even, and then all odd, to the Qing Dynasty, the front to 11 largest, 3 smallest, side to 13 purlins largest, 5 purlins smallest. There are several levels of spacing between and purlins, and there are several kinds of stereotyped arrangement of internal column network. Front side of the equal number of rooms, can become a square hall, between the left and right can also be staggered before and after the arrangement, there are many variations of the hall plan.

Ancient Chinese architectural monolithic

Whether the hall, pavilion, porch, are composed of the foundation, roof and roof 3 parts, each part of a certain ratio. The foundation of high-level buildings can be increased to 2 to 3 floors with complicated carvings. The body of the roof consists of columns and beams, doors and windows, and in the case of a pavilion, a horizontal flat seat (porch) and flat seat railing on the upper floor. Most of the roofs are stereotypical, with five main types: hard-scaled, overhanging, hipped, and pointed, with hard-scaled being the lowest in rank, hipped being the highest, and pointed being used mainly on pavilions (see Roof Structure of Ancient Chinese Architecture). The porch is more simple

simple, basically a continuous repetition of a room. The specification of a single building, reached its peak in the Qing Dynasty, the Ministry of Works engineering practice rules, the provisions of the 27 stereotypes of the form, each of the scale, the proportion of strict regulations, from the palace down to the homes, gardens, many moving artistic image is to rely on the few stereotypes of the combination of the building.

The image of the outstanding curve of the roof The roof in a single building accounts for a large proportion of the general height of the fa?ade can reach about half of the height. The beam combination form of ancient wooden structure can naturally make the sloping roof form a curve, not only the slope is curved, the main ridge and the eaves end can also be curved, and in the corner where the eaves turn, it is also possible to make a warped flying eaves. The huge volume and soft curves make the roof the most prominent image in Chinese architecture. The basic form of the roof

Although simple, it can be varied in many ways. For example, the ridge can be added ornate kissing beasts and carvings; roof tiles can be gray terra cotta tiles, colorful glazed tiles and even gilded copper tiles; the curve can be steep and slow, the eaves can be short and long, and can make 2 layers of eaves, 3 layers of eaves; you can also use the interspersed, hooked and draped way to combine a number of styles; you can also increase the skylight, the sealing of fire wall, up and down, left and right, and before and after the form can also be different. Architectural class, character and style, to a large extent, from the volume of the roof, form, color, decoration, texture.

Flexible indoor space to make the simple specifications of a single building rich in different personalities, in the interior mainly rely on flexible space treatment. For example, an ordinary three or five small halls, through different processing techniques, can become the gate of the residence, the main temple of the temple, the main hall of the government offices, the garden of the Xuan Hall, the residence of the living room, the soldier's room and other contents of the building is completely different.

Interior space treatment mainly rely on flexible space separation, that is, in the middle of the neat network of columns with walls, □ fan (Bisha Cabinet), curtains and various forms of flower cover, fly cover, Pokou shelf separated out of different sizes of space, and some of the interior part of the sky to increase the attic, the corridor, the space is vertically separated into multiple floors. And then different decorations and furniture furnishings, it makes the character of the building more distinctive. In addition, the ceiling, algal wells, colorful paintings, plaques, Buddhist niches, wall collection, fences, paintings, lamps, streamers, stoves, etc., in the creation of indoor space

interval art also plays an important role.

Gorgeous colors Chinese architecture with bold, strong colors. Splendid colors and paintings are, above all, the means of expression of architectural class and content. Roof color is the most important, yellow (especially bright yellow) glazed tile roof is the most noble, is the emperor and the emperor's special permission of the building (such as the Confucian temple) dedicated to the palace buildings, in addition to very few special requirements, regardless of the size, all with yellow glazed tiles. Below the palace, altar temples, royal palaces, temples and temples according to the level of yellow and green mixed

(cut edge), green, green and gray mixed; residential level is the lowest, only gray ceramic tile. The main building of the temple body, the wall are used red, secondary buildings of the wooden structure available green, residential, gardens mixed with red, green, brown, black and other colors. Beam square, arch, rafters more painting, color tone to green, green-based, between gold, red, black and other colors, with gold, with the number of dragons with or without to distinguish between levels.

Ching official-style building to the gold dragon seal for the most honorable, the lowest XiongHuangYu. Residence generally do not paint color painting, or only in the beam square junction painting "hoop head". Garden architecture color painting the most free, can be painted figures, landscapes, birds and flowers. The foundation is generally masonry color, important buildings with white marble. Color and painting also reflects the national aesthetic, first of all, diversity in unity. A group of architectural colors, no matter how complex and ornate, there is always a tone, such as the palace to red, yellow warm colors, the Temple of Heaven to blue, white and cold colors, mainly in the garden to gray, green, brown. Secondly, the contrast is harmony. Because the tone is unified, so the total effect is harmonious; although many complementary colors, contrasting colors in the same building, the contrast is quite strong, but they only make the harmonious tone more rich and pleasing to the eye, and will not interfere with or replace the tone. Finally, the artistic expression of the content requirements. For example, the palace status is the most important, the color is also the most intense; followed by the altar, mausoleums, temples, the intensity of the color is also decreasing down; people

residence is the most common, the color is also the most simple.

Law of Formal Beauty Ancient Chinese architecture is a very mature art system, so there is also a set of mature law of formal beauty, including the general law of the visual psychological requirements, but also the national aesthetic psychological requirements of the special law, but so far lack of a comprehensive and systematic summary. From the phenomenon, there are generally the following four aspects:

①Symmetry and balance. Environment and large groups (such as palaces, landscapes, etc.), mostly for the vertical axis type of multi-directional balance; general groups are mostly mirror-type longitudinal axis symmetry; garden is a combination of the two.

② sequence and rhythm. All constitute a sequence of conversion of the general law, such as the beginning and end of the transition, through the barrier, the staccato, between reality and falsehood, etc., are used. Rhythm is a single building rules, group changes in the larger.

3 contrast and nuance. Attaches great importance to the contrasting relationship in modeling, shape, color, texture are contrasting, but contrast in unity. At the same time, it also attaches great importance to the nuance of the modeling changes, such as the curve of the roof, the side of the body of the foot, the birth of the body, the end of the components of the chopping, color painting, such as the retreat of the halo, there are in line with the visual psychology of the nuance.

④Proportion and scale. The degree of modalization is very high, the proportionality of the form of beauty is also very mature, no matter the city composition, group sequence, single building, and even a component and flower decoration, are trying to achieve a neat and uniform proportion of the number. Proportion and scale, combined with a number of specific dimensions, to ensure that the various parts of the architectural form of harmony

consistent with the normal human aesthetic psychology.

Typical styles Although there are many types of ancient Chinese architecture, they can be summarized into four basic styles.

1) solemn and serious memorial style. Most of them are embodied in ritual buildings, mausoleum buildings and religious buildings with special meanings.

Featured by the group combination is relatively simple, the main image is prominent, rich in symbolic meaning, the whole building scale, modeling and meaning of the content have some special provisions. For example, the ancient Mingtang Biyong, the emperor's tomb, large altar, and Buddhist architecture in the vajra throne, altar of precepts, the Great Buddha Pavilion and so on.

② graceful and ornate palace type style. Mostly embodied in the palace, residence, government offices and general Buddhist temples and monasteries. Characterized by a rich combination of sequences, the primary and secondary, groups of buildings in the volume of the size of the right mix, in line with the normal aesthetic scale; single building modeling proportions rigorous, appropriate scale, decorative splendor.

3 kind and pleasant residential style. Mainly embodied in the general housing, including clubs, stores and other people most often use the building. It is characterized by the sequence of combination and the close combination of life, scale is pleasant and not curved; building inward, simple modeling, exquisite decoration.

4 free and euphemistic garden style. Mainly embodied in private gardens, but also includes part of the royal gardens and mountain temples. Characterized by rich spatial changes, the scale and form of the building eclectic, light color, exquisite decoration; more importantly, the combination of architecture and flowers and landscape, the natural scenery into the building. The above four styles are often intertwined in a group of buildings, such as princely mansions and some temples, contains a palace type, residential and garden type 3 types, the emperor's tomb includes a memorial type and palace type two.

Local ethnic styles China's vast territory, the natural conditions vary greatly, between the regions (especially minority settlements and mountainous areas) is very closed, so each place, each ethnic group's architecture has some special styles, which can be summarized as the following eight categories:

①Northern style. Concentrated in the north of the Huaihe River to the south of the Heilongjiang River in the vast plains. The group is square and regular, the courtyard is large, but the scale is appropriate; the building shape is not undulating, the body of the house is low and flat, the roof curves

gentle; more brick and tile, wood structure with large materials, decoration is relatively simple. The general style is cheerful and generous.

②Northwest style. Concentrated in the Loess Plateau area west of the Yellow River to Gansu and Ningxia. The compound is very closed, the body of the house is low, the slope of the roof is low and gentle, and a considerable number of buildings use flat roofs. Few

use bricks and tiles, mostly adobe or rammed earth walls, and even simpler wood finishes. This area is also often kiln building, in addition to the cliff chiseled kiln, there are ground pit kiln, flat ground coupon kiln. The general style is simple and thick. But in the Hui settlement built many mosques, they are tall, steep roofs, gorgeous decoration, colorful, and general folk architecture is clearly different.

3 Jiangnan style. Concentrated in the middle and lower reaches of the Yangtze River in the river network area. Groups are denser and the courtyard is narrower. There are a lot of large groups (big houses, guild halls, stores, temples, ancestral halls, etc.) in towns and cities with buildings; small buildings (general houses and stores) are free and flexible. The roofs are steeply sloped, the corners of the wings are high, the decorations are exquisite and rich

Li, and there are a lot of colorful carvings and paintings. The overall style is beautiful and clever.

4 Lingnan style. Concentrated in the mountainous and hilly areas of the Pearl River Basin. Architectural plan is more regular, the courtyard is very small, the house is tall, narrow doors and windows, more fire mountain wall, roof slope is steep, wing angle warping is bigger. The buildings in the towns and villages are densely packed and highly enclosed. The decoration, carving and color painting are rich and complicated, and the techniques are fine. The general style is light and delicate.

⑤ Southwest style. Concentrated in the southwest mountainous areas, a considerable part of the Zhuang, Dai, Yao, Miao and other ethnic groups inhabited areas. More use of mountain

slope building houses, for the lower elevated dry-rail type of building. Plane and shape is quite free, rarely appear in groups. Structural components such as beams and pillars are exposed, and only the board wall or woven mat is used as a maintenance barrier. Roof curves are soft, dragged out a long time, the eaves are far away, covered with wooden tiles or straw. They are not too decorative. The general style is free and flexible. Among the Dai Buddhist temple in southern Yunnan Province space is huge, richly decorated, stupa modeling similar to Myanmar, the national style is very distinct.

6 Tibetan style. Concentrated in Tibet, Qinghai, Gannan, northern Sichuan and other Tibetans inhabited the vast grassland mountainous areas. Herders live in brown rectangular tents. Village dwellers live in the watchtower, mostly 2 to 3 small patio type wooden structure building, outside the bread masonry stone wall, the wall is very big, above the flat roof. Stone walls on the narrow windows and doors, window brush black trapezoidal window cover, the top gable end plus decorative lines, very expressive. □ Well

Temple a lot, are built on high ground, high volume, strong colors, the same use of thick walls, flat roof, focusing on a small number of prominent slope roof. The general style is solid and heavy.

⑦ Mongolian style. Concentrated in the grassland areas inhabited by the Mongolian people. Herdsmen living round felt bag (yurt), the aristocrat's large felt bag diameter of up to more than 10 meters, there are pillars, ornate decorations. □ Mani Temple concentrated on the Mongolian architectural style, it comes from the Tibetan □ Mani Temple prototype, and absorbed the neighboring areas of Hui, Han Chinese architectural art, both heavy and gorgeous.

8 Uyghur style. Concentrated in Xinjiang Uyghur residential areas. The building exterior is completely closed, all with a flat roof, the internal courtyard scale friendly, free layout, and green embellishment. There are spacious corridors in front of the rooms, and the interiors and exteriors are decorated with detailed colorful wood carvings and plaster flowers. The general style is simple and monotonous on the outside, but flexible and exquisite on the inside. Uyghur mosques and mausoleums are the most concentrated places of architectural art, with huge volumes, towering towers, rich and exquisite brick carvings, wood carvings and plaster decorations. Also mostly use the arch structure, rich in curved rhythms.

Era style Because the function and material structure of ancient Chinese architecture for a long period of time changes little, so the main factor in the formation of different era style is the difference in aesthetic tendency; at the same time, due to the ancient society of various ethnic groups, regions have a strong closed, once the impact of foreign culture, or various regions of the inter-ethnic cultures have undergone a sharp convergence, but also prompted changes in the artistic style. According to these two points, after the Shang and Zhou architectural art can be divided into three kinds of typical style of the era:

①Qin Han style. The Shang and Zhou period has initially formed some important artistic features of Chinese architecture, such as the square and regular courtyard, the layout of the vertical axis symmetry, the structural system of wooden beams and frames, and the monolithic modeling consisting of the roof, the body, and the base, with the roof accounting for a large proportion of the fa?ade. But the Shang and Zhou architecture also have regional and period of difference. Spring and Autumn and Warring States period of vassalage, different cultures, architectural style is not uniform. Generally speaking, it can be summarized into two styles, i.e. the northern style of the Central Plains, which is dominated by Qi and Jin, and the Jianghuai style, which is dominated by Chu and Wu. Qin unified the country, the culture of the countries concentrated in Guanzhong, Han inherited the Qin culture, the national architectural style tends to be unified. On behalf of the Qin and Han styles

Mainly the capital city, palaces, mausoleums and ceremonial buildings. Its characteristics are, the capital city zoning rules, residential neighborhoods and markets closed by high walls; palaces, mausoleums are very large groups, the main body of which is a tall mass of Taishe-style buildings; important monoliths are mostly symmetrical monumental style of the cross-axis, the scale is huge, the image is prominent; roofs are very large, the curves are not significant, but the gable end has been the "anti-Yu"; carvings and color decorations are many, the theme is the "anti-Yu"; carvings and color decorations are many, the theme is the "Anti-Yu"; the style of the Qin-Han style is the same as that of the Han Dynasty. The colorful decorations of the carvings are many, the subject matter is tricky, the shape is exaggerated, and the color tone is heavy; the important buildings pursue the symbolic meaning, although most of them have the religious content, but they can be understood by people. Qin-Han architecture laid the foundation of rationalism in Chinese architecture, with clear ethical content, spreading layout, neat and regular composition, while showing a simple, robust, clear and strong artistic style.

②Sui-Tang style. Wei Jin and North and South Dynasties is a major shift in Chinese architectural style stage. The central scholars went south, the northern minorities into the central plains, with the great integration of the nationalities, the deep culture of the central plains into the south, but also affected the north and northwest. Buddhism developed unprecedentedly during the Northern and Southern Dynasties. The accompanying import of Buddhist culture had a significant impact on almost all traditional literature and art, increasing the categories and means of expression of traditional art and changing the original style. At the same time, the literati retired to the mountains and forests of life and the emergence of idyllic landscape poetry, as well as the development of the beautiful scenery of Jiangnan, the formal formation of the aesthetic ideas and basic style of Chinese gardens, which also led to the Romantic mood.

The great unification of nationalities in the Sui and Tang dynasties and the frequent exchanges with the western regions promoted cultural and artistic exchanges among many nationalities. Since the Qin and Han dynasties, the traditional spirit of rationality into the mix of Buddhism and the exotic flavor of the West, as well as since the North and South Dynasties of the romantic mood, and finally formed a rational and romantic intertwined with the style of the Shengtang. It is characterized by the grandeur of the capital city, square and regular; palaces, altars and temples, and other large groups of sequences of broad stretch, the spatial scale is very large; architectural shape thick, the outline of the difference, ornate decoration; Buddhist temples, pagodas, grottoes and temples of the scale, form, color is exceptionally rich and colorful, showing a close convergence of Chinese and foreign cultures, a fresh style.

3 Ming and Qing styles. Five Dynasties to the Song Dynasty, China's feudal society, the city's commodity economy has developed tremendously, the content of urban life and people's aesthetic tendency has also undergone a very significant change, and then also changed the style of art. Five Dynasties and Ten Kingdoms and the Song, Liao, Jin and Yuan period, the domestic culture and art between the various ethnic groups and regions once again to get exchanges and fusion; Yuan Dynasty on Tibet, Mongolia, the development of the region, as well as the absorption of Arab culture, but also to the traditional culture to add fresh blood. The Ming Dynasty unified the country once again following the Yuan Dynasty, and the Qing Dynasty finally formed a unified multi-ethnic state. Chinese architecture finally developed a final mature style during the Qing Dynasty's heyday (18th century). It is characterized by the city is still the specification of the square, but the city's closed neighborhoods and markets into open streets, stores on the street, the market look lively; the city or the suburbs more scenic resorts, public **** excursion places to increase; important buildings completely stereotypes, specifications, but the group sequence of many forms, the technique is very rich; folk architecture, the quality of architecture of ethnic minority areas and the level of art is generally improved, the formation of various regions, ethnic groups, the quality and artistic level, the Qing Dynasty. Formed a variety of styles in various regions and ethnic groups; private and royal gardens appeared in large numbers, the art of gardening unprecedented prosperity, gardening techniques finally mature. In short, Sheng Qing architecture inherited the spirit of rationality and romantic mood of the previous generation, in accordance with the unique laws of the art of architecture, finally formed a typical style of Chinese architectural art of maturity - graceful and generous, rigorous and elegant, clear mechanism, but also rich in human interest.

Qin and Han, Sui and Tang dynasties, Ming and Qing dynasties are basically equal in time, they are the country's great unity, national integration of the three eras, but also before, during and after the feudal society, the representative of the three dynasties. As a positive and comprehensive reflection of the architectural art of life, these three styles of the era contains the content, obviously far beyond the scope of pure art; architectural art style of the typical significance and their reflective function, obviously far beyond the architectural art itself.

China's modern architectural art

China's modern architectural art is accompanied by the disintegration of feudal society, the import of Western architecture and the formation of its development and each stage of the social system, production, way of life and aesthetic interest has a direct link. The main manifestations are:

①Traditional architecture is still dominant in number, but due to the emergence of

new aesthetic interests, resulting in changes in architectural style and certain artistic techniques.

②Modern industrial production and public **** activities based on the new social life

activity, resulting in new types of architecture.

③New materials, new structures, new techniques, and corresponding new forms are also required.

4 the abolition of feudal hierarchy, the social system of change, so that the traditional architectural art depends on the existence of many important aesthetic value of a fundamental shake, the social function of the art of architecture has changed, the requirement to create a new aesthetic value that can reflect the new social function to adapt to the new form.

⑤The traditional aesthetic psychology and the new aesthetic value, the new social function

The new contradiction, whether and how to reflect the traditional form in the new building has become the core problem of modern architectural aesthetics and artistic creation.

In the face of the complex background of social and architectural changes mentioned above, modern Chinese architecture has shown some new artistic features:

New styles of gardens and decorative arts in traditional architecture In traditional architecture, gardens and decorative arts are the most sensitive parts of the architecture due to the changes in aesthetic interests. After the middle of the 19th century, most of the gardens in the south of the Yangtze River represented by Suzhou and the northern gardens represented by Beijing have been rebuilt and reconstructed, and they **** the same tendency is that the proportion of the building is greatly increased, the space is curved and varied, and the decorations are complex and delicate, and the wigwam is curved and strange and treacherous, and a considerable part of them flowed into the complexity of the work. Architectural decoration is generally towards a large area full of carving, colorful, expensive materials, expanding the scope of the subject matter, very detailed approach, there are some Western Baroque, Rococo's approach to the class mixed with some of the composition of the artisan is also affected by its impact.

Highlighted the type of building style of the recent emergence of new types of buildings began most of the Western similar buildings directly, and most of the various types of buildings in the West have a set of basic stereotypes of the form of the common colonial, Classical Revival, Gothic Revival, eclectic and so on, from Harbin to Hong Kong, from Qingdao to Kashgar, all the institutions, banks, shopping malls, synagogues, apartments, homes, schools, etc., each are based on the basic stereotypes etc., each with a basic stereotypical form to mark out their own content, and the same type of form and similar, rarely show the unique local national characteristics, and even appeared in the northern buildings with deep arcade shutters (colonial style), the southern buildings with fireplaces (Classical Revival) of the phenomenon. In the 20s to 30s after the rise of the creation of national forms, most of them are also applied to a certain period of ancient official architectural French (mainly the Qing Dynasty), resulting in the national form of Guangzhou's architecture and Beijing's not very different. Only after the 80's, only more attention to local characteristics, the so-called vernacular architectural style.

Monolithic buildings focus on the performance of the exterior modeling modern architecture has broken the traditional building closed inward, to the performance of the aesthetic concept of spatial mood, highlighting the public **** and openness of the ornamental function, which is imported at the same time the Western building emphasis on the performance of the entity modeling aesthetic concepts are consistent. The art form of modern Chinese architecture contains two types of content. First, some large-scale, monumental relatively strong building is still very much focused on the social value of the plastic arts, aesthetic

Aesthetic function requires a strong political and ethical content, that is, a specific form of expression of some specific spiritual meaning. Such as banks, customs often use the solemn and noble Western classical form, to show its financial strength of the solid rich; some government agencies and memorial buildings to draw on traditional forms, to show the inheritance of traditional culture, to promote the spirit of the national essence. Secondly, most civil buildings are generally only from the aesthetic interest, on the one hand, the pursuit of fashionable novelty, while still affected by the traditional aesthetic interest. the late 19th century to the early 20th century, the popular foreign-style stores, foreign schools, foreign theaters and urban houses, etc., are the so-called East meets West form; later more directly adopt the popular form of the West; the 80's after the rise of the pursuit of the form of the vernacular flavor, these are the same as the contemporary public aesthetic interest. These are consistent with the aesthetic interests of the contemporary public.