China traditional architectural aesthetics

The traditional architecture in China is a "painting", with the fence as the framework, and the main object of appreciation is the space inside the fence. The way of appreciation is not static "expectation", but in the dynamic "swimable" picture, the scenery changes step by step, and the feelings move with the environment, pondering the charm of various "paintings".

The traditional courtyards in China are both empty and real: either empty outside or empty inside, or free in layout, with scenes circulating. These three basic types can be combined in different ways and scales, or the whole is permeated with free parts or the free pattern has strict fragments, forming rich and diverse groups. The relationship between China traditional architecture and nature is "soft harmony", which shows the characteristics of introversion and convergence. Therefore, although there are many buildings in the fence, it tends to be calm outside the courtyard, and they take the initiative to integrate themselves with nature, showing the realm of splashing ink on the picture.

The temperament of China gardens is painting, which not only emphasizes the expression of interest, but also pays attention to describing scenery with objects. The winding pool shore, winding paths, stone peaks, mountains, streams and valleys are all arbitrary. However, it is not pure imitation, but "it is man-made, but it is groundbreaking." So in a word: "China Garden is a comprehensive work of art composed of architecture, landscape, flowers and trees, full of poetry and painting".

The traditional architecture in China is a "group" with a sense of volume, not an independent thing, but only exists as a part of the group. This makes its personality very weak, and the * * * factor is the basic principle, such as the courtyard layout around the plane, which shows the same lifestyle, ideal, world outlook and aesthetic habits. "Group" is the soul of architectural art in China. Take the land residence in Dongyang, Zhejiang, the author's hometown, as an example, which is a typical China Jiangnan ancient residential complex. Once any single building in Luzhai leaves this "group", its existence will lose its foundation. In other words, without the "group" composed of monomers, there would be no Luzhai in the present sense. Similarly, the Hall of Supreme Harmony can only exist in the Forbidden City; Stay in the garden, only Suzhou gardens are interesting.

The interior space of traditional buildings in China is underdeveloped, and its beauty mainly lies in the changes of indoor and outdoor space. As far as a single building is concerned, it is an external space, but as far as the whole building group surrounded by walls is concerned, it is also an internal space, thus showing a sense of ambiguity both inside and outside. And even in the horizontal direction, it can penetrate into other internal and external spaces at any time through empty corridors, data corridors, pavilions, doors and windows. Therefore, its size and shape are all paintings, and there is no absolutely certain figure and absolutely certain volume.

The traditional architecture in China mostly adopts shelf structure, which is exposed or hidden, much like "brush strokes" in painting. The pillars in the wall or the rafters under the roof are not ashamed to hide, but frankly show themselves and praise themselves, thus becoming an important part of architectural modeling. This is very prominent in Luzhai and our Jiangnan folk houses. In the traditional architecture of China, the whole frame is exposed. These structural lines mark the basic pattern of architecture, and these contour lines represent the subject and theme of things, which embodies the structural beauty of painting art.

Traditional architecture in China is composed of lines. Columns, beams, foreheads, trusses, rafters, arches, etc. Macroscopically, it can be seen as lines, and the interweaving of these lines constitutes a building. Traditional buildings in China generally have precious natural beauty. These linear components of the building not only meet the structural and functional requirements, but also have decorative functions. The arch supporting the eaves bears peaches, the corner beam bearing the huge weight of the corner roof, the inclined corner of the structural development, the window lattice meeting the requirements of light transmission, etc. The form of these lines comes from the emphasis on structural joints or the abstraction of images, such as streamers, moiré or creeping weeds. Then, why does the line composition occupy such an important position in the traditional architecture of China? The reason is not only related to the traditional China's expertise in wooden architecture, but also related to the traditional China people's persistent pursuit of the essence of things.

Painting is the art of color, and traditional architecture in China also pays attention to color. There are also two architectural colors in China: one is the royal building in the north, with red walls, red columns and yellow tiles, which are brilliant and rich, exquisite in brushwork and colorful; Second, Nanyuan Temple, with white walls, black columns and blue tiles, is quiet and indifferent, just like ink painting, all of which are the tastes of literati in the Southern Song Dynasty. The background of traditional buildings in China is often composed of a color whose tone changes in different lightness and purity, and is decorated with one or two other tones, which is exactly the same as the traditional painting with various ink colors and a little flower blue or Chu stone as the main means of expression. Even if it is meticulous and heavy color, it is to use lines to hook the edges before filling in the color. Different from western painting, color blocks are directly used to express the body feeling of objects.