Ancient Constellation _ Ancient Constellation

Architectural concept of "harmony between man and nature" in ancient architecture of China

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Although the four-character idiom "Harmony between Man and Nature" appeared late, the idea of "Harmony between Man and Nature" has a long history in China traditional culture. Among many factors affecting the development of architecture, the concept of harmonious coexistence between man and nature is fundamental. Heaven is a historical category, which originated from the ancient people's awe of the unpredictable boundless space. After Xia and Shang Dynasties, "Heaven" was regarded as the supreme master with will and personality. The worship of this dominant position has constructed a world view based on the relationship between heaven and man. "The unity of heaven and man" is a view that people emphasize the close connection and indivisibility of the relationship between heaven and man after the Western Zhou Dynasty.

China ancient sages observed the whole universe with simple system concepts, Zhuangzi? The theory of everything says: "Heaven and earth coexist with me, and everything is one with me", which is Zhuangzi's basic thought of "the unity of heaven and man". "Yue Ji" puts forward that "the sum of heaven and earth is the musician, and the order of heaven and earth is the master. "That is to say, the whole universe is in an endless state, including homogenization. It means that the gas of the universe is always in a neat, harmonious and orderly migration, which is the same as what Zhuangzi called the gas of heaven and earth." Biography of Zhouyi? There is a saying in China's classical biography that "Heaven and man, heaven and earth, the sun and the moon, the four seasons, ghosts and gods, good or ill luck, and nature are gifts, and heaven is the gift of the day after tomorrow." This kind of resignation and obedience to God's will is even more used by the rulers and will serve as the legal basis for ruling the people. "Zhouyi" also has the truth that "looking up means observing the celestial phenomena, and looking down means observing the earth". These thoughts have always influenced the development of architecture in China.

"Laozi Zhang Sentence" says: "Heaven and man are interlinked, and nature and essence are interlinked". Laozi's Tao Te Ching also said: "People are everywhere, the land follows the sky, the sky follows the Tao, and the Tao is natural." Pointed out the common root of man and nature. In ancient China, people paid attention to the "harmony between man and nature", that is to say, the natural environment and human settlements can exchange needed goods and live in harmony. This is also reflected in ancient buildings. For example, the buildings in Beijing are built according to the stars in the sky, and the Forbidden City is facing this crape myrtle star. The buildings and the environment are integrated and infiltrated with each other. The characteristics of ancient architecture in China are also reflected in its architectural concept of "harmony between man and nature", which is manifested as "harmony between man and nature". The architectural concept of "harmony between man and nature" discussed in this paper is also based on this basic meaning.

"Gan Lan Culture" is the main body of the architectural culture in southern China in ancient times, and it is the representative of the historical turning point in the period of the integration of the architecture in southern Gan Lan and the high-rise architecture originating from the caves in the north. It is a building system based on wood structure, which always pays attention to the high coordination with nature, respects nature and embodies the realm of "harmony between man and nature". In artistic character, he pays special attention to the pursuit of neutral, simple, implicit and deep beauty. In the selection of materials, wood gives people implicit and deep natural beauty. It is light, tough and easy to process, just in line with the people in ancient China, so it has become the first choice for ancient buildings in China. In addition, architecture always serves people. China is rich in ancient natural resources, so it is inevitable to choose wood.

There are many types of ancient buildings in China, including palaces, ancestral halls, public houses, pavilions, underground palaces, detached palaces, altars, shrines, police drums, theatres and viewing pavilions. Although their types and functions are different, they always reveal the idea of "harmony between man and nature". This is based on the cultural spirit of a high degree of harmony with nature-loving and respecting nature, and the building is embedded in nature as if it were an organic part of nature.

The ancient buildings in China pay attention to the concept of high harmony with nature, which is manifested in the location and layout naming of cities, villages, palaces and tombs, and strive to reflect the pursuit of harmony between man and nature.

Urban construction:

Wu Zixu designed and built Helv City, the capital of Wu State, and recorded in Wu Yue Chun Qiu: "Zi Xu made a taste of water, like heaven and earth, and built a big city, and returned to forty-seven miles a week. Eight doors in the ground are like eight doors in the sky; Water is eight doors, and law is eight cleverness. Build a small town, ten miles a week. Lingmen III. Don't open the east, think brighter. Those who set doors are like Tianmen. Those who set up snake gates are like landlords. " When Daxing City was built in the Sui Dynasty, Yu Wenkai not only considered the terrain, but also put Taiji Palace in a dry position, and named it after Chengtian and Suzaku. Chang 'an, the capital of the Han Dynasty, "—

In Ming and Qing Dynasties, Beijing's architecture was built according to the stars in the sky, and the Forbidden City was facing Ziwei Star. The architecture and the environment were integrated and infiltrated each other.

Village construction:

Village is a form of settlement, and the ancients paid attention to the harmony between man and nature. Tang Yue Village in Shexian County, Anhui Province is a typical example. The location of Tang Yue accords with the principle of "pillow mountain, surround water and screen" in Feng Shui. It takes Futing Mountain as the screen and faces fertile land. The Fengle River, which originated in Huangshan Mountain, flows from west to east, surrounded by lush trees. There is a poem in the Genealogy of Tang Yue: "Think of Tangyin in the distance, and stay in the daytime forever" ("Jade" Chu said that two trees meet in the shade), which is the origin of this village name. "The victory of mountains and rivers here is enough to make future generations immortal." This is the paradise described by Tao Yuanming. Tang Yue people put themselves in nature as if they were a part of it. This practice of using, respecting and paying attention to feng shui is the embodiment of the concept of harmony between man and nature in ancient architecture.

The construction of the palace:

Among the palaces, the most famous is the Forbidden City, also known as the Forbidden City. The "purple" in the Forbidden City refers to the purple star wall. Astronomers in ancient China divided the stars in the sky into three constellations, such as the Three Walls and the Twenty-eighth Palace. Sanyuan refers to Taiwei Yuan, Ziwei Yuan and Tianshi Yuan. Ziweiyuan is the Central Plains, also known as Ziweiyong and Zigong. It's in the northeast of the Big Dipper. "Sitting among the Taiping emperors, cautious officials are divided into four parts." The ancients thought it was the place where the Emperor of Heaven lived. The feudal emperor claimed to be the son of the Emperor of Heaven, and the place where he handled state affairs and daily life became the center of the world. Because the imperial palace is the highest forbidden place in the hierarchical feudal society, there is a word "forbidden" in the Forbidden City to emphasize the incomparable dignity of the imperial palace. There are three stars in the south of Taiwei Courtyard, which are regarded as three doors, namely, end door, left door and right door; Correspondingly, there are end doors and noon doors in front of the Forbidden City, and left and right doors on both sides. Between the meridian gate and the Taihe gate, the Jinshui River winds through, symbolizing the Milky Way in the Heavenly Palace. "Gan" and "Kun" indicate the meaning of heaven and earth in Gan Qing Palace and Kunning Palace where the emperor and queen live. The Rijingmen and Yuehuamen on the east and west sides symbolize the glory of the sun and the moon. The sixth house of the East and the West also symbolizes the twelve stars and constellations in the sky.

The construction of the Forbidden City shows the idea of harmonious coexistence between man and nature in ancient architecture to the fullest.

The construction of the mausoleum:

In the tombs of ancient emperors, the heavenly palace, celestial phenomena and star charts were used to achieve the effect of "harmony between man and nature" and "the soul belongs to Beidou". The Han tombs unearthed in Luoyang and Nanyang, Henan Province are all painted with celestial pictures, which all show the purpose of peeping into the sky and isomorphic with it. The Ming Tombs are the burial tombs of Zhu Yuanzhang, the founding emperor of the Ming Dynasty, and Ma Shi, the empress. 1March, 999, archaeologists made an amazing discovery: the layout of the Ming tomb was "Big Dipper". The "spoon head" is the guiding Shinto part around Meihua Mountain, and the "spoon handle" is the mausoleum building part arranged in a straight line in the north direction. The "Seven Stars" on the "spoon head" and "spoon handle" are Sifang City, Shinto watchtower, Lingxingmen, Jinshui Bridge, Wenwufang Gate, Shangdian and Baocheng in turn.

The ancient buildings in China have always been a combination of "harmony between man and nature" and "ritual and patriarchal clan system". "Harmony between man and nature" pursues nature, while "ritual patriarchal clan system" pays attention to hierarchy and rules, which seems contradictory, but reflected in architecture, the two are not completely separated. For example, "Palace" and "Mausoleum" are both sacrificial buildings, but it is not contradictory to pursue the concept of "harmony between man and nature" in layout.

Generally speaking, the architectural concept of "harmony between man and nature" is the central idea of China's ancient architecture, and it is a profound embodiment of ancient people's ethics, aesthetics, values and nature.