What is the core of China's ancient architectural art?

Characteristic forms and styles with aesthetic value in China architecture. From the pre-Qin period to the middle of19th century, it was basically a closed and independent system, with little change in style for more than 2,000 years, which was generally called the ancient architectural art in China.

/kloc-After the mid-9th century, with the change of social nature and the emergence of a large number of foreign buildings, especially western buildings, China's architecture has had more contacts and exchanges with the world's architecture, and its architectural style has undergone tremendous changes, which is generally called modern architectural art in China.

Ancient architectural art in China

China's ancient architectural art matured in feudal society. It is a unique art system with the longest history, the widest distribution area and the most obvious style. It is mainly composed of wooden buildings of Han nationality, including excellent buildings of various ethnic minorities. China's ancient architecture has a direct influence on Japanese, Korean and Vietnamese ancient architecture, and it also has an influence on Europe after17th century.

Artistic feature

Compared with European ancient architectural art, China ancient architectural art has three basic characteristics:

The unity of aesthetic value and political and ethical value. Buildings with high artistic value also play a role in maintaining and strengthening social, political and ethical systems and ideology.

② Rooted in profound traditional culture, it shows a distinct humanistic spirit. All the elements of architectural art, such as scale, rhythm, composition, form, characters and style, are based on the aesthetic psychology of contemporary people and can be appreciated and understood by people, without ups and downs and strange and inexplicable images.

③ Overall and comprehensive. Almost all the outstanding architectural works in ancient times mobilized all the factors and techniques that might constitute architectural art at that time, forming a whole image. From the overall environment to the single house, from the external sequence to the internal space, from the color decoration to the affiliated art, every part is not dispensable. If one of them is removed, the overall effect will be damaged.

These basic features are as follows:

Attach importance to the overall management of the environment

Since the Spring and Autumn Period and the Warring States Period, China has had the concept of overall management of the built environment. Although all the planning systems in "Zhou Li" about wilderness, metropolis, customs, townships, cities, mountains and temples may not be fully realized, it at least shows that there was a large-scale regional planning idea of systematic planning. The riding pipe advocates that "every country is the capital, not at the foot of the mountain, but above Guang Chuan", which shows that environmental relations must be considered in urban site selection. China's theory of geomantic omen originated very early. Apart from wearing the cloak of superstition, it mostly emphasized the relationship between environment and architecture. Ancient cities paid attention to the unified management of urban ontology and surrounding environment. Xianyang, Qin is a super-scale urban environment, starting from Sakan in the north, running through the Weihe River in the middle and reaching Nanshan in the south. At the peak, it is 200-300 miles from east to west. Famous capitals such as Chang 'an (now Xi 'an, Shaanxi), Luoyang (Northern Wei Dynasty), Jiankang (now Nanjing, Jiangsu) and Beijing (Ming and Qing Dynasties) have their business scope far beyond the city walls. Even ordinary governments, states and counties integrate suburbs into the overall urban environment. Important scenic spots, such as five towns in wuyue, Buddhism and Taoism, suburban gardens, etc. , are also released.

The first is environmental management; Mausoleum area pays more attention to geomantic geography. Most of the buildings in these places rely on the environment to show their artistic charm.

Monomer images are integrated into group sequences.

In ancient China, the form of single buildings was relatively simple, and most of them were stereotyped. Isolated single buildings do not constitute a complete artistic image, and the artistic effect of buildings mainly depends on the group sequence. A temple, as a foil in the sequence, will not be too big, and its image may be relatively dull, but if it is the main body, it may be very tall. For example, there are not many single building styles in the Forbidden City in Beijing in the Ming and Qing Dynasties, but through the transformation of different spatial sequences, each single building shows its own independent personality as a whole.

Structural technology and artistic image are unified. The wood structure system of ancient buildings in China has strong adaptability. This system consists of four columns, two beams and two beams, which form a basic framework called a compartment. Compartments can be connected left and right, front and back, overlapped up and down, combined at will, or modified into octagon, hexagon, circle, fan or other shapes. There are two kinds of roof frames: lifting beam type and bucket type. Either way, the house can be built without changing the frame system.

The surface is curved, and cornices with upturned corners are made at the corners of the house. Can also be made into double eaves, hooks, interspersed, draped and other styles. The artistic modeling of single building mainly depends on the flexible collocation of rooms and multi-style arc roofs. In addition, the components of the wood structure are convenient for carving and painting, so as to enhance the artistic expression of the building. Therefore, the modeling beauty of ancient buildings in China is also manifested as structural beauty to a great extent.

Roof frame style of ancient buildings in China

Standardization and diversification are unified. The buildings in China are mainly wood structures. In order to facilitate the manufacture, installation and estimation of work and materials, it is necessary to standardize components and promote the modularization of design. As early as the Spring and Autumn Period, standardization and modularization sprouted in Kao Gong Ji, and matured in the Tang Dynasty at the latest.

By the third year of Song and Yuan Dynasties (1 100), the "architectural style" was completely standardized, and the "Regulations of the Ministry of Industry" promulgated in the twelfth year of Qing Dynasty (1734) was further simplified. The standardization of architecture promotes the unity of architectural style and ensures that every building can reach a certain artistic level. Standardization does not limit the composition of the sequence too much, so the standardization of single buildings and the diversification of group sequences can go hand in hand. As a space art, it is obviously a mature and progressive phenomenon. The single buildings in ancient China seem to have changed a little, but the group combinations are varied, because of the high unity of standardization and diversification.

Roof frame style of ancient buildings in China

Poetic and picturesque natural gardens

China Garden is an outstanding achievement of ancient architectural art in China, and it is also an important typical garden in the world.

China gardens are based on nature, absorbing the essence of natural beauty, injecting the aesthetic taste of people with rich cultural attainments, and typifying natural beauty with the method of building space, making it a garden beauty. The interest contained in it is poetic; The spatial composition technique adopted is free, flexible and smooth sequence design. China gardens pay attention to "skillful borrowing and skillful body" and attach importance to the exquisite interpretation of scenery and scenery, so as to enrich the organization.

Watch the pictures. At the same time, it also simulates natural mountains and rivers, creating special skills of overlapping mountains and managing water. Whether mountains and rivers are connected or not, poetry and painting can be more profound and interesting.

Pay attention to the expression of architectural features and symbolic meaning

The political and ethical content of ancient architectural art in China requires it to show distinctive personality and specific symbolic significance, so many methods have been adopted. The most important thing is to use the environment to render different emotional appeal and atmosphere, so that people can get a variety of aesthetic feelings; Secondly, different building grades include volume, color, style and decoration. , is stipulated to express the social system and architectural content; At the same time, we also try our best to use many figurative auxiliary arts, even the words of plaques and inscriptions, to reveal and explain the character and content of the building. Important buildings, such as palaces, temples and temples, have specific symbolic themes. For example, Qin Shihuang built Xianyang, the palace symbolized Wei Zi, Weishui symbolized Tianhan, and Shanglinyuan dug a pond symbolized Penglai in the East China Sea. In Qing Dynasty, Emperor Kangxi built Yuanmingyuan, Summer Resort and Chengde.

The eight temples outside simulate important national buildings and places of interest, symbolizing the unity inside the house. There are five rooms and twelve halls in the hall, symbolizing everything in the world. The composition of some temples symbolizes the Buddhist world of Xumi Mountain.

artistic form

The artistic form of ancient architecture in China is caused by the following reasons.

Element composition:

Spatial sequence of layout China architectural art is mainly the art of group combination, and the connection, transition and transformation between groups constitute a rich spatial sequence. Most houses with wooden structures are low-rise buildings (mainly single floors), so the group sequence is basically horizontal. The basic unit of space is the courtyard, which has three forms of * * *:

(1) transverse axis symmetry, the main building in the center. This kind of courtyard is mostly used for ritual buildings and religious buildings with high specifications and strong commemorative, and the number is small;

② The longitudinal axis is the main axis, supplemented by the horizontal axis, and the main building is placed at the back, forming quadrangles or three-way courtyards, which are widely used from palaces to houses, with the largest number;

(3) axis twists and turns, or no obvious axis, mostly used in garden space. There is a difference between a regular sequence and a free sequence. The most outstanding representative of the existing regular sequence is the Forbidden City in Beijing in Ming and Qing Dynasties.

In the freestyle sequence, some courtyards are integrated into the environment, and the rhythm of the sequence changes slowly, such as the buildings in the imperial cemetery and natural scenic spots; There are also courtyards that are integrated with landscape flowers and trees, and the rhythm of sequence changes is relatively tight, such as artificial gardens. But no matter which order, it is composed of overture, transition, climax and ending, and it runs through rhythmically.

Combination of ancient buildings in China

There are more than a dozen names of ancient single buildings in China, but most of them have little difference. There are three main types:

(1) The basic plane of the temple is rectangular, with several squares, which are round and rarely appear alone;

② Pavilion, the basic plane is square, perfect circle, hexagon, octagon and so on.

Form, can be independent of the group;

(3) Corridor, which is mainly used as the connection between single buildings. A hall or pavilion is a pavilion or tower. In the early days, there were terraces with large rammed earth platforms as the center, and multi-storey houses were built along the platforms, but they were not built after the Eastern Han Dynasty. The size of the hall, the number of rooms on the front and side.

According to the purlin (or rafter). There were odd numbers and even numbers before the Han dynasty, and then they were all odd numbers. In the Qing Dynasty, 1 1 was the largest on the front, the smallest among the three, and 13 purlin was the largest and 5 purlin was the smallest on the side. There are several levels of spacing between purlins, and there are several types of fixed arrangements in the internal column network. If the number of facades is equal, it can become a square hall, and rooms can also be staggered, showing a variety of variant hall plans.

The Single Type of Ancient Architecture in China

No matter the hall, pavilion and corridor, they are all composed of pedestal, house and roof, and there is a certain proportion between them. The abutment of high-grade buildings can be increased to 2 ~ 3 floors, and there are complex carvings. The house consists of columns, beams, doors and windows. If it is a gazebo, set the upper horizontal platform (veranda) and platform railing. The top floor is mostly stereotyped, mainly including five types: hard mountain, hanging mountain, rest mountain, fairy hall and simple hall. Hard mountain ranks the lowest, fairy hall ranks the highest, and pointed hall is mainly used for pavilions (see roof structure of ancient buildings in China). Lang gengjian

Being single is basically a continuous repetition. The standardization of single building reached its peak in Qing Dynasty. The Code of Work of the Ministry of Industry stipulates 27 stereotypes, and the scale and proportion of each stereotype are strictly regulated. From palaces to residential buildings and gardens, many moving artistic images are made up of some stereotyped buildings.

The curved roof with prominent image accounts for a large proportion in single-seat buildings, which can generally reach about half the height of the facade. The beam-frame combination of ancient wood structure can naturally make the top of the slope form a curve, not only the slope surface is a curve, but also the front ridge and eaves end, and the eaves can also be added at the corner where the eaves turn. The huge volume and soft curves make the roof the most prominent image in China's architecture. Basic form of roof

Although simple, there can be many changes. For example, gorgeous kissing animals and sculptures can be added to the roof; Roof tiles can be gray clay tiles, colored glazed tiles or even gold-plated copper tiles; The curve can be steep or slow, the eaves can be short or long, and it can be made into two-story eaves and three-story eaves. You can also combine a variety of styles by inserting, hooking and overlapping; You can also add skylights and seal volcanic walls, and the form can be different from top to bottom, left and right. The grade, character and style of the building are largely reflected in the volume, form, color, decoration and texture of the roof.

Flexible indoor space makes single-seat buildings with simple specifications have different personalities, and indoor treatment mainly depends on flexible indoor space. For example, an ordinary small hall with three or five rooms can be turned into a completely different building with different contents, such as the gate of a mansion, the main hall of a temple, the main hall of a government office, the porch of a garden, the living room of a house, the duty room of soldiers and so on.

Indoor space processing mainly depends on flexible space separation, that is, in the middle of a neat column network, different sizes of spaces are separated by partition walls, fans (green sand cabinets), curtains, various forms of flower covers, flying covers, antique racks, etc. Some rooms are also equipped with attics and cloisters, which vertically divide the space into multiple floors. Different decorations and furniture make the building more distinctive. In addition, there are ceilings, algae wells, colored paintings, plaques, shrines, walls, fences, calligraphy and painting, lamps, banners, stoves and so on. , is creating indoor space.

It also plays an important role in art.

Gorgeous colors China architecture uses bold and strong colors. Gorgeous colors and colorful paintings, first of all, are the means of expression of architectural level and content. The color of the roof is the most important, and the yellow (especially bright yellow) glazed tile roof is the most distinguished, which is dedicated to the buildings specially approved by the emperor and the emperor (such as Confucius Temple). Except for a few special requirements, all buildings in the palace, regardless of size, are yellow glazed tiles. Below the palace, the halls, palaces and temples are mixed with yellow and green according to their grades.

(Pruning), green, green and gray mixed; Residential buildings have the lowest grade, and only gray pottery tiles can be used. The temples and walls of the main buildings are all red, the wooden structures of the secondary buildings can be green, and the houses and gardens are a mixture of red, green, brown and black. Liang Fang, Gong Dou and Rafter painted many colorful paintings, mainly blue and green, with gold, red and black in the middle. The grades were distinguished by the number of gold and dragons.

Among the official buildings, the golden dragon and the seal are the most distinguished, and realgar is the lowest. Folk houses generally do not draw colorful paintings, or only draw "hoop heads" at the junction of beams and squares. Landscape architecture is the most free in color painting, and people, landscapes and flowers and birds can be painted. Abutment is generally made of brick and stone, and important buildings are made of white marble. Colors and colorful paintings also reflect the aesthetic standards of the nation. First, diversity lies in unity. The colors of a group of buildings, no matter how complex and gorgeous, always have a keynote, such as the palace is mainly red and yellow, the Temple of Heaven is mainly blue and white, and the garden is mainly gray, green and brown. Secondly, the contrast lies in harmony. Because the tone is uniform, the overall effect is harmonious; Although many complementary colors and contrasting colors are in the same building, the contrast is quite strong, but they only enrich the harmonious tone and will not interfere with or replace it. Finally, the artistic expression lies in the content requirements. For example, the palace is the most important and has the strongest color; Tanmiao and Lingmiao are in turn, and the color intensity decreases. the people

The most common, the simplest color.

Laws of Formal Beauty The ancient architecture in China is a very mature art system, so there is also a set of mature laws of formal beauty, including general laws with visual psychological requirements and special laws with national aesthetic psychological requirements, but there is no comprehensive and systematic summary so far. Phenomenologically, there are generally the following four aspects:

① Symmetry and balance. Environment and large groups (such as Miyagi, scenic spots, etc. ) Most of them are longitudinal multi-directional equilibrium; Generally, multiple arrays are mirror images with longitudinal symmetry; The garden combines the two.

② Order and rhythm. All the general rules that constitute sequence transformation are used, such as transition, entry barrier, rhythm, alternation of reality and falsehood, etc. The rhythm of a single building is unified and the group changes greatly.

③ Contrast and nuance. Attach great importance to the contrast in modeling. There are contrasts in shape, color and quality, but the contrast lies in unity. At the same time, it also attaches great importance to the subtle changes in modeling, such as the curve of the roof, the side feet of the house, the lifting, the cutting of the end of the component, the fading of the color painting and so on. These are all in line with the subtle differences in visual psychology.

④ Proportion and scale. The degree of modularity is very high, and the proportional relationship of formal beauty is also very mature. Whether it is urban composition, group sequence, single building, or even a component and floral decoration, we should try our best to obtain neat and unified scale graphics. The combination of proportion and scale provides some specific dimensions to ensure the harmony of all parts of the architectural form.

It should conform to the aesthetic psychology of normal people.

Types and Styles Although there are many types of ancient buildings in China, they can be summarized into four basic styles.

(1) solemn commemorative style. Most of them are embodied in ritual sacrificial buildings, mausoleum buildings and religious buildings with special meanings. that

Its characteristics are simple group combination, prominent subject image and rich symbolic significance. There are some special regulations on the scale, shape and meaning of the whole building. For example, the Ming Cheng Hall in ancient times, the emperor's mausoleum, large altars, and the King Kong Throne, the Ring Altar and the Giant Buddha Pavilion in Buddhist architecture.

2 elegant and gorgeous court style. It is mostly reflected in palaces, mansions, yamen and general Buddhist temples and Taoist temples. It is characterized by rich sequence combinations, clear priorities, and appropriate size combinations of buildings in the group, which meet people's normal aesthetic standards; Single-seat building has strict modeling proportion, appropriate scale and gorgeous decoration.

③ Friendly and pleasant residential style. Mainly reflected in general housing, including halls, shops and other buildings that people use most often. Its characteristics are that the sequence combination is closely combined with life, and the scale is pleasant without twists and turns; Introverted architecture, simple modeling and exquisite decoration.

④ Free and euphemistic garden style. Mainly reflected in private gardens, including some royal gardens and mountain temples. It is characterized by rich spatial changes, eclectic scale and form of buildings, elegant colors and exquisite decoration; More importantly, the building is integrated with flowers, trees, mountains and rivers, and natural scenery is integrated into the building. The above four styles are often embodied in a group of buildings, such as princes' mansions and some temples, including palace, residence and garden, while imperial tombs include memorial and palace.

Local Ethnic Styles China has a vast territory, great differences in natural conditions, and strong closeness between regions (especially ethnic minority settlements 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 form is not undulating, the house is low and flat, and the roof is curved.

Gentle; 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. hard to come by

It is easier to decorate with bricks, adobe or rammed earth walls and wood. 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 and the decoration is exquisite and rich.

Li, there are many sculptures and paintings here. 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. Township buildings are dense and closed. Decoration, sculpture and painting are rich and complex, with fine techniques. The general style is light and delicate.

⑤ Southwest wind. It is concentrated in the southwest mountainous areas, and a considerable number of ethnic groups such as Zhuang, Dai, Yao and Miao live there. Multipurpose mountain

Slope building is a dry column building with overhead floor. 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 roof curve is soft, dragging for a long time, and the eaves are far away, covered with shingles or straw. Not very particular about decoration. 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 courtyard-style wooden buildings with 2-3 floors, with bread-made stone walls outside and flat-topped walls above. The doors and windows on the stone wall are very narrow, with black trapezoidal window covers outside the window and decorative lines on the top eaves, which are very expressive. □ Hmm

There are many temples, all built on high ground. 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 customs. 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. □ Ma Temple embodies the style of Mongolian architecture, comes from the prototype of Tibetan □ Ma 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.

The style of the times has not changed much because of the function and material structure of ancient buildings in China for a long time, and the main factor that forms different styles of the times is the difference of aesthetic tendency; At the same time, due to the close relationship between ethnic groups and regions in ancient society, once it is impacted by foreign cultures, or the cultures of ethnic groups in various regions have undergone a sharp blending, it will also promote the artistic style to 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, some important artistic features of China architecture were initially formed, such as square courtyard, axisymmetric layout, wooden beam frame structure system, single shape composed of roof, house body and pedestal, etc. The roof accounts 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. Generally speaking, it can be summarized into two styles, namely, the northern style of the Central Plains dominated by Qi and Jin and the Jianghuai style dominated by Chu and Wu. Qin unified the whole country, concentrated the cultures of various countries in Guanzhong, and Han inherited Qin culture, so the national architectural styles tended to be unified. Representing the style of Qin and Han dynasties

Mainly capitals, palaces, tombs and sacrificial 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 the eaves have "fallen"; Sculpture has many colors and decorations, complex themes, exaggerated shapes and strong colors; Important buildings pursue symbolic meaning. Although there are many religious contents, they are all understandable. The architecture of Qin and Han Dynasties laid the rationalism foundation of China architecture, with clear ethical content, smooth layout and neat composition, and at the same time showed a simple, rich, clear and strong artistic style.

② Sui and Tang style. 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 got unprecedented development in the Southern and Northern Dynasties. The imported Buddhist culture has 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's life interest in seclusion in the mountains, the appearance of pastoral landscape poems, and the development of beautiful scenery in the south of the Yangtze River formally formed the aesthetic thought and basic style of China gardens, and also continued the romantic artistic conception.

The national unity and frequent exchanges with the western regions in the Sui and Tang Dynasties promoted the 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 architectural modeling is vigorous and the outline is parameterized.

Poor, 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, Ten Kingdoms, Song Dynasty, 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. China architecture finally formed its last mature style 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 the group order forms are diverse and the methods are rich; The quality and artistic level of folk buildings and buildings in minority areas have generally improved, forming a variety of 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 a mature typical style of China architectural art according to the unique laws of architectural art-graceful and 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.

Chinese modern architectural art

Modern Chinese architectural art was formed with the disintegration of feudal society and the introduction of western architecture. Its development is directly related to the social system, mode of production, lifestyle and aesthetic taste at various stages. Mainly as follows:

(1) Traditional buildings are still dominant in number, but due to

The new aesthetic taste has changed the architectural style and some artistic techniques.

(2) Modern industrial production and new social life dominated by public activities.

Live, produced a new type of building.

(3) New materials, new structures and new processes also need corresponding new forms.

(4) The abolition of feudal hierarchy and the change of social system have fundamentally shaken many important aesthetic values on which traditional architectural art depends, and the social function of architectural art has changed, which requires the creation of new forms that can reflect new aesthetic values and adapt to new social functions.

⑤ Traditional aesthetic psychology, new aesthetic value and new social value.

Will produce new contradictions, whether and how to embody traditional forms in new buildings has become the core issue of modern architectural aesthetics and artistic creation.

Faced with the complex background of the above social and architectural changes, modern architecture in China presents some new artistic features:

The gardens and decorative arts of traditional buildings have a new style. In traditional architecture, gardens and decorative arts are the most sensitive parts due to the change of aesthetic taste. /kloc-After the middle of the 9th century, most of the gardens in the south of the Yangtze River, represented by Suzhou, and the gardens in the north, represented by Beijing, have been transformed and rebuilt. Their common tendency is that the proportion of buildings is greatly increased, the space is tortuous and changeable, and the decoration is complex and exquisite, and quite a few of them become cumbersome. Architectural decoration is generally carved in a large area, with gorgeous colors, expensive materials, expanded themes and meticulous techniques. There are also some baroque and rococo techniques in the west, and some composers and artists are also influenced by them.

It highlights the types and styles of architecture. At the beginning, most of the new buildings in modern times directly copied similar buildings in the west, and most of the western buildings had a set of basic stereotypes. At that time, there were colonialism, classical revival, Gothic revival, eclecticism and so on. From Harbin to Hong Kong, from Qingdao to Kashgar, all institutions, banks, shopping malls, halls, apartments, houses, schools, etc. have marked their own contents in the form of basic stereotypes. However, the forms of the same type are similar, rarely showing the unique local national characteristics, and even the phenomenon that the northern buildings adopt deep arcade shutters (colonial style) and the southern buildings adopt fireplaces (classical revival style) has appeared. However, after the creation of national forms in the 1920s and 1930s, most of them also adopted the official architectural style of a certain period in ancient times (mainly in the Qing Dynasty), making the national architectural forms in Guangzhou not much different from those in Beijing. Only after the 1980s did we pay more attention to local characteristics, that is, the so-called local architectural style.

Single building focuses on the expression of appearance modeling. Modern architecture breaks the traditional aesthetic concept of being closed and restrained, pays attention to expressing the artistic conception of space, and highlights the public and open viewing function, which is consistent with the aesthetic concept of western architecture that attaches importance to expressing physical modeling at the same time. The artistic form of modern architecture in China contains two kinds of contents. First, some large and memorable buildings still attach great importance to the social value of plastic arts.

The function of beauty requires a strong political and ethical content, that is, to express a certain spiritual meaning in a specific form. For example, banks and customs often adopt solemn and luxurious western classical forms to show their strong financial resources; Some government agencies and memorial buildings absorb traditional forms to show the spirit of inheriting traditional culture and carrying forward the quintessence of the country. Secondly, most civil buildings generally only start from aesthetic taste, on the one hand, they pursue fashion novelty, and at the same time, they are influenced by traditional aesthetic taste. /kloc-from the end of 0/9 to the beginning of the 20th century, foreign-style storefronts, foreign schools, foreign theaters, and urban alleys were all in the form of the so-called combination of Chinese and Western. In the future, it will directly adopt the more popular forms in the west; After the 1980s, the pursuit of local flavor has emerged, which is consistent with the aesthetic taste of the contemporary public.