China has a long history of architecture and brilliant achievements. Both the beauty of Suzhou garde
China has a long history of architecture and brilliant achievements. Both the beauty of Suzhou gardens and the resplendence of the Forbidden City show the wisdom of ancient architecture in China. The characteristics of ancient architectural art in China are various. Today, Bian Xiao first introduces you to the characteristics of layout angle.
Frame structure
This is the most important feature of ancient architecture in China. Because the ancient buildings in China are mainly wooden frame structures, that is, wooden columns and beams form the frame of the house, and the weight of the roof and eaves is transferred to the columns through the beam frame, and the wall only plays the role of partition, not the structural part that bears the weight of the house. The old proverb "The wall falls down but the house doesn't fall down" generally points out the most important feature of China architecture as a frame structure. This structure can make the house meet the changing functional requirements of life and production under different climatic conditions. At the same time, because the house wall is not load-bearing, there is great flexibility in the setting of doors and windows. In addition, this frame-type wood structure has formed a unique component unique to high-rise buildings such as palaces and temples in the past, that is, a bunch of "bucket arches" under the eaves. It consists of bucket-shaped wood blocks and bow-shaped cross bars, which are criss-crossed and picked out layer by layer to form a support with a big top and a small bottom. This kind of member not only has the function of supporting the load-bearing beam frame, but also has the function of decoration. Only after the Ming and Qing Dynasties, due to the simplification of the structure, the beam was directly placed on the column, which led to the structural function of the bucket arch almost completely disappearing and almost becoming a pure ornament.
Courtyard group layout
From the images of ancient buildings in ancient documents and paintings to the existing ancient buildings, the plane layout of ancient buildings in China has a concise organizational law, that is, every building such as residence, palace, government office and temple is a courtyard surrounded by several single buildings, some cloisters and walls. Generally speaking, most courtyards are connected in series, reaching the backyard through the front yard, which is the product of China's feudal society's thought of "orderly aging, different inside and outside". The main characters in the family, or people who should be isolated from the outside world (such as girls from aristocratic families), often live in courtyards far from the outside door, forming a deep spatial organization of courtyards after courtyards. How deep is the courtyard written by Ouyang Xiu in Song Dynasty? In other words, the ancients once described the residence of a big bureaucrat as "the door is as deep as the sea", which vividly illustrated the important features of the layout of China architecture.
At the same time, this courtyard-style group and layout are generally designed symmetrically along the longitudinal axis (also known as the front and rear axis) and the horizontal axis. The more important buildings are placed on the vertical axis, and the secondary houses are placed on its left and right sides on the horizontal axis. The group layout of the Forbidden City in Beijing and the northern quadrangles is the typical example that best embodies this principle of group layout. This layout is closely related to the patriarchal clan system and the ethical code system in China feudal society. According to the feudal patriarchal clan system and hierarchical concept, it is most convenient to make a clear distinction between generations, generations, men and women, masters and servants in housing.
Compared with European architecture, the courtyard group layout in China has its unique artistic charm. Generally speaking, European architecture is more obvious. The ancient buildings in China, like a long scroll of Chinese painting, must be displayed one by one, and it is impossible to read them all at once. When you walk into the ancient buildings in China, you can only walk from one courtyard to another, and you must walk to see them. The Forbidden City in Beijing is the most prominent example. Every time people go in from Tiananmen Square, they will enter another courtyard. Walking from one end of the yard to the other, the scenery is changing step by step, giving people a deep feeling. The artistic image of the Forbidden City is deeply left in people's minds.
Layout
The plane layout of buildings is an important factor that determines the form of a building, a group of buildings, a group of buildings, and even a village and a city. In ancient architecture in China, there are basically two ways of plane layout. One is majestic, neat and symmetrical, and the other is tortuous and flexible. Most imperial palaces, temples, tombs, official halls, palaces, mansions, religious temples, temples, ancestral halls, halls, etc. Take the former form. Its plane layout is characterized by an obvious central axis, with the main buildings arranged on the central axis and the foil buildings arranged on both sides of the central axis. This layout is clearly defined and symmetrical. Take the temples in Beijing as an example. On its axis, there is a shadow wall or archway in front, and then there is a mountain gate. Within the mountain gate, there is a front hall, followed by the main hall (or the Hall of Great Heroes), followed by the back hall and the Tibetan Scripture Building. Both sides of the central axis are arranged to set off the buildings, which are even and symmetrical. For example, there are side doors on both sides of the mountain gate, halls on both sides of the main hall, and corridors and halls on both sides of the rest of the halls. Craftsmen use baking clouds to support the moon and green leaves to support red flowers to contrast the solemnity of the main building. This kind of buildings, regardless of the number of buildings and the size of the building, generally adopt this layout. From one hall to two entrances, three entrances and even nine palaces, the huge Kyoto is such a law. This solemn, neat, symmetrical and foil-oriented way fully meets the needs of rulers and gods for lofty and solemn respect, so it has been passed down from generation to generation for thousands of years and gradually improved. The other layout is not uniform, asymmetric and adapted to local conditions. This form is mostly used in landscape architecture, residential buildings and mountainous villages and towns. Its layout method is flexible according to the mountains and rivers, geographical environment and natural conditions. For example, houses, even temples and official halls, which are located at the foot of the mountain and near the river, are always built near the river, layer by layer according to the mountain terrain. This situation is most suitable for southwest mountainous areas, Jiangnan water network areas and places with more terrain changes. This layout principle has been used for thousands of years because it meets the needs of many ethnic groups in China with different natural conditions, different cultural characteristics and customs, and has a scientific theoretical basis. Chinese gardens are examples of flexible layout and twists and turns. The layout of cities and villages in mountain cities and water towns is also based on natural conditions and river networks. Due to the announcement of the land system, many practical and beautiful ancient town planning and architectural styles have emerged.
Architecture is not only a technical science, but also an art. After long-term efforts, the ancient architecture in China absorbed the characteristics of other traditional arts in China, especially the plastic arts such as painting, sculpture and arts and crafts, and created colorful artistic images, which became the intangible cultural heritage of China culture.
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