Chinese Architecture From Qin Dynasty to Qing Dynasty (1.2)

 Colors:

 Every color has its own and unique meaning and was used carefully in ancient Chinese architecture. 

Purple was the most honorable color in ancient China and the reasons can be found in Chinese history 

and religion. According to Taoist legend, the celestial Palace of the Jade Emperor was viewed as a star 

near Polaris, which was perceived to be in purple color and located at the center of the universe ( 

Zhang, 2019). During the Ming and Qing dynasties, China's monarchy reached its peak of 

centralization and to symbolize the supremacy of their powers, emperors in that era called the palace 

they lived as “Purple Forbidden City”. Yellow was another royal color and it represented dignity and 

royalty, and is characterized by fidelity ( Zhang,2019) and the tiles in the middle of the palace roof are 

yellow. In the palaces of the subordinate countries of ancient China, Cyan (in Chinese called Qing) was 

the most commonly used color because Cyan in ancient times represented low status. That’s why the 

palace in South Korea is called Qingwatai. 

Materials: 






Wood was one of the most common used material in traditional。Chinese architecture which can not only be easily obtained from the many forests in China and it also preferred as a natural construction material and can create a natural living atmosphere in the house ( Say,1964). In Southwest of China, earth, as a surface material, was the used widely. The reason for using the above two materials can be found in Taoist theory, people and nature should coexist in harmony. Earth and wood, as natural materials, can make people closer to nature and achieve the state that man is an integral part of nature.

Names:

The naming of the buildings and parts reflect the Eastern aesthetic. People in ancient times expressed their wishes in naming names, and believed that this practice had a certain effect. The theory of Wuxing ( five single elements: water, fire, wood, gold, earth, rock) is the main theoretical basis for naming ancient Chinese buildings. For example, in the cause of protecting the library from fire, the name of Tianyi pavilion in China is linked to the water element in Wuxing because in Wuxing theory, water is related to one, because“water is generated by heaven first”.

Design principles:








In most traditional Chinese architecture, the designers chased after the beauty of balance and harmony because of Taoist, such as the theory of “Yin Yang”. “Yin Yang” is a significant idea in Chinese traditional philosophy and “Yin” stands for “moon” or “shade”, “Yang” means “sun” or “light”, which is widely used as a principle of design. Some traditional Chinese courtyard houses with solid buildings ( Yang), surrounding the void (Yin) courtyard spaces ( Zhang, 2019). In the traditional Siheyuan design, there can be a very clear perception of this relationship between “ Yin” and “ Yang”.

Planning Principles:

Under the influence of the Confucian concept of "ritual system", urban design follows the central axis and attaches great importance to the spatial sequence of buildings and the logic of urban layout, reflecting the highly developed hierarchical system and strict ethical order. Taoism emphasizes the harmony between man and nature, so ancient China attaches great importance to the protection of the natural environment in the process of urban planning.

Trough the above description, you might have a certain understanding of the value of Chinese traditional architecture(aesthetics) as well as some details. See you next Posts!






References:

[1] Munro, T. (1965). Oriental traditions in Aesthetics. The Journal of Aesthetics and Art Criticism, 24(1), 3-6.

[2] Feagin, S. L., & Maynard, P. (1997). Aesthetics.

[3] Bowie, A. (2003). Aesthetics and subjectivity. Manchester University Press.

[4] Inada, K. K. (1997). A theory of oriental Aesthetics: A prolegomenon. Philosophy East and West, 117-131.

[5] Zhang, D. (2019). Cultural symbols in Chinese architecture. Architecture and Design Review, 1(1), 1-17.

[6] Say, R. (1964). Chinese Architecture.


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