The aesthetic characteristics of ancient buildings in China are described

From the perspective of the spatial layout of the building, Chinese architecture is a closed group of spatial patterns, spread out on the ground plane. No matter what kind of architecture in China, from the residence to the palace, it is almost always the same pattern, similar to the "courtyard house" model. The beauty of Chinese architecture is also a kind of "collective" beauty.

For example; The palace of the Ming and Qing dynasties in Beijing, the Ming Tombs, and the Confucius Temple in Qufu are the buildings that are set together with many courtyards and constitute a huge building complex, and all kinds of buildings are arranged regularly with the main and the guest, which embodies the introverted characteristics of the ancient Chinese social structure form, the patriarchal thought and the ritual system.

Feng Shui has widely influenced people's lives for thousands of years and plays a profound role in people's psychology, words and deeds. If we count from the Han Dynasty, Feng Shui has a history of more than 2,000 years, although we still can't explain its theories and taboos, but its effect extends to this day and will still play a role in future generations.

Feng Shui is a crucial factor in the formation of Beijing's cities and dwellings.

Ming Chengzu moved the capital to Beijing, built the palace on the central axis in the middle of the city, and built a mountain (now Jingshan) in the north of the palace city, as a town object, to the remnants of the royal spirit of the town before the dynasty. The south of the central axis is the Chengtian Gate - Zhengyang Gate - Yongding Gate, and the north of the central axis does not have a city gate to prevent the leakage of royal gas. Miyagi East and West Gate:

The Donghua Gate and the Xihua Gate extend outward to the outside of the imperial city, that is, they are blocked, and they do not lead to the city gate, which are all obstructions. The pedestal of the three halls of Fengtian Palace, Huagai Palace, and Jinshen Hall in the palace city repaired during the Yongle period is in the shape of a "soil", reflecting the feng shui concept of the five elements and the earth dwelling.

The imperial court of all dynasties has set up Si Tianjian Cheng Qin Tianjian, responsible for measuring Yin and Yang Feng Shui, Qing Dynasty: "Where the phase of Feng Shui, in the event of a large construction, Qin Tian Jian Commission, phase Yin and Yang, set the direction, Suji Xinggong, the code to the heavy also." ”

In the site selection and construction of Beijing City, the demand for the correct position is not only necessary for the art of good orientation and group layout, but also for the pursuit of patriarchal etiquette and ethical concepts. As small as an ordinary house, it is also regarded as "the foundation of people, and people take the house as their home", and it is "the hub of yin and yang, and the model of humanity". As for the residence of the emperor, it has always been more necessary to "choose the middle of the Son of Heaven"; "The king will dwell in the world, and the courtesy will also"; "The ancient kings chose the world to establish a country, a country to build a palace, and a palace to build a temple"; "Its palace is also like heaven and earth, and the longitude and latitude are yin and yang"; "Distinguish the square and regular", "Tugui survey, do not shrink or surplus, always wind and rain, and then build the royal city"; "Establish the imperial court, the temple, the community, the government, and the treasury, to live in the people, distinguish the square, and be orderly, so as to be the cause of the emperors for generations to come."

From the Yuan and Ming dynasties, there are feng shui towns in Beijing, and it is said that the chimney pier outside the Yongding Gate, the iron tower outside the Dongzhi Gate, the silver gate on the beach, the copper well at Xinjiekou, and the iron shadow wall outside the Desheng Gate are the five towns of the capital in the Ming and Qing dynasties. (One said: The five towns of the Qing Dynasty were:

The south is the wind and fire platform outside the Yongding Gate (fire); the north is the three seas (water); the east is Shenmu Factory (wood); the west is the Great Bell Temple (gold); In the middle is the altar of the community (soil)).

The overall beauty, whether it is horizontal and vertical gives people a sense of beauty, in terms of a group is the most in line with the ancient construction standards, the ancient buildings are more durable, most of the buildings are from top to bottom with a sense of constancy, similar to the soft with just the soft order, with wood, bricks and tiles as the main building materials, with the wood frame structure as the main structure, the plane layout of the ancient building has a concise organizational law, especially the roof shape is the most prominent, mainly there are the palace, the rest of the mountain, the hanging mountain, the hard mountain, the tip, The decoration is rich and colorful, and the last point is to pay special attention to the harmony with the surrounding natural environment.

One of the characteristics of the shape and image of ancient Chinese architecture is the beam-lifting frame.

Beam-lifting frame, also known as "stacked beam frame", is the most common form of wooden frame in ancient Chinese architecture, and is often used in large buildings such as palaces, altars, temples, and monasteries.

It is to put the beam on the column, put the short column on the beam, put the short beam on the short column, layer upon layer until the ridge, and then erect the purlin on the head of each beam to support the form of the rafters, that is, use the front and rear eaves columns to support the limbs to call the rafters, and then erect two children's columns on the oak to support the flat beam, and the materials used for the beams and columns are required to be larger.

The beam-lifting structure is complex, requiring meticulous processing, but it is strong and firm, durable, and has a large internal use space, and at the same time can produce a magnificent momentum, and can make a beautiful shape.

Architectural elements of ancient architecture

There is a certain proportion between the height and diameter of the columns in ancient Chinese buildings, and there is also a certain proportion between the height and the width of the columns. Small-style buildings, such as long purlins or six-purlins, have a ratio of 10:8 between the width of the face and the height of the column, that is, the so-called face width of one zhang and the height of the column are eight feet.

The ratio of column height to column diameter is 11:1.

For example, the "Code of Engineering Practices" of the Ministry of Qing Industry stipulates: "All eaves columns shall be set at 8/10 of the width of the surface, and 7/10 (should be 7%) of the diameter inch." For example, if the face is one foot and one foot wide, the column is eight feet eight inches high, and the diameter is seven inches and seven minutes.

Five-purlin and four-purlin small buildings, the ratio of face width to column height is 10:7. According to these provisions, it can be calculated, and the column height can be found if the face width is known, and the column diameter can be found if the column height is known.

On the contrary, the known column height and column diameter can also be used to calculate the width of the column.

The diameter of the upper and lower ends of the column in ancient Chinese architecture is not equal, except for the short column such as melon column, any column is not a cylinder of equal diameter up and down, but the root (column base, column root) is slightly thicker, and the top (column head) is slightly thinner. This method of thick roots and thin tops is called "closing and slipping", also known as "collecting points". To make the column to make a score, both stable and light, giving people a comfortable feeling.

The size of the column is generally 1 100 cm of the column height, for example, the column height is 3 meters, and the score is 3 cm, assuming that the column root is 27 cm, then the diameter of the column head is 24 cm. The score of the columns of large-scale buildings is 7 1000 in the "Construction Case".

The above content reference: Encyclopedia - Ancient Architecture.

) is the most characteristic rough appearance feature of ancient architecture in China.

a.Big roof.

b.The soaring eaves rock is stuffy.

c.Rich colors.

d.Tall pedestal.

e.A variety of color shouting paintings.

Correct answer: ab

Summary. Kiss <>

Hello, I'm glad to answer for you. How to understand the characteristics of classical Chinese architecture? (elaborate).

As follows: Structure and Layout: Classical Chinese architecture focuses on a balanced and harmonious structural layout.

It usually adopts a symmetrical structure, with the central axis as the reference, and the left and right symmetrical distribution. The various parts of the building echo each other, and the overall composition is harmonious. Roof form:

The roofs of classical Chinese buildings often adopt the unique form of hanging mountain tops and resting mountain tops. The overhanging hilltop is in the form of a pendant, adding majesty and unique momentum to the building; The top of the hill is in a polygonal shape, making the building more flexible and changing. Building Materials:

Materials such as wood, masonry, and tiles were often used in ancient Chinese architecture. Wood is widely used in structure and decoration, demonstrating the exquisite craftsmanship of Chinese wooden architecture. Masonry is used for the construction of walls and floors, and the common ones are yellow glazed bricks and blue bricks.

Tiles were a common material for ancient roofs, enriching the appearance of buildings with their variety of shapes and colors.

How to understand the characteristics of classical Chinese architecture? (elaborate).

Kiss <>

Hello, I'm glad to answer for you. How to understand the characteristics of classical Chinese architecture? (elaborate).

As follows: Structure and Layout: Classical Chinese architecture focuses on a balanced and harmonious structural layout.

It usually adopts a symmetrical structure, with the central axis as the benchmark and symmetrical distribution on the left and right. The various parts of the building echo each other, and the overall composition is harmonious. Roof form:

The roofs of classical Chinese buildings often adopt the unique form of hanging mountain tops and resting mountain tops. The overhanging hilltop is in the form of a pendant, adding majesty and unique momentum to the building; The top of the hill is in a polygonal shape, making the building more flexible and changing. Building Materials:

Ancient Chinese architecture often used materials such as timber, masonry, and tiles. Wood is widely used in structure and decoration, demonstrating the exquisite craftsmanship of Chinese wooden architecture. Masonry is used for the construction of walls and floors, and the common ones are yellow glazed bricks and blue bricks.

Tiles were a common material used in ancient roofs, enriching the appearance of buildings with their variety of shapes and orange colors.

The following additions are made: Architectural Decoration: Classical Chinese architecture is distinguished by its elaborate decoration.

Common decorative elements include painting, carving, mural painting and tiles. These decorations are often based on traditional motifs such as dragons, phoenixes, flowers and birds, and moire, which are rich in symbolic meaning and artistic value. Garden view:

Classical Chinese architecture is often combined with the slag garden landscape to form a unique architectural garden style. Common elements in gardens include rockeries, pools, pavilions, corridors, etc. Through the ingenious layout and landscape arrangement, the architecture and nature are integrated, and the Yingxiang Zen Tour creates a pleasant environmental atmosphere.

Cultural Implications: Classical Chinese architecture carries rich cultural connotations and philosophical thoughts. It embodies the concept of harmony between man and nature and the unity of man and nature in traditional Chinese culture, and pays attention to humanistic care and social order.

The basic characteristics of the exterior modeling of ancient Chinese buildings are large roofs and three-section styles.

One of the rules of the single appearance modeling of Chinese architecture is that each individual building is a way, that is, a three-stage style: roof, body and foundation. And the roof is the most characteristic part of ancient Chinese architecture, that is, the large roof.

In this way, Sun Hui said that the characteristics of ancient Chinese architecture are large roofs and three-section styles.

The roofs of ancient Chinese buildings had a variety of shapes, that is, styles. There are eight kinds such as the top of the palace, the top of the rest mountain, the top of the hanging mountain, the top of the hard mountain, the top of the roll shed, the top of the spire, the top of the dome and the top of the helmet. This is the most common and common across the country.

However, in different parts of the country, there are different regional styles. For example, in the northeast, there is a hoarding roof, which is slightly arched. There is a flat top in the northwest. There are single slopes in some places in Shanxi Province, Shaanxi. In the south, there are various shapes of fire-sealing walls.

In fact, the eight most common ones are also different across the country. For example, in the north, the slope of the roof is relatively gentle, and the warping is relatively gentle. In the south, the corners of the house are very high.

Characteristics of ancient architectural art in the Middle Kingdom

1. The unity of aesthetic value and political and ethical value.

2. Rooted in the profound traditional culture of Kaiheng, it shows a distinct humanist spirit. All the constituent elements of architectural art, such as scale, rhythm, composition, form, character, style, etc., are based on the aesthetic psychology of contemporary people, which can be appreciated and understood by people, and there are no big ups and downs, weird and weird, and incomprehensible images.

3. The overall and comprehensive nature is very strong. From the overall environment to the single house, from the external sequence to the internal space, from the color decoration to the ancillary art, each part is not dispensable, and the removal of one of them will damage the overall effect.