DOCSLIB.ORG

Assimilation of Traditional Architecture Influenced by the Imported Styles

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

ITU A|Z • Vol 15 No 3 • November 2018 • 71-80 Assimilation of traditional architecture influenced by the imported styles Anton A. KIM1, Vera I. LUCHKOVA2 1 [email protected] • Department of Architecture and Urbanistics, Institute of Architecture and Design, Pacific National University, Khabarovsk, Russia [email protected] • Department of Architecture and Urbanistics, Institute of Architecture and Design, Pacific National University, Khabarovsk, Russia Received: July 2016 • Final Acceptance: September 2018 Abstract The article describes the process of transformation of the local architecture under the influence of adscititious styles. The principles of forming assimilative architecture of China at the levels of urban planning, space-planning solutions and architectural elements are determined. The basic analysis is carried out on the example of borrowed European forms in Chinese architecture of the late 19th– early 20th centuries. Furthermore, a similar process in the architecture of Europe is shown. The main trend of orientalism and its local manifestation of chinoiserie (Chinese style) is reflected. This is the example of the usage of oriental themes in the western architecture. Besides, we analyzed the processes of borrowing of the certain techniques of architectural construction at the modern stage of its de- velopment. The conclusions have also been drawn about the necessity of further study of this process as well as the importance of reconstruction, restoration and historical preservation of architecture for future generations. Keywords doi: 10.5505/itujfa.2018.32032 doi: Architecture, Chinoiserie, Eclectic, Sino-western styles, Style formation. 72 1. Introduction considered to be the reminiscence of One of the factors influencing the traditional Chinese culture in Europe- development of architectural styles an art and architecture of 17th–19th along with evolutionary processes was centuries has been studied. The anal- the formation of new movements in ysis of eclectic styles in the interpre- construction by means of accultura- tation of Representatives of different tion and assimilation of the various cultures has shown similarities of bor- national achievements. The source of rowing. such transformations for a long time So as to simplify the analysis of the has been a cultural and technological degree of acculturation of adscititious exchange at the boundaries of civili- styles and assimilation of traditional zations. It is often connected with the elements it was decided to consider changes in the geopolitical world map. architecture separately. It was divid- The resettlement colonization of Ar- ed in three sections: urban planning, chaic Greece and cultural symbiosis in space-planning and design. Such an the formation of Macedonian Empire approach has allowed us to estimate are the typical examples (Boardman the level of penetration of new ele- & Hammond, 1982; Walbank, Astin, ments. More than that, it was taken Frederiksen & Ogilvie, 1984). These into account that the external features phenomena had an impact on Europe, are more subjected to transformation, North and Western Africa and partial- while space-planning and urban plan- ly on South Asia. However, sequential ning features are more conservative. colonization of Europe and the Medi- Finally, an analysis of the problem terranean basin by Roman republic and at the current stage of architectural de- empire had the greatest impact, which velopment has been carried out on the in many ways formed the vector of ar- example of the leading and peripheral chitectural development of the area for schools. As a result, the two main ba- several centuries to go (Walbank, As- sic groups of appearance of “deformed” tin, Frederiksen & Ogilvie, 1989; Alan, styles factors were found. In the first Champlin & Lintott, 1996). instance, it was the purpose of seman- The next integrative stage of Western tics or casual relations of the usage of culture took place in the early modern elements, techniques, structures, etc. period. This stage is associated with the The second reason, which is a deriva- activation of transoceanic colonization tive of the first, relates to the lack of the and formation of Eurocentric world necessary technical and technological in 15th–19th centuries (Potter, 1957; base and, as a result, incomprehension Crawley, 1965). The active expansion of the process of formation of new el- of European nations had a great im- ements. Both of these trends are com- pact on the development of culture mon for modernity and the historical and architecture all over the world. architectural development. Aside from this, the globalization took a universal form by 20th century and 3. Data became one of the patterns in social Literary and internet sources have development on the modern stage. It been analysed for investigation of is clear that this phenomenon affect- the problem. When considering Si- ed stylistic architectural development no-Western architectural styles, the (Bury, 1960; Hinsley, 1962). researches of V. I. Luchkova, Liu Dap- ing, N. Arkaraprasertkul, Zhang Jun, 2. Methodology Su’ning Xu, Chun-kwok Chan, Jiawei The historical examples and modern Gu etc. were taken into consideration. trends have been examined to study Along with that, the photographic, car- the phenomenon of architectural ac- tographic and historiographic materials culturation and assimilation under the have been studied. Full-sized observa- influence of indistinctive stylistic ideas. tion was carried out as well. The stud- The brief analysis of the peculiarities of ies of art historians. dominate among Sino-Western buildings of the middle the works devoted to chinoiserie, such 19th–mid 20th century has been un- as M. A. Neglinskaia, Wu Youfang, G. dertaken. Chinoiserie style, which is Alm, A. Hyatt Mayor L. Ledderose, ITU A|Z • Vol 15 No 3 • November 2018 • A. A. Kim, V. I. Luchkova 73 Figure 1. Sino-western styles: 1) diaolou (Jiangmen, Guangdong province); 2) weilou in sino-western style (Meizhou, Guangdong province); 3) qilou (Haikou, Hainan province), 4) shikumen (Shanghai); 5) Chinese baroque (Harbin, Heilongjiang province). Zhu Ying, etc The fundamental analy- tze River with the city center in Shang- sis was based on cartographic and pho- hai and Guangzhou Bay, presented by tographic materials. The contemporary the city of Guangzhou, Hong Kong and planning stage has been studied with Macau (Luchkova & Kim, 2016). the help of analysis the found trends in A number of new styles have been the works of P. Schumacher, Iu. S. Ian- developed in these areas. The com- kovskaia, L. Sklair, S. P. Pomorov, and mon feature of these new styles that others. The phenomenon of imitation originate from the mutual integration of global trends in design without un- of the two cultures is partial assimila- derstanding or use of their technology tion of traditional Chinese architectur- and methodology has been analyzed al principles and techniques and their on the basis of factual material of edu- replacement by European. The Chi- cational course design and actual plan- nese baroque has developed in Man- ning activity. churia (Levoshko & Kirichkov, 2016; Ivanova & Kradin, 2014; Yu, 2005; Yo, 4. Results 2013; Cao, Dian Zhang, Ying Zhang & 4.1. Sino-western styles Xu, 2012; Qi Li & Daping Liu, 2013), The historical context of the emer- in Shanghai—shikumen (Ren, 2008; gence of China assimilative styles lies Arkaraprasertkul & Williams, 2015; in the development of Sino-Western Liang, 2008; Arkaraprasertkul, 2009, relations, poured out in the Opium Chan, 2014), in the southern provinces Wars (1840–1842, 1856–1860), fol- such styles as trade qilou (Jun Zhang, lowed by the opening of state borders 2015; Ho Yin Li & DiStefano, 2016; Gu, (Twitchett & Mote, 1998; Fairbank, 2014; Yang & Jia, 2010; Quan & Hou, 1978; Fairbank & Kwang-Ching Liu, 2008), fortification diaolou (The State 1980; Zhang & Fan, 2003). This process Administration of Cultural Heritage of predetermined the development of the the People’s Republic China [SACH], international settlement on the territo- 2006; Batto, 2006; Kuah-Pearce & Jin, ry of the Qing Empire which lead to the 2012; Zhou, 2003; Zhao, 2010; Luch- build up of the Western architecture in kova, 2011) and community-based Si- China. As a result, the three main ar- no-Western weilou (Qui, 2001; Jiang, eas of Western influence were marked: 2006; Kim & Luchkova, 2016). The Chinese Eastern Railway with the cen- activation of these processes in south- ter in Harbin, the estuary of the Yang- ern China is conditioned by the high Assimilation of traditional architecture influenced by the imported styles 74 population density of territory and the ly reinforced concrete and metal frame active development of the western set- (Kuah-Pearce & Jin, 2012; Jun Zhang, tlements. 2015). The new construction materials The impact of the Western architec- had the greatest impact on mid-rise ture has not changed radically local ur- and high-rise constructions, primarily ban-planning processes. The most no- diaolou, Chinese baroque and partially ticeable changes took place in Harbin. qilou. More than that, the new materi- In this city quite a chaotic urban-build- als allowed to increase the constructing ing way in the beginning has been re- speed of the objects. placed by Europeanised city blocks. The introduction of Western-style However, such a change is probably oc- floor layout and differentiation in the curred under the direct control of Rus- number of storeys also came up (Luc- sian engineers (Kradin, 2010). Gen- hkova, 2011). However, this trend eral trends contained in a significant manifested itself mostly in Harbin, increase of urban density. Due to this where only the galleries (that had been fact, the traditional structure based on formed along with a common court- hutong and siheyuan has transformed yard) remained from the traditional due to the reduction of the area of the planning structure (Qi Li & Daping courtyard (shikumen) (Arkaraprasert- Liu, 2013). The trend was less com- kul, 2009) or the complete rejection of mon in the other styles and most of it (qilou, diaolou) (Zhang, 2015; Luch- the buildings were based on the trans- kova, 2011).
Recommended publications
  • To Search High and Low: Liang Sicheng, Lin Huiyin, and China's

    To Search High and Low: Liang Sicheng, Lin Huiyin, and China's

    Scapegoat Architecture/Landscape/Political Economy Issue 03 Realism 30 To Search High and Low: Liang Sicheng, Lin ­Huiyin, and China’s Architectural Historiography, 1932–1946 by Zhu Tao MISSING COMPONENTS Living in the remote countryside of Southwest Liang and Lin’s historiographical construction China, they had to cope with the severe lack of was problematic in two respects. First, they were financial support and access to transportation. so eager to portray China’s traditional architec- Also, there were very few buildings constructed ture as one singular system, as important as the in accordance with the royal standard. Liang and Greek, Roman and Gothic were in the West, that his colleagues had no other choice but to closely they highly generalized the concept of Chinese study the humble buildings in which they resided, architecture. In their account, only one dominant or others nearby. For example, Liu Zhiping, an architectural style could best represent China’s assistant of Liang, measured the courtyard house “national style:” the official timber structure exem- he inhabited in Kunming. In 1944, he published a plified by the Northern Chinese royal palaces and thorough report in the Bulletin, which was the first Buddhist temples, especially the ones built during essay on China’s vernacular housing ever written the period from the Tang to Jin dynasties. As a by a member of the Society for Research in Chi- consequence of their idealization, the diversity of nese Architecture.6 Liu Dunzhen, director of the China’s architectural culture—the multiple con- Society’s Literature Study Department and one of struction systems and building types, and in par- Liang’s colleagues, measured his parents’ country- ticular, the vernacular buildings of different regions side home, “Liu Residence” in Hunan province, in and ethnic groups—was roundly dismissed.
  • Selena K. Anders

    Selena K. Anders

    CURRICULUM VITAE SELENA K. ANDERS Via Ostilia, 15 Rome, Italy 00184 +39 334 582-4183 [email protected] Education “La Sapienza” University of Rome, Ph.D.; Rome, Italy Department of Architecture-Theory and Practice, December 2016 under the supervision of Antonino Saggio and Simona Salvo University of Notre Dame, M.Arch; Notre Dame, Indiana School of Architecture, cum laude May 2009. Archeworks, Postgraduate Certificate; Chicago, Illinois Social and Environmental Urban Design, May 2006. DePaul University, B.A.; Chicago Illinois Art History and Anthropology, Minor in Italian Language and Literature, magna cum laude, June 2005. Academic Positions Assistant Professor, School of Architecture, University of Notre Dame 2016-Present Co-Director China Summer Study Program, School of Architecture, University of Notre Dame 2010-Present Faculty, Office of Pre-College Programs, University of Notre Dame Rome: History, Culture, and Experience, 2015 Co-Director and Co-Founder of HUE/ND (Historic Urban Environments Notre Dame) School of Architecture, University of Notre Dame, 2014-Present Projects: Cities in Text: Rome Associate Director and Co-Founder of DHARMA LAB (Digital Historic Architectural Research and Material Analysis), School of Architecture, University of Notre Dame, 2006-Present India: Documentation of Mughal Tombs in Agra, India Italy: Documentation of the Roman Forum in Rome, Italy Vatican City: Belvedere Court Professor of the Practice, School of Architecture, University of Notre Dame, 2012-Present Faculty, Career Discovery for High School
  • Eastern Craft in Orientalism and Modern Design ISHIKAWA, Yoshimune / Phd / Toyo Institute of Art and Design / Japan

    Eastern Craft in Orientalism and Modern Design ISHIKAWA, Yoshimune / Phd / Toyo Institute of Art and Design / Japan

    Eastern craft in Orientalism and Modern Design ISHIKAWA, Yoshimune / PhD / Toyo Institute of Art and Design / Japan Chinoiserie / Japonisme / Japanese Design / Scandinavian roof and door with a lattice pattern similar to the back of the chair Design (fig. 1, right). Because part of their design derived from traditional Chinese architecture, their design was different from original Chi- This article focuses on furniture inspired by Eastern culture in Ori- nese furniture. For example, the Chinese chair had a back that entalism and modern design and clarifies the acceptance of the was one curved slat with minimal fretwork. The cabinet was a East not only as exoticism but also as inspiration for new design simple box that had no architectural decoration (however, there and theory beyond century. Eastern craft often offered new im- were some examples that had pediment or cornice in the origi- ages from the eighteenth to the twentieth century, and this his- nal Chinese cabinet importing Orientalism in the nineteenth cen- torical process is easily seen. Therefore, with regard to craft, the tury). The exoticism portrayed by Chippendale was, as it were, a East was not an “other” as Said has suggested. collage of Chinese architecture. In 1754, Chippendale published The Gentleman and Cabinet-Mak- 1. Introduction er’s Director, which shows Chinese style governed by his logi- According to Edward Said, the Orient signified a system of repre- cal method of design. He took Chinese architecture apart once, sentations that were politically framed by the Western world and chose some of its symbolic parts, and then reconstructed them existed as a separate, eccentric, backward, and silently different in Rococo style.
  • An Ancient Mosque in Ningbo, China “Historical and Architectural Study”

    An Ancient Mosque in Ningbo, China “Historical and Architectural Study”

    JOURNAL OF ISLAMIC ARCHITECTURE P-ISSN: 2086-2636 E-ISSN: 2356-4644 Journal Home Page: http://ejournal.uin-malang.ac.id/index.php/JIA AN ANCIENT MOSQUE IN NINGBO, CHINA “HISTORICAL AND ARCHITECTURAL STUDY” |Received December 13th 2016 | Accepted April 4th 2017| Available online June 15th 2017| | DOI http://dx.doi.org/10.18860/jia.v4i3.3851 | Hamada M. Hagras ABSTRACT Faculty of Archaeology, Fayoum University, Fayoum, Egypt With the rise of Tang dynasty (618–907), Ningbo was an important [email protected] commercial city on the Chinese eastern coast. Arab merchants had an important role in trade relations between China and the West. Ningbo mosque was initially built in 1003 during Northern Song period by Muslims traders who had migrated from Arab lands to settle in China. Through ongoing research of representative Muslim architecture, such as Chinese Mosques, this paper seeks to shed light on the artistic features of this mosque. Many of the key characteristics of this distinctive ethnic heritage are based on commonly held religious beliefs and on the relationship between culture and religion. This paper aims to study the characteristics of Chinese mosques architecture, through studying one of the most important planning patterns of the traditional courtyards plan Known as Siheyuan, and it will also make a practical study on Ningbo Yuehu Mosque. The result of this study shows that the Ningbo Yuehu mosque is like Chinese mosques which follows essentially the norms of Chinese planning, layout design, and wooden structures. KEYWORDS: Ningbo, Mosque, Plan, Courtyard, Inscriptions INTRODUCTION (626‐649) received an embassy from the last Sassanid rulers Yazdegerd III (631‐651) asking for help against WHY THE SELECTED NINGBO MOSQUE? the invading Arab armies of his country, however, the emperor avoid to help him to ward off problems that Although many Chinese cities contain more may result from it [8][9].
  • The Spreading of Christianity and the Introduction of Modern Architecture in Shannxi, China (1840-1949)

    The Spreading of Christianity and the Introduction of Modern Architecture in Shannxi, China (1840-1949)

    Escuela Técnica Superior de Arquitectura de Madrid Programa de doctorado en Concervación y Restauración del Patrimonio Architectónico The Spreading of Christianity and the introduction of Modern Architecture in Shannxi, China (1840-1949) Christian churches and traditional Chinese architecture Author: Shan HUANG (Architect) Director: Antonio LOPERA (Doctor, Arquitecto) 2014 Tribunal nombrado por el Magfco. y Excmo. Sr. Rector de la Universidad Politécnica de Madrid, el día de de 20 . Presidente: Vocal: Vocal: Vocal: Secretario: Suplente: Suplente: Realizado el acto de defensa y lectura de la Tesis el día de de 20 en la Escuela Técnica Superior de Arquitectura de Madrid. Calificación:………………………………. El PRESIDENTE LOS VOCALES EL SECRETARIO Index Index Abstract Resumen Introduction General Background........................................................................................... 1 A) Definition of the Concepts ................................................................ 3 B) Research Background........................................................................ 4 C) Significance and Objects of the Study .......................................... 6 D) Research Methodology ...................................................................... 8 CHAPTER 1 Introduction to Chinese traditional architecture 1.1 The concept of traditional Chinese architecture ......................... 13 1.2 Main characteristics of the traditional Chinese architecture .... 14 1.2.1 Wood was used as the main construction materials ........ 14 1.2.2
  • Full Article –

    Full Article –

    INTERNATIONAL JOURNAL OF CONSERVATION SCIENCE ISSN: 2067-533X Volume 11, Issue 2, April-June 2020: 499-512 www.ijcs.ro RATIONAL AND AESTHETIC PRINCIPLES OF FORM-MAKING IN TRADITIONAL CHINESE ARCHITECTURE AS THE BASIS OF RESTORATION ACTIVITIES Mykola ORLENKO1, Мykola DYOMIN2, Yulia IVASHKO2, *, Andrii DMYTRENKO3, Peng CHANG2 1 Ukrrestavratsiia Corporation, Boryspilska street, 6, Kyiv, 02099, Ukraine 2Kyiv National University of Construction and Architecture, Povitroflotskyi Avenue, 31, Kyiv, 03037, Ukraine 3National University “Yuri Kondratyuk Poltava Polytechnic”, Pershotravnevyi Avenue, 24, Poltava, 36011, Ukraine Abstract Chinese architecture is characterized by an original structural scheme, a specific volumetric and spatial composition, and expressive silhouette, the tone of which is set by the roofs of an unusual concave end-up shape, emphasized bright polychrome with open colours and decor. All these components were not random and were not caused only by the whim of the architect or customer, but for thousands of years have been regulated by the principles of Feng Shui, the canons of Taoism, Confucianism and Buddhism. That is why every detail of the structure was provided with a particular hidden meaning. However, the spread of wood construction over time led to the emergency state of many small pavilions and gazebos. Chinese researchers pay attention to the poor state of many historical pavilions and gazebos and negative examples of their reconstruction, which distorted the primary structure of the object. Since the authenticity of the architecture is completely lost as a result of such “reconstructions”, the experience of the Ukrainian special research and restoration-design- production corporation Ukrrestavratsiia, obtained on numerous wooden churches and wooden structural elements of buildings for other purposes, can be useful in conservation and restoration of China wooden objects.
  • Sprawling Dragons, Squatting Pagods, and Clumsy Mandarines’, the Georgian Group Jounal, Vol

    Sprawling Dragons, Squatting Pagods, and Clumsy Mandarines’, the Georgian Group Jounal, Vol

    Philippa Tristram, ‘Sprawling Dragons, Squatting Pagods, and Clumsy Mandarines’, The Georgian Group Jounal, Vol. V, 1995, pp. 1–8 + 127–128 TEXT © THE AUTHORS 1995 ‘Sprawling dragons, squatting pagods, and clumsy mandarines’ Philippa Tristram Sinologists and art historians agree that in the eighteenth century, as in the seventeenth, dis­ tance lent enchantment to the English view of China. They also agree that disillusionment followed hard upon our first direct experience of that country. In pilot studies of China and the West, the crucial encounter cited used to be the Macartney embassy of 1793, when British subjects first travelled through the ‘Great Within’. But in recent years, sinologists - perhaps aware of the many negative references to China prior to the Macartney embassy1 - have set back the advent of disillusion to 1748, when Captain Anson’s Voyage round the world was pub­ lished. This included an account of his bellicose coastal dispute with the Chinese. Although Anson never entered China proper, sinologists now declare that from 1748 the ‘cult of China, whether intellectual or aesthetic, faded swiftly’.2 Art historians, on the other hand, remark that the baroque chinoiserie of the Restoration lost ground in the early eighteenth century, and returned to favour in rococo form only in the reign of George II, ‘rising to its peak of fash­ ion in the 1750s’3 (directly after the publication of the Voyage}, and declining gradually from 1760-90, displaced by Gothic, not the choleric Captain. Even when seeking evidence prior to 1748 for an admiration of all things Chinese, sinolo­ gists and art historians differ, although in complementary respects.
  • Architectural Chinoiserie in Germany Chinese Tower, English Garden, Munich, Germany

    Architectural Chinoiserie in Germany Chinese Tower, English Garden, Munich, Germany

    The Future of Historical Network Research , 13-15 September, 2013 Hamburg Conceptualize into Yanan Sun History Cornell University Heidelberg University “Dots and Lines” [email protected] Dynamic Network Analysis of the History of Chinoiserie Architecture in Germany Outline ² History of Chinoiserie ² Network: build Chinoiserie network ² Diffusion analysis : - Adopter types: 5 phases - Adoption thresholds ² Historical explanation of network analysis Outline ² History ² Network ² Analysis ² Historical explanation History of Chinoiserie ² “Chinoiserie” a French word, meaning “chinese-esque” ² àin decorative arts ² à in architecture ² ! Chinoiserie is not “Chinese,” but “European” Decorative Arts The Chinese Garden, a chinoiserie painting in by François Boucher. Chinoiserie Chinoiserie porcelain, made in Europe Chinoiserie in Decorative Arts Chinoiserie furniture Chinoiserie in Decorative Arts Chinoiserie interior, mirror cabinet in Schönbrunn Palace, Austria Decorative Arts in Chinoiserie Austira Schönbrunn Palace, Chinoiserie interior, Chinoiserie in Decorative Arts 1767 Versaille, France Trianon de Procelain, Chinoiserie in Architecture Chinese/Japanese Tea House, Sanssouci, Potsdam, Germany Architectural Chinoiserie in Germany Chinese Tower, English Garden, Munich, Germany Architectural Chinoiserie in Germany Architectural Chinoiserie in Germany Selected sites with Chinoiserie buildings: 1. Sanssouci , Potsdam 2. New Garden, Potsdam 3. Pillnitz , Dresden 4. Mulang, Wilhelmshöhe, Kassel 5. Nyphemburg, Munich 6. English Garden, Munich 7.
  • Hsian.G Lectqres on Chinese.Poet

    Hsian.G Lectqres on Chinese.Poet

    Hsian.g LectQres on Chinese.Poet: Centre for East Asian Research . McGill University Hsiang Lectures on Chinese Poetry Volume 7, 2015 Grace S. Fong Editor Chris Byrne Editorial Assistant Centre for East Asian Research McGill University Copyright © 2015 by Centre for East Asian Research, McGill University 688 Sherbrooke Street West McGill University Montreal, Quebec, Canada H3A 3R1 Calligraphy by: Han Zhenhu For additional copies please send request to: Hsiang Lectures on Chinese Poetry Centre for East Asian Research McGill University 688 Sherbrooke Street West Montreal, Quebec Canada H3A 3R1 A contribution of $5 towards postage and handling will be appreciated. This volume is printed on acid-free paper. Endowed by Professor Paul Stanislaus Hsiang (1915-2000) Contents Editor’s Note vii Nostalgia and Resistance: Gender and the Poetry of 1 Chen Yinke Wai-yee Li History as Leisure Reading for Ming-Qing Women Poets 27 Clara Wing-chung Ho Gold Mountain Dreams: Classical-Style Poetry from 65 San Francisco Chinatown Lap Lam Classical Poetry, Photography, and the Social Life of 107 Emotions in 1910s China Shengqing Wu Editor’s Note For many reasons, Volume 7 has taken much longer than anticipated to appear. One was the decision to wait in order to have four Hsiang Lectures in this volume rather than the customary three. The delay and small increase in the number of lectures bring new horizons in research on Chinese poetry to our readers. Indeed, in terms of the time frame covered, this volume focuses mostly, but not exclusively, on the twentieth century. Three of the four lectures are fascinating studies of the manifold significations of classical verse and their continued vitality in the discursive space of Chinese politics and culture in a century of modernization.
  • “WALL” Defining the Chinese Traditional Introverted Space Under the Influence of Chinese Ethics

    “WALL” Defining the Chinese Traditional Introverted Space Under the Influence of Chinese Ethics

    The Ethical Imperative 295 “WALL” Defining The Chinese Traditional Introverted Space Under The Influence Of Chinese Ethics SHAN MAN Tongji University China has been understood as a land operated by walls since The Great Wall has been thought as the envelope of China ancient times. During the traditional times, the settlement is since it was built until Qing Emperor Kangxi questioned it. made of courtyard buildings enclosed by walls completely. To Kangxi, “wall” operated on the psychological rather As the present age, the city has been arrayed by gated com- than physical level. However, the initial concept of space is munities. They are enclosed by walls just like the way of probably derived from this way of space division. After all, ancient courtyard units. We believe the introverted space only when the space has been divided that it becomes com- conception is continuing. As a result, there is a need to make prehensible3. “Wall” as the most prominent architectural qualitative research using socio-spatial patterns on how the manifestation in describing Chinese space units was applied walls define Chinese traditional space and the ethical rea- to enclose houses, palaces, temples, cities even the coun- sons behind this. try. In China, these different types of architecture share the same spatial orders of being enclosed by walls to shape rect- We explore relations between “wall” and distinctive prac- angle courtyards in different scales. (Fig.1) The walled space tices predicated on social structures. Informed by social presents obvious introversion attempt within the defensible space theory and morphology, empirical research using nature of the wall.
  • The Politics of Chinoiserie

    The Politics of Chinoiserie

    ONE THE POLITICS OF CHINOISERIE The Disappearance of Chinese Objects “Is there any point to which you would wish to draw my attention?” “To the curious incident of the dog in the night-time.” “The dog did nothing in the night-time.” “That was the curious incident,” remarked Sherlock Holmes. —Arthur Conan Doyle, “Silver Blaze” This chapter explores an absence, or more accurately, an erasure. It is an attempt to understand why Chinese art disappeared from an American art discourse in the 1870s. This remains a critical question still, because despite the reemergence of Chinese objects in the art discourse of the 1890s, that almost twenty-year silence has shaped subsequent discussion concerning American art of that time. The significance of Americans’ reluctance to acknowledge the Chinese origin of import ware during this period cannot be seen fully by examining the isolated Chinese object. Rather, such an investigation requires a more oblique look, one capable of incorporating the surrounding political as well as the aesthetic context. Reconstructing the surrounding positive space gives shape to the missing discourse: seeing Chinese material culture through the mediating histories of the earlier decades of commerce between China and the United States, through American attitudes toward Chinese people, and, finally, through the contrasting American reception of Japanese people and things. The juxtaposition of social/political history with the study of material culture assumes a relationship between politics and art. Connections between 13 © 2012 State University of New York Press, Albany 14 COLLECTING OBJECTS / EXCLUDING PEOPLE the two have been elaborated throughout the modern period at least as early as 1798, when William Blake wrote: “The Foundation of Empire is Art and Science.
  • The Integration Mechanism of Ancient Architecture Protection and Modern Construction

    The Integration Mechanism of Ancient Architecture Protection and Modern Construction

    E3S Web of Conferences 136, 04036 (2019) https://doi.org/10.1051/e3sconf/2019136040 36 ICBTE 2019 The Integration Mechanism of Ancient Architecture Protection and Modern Construction Yirong Yin Chengdu Experimental Foreign Language School West Campus, Chengdu, Sichuan, 610000, China Abstract. Being a carrier of history and culture, the ancient architecture is of great significance and worth protection in many aspects. However, in the process of modern urban construction, those buildings are facing the risk of being deserted and abandoned. At present, an important way to protect ancient architecture is to integrate them with modern construction. Taking Chengdu, Leshan and Xi'an City as examples, this paper attempts to solve the contradiction between ancient architecture and modern construction, proposing a feasible integration mechanism. According to the study, ancient architecture and modern construction have commonalities in culture and aesthetics, but have contradictions in economic and social aspects. Specific problems include lack of talent, inadequate supervision of capital flows, lack of security of cultural relics, and conflicts in urban style. This paper first clarifies the protection concept of ancient buildings, that is, to protect its cultural style and develop after protection. Secondly, this paper also proposes solutions to the problems found. Economically, the interest of architects and the level of supervision of restoration engineering funds need to be improved. In the social aspect, cultural relics can be ensured by improving policies and other means. the Tang Dynasty has a width of eleven rooms, about 75 1 Background of ancient architecture meters. The two sides are slightly ahead, and there are two protection pavilions of “Xiangyu (flying phoenix)” and “Xifeng (resting phoenix)”.