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As early as 1906-1909, the German Ernst Berschmann traveled through 14 provinces and regions of China, conducted a comprehensive survey of the architecture at that time, and took a large number of photos. This was 20 years earlier than the inspection of Liang Sicheng and Lin Huiyin, and he also received the title of "Originator of Chinese Architectural Photography".
The book "Chinese Architecture" is one of the results of Berchmann's 1906-1909 chinese architectural investigation, first published in 1925, containing more than 700 photographs and more than 130,000 words. The original book is divided into two volumes, containing a total of 20 chapters, starting from the architectural structures such as the city wall, gate, hall, roof decoration and so on, and discussing the essential characteristics of Chinese architectural art in the form of pictures and texts. This book is a pioneering work in the field of ancient Chinese architecture research, and has had a profound impact on the writing of Liang Sicheng's "History of Chinese Architecture".
Text / Ernst Berschmann
Chinese establish their own and social order according to the cosmic schema, and in their architectural works, they can also reflect the picture of the universe. Chinese seek to build and develop architectural works in accordance with the conception of the universe. According to their conception, life is nothing more than an allegory, and human creation must somehow witness its own existence.
In the form of architecture, pure ideas can gradually enter and appear, corresponding to which people can understand their ideas and concepts from the perspective of the essence of Chinese architecture in the construction camp 533 Conclusion The essence of Chinese architecture Construction and form. "All things breed together without harming each other, and the Tao parallels without contradicting each other." Since ancient times, Chinese have used this perception as the basis of their own existence, expressing it as a series of symbols. Behind these symbols, the symbol of numbers has an unparalleled meaning. The lives and needs we take for granted are filled with numbers, and then there are lines, surfaces, and three-dimensional spaces. They are both distinct and interdependent, constituting the basic elements of architectural art. These elements are often used when people arrange buildings in a harmonious and orderly manner. The close correlation between the understanding of the cosmic order and the conscious transformation of it into the form of life itself cannot be overemphasized for construction according to the laws of geometry.
Creativity is also required. These symbols of creativity play a role in nature and in us, and at the same time, people seek out the external forms of these forces. Great ideas that are understood and directly and explicitly implemented in architecture constitute the highest norms of mankind. This criterion is actually a kind of duality, on the one hand as varied as possible, on the other hand, to retain the original characteristics as much as possible. At the same time, this duality is harmonious and harmonious, constituting a spiritual force that is ubiquitous and gives man the same status as God.
The Miluo Pavilion of Suzhou Xuanmiao Temple. Berchmann/Photo
These ideas, as we understand them, have a direct and obvious impact on the construction of architecture. The main axis of the courtyard and hall; the Shinto that greets the noonday sun; the three-axis symmetrical distribution of the monumental building and the entrance hall building, the main position of the house is arranged with the male owner as the center; the deities, princes, and ancestors in the honorable position are in the center of the building, or in the last upper position; the ancestors who are deified in the home are similar to the Buddha statues in the temple; and the position of the head of the family is also established in the same way when arranging and perfecting the house. All of these examples reflect a variety of different concepts in Chinese culture.
Architectural ideas derived from the laws of nature are great and unique, determining the form, layout, three-dimensional structure and decorative components of individual buildings. Therefore, the basic form of beam frame architecture is almost completely reflected. The beam structure is self-contained, and the magnificent roof roof is located above the hall. In multi-storey buildings, these features are only preserved in a small amount. In the process of large-scale construction, Chinese pursue boundaries in the plane dimension, and the entire building is required to be harmoniously and orderly integrated into the natural landscape in the architectural layout.
As a result of these pursuits, they maintained the ancient, clear form and preserved and embodied it in the structural framework of the hall. One can also understand the simple and strict rules in all buildings, even the smallest of building components or basic principles of decorative forms. As far as the decorative forms themselves are concerned, the first impression is somewhat cumbersome and unusual. It should also be pointed out that although China is currently in a significant stage of decline, it is still a unified country. Its vast territory, large population, and exceptionally diligent people, so clear and clear boundaries help to shelter Chinese from the daily and trivial, cumbersome, in order to enjoy their own tranquility.
When it comes to large-scale planning, in terms of life and art form, in architecture, people follow another direction, that is, trying to depict the endless diversity and richness of the phenomenal world in special forms of images. This is the case with building components, where lines, edges and plans are often fully integrated into the building, or as if a decorative net had been laid out. This kind of decoration is often extremely complicated until it is excessive. The "small" and "micro" mentioned here are from the scale. They belong to the same whole, similar to the "yin" that represents women and the "yang" that represents men in the Chinese concept. Only the combination of the two can constitute a complete unity. The use of a large number of decorations gives the building a kind of vitality and rhythm, which is invisible in other peoples without vitality. In order to make the building full of life rhythm and movement, so that the various life forces in the building to achieve balance, people need to build China's unique cornice roof. The curves and twists of the roof, as well as the lifelike life obtained through decoration, in the changing sky and clouds, between the clear water jungle and the overhanging rocks of the earth, are the gifts of nature that give us unparalleled beauty. In pure form alone, light roof curves tend to give buildings as beautiful and lovely as humans. At the same time, it creates a transcendental, supernatural atmosphere and points to its main roots. Like many other architectural monuments, it has its origins in religious factors.
The King Kong Throne Pagoda at Biyun Temple in Xishan, Beiping. Birchmann/Painted
As we have seen, Chinese life and art are deeply immersed in religious relations. Chinese believe that man and nature are one and the same. The ideas of natural philosophy with this characteristic can also be classified as religious factors. Among these ideas, the most influential and important to the construction and decoration of architecture is the worship of the land god. Based on this concept, a large number of important buildings were built, such as widely distributed roadside altars, land statues, land mounds, and land temples. Pantheism integrates polytheism into distinct art forms, creating many personified natural forces, and in turn spiritualizing nature and landscape, creating a world inhabited by polytheism.
To this day, Chinese still perceive their existence vividly and vividly. Also belonging to the "gods" are idolized heroes, who are enshrined in the land temple. This is a Taoist world. The architectural styles of the houses, palaces, temples and towns that still exist on the land of China are deeply influenced by Taoist thought, and the development of architectural history is harmoniously unified with the changes in construction technology and people's living habits, which is amazing. The basic idea of Taoism is to be close to the earth and to blend in with the earth. Therefore, people extend towards the plane in the construction of buildings, rather than advancing in height. Chinese art, not just the decorative forms in architecture, as a whole is endowed with an intrinsic nature that makes people feel the spirituality of nature. On the one hand, it is the Integration into Nature advocated by Taoism that has squeezed the Confucian concept of life to a certain extent; on the other hand, it is the liberation of the individual promised by Buddhism in the other world. Both of these aspects satisfy people's inherent metaphysical spiritual needs. Either way, it makes the most of the symbols in the artwork. Everyone comes out of the chaos of the external world and pursues the perfection of personality in his own way. Building works with the same function.
The architectural ideas we discussed earlier also have the characteristics of Confucianism, such as ending the perennial infestation of foreign races through the construction of the city wall, the clear sense of order in the architectural structure, and the strict sense of hierarchy in architectural decoration. Buddhism, on the other hand, demonstrates the desire to escape from suffering and dependence on nature by building towers. Although the pagoda fits the form of the ancient Chinese terrace, it is only in the new form of the pagoda that it has become an expression of the individual's pursuit of liberation and the world of bliss.
Obviously, the brief description of the three basic ideas of Confucianism and Taoism here is only to consciously confine them to specific cognitive sequences, while at the same time having to discard some other side points. Chinese realize that although there is a certain unity in the human spirit and various experiences, like the Confucianism in their minds, the conflicts of this world and those insurmountable contradictions still exist, and those opposing forces still hinder the realization of a harmonious and unified life in real life. Indeed, those illogical and unbalanced forces seem to be a more real existence in themselves. It stems from unintelligible and astonishing evil forces that are beyond human control. These perceptions are also reflected in the structure and decoration of their buildings.
Again, Chinese sometimes leave some building structures open in order to create a solid, open impression, such as a hall. People's fate is invisible and cannot be controlled by themselves. This kind of power is called ghosts and ghosts by the people. They were also treated with pure artistry in the construction of the buildings: the stunning and mesmerizing silhouettes of arches, pavilions, structures and roofs, the curves and curves of tombs, the statues of those who were placed at intersections, bridgeheads, and entrances as guards, and the large number of vivid decorations on the roof ridges and roofs. In this way, while outlining the occasional clash between ghosts and defenders, ghosts are subdued in the unique architectural creations of humans. Based on specific principles, each locked kingdom of ghosts and ghosts is carefully and methodically placed into planes, structures, and roofs.
The Scripture Cabinet of the Sun Yat-sen Cemetery in Nanjing. Lu Shusen/Photo
So this natural force determines our lives and is represented in art forms. When people understand them, they will gain inner liberation and even a sense of superiority to a large extent. With this sense of superiority, Chinese artists unleash their creativity on the roofs of buildings. Because they always work on the scale of the heart (the inner eye), they are often able to put aside the repetition of pure architectural procedures, even nature itself. All creation becomes the manifestation of a specific mind in a particular situation, thus maintaining its vivid artistry. Because they depict the essence of all things, they can get rid of the barriers of abstract concepts and stylistic programs, and thus immerse themselves in the subtleties and decorations of architecture.
Chinese artisans have strong inner convictions and skill, so they can almost completely digest foreign influences from all directions into their own styles. However, this inner belief is so strong that the forms of Chinese architecture and art become almost identical. Compared with European architecture, the richness of Chinese monolithic architecture can be seen as its outstanding feature. As far as architectural history is concerned, the same is true of changes in architectural styles between provinces. One can indeed see this change, which tends to change with the characteristics of the ethnic region. However, it is precisely this almost perfect Chinese architecture in life, spirit and art that ultimately prevents Chinese from boldly adopting new methods and embarking on new paths.
And this, for Europeans, is necessary to take a new path, and it is also experienced in the near past. Despite these obstacles, it is very clear that Chinese architecture is the manifestation of its national essence. Although Chinese abandon the towering and permanence of the building, and do not leave room for reconstruction, but instead unfold close to the earth, this also becomes the source of its inner spirituality and breeds a stronger tenacity. The extension of the Chinese architectural layout on the plane reinforces the deepening of the central axis, while adding the European concept of space to the dimension of time. Time and space alternately bring about a change in the perspective of viewing. These two factors are evenly matched in the process of architectural observation.
Westerners' original conception of space usually tends to grasp a limited number of buildings at a glance. Therefore, the layout of Chinese architecture has a deep connection with the landscape in which it is located. This kind of extreme perfection is difficult for any other nation to match. Chinese abandoned independent facades and luxurious interior spaces, thus maintaining the rigorous unity of the halls, which also became a symbol of Chinese architecture. Finally, Chinese is well versed in living with nature, integrating natural philosophy and religious ideas into the construction of his architecture and directly expressing them in decorative forms.
From a European perspective, Chinese the way to achieve these goals is relatively simple and simple. However, the so-called "greatness of meaning does not require the greatness of means" (Gr e der Gesinnung braucht nicht Gr e der Mittel). They can do it all, without sacrificing for the intrinsicity and vividness of art. To us, Chinese seems like a genius architect. The unity, existence and expression between the inner essence and the external form are the deep mysteries of Chinese art. Goethe's statement that "there is no inside, no outside, but the inside is the outside" (Nichtsistdrinnen, Nichtsistdrau en, Denn was innenist, Istau en.) points out the characteristics of Chinese architecture. Although Chinese architectural art cannot be directly used by Westerners, Chinese architectural art can provide us with a model, we have to start over and build with our hearts.
One cannot put aside the view that Chinese architectural art, to a large extent, is almost a classical splendor, has developed to its heyday, has almost dried up in the development of its form, and the advance on the original road cannot adapt to the new era. Because in China, new ideas and concepts also need to have new forms of expression.
Needless to say, there is a change in the field of architectural art. And in what direction she will go and when it will end, we can't predict it. But one can believe that in the future, Chinese architects will form their own artistic styles at a higher level, uniquely and exceptionally.
(This article is an excerpt from Ernst Berchmann's Chinese Architecture, published with permission from China Pictorial Publishing House.) ）
Non-fiction | Translated book | building
Chinese Architecture
By Ernst Berschmann
Translated by Du Weihua
China Pictorial Publishing House
December 2021
Ernst Boerschmann (1873-1949): Professor at the Royal Berlin Institute of Technology (the predecessor of the Technical University of Berlin), the originator of photography in the field of Chinese architecture, the first person to comprehensively investigate and record ancient Chinese architecture. From 1906 to 1909, with the support of the Royal Foundation of the German Empire, Berchmann traveled tens of thousands of miles across 14 provinces and regions of China, and conducted a comprehensive investigation of China's royal buildings, temples, ancestral halls, and residences, leaving behind 8,000 photos, 2,500 sketches, 2,000 rubbings, and 1,000 pages of surveying and mapping records. In 1932, Berchmann was invited to become a communications researcher at the China Construction Society. From 1933 to 1935, he was specially hired as a consultant for the heritage of traditional Chinese architecture. He has published works such as "Chinese Architecture and Landscape", "Chinese Architecture", "Chinese Architectural Ceramics", "Chinese Architecture and Religious Culture" and so on.
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