Chinese gen arch. characteristics

UNIT-2

ARCHITECTURE & CULTURE IN CHINA

ARCHITECTURAL FEATURES - Concepts of Bilateral symmetry

Enclosure

Hierarchy

Horizontal Emphasis

Cosmology

ANCIENT CHINESE WOODEN ARCHITECTURE

ARCHITECTURAL TYPES

RELIGIOUS ARCHITECTURE – Pagoda of Fogong

Temple of Heaven pagoda

CONFUCIANISM

TAOISM

BUDDHISM

BASIC CONCEPTS OF FENG SHUI

APPLICABILITY OF FENG SHUI TO INTERIOR DESIGN

ARCHITECTURE & CULTURE IN CAMBODIA

CAMBODIA – KHMER BELIEF

HINDUISM & BUDDHISM

TEMPLES AT ANGKOR WAT AND BAYON

KHMER HOUSE

INTRODUCTION

Architecture and culture are tightly related to each other. Architectural style may be regarded as a reflection of the

life and the culture of the people in a particular history period. Each great architectural work is an integral part of its own

time, and expresses the culture and technology of the particular period in history.

Architecture styles have greatly changed over the course of time. Traditional architecture is today but a remnant of

the past, an antique ruin which a modern architect may admire but would hardly seek to imitate. Architectural style

changes over time, just like the flows of water in a river – today’s water is no longer the same as yesterdays; but in any

valid architecture there always remains an underlying system that gives the architecture its validity. In a sense,

architecture is the carrier of culture.

Traditional architecture in a large country with a long, diverse history such as China contains many appropriate and

time-lasting architectural solutions. Learning from the past can help us ensure the continuation of our culture, and

provide us with some useful resources and reference materials to apply to contemporary architectural problems.

China is a nation of vast territory, long history, and rich resources. Great differences in geographical and

climatic conditions have caused marked diversity in the architecture of various regions in China. However, it is possible

to distinguish the underlying distinctive common characteristics. Since ancient times, Chinese culture has been heavily

influenced by conservative philosophies like Confucianism, Taoism etc. Over the centuries, the structural principles of

Chinese architecture have remained largely unchanged, the main changes being on the decorative details. Chinese

architecture has had a major influence on the architectural styles of Korea, Vietnam, and Japan.

Styles of Chinese ancient architecture are rich and varied, such as temples, imperial palaces, altars,

pavilions, official residencies and folk houses, which greatly reflect Chinese ancient thought - the harmonious

unity of human beings with nature.

Chinese architecture refers to a style of architecture that has taken shape in East Asia over the years. An ancient

civilized nation and a great country on the East Asian continent, China possesses a vast territory covering 9.6 million

sq. km. and a population accounting for over one-fifth of the world's total, 56nationalities and a recorded history of

3,OOO years, during which it has created a unique, outstanding traditional Chinese Culture.

Traditional Chinese buildings are always found in pairs or groups, whether they are residences, temples or palaces.

Most structures in Chinese architecture are simple rectangles, and it is the architectural complex composed by

single structures rather than the single structures themselves that expresses the broadness and

magnanimousness of ancient Chinese architecture. Traditional Chinese architecture, unlike that of other cultures,

uses wood-frame construction as one of its most distinctive features.

Traditional Chinese architecture can still be seen throughout China, offering a tangible expression of traditional

Chinese culture. Traditional Chinese architecture encompasses palaces, temples, tombs, parks, and residences. In

both individual structures and overall building practices, traditional Chinese architecture represents the synthesis of

political, economic, cultural, and technical influences over the ages. In the past, these structures provided the

ancient Chinese people with functional space to live and work in. Today, they make us to experience the essence of

Chinese culture.

TRADITIONAL CHINESE ARCHITECTURE

CHINESE ARCHITECTURE DESIGN TECHNIQUES

THE AXIAL CITY PLAN AND SITE PLAN

THE ALTERNATION BETWEEN THE ARCHITECTURE INTERIOR AND EXTERIOR SPACE

THE MODULAR SYSTEM

THE EXPOSED STRUCTURE

THE AXIAL CITY PLAN AND SITE PLAN

One of the great religious beliefs that influenced the

design of the classical Chinese city and Chinese

architecture is Confucianism. In order to create a

stable social order, Confucianism established the

strict doctrines putting the society in order with

rules and filial piety.

An axial symmetrical city layout was the most suitable

means of expressing the concept of rigid hierarchical

social system in ancient China. This is because

compositional elements in an axial layout plan are

never independent – they are always subordinate to

the axis and ruled by its coordinates. The

relationship of each compositional element to the

reference axis is an important factor in the axis

plan. For example, it is important whether a building is

on the north-south axis or on the east-west axis.

The classical Chinese city axial plan was based on an

orthogonal system that was regarded as the best

means to express the social system in ancient China.

Some common characteristic features of the classical

Chinese cities were as follows:

1. The classical Chinese city’s plan exhibited obvious axial symmetry, with palace or other important

government building in the axial center, symbolizing the centralized power of Chinese emperor.

2. The traditional Chinese cities were usually designed with a square plan; the streets were laid out running

north-south and east-west along the plan axis to form a checker-board grid.

3. They were all enclosed inside a wall.

Like the Chinese city, the house, representing a microcosm of Chinese private life, was also influenced by

Confucian doctrine. The obvious axial arrangement of Chinese architecture had often been seen as an expression

of Confucian idea of harmonious social relationship, which was formal, regular and clearly defined. Nothing

inharmonious or irregular existed inside this kind of Chinese building. Usually the north-south axis was considered

to be the major axis and east-west axis as the minor. This was because China is geographically situated north of

the equator and the climate is, for the most part, cold in the winter and warm in the summer with a southeasterly

prevailing wind. A north-south axis makes it possible for building to take the advantage of the southeasterly winds

and sunshine. Thus, traditional Chinese buildings along the south-north axis usually have a more pleasant

environment than the traditional Chinese buildings along the east-west axis.

One of the essential points of the Confucianism is “HARMONY”. Harmony in a family was considered the primary

source of happiness of one’s life in traditional China. Traditional Chinese believed the Confucian ethical concept

of DEFERENCE TO ELDERS was the useful way to have family harmony in which happiness and propriety

prevailed. The classical Chinese house was planned to express and reinforce this philosophy. The halls for the

older generations and for important ceremonies were arranged along the main axis, which usually was the north-

south axis, to have the best ventilation and sunshine, while the young occupied the side halls facing east and west.

The halls for the parents would be higher, more exquisitely decorative than the quarters for children. Various types

of buildings had been created to fit the different uses. Such as,

o Ting (Hall) – the largest and the most formal room used to treat important guests,

o Tang (Living room) – the place to hold family meeting

o L’ou (Apartment) – the place for family member live and for taking advantages of scenery

o Ting (Pavilion) – the place for relaxation

Usually, in ancient China, the entire house was enclosed by a high, solid wall. One or two doors lead out to the

street. The function of the wall was to make the house a safe domain of a family, to protect the home from theft and

fire, and to provide a sense of privacy and seclusion.

THE ALTERNATION BETWEEN THE ARCHITECTURE INTERIOR AND EXTERIOR SPACE

The axis in traditional Chinese architecture not only controls the layout but acts as a path.

The entire traditional Chinese building complex is composed of ALTERNATING INTERIOR AND EXTERIOR

SPACES. From a building to a courtyard, and then from the courtyard to another built space, there is a spatial

sequence of solids and voids.

The interior and exterior spaces in the Chinese courtyard house are complementary to one another, rather than

being independent.

INTERIOR INTERIOR

Deciduous trees

WIND DIRECTION

COURTYARD

Hence traditional Chinese courtyard (an exterior space) is also one of the necessary parts of the spatial

organization in classical Chinese architecture. A Courtyard in Chinese architecture may be seen as the extension of

the interior space. Almost all the doors and windows of traditional Chinese buildings open toward the courtyard. The

courtyards usually are the center of family activities.

Space Complex of a Traditional Chinese House

View A- from outside into Building View B - from Courtyard into a building

View C - Through the building into

the second courtyard

View D - Through the moon Gate

into the Garden

THE MODULAR SYSTEM OF CHINESE ARCHITECTURE

One of the basic principles of classical Chinese buildings is the USE OF A

MODULE, much like the modular concept of prefabrication in contemporary

architecture.

Traditional Chinese carpenters used “JIAN” – a structured bay as a standard

unit to construct all buildings. “Jian” was a rectangular space marked by

adjacent structural frames. “Jian”, as the basic interior unit, can be

expanded or repeated along the architectural plan axis to join together to

create a hall, then a building.

Along a longer axis, several buildings can be connected around a traditional

Chinese courtyard to form a traditional Chinese courtyard house. Several

traditional Chinese courtyard house units along the city plan axis create a

small street district. A number of such districts form a grid-like network based

on the longer city plan axis with palaces, government buildings and other

public buildings in the center. This is typical of traditional Chinese cities.

THE EXPOSED STRUCTURE OF CHINESE ARCHITECTURE

In ancient China, almost all of the main structures of classical Chinese

architecture were made of wood. Thus, the art of traditional Chinese

architecture may be seen as the aesthetic of wood.

The original texture and color of the wood was exposed. The wood frame in

traditional Chinese was only painted with a kind of transparent wood oil to

prevent it from decaying. This kind of transparent oil allows the wood’s original

texture, grain and color to be seen.

The wood frame, the skeleton of the classical Chinese building, supported the weight of the huge roof as well as the

upper stories. Walls were used only as enclosing elements. This traditional Chinese structural system made it possible

for the interior space to be divided freely according to the needs.

In the division of the interior space, besides using solid fixed partitions, such as solid walls, sliding screens and folding

panels, Chinese also used temporary partitions, such as a moon door, decorative panels, open shelves, decorative

panels, etc. These partitions only partially divided the space, to mark the “separation of the space” and allow free

access and the continuity of vision.

In traditional Chinese buildings in southern China, the character of the exposed wood structure was even more

obvious. In this Chinese region, the weather is more hot and humid, so the walls are thinner and not only the interior

wood structure but also all the columns and beams were exposed or half embedded in the outside walls of the

building. The exposed framework in the wall is the integral part of the composition of classical Chinese architecture.

JIAN

Repetition of Jian

ARCHITECTURAL FEATURES

o ARCHITECTURAL BILATERAL SYMMETRY

o ENCLOSURE

o HIERARCHY

o HORIZONTAL EMPHASIS

o COSMOLOGICAL CONCEPTS

ARCHITECTURAL BILATERAL SYMMETRY

An important feature in Chinese architecture is its emphasis on articulation and bilateral symmetry, which signifies

balance. Bilateral symmetry and the articulation of buildings are found everywhere in Chinese architecture, from palace

complexes to humble farmhouses. Secondary elements are positioned either side of main structures as two wings to

maintain overall bilateral symmetry.

In contrast to the buildings, Chinese gardens are a notable exception which tends to be asymmetrical. The principle

underlying the garden's composition is to create enduring flow.

The plan of Yan's House, Fuzhou, Fujian. This plan shows that a formal geometric architecture and

irregularly and naturalistic garden are skillfully integrated.

ENCLOSURE

In Traditional Chinese architecture, the buildings or

building complexes encloses open spaces within itself.

These enclosed spaces come in two forms: “THE

COURTYARD” AND THE "SKY WELL"

The use of open courtyards is a common feature in

many types of Chinese architecture. This is best

exemplified in the Siheyuan, which consists of an

empty space surrounded by buildings connected with

one another either directly or through verandas.

These enclosures serve in temperature regulation

and in venting the building complexes.

Northern courtyards are typically open and facing the

south to allow the maximum exposure of the building

windows and walls to the sun while keeping the cold

northern winds out.

Usually, large deciduous trees are planted inside the

courtyard. During summers it provides shade

whereas in the winter, it allows in plentiful sunshine.

Hence the courtyard is really an ideal space for

relaxation.

Although large open courtyards are less commonly

found in southern Chinese architecture, the concept

of a "open space" surrounded by buildings, which is

AXIS

seen in northern courtyard complexes, can be seen in the southern building structure known as the "sky well". This

structure is essentially a relatively enclosed courtyard formed from the intersections of closely spaced buildings and offer

small opening to the sky through the roof space from the floor up.

Southern sky wells are relatively small and serves to collect rain water from the roof tops while restricting the

amount of sunlight that enters the building. Sky wells also serve as vents for rising hot air, which draws cool air from

the lowers stories of the house and allows for exchange of cool air with the outside.

The Sky Well (in Hui Style architecture) is the most important feature of the house. It is a variation on the courtyard

of the Central-Courtyard Houses found in northern China. Unlike the courtyard, the “Sky Well”, is very small, similar

in dimensions to the opening of a well, hence, the name.

The Sky Well is the only internal part of the house directly exposed to the exterior. In this way, it connects the

home to the earth outside the built structure. It provided both sunlight and rain water, and was the only open area

in which inhabitants conducted their daily activities, thus representing the important connection of Heaven, Man,

and Earth in line with Feng Shui principles.

The ground level of the Sky Well is typically lower than that of the Zheng Tang (Main Hall). The ground is covered

with stone slats, beneath which is an area for the storage of rain water, which is connected to an underground

drainage system. The last function of the Sky Well, particularly in a two story residence or higher, is to serve as a

chimney, for removing dust and stagnant air, thus permitting improved air circulation.

HIERARCHY

The projected hierarchy and importance and uses of buildings in traditional Chinese architecture are based on the

strict placement of buildings in a property/complex.

Buildings with doors facing the front of the property are considered more important than those facing the sides.

Buildings facing away from the front of the property are the least important. As well, building in the rear and more

private parts of the property are held in higher esteem and reserve for elder members of the family or ancestral

plaques than buildings near the front, which are typically for servants and hired help.

Front-facing buildings in the back of properties are used particularly for rooms of celebratory rites and for the

placement of ancestral halls and plaques. In multiple courtyard complexes, central courtyards and their buildings

are considered more important than peripheral ones, the latter typically being used as storage or servant's rooms or

kitchens.

IMPERIAL PALACES

The Forbidden City emphasizes on symmetry, which

connotes a sense of grandeur. Even the style of the roof

shows the power of the sovereign, with the ridges engraved

with the immortal or beasts symbolizing stateliness.

This massive imperial courtyard complex clearly embodies

the Confucian emphasis on strict divisions of rank, and the

position of the individual within a hierarchical system-

Emphasis on divisions between ruler and subjects, husband

and wife, Nobles and commoners etc.,

The overall arrangement of the Forbidden City accords with

traditional Chinese ritual requirements and the Yin-Yang

Principle.

The front part is a place for the emperor to handle official businesses, and the rear part is the residence for

emperors and concubines.

Within the complex there are several immense courtyards divided by individual gates.

There is a shrine for the ancestors in the east and another one for the agricultural deities in the west.

The structure is symmetrical.

In addition to the palaces, there is a fabulous garden for the imperial family to relax themselves.

RESIDENTIAL BUILDINGS OF THE ROYAL RELATIVES

PRINCE GONG'S PALACE

Compared with the imperial palace, residential buildings for

the royal relatives seemed less solemn and much smaller in

size and scale. There were less sidesteps in front of gates.

Ridges were decorated with engraved beasts; however, the

number of beasts could not exceed nine because the

number "nine" carried a special significance in old China and

symbolized the emperor's supreme sovereignty.

MANDARINS'(BUREAUCRAT) RESIDENCE

Although lower in rank than the above two categories,

mandarins' residence was also restricted by a set of rules.

All buildings were legally regulated. "Guardian lions" were

not allowed to stand in front of the gate; and engraved

beasts were forbidden to decorate ridges of roof.

RESIDENCE OF WEALTHY BUSINESS PEOPLE

Different from government officials, business people

belonged to a much lower social class no matter how rich

they might were.

Doors of these buildings were totally different in style from that of officials' residence.

There were no ornaments around the door symbolic of official position in

ancient Chinese hierarchical society.

RESIDENCE OF ORDINARY PEOPLE

Ordinary people could not afford

buildings as decent as those of

the wealthy or officials. The

houses were very simple. Doors

and windows were much smaller;

HORIZONTAL EMPHASIS

Classical Chinese buildings, especially those of the wealthy are

built with an emphasis on breadth and less on height, with

close heavy platform and a large roof that floats over this base,

with the vertical walls not well emphasized. This contrasts

Western architecture, which tends to grow in height and depth.

Chinese architecture stresses the visual impact of the width of

the buildings.

Yintaidi in Ningbo

A Gate into the Siheyuan

belonging to commoner

Siheyuan belonging to the

wealthy usually featuring an

elaborate doorway

The halls and palaces in the Forbidden City, for example, have rather low ceilings when compared to equivalent

stately buildings in the West, but their external appearances suggest the all-embracing nature of imperial China.

COSMOLOGICAL CONCEPTS

Chinese architecture from early times used concepts from Chinese cosmology such as feng shui (geomancy) and

Taoism to organize construction and layout from common residences to imperial and religious structures. This

includes the use of:

o Screen walls to face the main entrance of the house, which stems from the belief that evil things travel in

straight lines.

o Talismans and imagery of good fortune:

o Door gods displayed on doorways to ward off evil and encourage the flow of good fortune

o Three anthropomorphic figures representing Fu Lu Shou stars are prominently displayed, sometimes with the

proclamation "the threes star are present”.

o Animals and fruits that symbolize good fortune and prosperity, such as bats and pomegranates, respectively.

The association is often done through rebuses.

Orienting the structure with its back to elevated landscape and ensuring that there is water in the front.

Considerations are also made such that the generally windowless back of the structure faces the north, where the

wind is coldest in the winter

Ponds, pools, wells, and other water sources are usually built into the structure

The use of certain colors, numbers and the cardinal directions in traditional Chinese architecture reflected the belief

in a type of immanence, where the nature of a thing

could be wholly contained in its own form.

A picture of a tiger with the eight trigrams. This is often hung

above doors in some parts of China, the word for tiger is

pronounced "fu." The eight trigrams are thought to ward off

evil influences. In combination with the tiger's fierce face, this

image makes a powerful amulet(element of good luck).

One way to summon good fortune is to invoke the

character fu, seen on the wall to the right. Fu can be

translated as "happiness," "good fortune,"

"blessings," or "luck."

ANCIENT CHINESE ARCHITECTURE

Ancient Chinese architecture is mainly timberwork. Wooden posts, beams, lintels and joists make up the framework of a

house. Walls serve as the separation of rooms without bearing the weight of the whole house, which is unique to China.

The art of constructing tall buildings was already highly developed in China during ancient times. Many multiple-

storeyed towers of complex structure had wholly wood frameworks fixed together with dougong brackets without the use

of a single piece of metal. Yueyang Tower in Hunan and Huanghelou (Tower of the Yellow Crane) in Wuchang are

masterpieces among ancient towers.

Colored glazed roofs, windows with exquisite applique design and beautiful flower patterns on wooden pillars reflect the

high-level of the craftsmen's handicraft and their rich imagination.

The layout of a courtyard complex is also unique to China. The main structure is located on the central axis of a court

while less-important structures are located to the left and right. The whole layout is symmetrical.

A Chinese courtyard is like a hand scroll of painting which should be unfolded little by little. The scenery is different in

each courtyard. Even in moving several steps within the court yard, there is a gradual changing of prospects.

Likewise from the interior of the buildings the view from no two windows is the same.

A fundamental achievement of Chinese wooden architecture is the load-bearing timber frame, a network of interlocking

wooden supports forming the skeleton of the building. This is considered China's major contribution to worldwide

architectural technology

STRUCTURAL FLEXIBILITY-The chief building material of ancient Chinese buildings is wood. The components are

mainly columns, beams, and purlins that are connected by tenons and mortises. As a result, the wooden structure is

quite flexible. The ancient Chinese wooden building possesses a unique design found only in China, termed dougong

(i.e., a system of brackets inserted between the top of a column and a crossbeam), and constitutes one of the most

important features in ancient Chinese architecture.

In ancient Chinese wooden architecture, the wall only defined an enclosure, and did not form a load-bearing element.

Buildings in China have been supported by wooden frames

A stylized form of shou can be seen in the middle of the door-Because

Chinese people honor age and desire long life, the character

representing longevity shou is also often seen on Chinese houses.

Another character

thought to express

longevity is wan which

means "ten

thousand." This

character is often

represented

stylistically as a

backwards swastika.

In traditional Chinese architecture, every facet of a building was decorated using various materials and techniques.

Simple ceiling ornamentations in ordinary buildings were made of wooden strips and covered with paper. More

decorative was the lattice ceiling constructed of woven wooden strips or sorghum stems fastened to the beams.

Mortise and tenon joinery was used to build wood-framed houses; Wooden beams or earth supported the roofs which

were mostly thatched.

Dougong is a unique structural element of interlocking

wooden brackets, one of the most important elements

in traditional Chinese architecture. It evolved into a

structural network that joined pillars and columns to the

frame of the roof. Dougong was widely used in the

Spring and Autumn Period (770–476 BC) and

developed into a complex set of interlocking parts in

the later periods.

Since ancient times when the Chinese first began to

use wood for building, joinery has been a major focus

and craftsmen cut the wooden pieces to fit so perfectly

that no glue or fasteners were necessary

THE DECORATIVE ROOF

Because of the intricacy of its ornamentation, elaborate

cupolas were reserved for the ceilings of the most

important structures such as tombs and altars,

although it is not clear what the spiritual beliefs of the

early Chinese were, as alters appear to have served as

burial sites

In traditional Chinese architecture roofs and ceiling, like

the other structural elements, were constructed without

nails, the layered pieces of the ceiling are held together by

interlocking bracket sets (dǒugǒng).

Elaborate wooden coffers (zǎojǐng) bordered by a round,

square, or polygon frame with its brackets projecting

inward and upward from its base were used around the

7th century.

Deeply recessed panels shaped like a well (square at the

base with a rounded top) were fitted into the ceiling's

wooden framework. The center panel of the ceiling was

decorated with water lilies or other water plants. (The

relationship of the name to water has been linked to an

ancient fear that wooden buildings would be destroyed by

fire and that water from the zǎojǐng would prevent or quell

the fire's flames).

Stepped Bevel splice joints

Lap Dovetail joints

Sliding Dovetail joints

Dougong-Corbelled wooden brackets

The tomb of Empress Dowager Wenming has a coffer in the flat-topped, vaulted ceiling in the back chamber of her tomb.

The Baoguo Temple in Yuyao in Zhejiang has three cupolas in the ceiling, making it unique.

Coffered ceiling(zaojing) with elaborate ornamentation – Found in the imperial garden, the Forbidden City

ARCHITECTURAL TYPES

IMPERIAL ARCHITECTURE

RELIGIOUS ARCHITECTURE

COMMONER ARCHITECTURE

IMPERIAL ARCHITECTURE

IMPERIAL MAUSOLEUM ARCHITECTURE

Imperial mausoleum architecture accounts for a major part in ancient Chinese architecture since they usually

stand for the highest architectural techniques of the time.

Mausoleums in and around Beijing include the Ming Tombs, and the Imperial East and West Mausoleums of

the Qing Dynasty.

The mausoleums are generally built against the mountain and divided by valleys along which walls are erected.

A stone monument stands in front of the deceased emperor.

The mausoleums have broad ways called Shendao (the Sacred Way) at the entrance. Along both sides of the

Shendao, there are ornamental columns and stone sculptures of men and animals which guard the tombs.

A stone bridge proceeds the roads leading to separate tombs.

In each tomb area, there are a number of constructions, including the Dragon and Phoenix Gate, a tablet, the

Gate of Eminent Favours, the Hall of Eminent Favours, the side halls, the Soul Tower, the grave mound and

subterranean constructions with the underground palace as the main part. Mausoleums of the Ming Dynasty

(1368-1644) are magnificent, while those of the Qing Dynasty are carefully built.

Examples - The Hall of Eminent Favours of Chang-ling Tomb; the tomb of Zhu Di; the Hall of Supreme

Harmony in the Forbidden City.

THE HALL OF SUPREME

HARMONY IN THE

FORBIDDEN CITY

THE HALL OF SUPREME

HARMONY IN THE

FORBIDDEN CITY

THE HALL OF CENTRAL

HARMONY, FORBIDDEN CITY

THE GATE OF DIVINE MIGHT, THE NORTHERN GATE

THE HALL OF PRESERVING

HARMONY, FORBIDDEN CITY

IMPERIAL PALATIAL ARCHITECTURE

PALACE (GONG)

Since palaces are where emperors live and

practice their reign, palaces of different

dynasties integrates essences of Chinese

architecture. The famous palace complex,

Efang-gong built by and for Qin Shi Huang

Emperor.

The Forbidden City, also called the Imperial

Palace, which was set up under the reign of the

Ming dynasty covers an area of 720,000 sq.m

and consists of more than 9900 palaces and

other structures. It is the grandest and biggest palace in the world.

Designs related with nine appeared almost on every imperial structure such as palace. For example, on gates of the

Forbidden City, there are 81 gold-plating bronze studs which were arranged in nine columns and nine rows. Ancient

palaces usually were designed to be nine-section architectural complex.

The Chinese word for "palace" is Gong. The Forbidden City of Beijing, served as the imperial palace for both Ming

and Qing emperors (1368-1911) covers an area of 720,000 square meters and embraces many halls, towers,

pavilions and studies measured as 9,900 bays. It is one of the greatest palaces of the world. The palaces grew into a

veritable city and are often called Gong-cheng (palace city).

The Qing emperors used to live at Qianqing-gong (Palace of Heavenly Purity) in the Forbidden City, whereas the

living quarters of the empresses were at Kunning-gong (Palace of Female Tranquility). The imperial concubines of

various ranks inhabited the six Gongs or palace quadrangles on either side of the central axis of the Forbidden City.

The temples of Taoist priests are generally called Sanging gong (palace of triple purity).

For thousands of years, the word Gong was reserved

exclusively for naming imperial and religious buildings.

PAVILION (TING)

The Chinese pavilion (ting, which means also a kiosk) is

built normally either of wood or stone or bamboo with

any of several shapes - square, triangle, hexagon, octagon,

a five-petal flower, a fan and more. But all pavilions have

columns for support without walls. In parks or some scenic

places, pavilions are built on slopes to command the

PALACE OF HEAVENLY PURITY

panorama or are built by the lakeside to create intriguing images by water.

Pavilions also serve diverse purposes The wayside pavilion is called Liangting (cooling kiosk) to provide weary

wayfarers with a place for rest.

The "stele pavilion" gives a roof to a stone tablet to protect the engraved record of an important event.

Pavilions also stand by bridges or over water-wells. In the latter case, dormer windows are built to allow the sun to

cast its rays into the well as it has been the belief that water untouched by the sun would cause disease.

Bronze pavilions are rarely found. The most celebrated of these is Baoyunge Pavilion of Precious Clouds in

Beijing's Summer Palace. The entire structure including its roof and columns is cast in bronze. It is popularly known as

the "Gold Pavilion” for its elegance and dignity.

TERRACE (TAI)

The Tai was an elevated terrace with a flat top. In most

cases be built of earth, stone and surfaced with brick, they

are used as a belvedere from which to look into the distance.

In some Tai, some palatial halls are also built on top.

A typical example is the Round City of the Beihai Park in

Beijing. As a terrace five meters high, it has an area of 4, 500

square meters on its top and a main hall with side corridors.

The Tai could be built to serve different practical purposes-

could be an observatory, watch towers, military purposes

or beacon (fire) towers.

Ex.,- Jianguomen in Beijing is an observatory.

The beacon towers along the Great Wall, to transmit urgent

information with smoke by day and fire by night in emergency.

Also on the Great Wall, there is a square Tai at intervals of every 300 to 400 meters from which the defense force

troops kept watch.

STOREYED BUILDING (LOU)

A Lou is a building of two or more storeys with a

horizontal main ridge.

Ancient buildings with more than one storey were meant for a

variety of uses.

The smaller two-storeyed buildings of private homes

generally have the owner's study or bedroom upstairs.

Ancient cities had bell and drum towers (zhong-lou and

gu-lou), usually palatial buildings with four-sloped, double-

caved, glazed roofs, all-around verandas and coloured and

carved dougong brackets supporting the overhanging eaves.

They housed a big bell or drum which was used to toll hours.

STOREYED PAVILION (GE)

The Chinese Ge is similar to the Lou in that both are of

two or more storey buildings. The difference between

them is that the Ge has a door and windows only on

the front side with the other three sides being solid

walls. Moreover, Ge is usually enclosed by wooden

balustrades or decorated with boards all around.

Such storeyed pavilions were used in ancient times

for the storage of important articles and documents.

Ex., Wenyuan-ge, in the Forbidden City of Beijing was in

effect the imperial library.

Kuiwen-ge in the Confucius Temple of Qufu, was

devoted to the safekeeping of the books and works of

painting and calligraphy bestowed by the courts of

various dynasties.

The Ge is also used to describe the towers which shelter the colossal statues in great monasteries.

PAGODA (TA)

Buddhism came to China during the Eastern or Later Han

period. A pagoda can also be seen as a symbol for a

monastery.

The word "pagoda" derives from the Sanskrit word bhagavat

(cf. the book Bhagavatgita) "holy".

The typical Chinese pagoda has superficially nothing in

common with the old Indian.

But the shapes and appearances of the Chinese pagodas in

earlier ages, leads back to the Indian origin also of the

typical octagonal and straight Chinese pagoda with the

curved roofs. It reflects a pagoda of Bodhgaya, where some

typical features of a pagoda or stupa: the tower is multi-

storied and more or less decorated on the surface and

tapers from bottom to top. The top is crowned with something that looks like a flower bud, in Buddhism an expression

for the lotus flower.

In other cases, the construction at the top is an honorific umbrella with up to ten layers. Around the main tower there

are small miniature pagodas, ranging from four to eight, depending on the shape of the whole pagoda complex. Most

pagodas contain relics of the Buddha or at least a statue of the Enlightened.

The inside of a pagoda may be a dome-like room or can be climbed by stairs to take care for the decorations or the

jewels that are fixed atop of the lotus flower bud.

The oldest pagoda still intact on Chinese soil is the pagoda of Songyue Monastery of Dengfeng / Henan at the

foothills of the sacred mountain Songshan. While the lower parts of the round pagoda are built of twelve flat surfaces

symbolizing the twelve causes of sin, the upper part is octagonal and constructed in the shape of 15 steps. The top is

crowned by a bud that once was adorned with jewels.