【现货速发】中国文化（建筑）
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库存4件
天津津南
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作者蔡燕歆
出版社五洲传播出版社
ISBN9787508527413
出版时间2015-05
装帧平装
开本16开
定价128元
货号23897970
上书时间2024-12-19
商品详情
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前言
Preface
The history of China’s architecture can be traced back to ancient times when “a sage built houses with wood to protect people from harm” (Hanfeizi – Five Vermin). Since those earliest beginnings, ancient Chinese architecture has exerted a global influence and become a key part of the country’s cultural heritage. Today it still influences modern architectural design. Getting to know ancient Chinese architecture is like opening a thick history book; one that vividly recounts the country’s ancient legends and the great achievements and intrigues of its emperors and dynasties. As well as being a record of these momentous events, China’s ancient architecture is also a record of the expertise and creativity of innumerable ordinary laborers who are not normally mentioned in the history books.
In terms of its achievements, ancient Chinese architecture includes imperial palaces, temples, palace halls, residences and tombs, amongst many other types of buildings. These buildings all exhibit a number of common architectural themes and layouts. Ancient Chinese buildings are generally symmetrical and orderly, with their important and less important parts clearly distinguished from each other. They also normally feature a central axis linking various closed courtyards. Overall, they reflect a closed, precise and reserved national character - pure Confucian style. Only the country’s ancient garden architecture is different. It reflects the influence and ethos of Taoism and features free and flexible layouts full of changes and designs that strive to the utmost to create a natural atmosphere.
In ancient Chinese architecture buildings were divided into three main parts. An upper part (the roof), a lower part (the foundations) and a middle part (the columns, doors, windows and walls). The most important of these elements in ancient Chinese ancient architecture was the roof. All roofs in the ancient Chinese style have beautiful, smooth curves. They can be classified into hip roofs, gable and hip roofs, overhanging gable roofs, flush gable roofs, pyramidal roofs, etc; each style having a different rank of importance.
The wood-framed structure of ancient Chinese architecture consists of a number of main components such as columns, crossbeams and purlins. These are all connected with tenons and mortises to make up a flexible, elastic framework. Such combination of tenons and mortises have been found in the architecture of the primitive Hemudu society in Yuyao, Zhejiang, showing that this approach emerged more than 7,000 years ago. One particular component that is particular to ancient Chinese architecture consists of layer upon layer of wood blocks positioned above a building’s columns and below its roof structure. Such a structure is called pendentive. It can support a building’s roof truss and has a strong decorative effect.
Chinese ancient artisans made full use of the characteristics of wood-framed architecture. They used knives, hammers, chisels, drills, brushes and other tools to create structural and decorative elements. In general, decorations on Chinese traditional architecture have a practical purpose and are closely combined with structural elements. In other words, they are artistic treatments of structural components rather than dispensable additions. Though they have decorative beauty, they more importantly reflect the structural beauty of a building and reflect the nature of the thinking and materials that have gone into its design and construction. A variety of different artistic approaches were used by the ancient Chinese to create architectural decorations. These included traditional Chinese paintings, carvings, calligraphy, colors, patterns, motifs, etc. All were used to strengthen a building’s artistic impact and were seen as an important means of artistic expression.
“Rites” were the basic framework of Confucianism that dominated ancient Chinese feudal society. Naturally these Rites influenced the creation of architecture and its decoration and led to the creation of various architectural rules and norms. This meant that architecture was not only about “good appearances,” but also about creating a “distinction between the rich and poor.” Architectural types and sizes, and the styles, colors, textures and themes used in its decoration, all served architecture’s social functions and were used to show architecture’s social value.
As the art of architecture in China developed and matured it was inevitably affected by changing social conditions and by regional differences. This led to an almost constant reform and innovation of styles, themes, contents and techniques. Moreover, the fact that China is a multiethnic country also affected the development of its architecture. This was because all ethnic groups liked to use traditional decorations in their architecture to proclaim their individual ethnic characteristics.
In the history of ancient Chinese culture and science, “architecture” did not obtain the same high position as some other artistic disciplines. The art of Chinese traditional architectural was mainly handed down through the generations and was created through the hard work of innumerable artisans. As such it was not generally regarded as an independent school of art and, as a result, a comprehensive and systematic “architectural history” did not become properly established. Fortunately, many historic literary works were based on cities or architecture. These works reflect the historic achievements of urban architecture and construction in China and also depict the appearance of urban buildings throughout the country’s history. Many official histories, books and other ancient records contain details of the plans for imperial palaces and other important buildings from the country’s various dynastic periods. The biographies of the officials or artisans in charge of historic architectural projects can also be found in their pages.
Some monographs written by architects have also been handed down. Though quite rare, these documents give us a unique glimpse of how ancient architectural construction projects were undertaken. They show us that ancient Chinese architectural design work was, in many ways, quite similar to its modern counterpart. Architects and the people in charge of architectural planning attached great importance to the investigation and research of contemporary or historic architecture. They usually made preparatory models and prepared drawings to develop their designs. Indeed, Chinese architectural artisans created a three-dimensional drawing method (similar to modern “axonometric drawings”) to guide construction. After the Han Dynasty (206 BC-220 AD), the formulation of “architectural design drawings” and “explanation documents” became an indispensable part of the construction of large buildings. In the mid-10th century, the development of architectural drawing techniques was already very advanced.
From the “winter offices” of the Zhou Dynasty (1046-256 BC) to the “calculation offices” and “drawing offices” of the Qing Dynasty (1616-1911), China has always had special construction departments and officials in charge of architectural design and construction and the distribution of architectural materials. It was the work of these official institutions to ensure that labor, transport and materials were all managed effectively. They were also responsible for the promotion and implementation of the “standardization” and “modulation” of the core elements of classical Chinese architecture.
In modern times, China’s architecture changed significantly. This change followed the disintegration of the feudal system, the introduction of Western culture to the East, the development of modern science and technology and subsequent changes in people’s aesthetic tastes and culture. In the 20th century, especially after the reform and opening up of the country in 1978, the appearance of China’s cities began to change dramatically and architectural styles became more diversified. Today, Chinese modern architecture is characterized by an organic combination of modern and ethnic styles.
This book introduces the characteristics and development of the main types of Chinese traditional architecture. It then describes the complex course of Chinese architecture’s development in modern times, and analyzes the diversity of current architectural styles. Its aim is to give an overview of Chinese architecture from its earliest beginnings to the present day.
导语摘要
本书首先对中国古代几种主要类型的传统建筑的特点和发展过程分别进行了介绍，然后简要地描述了近现代时期中国建筑纷繁复杂的历程，*后分析了当代多元的建筑类型和发展方向，希望能为有兴趣的人士展示一个较为整体的中国建筑的面貌。
作者简介
蔡燕歆，女，1980年生，籍贯浙江嘉兴。2009年毕业于上海同济大学建筑与城市规划学院，获博士学位。现任西南交通大学建筑学院副教授。主要研究方向：传统建筑文化、历史文化城镇与传统建筑保护利用。
目录
Contents
Preface
Ancient Cities
Capital Construction
Local Cities
Military Defense
Supreme Imperial Power
Palace Buildings
Temple Buildings
Tomb Buildings
Temples of the Gods
Confucian Buildings
Buddhist Buildings
Taoist Temples
Islamic Buildings
Christian Buildings
Appreciation of Gardens
Imperial Gardens
Private Gardens
Vernacular Dwellings
Western Influences on Chinese Architecture
The Pursuit of the Self – Modern Architecture
Towards the New Period
The Development of Modern Architectural Trends
Diversified Architectural Styles
Works of Foreign Architects in China
Architecture of Hong Kong, Macao and Taiwan
内容摘要
本书首先对中国古代几种主要类型的传统建筑的特点和发展过程分别进行了介绍，然后简要地描述了近现代时期中国建筑纷繁复杂的历程，*后分析了当代多元的建筑类型和发展方向，希望能为有兴趣的人士展示一个较为整体的中国建筑的面貌。
主编推荐
蔡燕歆，女，1980年生，籍贯浙江嘉兴。2009年毕业于上海同济大学建筑与城市规划学院，获博士学位。现任西南交通大学建筑学院副教授。主要研究方向：传统建筑文化、历史文化城镇与传统建筑保护利用。
精彩内容
Appreciation of Garden
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