Re-understanding of the ancient buildings in Yuanmingyuan
Speaker: Guo Daiheng Lecture Venue: Tsinghua Humanities Forum, Tsinghua University Lecture Time: October, 2020
Guo Daizhen, an architectural historian, a professor at the School of Architecture of Tsinghua University, and the first prize winner of the National Natural Science Award. National first-level registered architect and responsible designer of the national cultural relics protection project. He is currently the president of Beijing Yuanmingyuan Research Association and the executive director of the Forbidden City Society of China. Under the tutelage of the master of architectural history, Mr. Liang Sicheng, he has been engaged in academic research on the history of ancient architecture since the 1960s. He has successively presided over the maintenance of Hangzhou Liuhe Pagoda, the Leifeng New Pagoda project to protect the Leifeng Ancient Pagoda site, and the New Yuanming Garden in Zhuhai Design and construction project, Dengfeng Shaolin Temple expansion and tallin protection design, Beijing Gongwang Mansion protection and restoration, Songshan historical building group application protection plan, Shandong Weihai Huancui Building design and construction, Luoyang Mingtang, Tiantang, Yingtianmen design and construction, Zhejiang Design and construction of Jinhua Wanfo Pagoda Park and other projects. At the same time, projects such as the use of digital technology to restore the cultural heritage of the Old Summer Palace have been opened. He has edited "History of Ancient Chinese Architecture (Song, Liao, Jin, and Xixia Sub-volumes)", "The First Mountain in the East-Baoguo Temple", "Qianlong Yupin Yuanmingyuan" and so on.
In October 1860, 160 years ago, the Old Summer Palace, known as the "Park of Ten Thousand Gardens", was destroyed by fire.
We must not forget the barbaric behavior of foreign aggressors.
160 years later, through technical restoration and various efforts, we were able to revisit the Old Summer Palace.
The topic of today's lecture is to introduce you to relevant research.
Funny and colorful mystery
The Xiyang Tower scenic spot is in the north of Changchun Garden of Old Summer Palace.
In the 12th year of Qianlong in the Qing Dynasty (1747), Emperor Qianlong wanted to build a group of foreign gardens with fountains, so he ordered the Italian missionary Giuseppe Castiglione and French missionary P·Michel Benoist to design.
Their first design was Xianqiqu, which was completed in the 16th year of Qianlong (1751).
What does humorous fun look like?
We found its copper engravings.
It can be seen from the copper engravings that there are three floors in the middle, surrounded by some corridors, and two small two-story pavilions in front.
Later, we found the floor plan of the style house in the Palace Museum.
From this picture, we basically know its general outline.
But what does its facade look like?
We found old photos taken by German photographer Ernst Ohlmer in 1873.
Old photos are more accurate than copper engravings. From the eyes of architecture students, you can see the relationship between various aspects of the architectural proportions, and you can know what it looked like back then.
We also found a passage in his diary by the photo photographer: "The decorations here... are colorful, as gorgeous as a rainbow... What you see in your eyes is the rich and moving colors of the decorations, soaked in the azure blue of Beijing. In the sky. With the moving footsteps of the viewer and the light and shadow of the sun constantly changing, the white marble of the building makes them particularly eye-catching, reflecting on the lake in front, like a phantom... The viewer can't help but suspect that they have come to the '1000 In the world of Zero One Night." How could the photographer come to such a conclusion?
There were still relics at the site, but no relevant clues could be found, so we discussed with the Yuanmingyuan Management Office and went into the warehouse to have a look.
In the warehouse, we found some glazed tiles. In the past, previous studies also said that these houses are all glazed tiles, and the colors of glazed tiles are blue and yellow.
We have compared some houses in the Baroque period in foreign countries. Their colors are basically used on the roofs, such as Charlottenburg Palace in Berlin and Schönbrunn Palace in Vienna. The roof colors of the two are different, but the walls are basically the same color.
But the impression of these two palaces is not colorful.
Why does the photographer say that humor is "colorful, as gorgeous as a rainbow"?
Later, we found some fragments of glazed glass components in the warehouse of Yuanmingyuan, with Chinese or Western patterns.
It turns out that some pattern lines on the old photos match up with the heels. For example, some can be used as parapet railings, some are the corners of the waist line, and there are pattern decorations inlaid on the wall.
From this, I found that all the glazed pieces on the old photos can be affixed to the seats.
The colors reflected in these old photos give us an enlightenment. It is not a purely ordinary Western building, but is decorated with many colored glazes. At that time, the missionaries like Castiglione made it in the general Baroque architectural style. In the process, they may think of adding distinctive Chinese elements to them.
I have seen examples of this kind in other places. For example, some Chinese peony flowers and weeping lotus columns are designed in the decoration of churches, but I did not expect that so many colored glazes are attached to make the building more vivid and lively. .
The Secret of Haiyantang Water Storage Building
Another large-scale Xiyang Tower scenic spot is Haiyan Hall.
The most familiar zodiac fountain is here.
Many people know that there is Haiyan Hall in the Old Summer Palace.
The fountain of the twelve beast heads is a set of hydraulic clocks. Where does the fountain supply water?
It was rumored that the fountain originated from the eunuch carrying water.
In the Old Summer Palace, we can see the remains of several parts. The Haiyantang itself sits west and faces east, with a zodiac pond in front of the hall and a water storage building behind the hall.
The remains of the impoundment building look like a large earth platform. There was a large pool on the top of the earth platform. Water was supplied to the pool from other places, and then it flowed from this place to the mouth of each animal head of the Chinese zodiac. Squirt out.
The look of the soil platform is a bit strange now. It is large on the top and small on the bottom, and it is not smooth on all sides, layer by layer.
This is when people built a house high, first padded a high platform with soil. The bottom of the high platform would collapse if it was not maintained. Therefore, brick walls were placed on the four sides of the soil platform for reinforcement. Because the force underneath is the largest, the bottom of the brick wall is the widest. , And then slowly narrowed upwards. The layers of the existing earthen platform are traces of the shrinking brick walls in the past. This kind of construction method causes the existing earthen platform to look large on the top and small on the bottom.
After the high platform was built, a waterwheel house was built on it.
On the style house map, we see the east water carriage house and the west water carriage house. Then how does the water from the water carriage house reach the fountain?
We saw a picture when we were restoring humorous fun. This plan showed the location of the waterwheel house. The water supply pipe was marked with a red line. The water was led from the waterwheel house through the water pipe to the local fountain. .
Later, when an international conference was held, we asked people engaged in ground penetrating radar to investigate and found that there were indeed water pipes under the Xiyang Tower. A part of the copper water pipe was excavated the previous year. After nearly 300 years, it is still well preserved.
In addition to studying the pipeline, we also want to know how the power plant of the waterwheel house works.
Professor Hermann Schlimme of the Max Planck Institute for Art History in Rome, Italy, attended the international conference and used ground penetrating radar to detect the water pipes under the Western Building. After returning to China, he found Jiang Youren’s one in their data room. In the letter, Jiang Youren mentioned in the letter that he referred to a water conservancy book when he designed the fountains of Yuanmingyuan in China. Professor Hermann Schlimme found this book, which contains a picture of water conservancy machinery.
He immediately compared the copper engravings of the Western Building and found that the waterwheel house on the painting had an open window showing a head. The shape of the head was the same as that of the water supply device "central axis" in the hydraulic machinery diagram in the book he found. It looks very similar.
But he raised another question. Was this water book available in China at that time?
At that time, our National Library collected a batch of books left by the missionaries.
We also found the name of this water conservancy book in the book list of the National Library.
He decided to go to China to check this information immediately.
He found in the National Library that there were some small pencil drawings in the book to annotate the machine. He felt that the missionaries who came to China in the past were really related to this, it should be Jiang Youren.
Jiang Youren was originally a mathematician. Emperor Qianlong asked him to do this design. He must think about how to do water pressure and how to calculate and use potential energy from a mathematical point of view, so he came to check this book.
According to Professor Hermann Schlimme's inference, he thinks Jiang Youren must have read this book.
In this way, we have made the restoration of the power unit of the waterwheel house based on this mechanical drawing. It is a horizontally placed gear that drives a vertical gear under the traction of a donkey. The transmission device is used to make the three convex gears rotate continuously to drive the lift. Water bucket, inject water into the reservoir of the impoundment building.
An important place for government affairs in the Qing Dynasty
The current scenic spot of the Western House Ruins has left ten groups of architectural remnants. Most people often think that seeing it is equivalent to visiting the Old Summer Palace. In fact, the proportion of the Western House scenic spot in the original Yuanmingyuan is only 2% of the total area of the whole park.
So where is the core part of Old Summer Palace?
This starts with the history of gardening.
The Old Summer Palace was built in the forty-sixth year of Emperor Kangxi of the Qing Dynasty (1707). It was originally a gift garden for the four emperors Yinzhen (later Emperor Yongzheng), and was built on the north side of Changchun Garden where Emperor Kangxi was located.
Now there are two small brick gates outside the west gate of Peking University. From there, going south is Changchun Garden. The Old Summer Palace is very close to Changchun Garden.
Yinzhen was very low-key when he was the prince, so Yuanmingyuan was built very simply at first. He once wrote "Twelve Odes to the Garden", which are all grape gardens, bamboo gardens, fish ponds, vegetable gardens, etc., and there are not too many buildings.
Later, after he became Emperor Yongzheng, he asked a Feng Shui master to take a look at Feng Shui. The Feng Shui master said that the land is very good. The high northwest symbolizes the Kunlun Mountains and the low southeast symbolizes the East China Sea. It looks very similar to the Chinese territory. After saying this, I decided to expand the Old Summer Palace into an imperial garden.
Among them, Kyushu, surrounded by nine islands in the core area of the park, symbolizes the so-called Kyushu in ancient China.
At the same time, he also hoped that the future rule would be peaceful and peaceful, so he built a swastika-shaped house.
During the three years of filial piety in the Forbidden City, the Emperor Yongzheng issued a decree: "The first ordered the division to repair carefully, and the pavilions and Qiuhe were still observant. However, the construction of Xuanqi was divided into court offices, so that the ministers on duty had a place to look at things. In the south of the garden, the imperial government listened to the government...In the garden, there may be a farmhouse or a vegetable garden..." At this time, the Old Summer Palace had a greater development. First of all, a government building in the south of the garden was added to allow it to be in the garden. Hearing politics.
The palace gates and halls were built one after another, roughly forming the pattern of the former dynasty and the sleeping quarters. The palace gate and Zhengda Guangming are the former dynasty departments. The diligent and prosperous people are the place for the emperor’s daily administration. Qingyan in Kyushu is the emperor’s palace area. , Is also the core area of Old Summer Palace.
Emperor Yongzheng lived in this garden not for leisure, but to manage politics.
At the beginning, he stayed here for a long time and no one gave him memorials, so he issued an decree: "I am in the Yuanmingyuan and I am in the palace. Everything that should be done will be handled as usual. Because there are few delays in what we are waiting for in the Old Summer Palace, it is absolutely impossible."
After Emperor Qianlong ascended the throne, Changchun Garden was built on the east side of Yuanmingyuan. After the surrounding princes gave back the garden, Qichun Garden appeared first, and in the middle of Qianlong Dynasty, it was merged into Xichun Garden and Chunxiyuan to form the Five Yuanming Gardens. .
Yongzheng and Qianlong laid the foundation for the Old Summer Palace. Jiaqing played an important role in the integration of the Qichun Garden. Daoguang and Xianfeng undertook a small amount of reconstruction and addition to the Old Summer Palace.
The scenic spot of the Old Summer Palace was constantly changing with the emperor’s aesthetic needs, coupled with disasters such as fire, so the Old Summer Palace, a relic park now has sites of different ages.
The Emperors of Yongqian, Jiadao and Xian Dynasties of the Qing Dynasty always regarded the Yuanmingyuan as one of the places to govern the country. Therefore, in the political history of the Qing Dynasty, the position of the Yuanmingyuan is no less than that of the Forbidden City.
My doctoral student Jia Jun (now a professor at the School of Architecture of Tsinghua University) went to the Forbidden City to check the "Living Notes" and found that the five emperors of the Qing Dynasty lived in Yuanmingyuan longer than in the Forbidden City. Qianlong had an average of 150 days a year, and the most was Daoguang lived in the Old Summer Palace for nearly 300 days a year, and finally died there.
The heyday of Yuanmingyuan
Historically, the construction of the Old Summer Palace was the busiest during the Qianlong period. After this period of operation, the construction of the Old Summer Palace was basically finalized.
Qianlong returned to Yuanmingyuan after three years of filial piety in the palace, and made a small amount of additions to the Yuanmingyuan. What he will never forget during his life is that when he watched peony with Emperor Kangxi at the Peony Terrace, his intelligence was praised by the emperor. He brought it back to the palace to raise.
He kept recalling this incident throughout his life.
In the fifth year of Emperor Qianlong (1740), Anyou Palace, a royal family temple, was built to commemorate. Anyou Palace is also known as Hongci Yonghu.
In the third year of Qianlong (1738), the emperor ordered court painters Shen Yuan and Sun Hu to paint all the sceneries in the Old Summer Palace. In the ninth year of Qianlong (1744), the picture of "Forty Scenes of the Old Summer Palace" was completed.
The forty scenes were originally made on silk. They are not in China. They were looted when the Anglo-French allied forces burned the Old Summer Palace 160 years ago. They are now in the Paris Library, France.
In the 1980s, our foreign affairs department asked the French side whether these forty scenes could be a color reproduction for us, and the French side copied it for us.
The forty scenes reflect the Yuanmingyuan in the 9th year of Qianlong.
Since then, the Old Summer Palace has continued to change.
Qianlong felt that he was going to be in power for 60 years like his grandfather, so from the tenth year of Qianlong (1745), he built a Changchun Garden next to the Old Summer Palace as a place for him to return to politics and entertain the elderly.
At that time, the archives were called the Five Yuanming Gardens. In addition to the Old Summer Palace and Changchun Garden, there was Qichun Garden on the south, Chunxiyuan on the north, and Xichunyuan on the east. Xichunyuan is where Tsinghua University is located. University and Old Summer Palace have a deep relationship.
In the Jiaqing period, Qichunyuan was integrated on the one hand, but Chunxiyuan was bestowed on the princess.
In the Daoguang reign, Xichunyuan was given to the prince again.
In the Old Summer Palace, which landscape has the most?
After statistics, we found that agricultural landscapes turned out to be the most common, followed by academies, study buildings, and study houses, and religious buildings.
Agricultural landscapes, such as Xinghua Chunguan, Tianzifang, and Beiyuanshan Village, existed during the Yongzheng period.
Later, during the Qianlong reign, Chunyuxuan was built in Xinghuachunguan. After the construction of Chunyuxuan, the rain was particularly good. Qianlong wrote many poems for it, saying that Chunyuxuan is the mascot. Since its establishment, the country has been in good weather every year.
Qianlong paid more attention to culture, so there were many academies, study houses, and study houses.
The more famous ones are Huifang College and Bitong College.
Huifang Academy, as its name suggests, is to bring all talented people together to help the emperor manage politics. Qianlong once wrote a poem for it: "The new name of the Academy is Huifang, not because of Ye's mistake and Huashang. Jinge, Pu Yuxian's will, please help me Xiuming was covered by Wanfang." Wenyuan Pavilion is the library of Yuanmingyuan, which contains the "Siku Quanshu" compiled during the Qianlong period and was built in the 39th year of Qianlong (1774).
This book building is imitated Ningbo Tianyi Pavilion, a six-bay house, which is rare in ancient Chinese architecture.
Because there is a saying in the "Book of Changes" that "there is water in the sky, and 60% of the earth", the library is afraid of fire, so I feel that building a six-bay room can have an auspicious meaning to protect the library.
The design of Wenyuan Pavilion also reflects the eclectic architecture of the Old Summer Palace.
There are also many bookstores in Yuanmingyuan. The emperor not only studied in formal places, but also in his bedroom and small Buddhist temples. The place where the prince could study was even more important. There were more than 20 places. Qianlong warned the prince, "I would like to be a gentleman. Don’t do getaways".
Qianlong said that he liked to read in his life, and there were bookstores everywhere, "Come to read a picture to lead the charm, sit down and read the book to meet the ancients."
Therefore, there are many bookstores in the Old Summer Palace, which are rare in some royal gardens we have seen in the past.
The proportion of religious buildings in the Old Summer Palace is not low.
The religious buildings in the Old Summer Palace are not the Buddhist temples and palaces that you often see in your mind. Their design is very distinctive.
For example, the group of religious buildings like Ciyun Puhu houses a variety of statues of gods and Buddhas, eclectic.
The square appearance of the Xiyanglou area was built by Qianlong for the Concubine Xiang, who believed in Islam.
Qianlong also said that "invigorating the Yellow Sect to secure the Mongolian", the Yellow Sect is the Lamaism, and there is also a Lamaism Buddhist temple in the Old Summer Palace.
In addition, there is also a type of imperial temple in the Old Summer Palace.
Qianlong said, "Why don't you divide the earth and the earth, it will decorate the famous garden", meaning that no matter what kind of god, please come and decorate my garden and bless me.
There are also some special buildings that represent the fairyland in the Old Summer Palace.
For example, Pengdao Yaotai, which is built after the Three Gods Mountain on the sea, consists of three small islands.
According to ancient legends, there were three sacred mountains in the East China Sea, where gods made elixir of life. The emperors all yearned for the three sacred mountains, which appeared in many ancient gardens.
Yongzheng built the Pengdao Yaotai, and when Qianlong came to Qianlong, another square pot was built. After the square pot was built, he said, "but I laughed at the Emperor Qin and asked for the sea, and the fairy pot was originally in the world." He laughed at Qin Shihuang. Looking for immortals in the East China Sea, in fact, there are no immortals in the East China Sea. I can build them in my garden. This is the fairyland in my imagination.
The Haiyue Kaijin in Changchun Garden is also a building that represents a fairyland.
Qianlong was very imaginative at the time.
Qianlong went to the south of the Yangtze River for six times. He also moved the beautiful scenery of the south to the Old Summer Palace. In Changchun Garden, the Ruyuan Garden was built after the Nanjing Zhanyuan, the Jianyuan after Yangzhou Quyuan, and the Old Summer Palace Lion Forest in Suzhou. It brought the scenery of the south of the Yangtze River, so a poet in the late Qing Dynasty wrote a poem: "Whoever knows that the scenery of the south of the Yangtze River is good, the world is in the arms of the king."
Impact on European architecture
Later, the sceneries of the Old Summer Palace were spread to Europe through letters from French missionary Jean-Denis Attiret and others to friends.
The idea that the Old Summer Palace is hailed as the "Park of Ten Thousand Gardens" comes from a letter written by Wang Zhicheng to his friend M·d Assaut in Paris on November 1, 1743. He said in the letter: "This is a real A paradise on earth. The beauty of the architecture in the garden is unparalleled...The ingenious combination of architecture, mountains, rocks, flowers and trees...The scenery cannot be seen at a glance...Everything is interesting and elegant...You can enjoy it for a long time." Not only did they record the sceneries seen in the garden one by one, they also vividly described the emperor’s life in the Yuanmingyuan, such as the scene of shopping in the Yuanmingyuan during the Spring Festival.
His letters were compiled into "Letters of the Jesuits" in 1747 and published in France in 1749, which caused a sensation in Europe.
In 1752, the English translation of his "Close-up of China's First Garden" was published.
Wang Zhicheng's book had a relatively large influence, which led to many high-ranking officials in Europe to favor the Old Summer Palace, and asked the architects of the time to design houses similar to the Old Summer Palace, imitating Chinese gardens, so Chinese gardens represented by the Old Summer Palace began to spread to the world during the Qianlong period.
At that time, the British royal architect Chambers (William Chambers) also highly praised Chinese garden art.
Chambers worked on the ship of the East India Company for several years and visited China three times. In 1757, he said in "The Art of Layout of Chinese Gardens": "The layout of Chinese gardens is outstanding, and they show it there. The fun of the United Kingdom has been pursued for a long time and has not been achieved." In the book "Oriental Gardening Art", he wrote: "No country has ever had the same magnificence and number of garden structures as China....Fr. Wang Zhicheng Tell us the Old Summer Palace-which is a city in itself-(among them) four hundred pavilions; all the buildings are so different." He drew pictures of the Chinese gardens he saw and printed them in this book.
In the process of the British and French and other European countries competing to imitate Chinese gardens at that time, some were specious, and some imitated a bit like, such as France's LIIe-Adam and the Octagonal Pavilion in Cassan Park.
Because there are many agricultural landscapes in the Chinese imperial gardens, agricultural landscapes such as the small Tria farmhouse appeared in the Palace of Versailles.
The best copy, I think, is the Kew Garden Tower built by Chambers on the outskirts of London, England.
I think he imitated the Pagoda of the Six Banyan Trees of the Liurong Temple in Guangzhou, because Chambers had been to Guangzhou. Through the old photos of the Pagoda of the Six Banyan Trees of the Liurong Temple, it can be found that it is very similar to the Qiuyuan Pagoda.
The imitation is the architect, not the missionary.
At that time, European aristocrats used the Chinese porcelain or the buildings that appeared on the Silk Road as the representatives of Chinese gardens and imitated them in their own gardens. Actually, these foundations were not sufficient. Those patterns were not the real Yuanmingyuan. .
However, there was also a missionary who once brought the "Forty Views of Old Summer Palace" back to Europe. What he brought was not a silk painting, but a woodcut version.
From 1774 to 1789, Le Rouge of France published "Detailed Explanation of New Trendy Gardens". This set of architects' books has almost ten volumes. The 15 and 16 volumes in the fourth volume introduce Chinese gardens with the title of Yuanmingyuan. The "Forty Scenes of the Old Summer Palace" are completely included, and are based on the woodblocks painted by Shen Yuan and Sun Hu. They are copied again using copper engravings, but swan and sailing boats are added to each scenic spot.
We also found that the influence of Chinese architecture on Europe is not limited to architecture. The American conceptual historian Lovejoy said: "Chinese gardens are one of the origins of European romanticism. It promotes and facilitates the turn of romanticism."
The imagination of ancient buildings
The French writer Victor Hugo said: "There is a world miracle in a certain corner of the world. This miracle is called the Old Summer Palace... This is all that can be achieved by the imagination of an almost superhuman nation."
The ancient Chinese are indeed very imaginative, breaking through the shackles of various stages and developing continuously.
In our architectural history, there are many things beyond human imagination.
For example, ancient bridge repairs.
The Luoyang Bridge in Quanzhou is a bridge across the strait. It is particularly difficult to repair the bridge in that place because the ground is covered with sand and the bridge foundation cannot stand. Cai Xiang, the famous calligrapher of the Northern Song Dynasty, said that the oysters are very strong on the ship, right? Can oysters be planted on rocks?
This is the famous "Oyster House Fixing Method". Oysters are planted on the side of the stone, and oysters grow continuously. The entire foundation is smashed into a large strip of very strong stones, and bridge piers are built on the stones.
For example, the Zhaozhou Bridge. The bridge is very long. When it is placed on the river bed, it stretches out very long. Small windows are opened at both ends of the stretch, so that when a flood occurs, the water can flow through the hole in the middle and the small windows on both sides. The pressure of the water flow on the bridge is dispersed, and the bridge is more durable.
This kind of open-shoulder arch bridge was adopted by the Chinese 600 years earlier than the rest of the world, which is outstanding in the history of architecture.
Another example is the Temple of Heaven. If we observe it carefully, we will find a characteristic. It makes people feel that they are higher than anything else, and they seem to be able to talk directly with the sky.
It turns out that when this altar was built, everything around it was lower than this altar.
To the south is the Mound Hill. The surrounding wall of the Mound Hill is much lower than it. People standing on the Mound Hill feel that they are indeed closer to the sky.
The Qi Nian Hall in the north is also shorter than it.
The road to the Hall of Prayer for Good Harvests is straight, but the ground beside the road is a big slope. When the emperor walked on this road to the Hall of Prayer for Good Harvests, he had a mood. I wanted to pray for the harvest, talk to the gods, and get closer to the gods. .
The trees near the Hall of Prayer for Good Harvests are planted on the slope, and the closer to the Hall of Prayer for Good Harvests, the trees appear shorter and shorter, making people feel that they are getting closer and closer to the treetops. This is also an imaginative creation of the ancients.
From this point of view, in the study of Chinese architectural history, many places are worthy of our rethinking. What we can think of is not only the shape of a certain building and what is inside, but more behind it.
Therefore, compared with the concrete physical buildings in the garden, the cultural value of Yuanmingyuan is more worthy of attention. These cultural values give us many new understandings.
We followed Mr. Liang Sicheng to study "Building Method" and found that Li Jie, the author of "Building Method", was a very advanced person. He turned the management manual for quotas of labor and materials into a book of technical practices and systems to guide design and construction.
Generally, the ancients compile books first to look at what is in the ancient documents, and then to integrate the documents, but the author of "Building Method" asked artisans from all over the country to tell him the techniques they mastered. As a result, this technique was summarized. I wrote more than 3,000 items, but only more than 300 items were selected after studying other books on the history.
The creation of French styles like him was also an advanced approach at the time. It was very different from his previous officials. He was very imaginative.
What's more, this book is characterized by "there is a definite formula but no definite formula". It tells you the method, but it is enough for you not to follow the "form" I gave you. You have to develop by yourself under the conditions of this "form".
There is a passage in "Creative French Style": "...Take it to be beautiful, like a pattern of embroidered brocade. As for the poor to win business, it is called "painting". The color system is whatever you want. Writing, shallow or deep, light or heavy, ever-changing, let it be natural.” This is to say that the goal of color painting is to paint as beautiful as the pattern on the brocade, but it also says that it should be played according to the specific situation. It can be deep or shallow, light or heavy, let it be natural, let go, don't be restrained by the French style, and can paint freely.
There are a lot of nutrients in the history of Chinese architecture.
The Chinese ancients had very rich imagination and achieved remarkable achievements in leading the world.
Understanding the imagination of the ancients and providing reference for modern construction is the significance of the study of Chinese architectural history.
(This version of the lecture materials and photos are provided by the Humanities Tsinghua Forum)