Features of Ancient Chinese Architecture

Ancient Chinese Architecture

Chinese architecture demonstrates an architectural style that developed over millennia in China, before spreading out to influence architecture all throughout East Asia. Chinese architecture is typified by various features; such as, bilateral symmetry, use of enclosed open spaces, the incorporation of ideas related to feng shui such as directional hierarchies, a horizontal emphasis, and the allusion to various cosmological, mythological, or other symbolism. Chinese architecture traditionally classifies structures according to type, ranging from pagodas to palaces. In part because of an emphasis on the use of wood, a relatively perishable material, and due to a de-emphasis on major monumental structures built of less-organic but more durable materials, much of the historical knowledge of Chinese architecture derives from surviving miniature models in ceramic and published planning diagrams and specifications.

5 Features of China’s Ancient Wooden Buildings

Architectural bilateral symmetry

A very 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. When possible, plans for renovation and extension of a house will often try to maintain this symmetry provided that there is enough capital to do so. Secondary elements are positioned either side of main structures as two wings to maintain overall bilateral symmetry. The buildings are typically planned to contain an even number of columns in a structure to produce an odd number of bays (間). With the inclusion of a main door to a building in the center bay, symmetry is maintained.

In contrast to the buildings, the Chinese gardens tend to be asymmetrical. The principle underlying the garden’s composition is to create enduring flow. The design of the classic Chinese garden is based on the ideology of “Nature and Man in One”, as opposed to the home itself, which is a symbol of the human sphere co-existing with, but separate from nature. So, the arrangement is as flexible as possible to let people feel they are surrounded by and in harmony with nature. The two essential elements of the garden are hill stones and water. The hill stones mean the pursuit of immortality and water represents emptiness and existence. The mountain belongs to yang (static beauty) and the water belongs to yin (dynamic wonder). They depend on each other and complete the whole nature.

Enclosure

In much of traditional Chinese architecture, buildings or building complexes take up an entire property but enclose open spaces within themselves. These enclosed spaces come in two forms, the:

  • Courtyard (院): The use of open courtyards is a common feature in many types of Chinese architectures. This is best exemplified in the Siheyuan, which has consisted of an empty space surrounded by buildings connected with one another either directly or through verandas.
  • “Sky well” (天井): Although large open courtyards are less commonly found in southern Chinese architecture, the concept of an “open space” surrounded by buildings, which is 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.

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.

South-facing buildings in the rear and more private location of the property with higher exposure to sunlight are held in higher esteem and reserved for elder members of the family or ancestral plaques. Buildings facing east and west are generally for junior members or branches of the family, while buildings near the front 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 servants’ rooms or kitchens.

Horizontal emphasis

Classical Chinese buildings, especially those of the wealthy, are built with an emphasis on breadth and less on height, featuring an enclosed heavy platform and a large roof that floats over this base, with the vertical walls not well emphasized. Buildings that were too high and large were considered unsightly, and therefore generally avoided. Chinese architecture stresses the visual impact of the width of the buildings, using sheer scale to inspire awe in visitors. This preference contrasts Western architecture, which tends to grow in height and depth. This often meant that pagodas towered above all other buildings in the skyline of a Chinese city.

The halls and palaces in the Forbidden City, 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. These ideas have found their way into modern Western architecture, for example through the work of Jørn Utzon.

Cosmological concepts

Model of a Chinese Siheyuanin Beijing, which shows off the symmetry, enclosed heavy platform and a large roof that floats over this base, with the vertical walls not as well emphasized.

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:

  • Screen walls to face the main entrance of the house, which stems from the belief that evil things travel in straight lines.
  • Talismans and imagery of good fortune:
    • 1 Door gods displayed on doorways to ward off evil and encourage the flow of good fortune
    • Three anthropomorphic figures representing Fu Lu Shou (福祿壽 fú-lù-shòu) stars are prominently displayed, sometimes with the proclamation “the three stars are present” (三星宅 sān-xīng-zhài)
    • 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.
  • Aligning a building along a north/south axis, with the building facing south and the two sides facing east and west respectively.