European Architecture Stroll

Author: Han Bao-de
Publisher:
Publish Date: 2005-01-01
Features: In Western civilization, the most dramatic and interesting architecture is undoubtedly the castle. Our impression of castles mostly comes from the descriptions in Western fairy tales, which are naturally very romantic and whimsical. It is precisely because of this that castles have become a global symbol. When Disneyland was built for American children, castles were chosen as the symbol, indicating that castles are full of joyful and mythical imagination. Fairies raise their golden magic wands, swaying them in the air for children's dreams; the children's wishes might just be a beautiful castle perched on a hilltop. Castles represent status, power, happiness, and safety. Because of the Western mindset, even in the 19th century when fairy tales were born, forests and nature still represented danger, terror, and were inhabited by terrifying and fierce witches. My interest in castles has little to do with my studies in architecture, because castles are not stars in the history of Western architecture but are seen by historians as symbols of a barbaric civilization. My interest comes from childhood imagination and the dramatic appeal of castles' appearance. Because to find a building that represents poetic and romantic imagination, nothing compares to a castle. The beautiful image of castles today probably began with the "Renaissance" after the end of the Middle Ages. Handsome and brave knights, who were also sentimental and willing to serve beautiful women, were ready to risk their lives for them. Their blood was shed for the hearts of beautiful women. This romantic story shared the same psychological background as the Catholic veneration of the Virgin Mary, which romanticized the dark Middle Ages. After each era becomes history, there is a tendency to idealize it, especially since folk tales already have ancient castles that serve as concrete witnesses. People quickly forgot the ugly side of castles. This is perhaps God's gift to humanity to heal the wounds of civilization! In fact, the charm of the castle's layout is not without the marks of a cruel civilization; castles were all built on hilltops, reflecting the era of constant warfare and turmoil. They were all built of large stones, and one can imagine the tyrannical lords who wielded military power and oppressed the people. The towering height of castles naturally indicated defense against external threats, but were not they also symbols of strict prisons? The political struggles of ancient England were always resolved at the cruel and sturdy "Tower of London," which was once the prison of the British royal family and thus also known as the "Tower of Blood." The architectural features of castles, such as the beautiful round turrets, the tiered hanging walls, and the towers, can today only be imagined as a beautiful face looking out from the window openings, but in reality, they were used to pour boiling oil and water on attackers and throw spears and torches. Under this beautiful exterior, castles were gloomy, cold, and damp living spaces. For prisoners, they were terrible prisons, but for the lords, they were merely hiding places, relying on the strong bodies of warriors to resist invasions. Inside were the sounds of metal weapons and armor, and the rough shouts. Only by imagining a life of drinking large cups of wine and eating large pieces of meat can one reconstruct the ancient scene inside these stone buildings. By today's standards, medieval castles were hell. In Europe, such remnants of a cruel civilization are rarely preserved in their entirety. Most medieval castles were abandoned by later generations, neglected for years, and have become ruins, only serving as places for later writers and poets to mourn. Some were repeatedly added to and rebuilt by feudal lords in later generations, losing their original charm. In 1974, while wandering through Europe, I had intended to visit such typical castles, but due to the urgency of time or a lack of data in this area, I never succeeded. However, unexpectedly, in Ghent, Belgium, I saw a castle that still largely retained its original scale. In early July of that year, we took a ferry from England to the port of Bruges in Belgium and then took a train to the famous beautiful and friendly city of Bruges. After being immersed in the poetic streets, alleys, and squares for two days, we decided to head to the capital, Brussels. Halfway through the train journey, passing through Ghent, I suddenly remembered that the city had been the political and economic center of Flanders during the Renaissance and must still hold some value for sightseeing. I then decided to get off the train and explore the city. Today, Ghent has become an industrial city with the chaos and complexity of a modern metropolis. The tram took us to the square of the old city center, where we found the "St. Bavo's Cathedral," built in the 15th century, the economic powerhouse of the Middle Ages, the cotton guild hall, and the "guild" buildings by the river—all still radiating an old charm but covered in pollution, looking lifeless in the gloomy weather. The artistic treasure of Ghent is a painting carefully displayed in the basement of the "St. Bavo's Cathedral": Jan van Eyck's "Adoration of the Lamb." Jan van Eyck was a great painter born in Flanders at the beginning of the Renaissance, and this painting is a milestone in modern oil painting. The German poet Johann Wolfgang von Goethe highly praised it, comparing the sacrifice of Christ Jesus to the sacrifice of a lamb, which was celebrated by the family of Jesus and all saints, apostles, and angels. It is said that many tourists visit Ghent just to admire this famous painting. I feel that this painting has a simple medieval composition but already shows the lively and vibrant spirit of the Renaissance in its figures, truly reflecting the solemnity and depth of a work that marks the transition of eras. However, I am more interested in Ghent's castle. Flanders was a small country, perhaps only as large as a few counties in my country, but in the late Middle Ages, it became one of the most prosperous countries outside of Italy due to foreign trade. Especially in the 15th century, when the heir to the country married the Duke of Burgundy in France, under the protection of a strong power, internal feudal disputes were reduced, and the country flourished in industry and culture. Of course, this castle was built before gunpowder was used as a weapon in war, and it was built by the Count of Flanders in the 12th century, so it still bears witness to the cruel deeds of medieval lords. The is not as large as the Tower of London, but its layout is detailed and compact. Its compactness makes it even more striking. The central part of the castle is a tall, square building, which is the main structure. This was where the dramatic activities of medieval warriors took place. Below are the dungeons, except for the dark, food-dropping holes and various execution rooms, which housed a variety of cruel instruments, now moved to an exhibition room on the upper floor and accompanied by photos explaining their use—the scenes are truly. The important spaces were the halls on the upper floor, used for communal meals and ceremonial gatherings. The roofs were extremely high, and the interiors were spacious and column-free, likely serving as the lord's place for educating his warriors. The in Ghent, this hall is not particularly impressive and is simple and plain, showing the crudeness of medieval architecture compared to castles built in the 15th century. The fortress includes the lord's private residence, so a more comfortable house was built behind the main hall in the style of lowland houses, with a stepped gable roof. For safety, the house was three stories high, with the lower level occupied by guards. The rooms on the upper floors were not luxurious, merely furnished with wooden panels. A corridor connected the rooms to the main hall on the upper floor, perhaps for defense and security, supported by two-story large arches from below, looking truly breathtaking. Compared to the large arches and projecting round turrets, this is one of the most striking aspects of medieval castle architecture. Climbing to the top of the castle, where ancient warriors once stood guard and watched, offers a beautiful view of the castle's outer walls and the surrounding low-rise houses and streets, as well as the square where death sentences were once publicly carried out. It is a pleasant sight. Looking at the nearby red, intersecting roofs and the distant spires of the "St. Bavo's Cathedral" and the "Saint Nicholas Church," one can only wonder if medieval guards could have enjoyed this beauty while the cries from the execution rooms still echoed in their ears. In fact, the more interesting aspect of the is the view from the roof of its castle's rear river and the 15th-century commercial buildings along the river. It turns out that the castle was built in the 12th century, and Ghent's political and economic status relied entirely on the "Lys," a small river only about 20 meters wide, which flowed from Bruges straight to the North Sea and was a trade route. Naturally, ships docked along the river. Those beautiful "guild" buildings faced the river. Today, they seem to provide a beautiful backdrop for the majestic castle, but in the 12th century, when the castle was built, the river was important but not as bustling as later. The castle was built near the river, likely for economic control of the waterway and for easier defense. Today, the water of this area reflects the buildings across the river, and the high grassy lawns within the castle create a sense of peace and tranquility for this relic of the feudal era. This book is comprehensive and detailed, accompanied by numerous beautiful illustrations, making it an excellent guide for travelers and a valuable teaching tool for architectural historians. The author, with the perspective of an architectural historian, has traveled extensively across Europe, wandering among historical sites and immersing himself in civilization. Through his firsthand experiences, he guides readers to sensually understand European architecture and its history.