History fading away

Author: Zheng Guoming
Publisher:
Publish Date: 2006-07-01
Features:
(IV) The Cultural Connotation of Siheyuan
Many siheyuan still remain in the area around Shichahai in Beijing, although most of them have become crowded, losing the delicate beauty of traditional siheyuan. Nevertheless, they exist uniquely. Walking along the shore of Houhai, one after another siheyuan come into view. The grandeur of princely residences, the elegance of ordinary folk's homes—each has its own charm, no longer distinguishing between status, but in the past, there were strict distinctions. People of different social standings designed their siheyuan according to the requirements that reflected their class. Even with the same gray bricks and tiles, marked with the grades of "si, liu, jiu," they carried distinctions of hierarchy. Princes naturally wanted to emphasize their royal aura, so they would decorate the main gate, eaves, door panels, door nails, roof ornaments, and screen walls extensively, allowing passersby to gauge the owner's status at a glance. Ordinary people, however, dared not have such ambitions and could only build their siheyuan in a conventional manner, never daring to deviate. Take the roof ornaments, for example—they hold profound wisdom and clear hierarchies. Placing ornaments on the roof was a Taoist architectural style. Perhaps because the dedicated practice of Taoist priests feared interference from external malevolent forces, they arranged several imposing mythical creatures—fierce and glaring, scaring away birds, ghosts, and thieves. These creatures were half-fish and half-bird, gradually evolving into dragon-like forms and even being listed as one of the nine sons of the dragon. Imperial palace roofs were adorned with dragon-shaped ornaments, symbolizing the sacred and majestic power of the emperor. Commoners, however, dared not use such dragon ornaments, as it would be considered a grave offense, inviting severe punishment. Yet, unwilling to leave their roofs bare, they devised a solution: raising the ends of the roof slightly upward—this component is called the "scorpion tail." The emperor's ornament was called the "" (wěn) or "" (tóu), while the commoner's was called the "" (wěir), clearly marking the hierarchy.
The Chinese have always favored the study of feng shui, which is essentially the belief in geomancy. According to ancient texts, "Feng refers to the concealment and containment of mountain trends, the firmness of soil color, avoiding direct winds from all four directions, and what is called 'wind without direction.' Water refers to the high and dry terrain, preventing water from entering the body." Although feng shui is often associated with superstition, the Chinese have never abandoned this belief. At its core, feng shui boils down to four characters: seeking prosperity and avoiding misfortune. Siheyuan embody the geomancy of ancient Chinese architecture. The influence of feng shui is like an ever-expanding moss, permeating the bricks, tiles, and timber of siheyuan. Why are siheyuan oriented north to south? Why is the main gate on the southeast? Why is the toilet on the southwest? Why is the kitchen on the northeast? Why are screen walls and reflecting walls needed? What colors are used for various halls and pavilions? None of these are arbitrary designs but are arranged by the wise ancient Chinese people according to the principles of the Five Elements and the Bagua, seeking prosperity and avoiding misfortune. Whether scientifically sound or not, the owners of siheyuan always hope for peace and safety, avoiding disasters and illnesses throughout the year or their lifetime. P12-13