Soul's abode

Author: Liu Hua
Publisher:
Publish Date: 2006-06-01
Features: The author attempts to the emotions and thoughts embedded in the colorful folk ancient architecture such as ancient villages, walled houses, ancestral halls, and opera stages, guiding readers to appreciate the architecture, imagine the history, and enhance their aesthetic initiative in appreciating ancient village buildings. This helps to understand the cultural demeanor, spiritual temperament, and spiritual history of a region or even our nation. So, why can it still captivate people with its dazzling artistic treasures today? I prefer to explore the mysteries in every old house, every brick, and every beam—I admire the formal beauty composed of elements such as the facade, shape, volume, and group of the architectural art. I admire the details that record design, technology, and craftsmanship levels, especially those filled with artistic imagination, such as the intricate and dazzling ceiling coffers, the magnificent door towers and canopies, the exquisitely carved brackets and braces, as well as the lightweight eaves and upturned corners like wings. What lingers in my memory is the various arts scattered throughout—carvings made of wood, stone, and brick, the art depicted under the eaves and doorframes, and the calligraphy inscribed on plaques and pillars. Through these patterns and texts, exploring the formation of folk customs, the evolution of trends, and the history of life is far more intuitive than examining building materials and design styles. It is precisely those works that sometimes appear extremely lavish and elegant that reveal the vibrant folk ideals to me—expressed through rituals, pride, and moral teachings, bridging the past and the present. Or perhaps, it is just a simple narrative, a pleasing arrangement. However, the ideas, concepts, emotions, and sentiments embedded in them can silently awaken the sense of identity in generations. This sense of identity often arises in a dreamlike state. The folk art that enhances the glory of ancient villages reflects one of the themes of folk ideals: the declaration of the relationship between humans and nature, one of dependence and reverence. Those images of sun, moon, mountains, rivers, flowers, birds, fish, auspicious birds, and auspicious animals are deeply connected to people's innate love for nature. Moreover, these images have long been infused with human wishes and intentions, becoming various symbols. Even those human-themed scenes depicting opera stories and life situations, whether majestic, elegant, or familiar, once prominently displayed against the backdrop of ancient village architecture that resonates with nature, do they not also become a declaration and a dialogue of humans with nature? It is a persistent and endless dialogue. Amidst peace, there is no lack of reverence; alongside taboos, there is full gratitude. —I am always amazed by the continuous discovery of ancient villages. Such discoveries often leave me in a daze, as if ancient villages are not living entities but ruins unearthed from the depths of time. Everyone knows that their existence is undeniable, but they are simply "hidden away and unknown." I think the reason for claiming "discovery" may be that it is aimed at the eyes that are bewildered by buildings lacking personality, even beauty. Here, of course, there is no need to argue about the verb. In fact, I am grateful for the news of "discovery," as it is these messages that lead me to explore the secrets of ancient villages locked by time and space. Entering any ancient village, we can experience its always vibrant truth. Living in the lanes, the riverbanks flow gently, the fragrance rises from the gaps in the tiles and between the leaves. Many solemn walls still bear memories of turmoil, and many newly repaired ancestral halls ignite even more incense. Every season, on sunny days, the roofs, shelves, and open spaces, as well as