Lin Huiyin's Architectural Writings

Author: Lin Huiyin
Publisher:
Publish Date: 2006-08-01
Features: As for the aesthetic aspects of Chinese architecture, it can be said that it has been unconditionally recognized by the general public at present. However, the advantages of this architecture do not lie in the superficial colors and carvings, or in special styles, but are deeply hidden in the fundamental structural principles that generate this beauty, as well as the Chinese people's absolute understanding and control over ornamentation. If we wish to praise the glorious architectural art of our country, we should explore its structural principles and basic technical facilities rather than blindly and irresponsibly using highly abstract or superficial poetic praise to drape over any external form, imitating the British gentleman Lord Rosken (Puskin) who enthusiastically sang high praises for the Gothic architecture. Architectural art is a sincere creation under extremely harsh physical constraints. From the ability of humans to stabilize the ground with two vertical pillars and a horizontal beam to the construction of multi-story towers, the arduous progress includes both advancements in engineering science and the development and enrichment of aesthetic thought. These two aspects advance side by side under the overarching theme of architectural progress. Although the aesthetic thought side often deviates from their common goal—creating good architecture—to go beyond the norm, indulging in its skillful tricks and luring the engineering side to sacrifice structural integrity for the sake of superficial appearances, in such circumstances, the architecture itself is often compromised, damaging its true value. In the architecture of various dynasties in China, there are many such examples, so the masterpieces in the series of Chinese architecture are also extremely rare and hard to find. In general, every artistic movement goes through stages of creation, experimentation, maturity, imitation, proliferation, and decline, and architecture is no exception. Early works are particularly creative and experimental. Once the experiment succeeds and the results are satisfactory, reaching the pinnacle of perfection, it enters the period of complete maturity. After maturity, there is a certain period of imitation and adherence, where one is neither willing nor able to surpass the existing conventions; this period often sees the establishment of rules and regulations. Next comes the addition of complexity and richness in details to avoid monotony and seek variation, which is when the artistic activity deviates from its goal. This period first proliferates and then declines, losing the original core spirit and becoming meaningless forms. After decline, the new style that arises is the revolutionary force of the second trend. The second trend, having learned from the strengths and weaknesses of past works, further studies and explores the essence of the era, which is the origin of research and textual criticism. The history of Chinese architecture, using the limited materials we currently have as references, can already roughly reveal the rise and fall of each period. We have now also reached the era where examination and research should be conducted. In these limited architectural relics of each dynasty, it is very possible to observe and explore the characteristics of their structures and styles to certify the spirit and techniques of the architecture of that era—whether it was flourishing or declining, superior or inferior. However, this cannot be discussed until the fundamental principles of Chinese architecture have been analyzed. P4-5