# Collected Writings on Architecture by Lin Huiyin

Author: Lin Huiyin
Publisher:
Publish Date: 2006-08-01
Features: In terms of the aesthetic beauty 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 rather in the fundamental structural principles that produce 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, irresponsibly, and abstractly praise any external form with poetic flattery, imitating the British gentleman Lord Rosken (Puskin) who enthusiastically sang praises for the Gothic architecture. Architectural art is a sincere creation under extremely harsh physical constraints. From the ability to stabilize a horizontal beam between two vertical pillars on a flat surface to the construction of multi-story towers, the arduous progress has been partly due to advancements in engineering science and partly to the development and enrichment of aesthetic thought. These two aspects advance side by side under the overarching theme of architectural progress. Although the aesthetic side often deviates from their common goal—creating good architecture—to go beyond the norm, indulging in its skillful tricks, and tempting the engineering side to sacrifice structural integrity for superficial appearances, in such circumstances, the architecture itself is often compromised and its true value diminished. There are many such examples in the architecture of various dynasties in China, so the masterpieces in the Chinese architectural series are extremely rare and hard to come by.
Generally, 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 experiments succeed and the results are satisfactory, reaching a state of perfection, they enter a period of full maturity. After maturity, there is often a period of imitation and adherence, where one is neither willing nor able to break from existing conventions; this is often when rules and regulations are established. Next comes the addition of elaborate details to avoid monotony and seek variation, which is when artistic activity goes beyond its goal. This period first proliferates and then declines, losing its original essence and becoming meaningless forms. After decline, the new style that emerges is the revolutionary force of the second trend. The second trend, having learned from the strengths and weaknesses of past works, studies and explores the essence of the current era, which is the origin of textual research. 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 reached an era where examination and research should be conducted. Within these limited architectural relics of various dynasties, it is possible to observe and study their structural and stylistic features to certify the spirit and craftsmanship of the architecture of that time—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