Chinese Religious Architecture - SRM University

CULTURE OF
Mrs. S.H.R.Jawahar Benazir, School Of Architecture & Interior Design
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• CURRENTLY THE MOST INTERESTING COUNTRY ON THE PLANET
• The third most visited country in the world for tourism.
• The world’s largest population and third largest area.
• One of the longest national histories in the world: 3,000+ years of documented
history.
• A great array of historical relics including: the world’s longest wall, the Great Wall
of China, theworld’s largest collection of 2,000-year-old life-size figurines,
the Terracotta Army, and the world’s largest ancient palace, the Forbidden
City
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CHINESE CULTURE

• The world’s fastest growing economy for the last 30 years (10% or more per year).
• Fastest urbanization: i 300 million people have moved from rural areas to cities ii in the
last 30 years, and the same is predicted for the next 30 years.
• Most construction: Half of the world’s concrete and a third of the world’s steel is used
annually in China.
• Greatest altitude difference: 9,002m (29,534 ft) — Mount Everest 8,848m (29,029 ft) to
the Turpan Depression -154m (-505 ft) — the world’s highest point and world’s third
lowest.
• Greatest range of climate: below -40°C in the north to above 40°C in the south, from a
few mm of rainfall (less than an inch) in the Taklamakan Desert in the Northwest to over
3 meters (10 feet) in a year in the Southeast.
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CHINESE CULTURE

• Origin of the only surviving pictographic writing system, and the world’s mostspoken
and most-difficult-to-learn first language.
• A huge depth of culture developed in a long and relatively isolated history :
Confucianism and other philosophy, Taoism, tea culture, martial arts, poetry, calligraphy,
the imperial legacy, traditional dress and minority traditions, ancestor worship, the
animal zodiacs, etc.
• Widest variety of commonly held belief systems on the planet: from capitalist to
communist to spiritual, from atheist to ancestor worship to Buddhist to Muslim to
Christian.
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CHINESE CULTURE

CHINA
• China is situated in eastern Asia on
the western shore of the Pacific Ocean,
with an area of 9.6 million square
kilometers.
• China's continental coastline extends
for about 18,000 kilometers, and its
vast sea surface is studded with more
than 5,000 islands
• China is one of the world's four ancient
civilizations.
• Beijing serves as the capital city of
the country for more than 800
years.Beijingishometosomeofthe
finest remnants of China's
imperial past,.
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CHINESE CULTURE

PROVINCES OF CHINA
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CHINESE CULTURE

GEOGRAPHY
• Most international borders (14): Russia,
Mongolia, Kazakhstan, Kyrgyzstan, Tajikistan,
Afghanistan, Pakistan, India, Nepal, Bhutan,
Myanmar, Laos, Vietnam, and North Korea
• Area: 9,600,000 square kilometers
(3,700,000 square miles)
• Population: 1.3 billion
• Capital: Beijing
• Largest City: Shanghai
• Administrative divisions: 23 provinces
(including Taiwan), 5 Autonomous Regions, 4
Municipalities, and 2 Special Administrative
Regions
• Terrain: 33% mountains, 26% high
plateaus, 19% basins and deserts, 12% plains li
regions, 10% hills.
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CHINESE CULTURE

WEATHER & CLIMATE
• China has a continental climate,
and a latitude spanning nearly 50
degrees.
• Much of the landmass is situated in
the
temperate
zone, with the
tropical and subtropical zones to the
south, and reaching the frigid zone
in the north, so temperatures differ
strikingly gyacross the country.
• China's high tundra zone is situated
in the Qinghai-Tibet, where the
temperature is low in all four
seasons, and incredibly low in
winter.
• Some desert areas are dry all year
round.
SPRING
SUMMER
AUTUMN
WINTER
CHINESE CULTURE
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MOUNTAINS
• There are thousands of mountains of
various sizes scattered across China's
vast territory.
• Among them, the most famous scenic
mountains include: the Yellow
Mountain (Huangshan), Mt Tai (Tai
Shan), Mount Emei, Hua Shan and
Lushan .
• Mountains have a special role in
Chinese Buddhism because Buddhists
tend to build temples and shrines on
secluded mountains.
• The four most well-known Buddhist
mountains are: Wutai Mountain ,
Putuo Mountain, Mount Emei andd
Jiu huashan.
Mt.Tai
Yellow Mountain
Mt.Emei
CHINESE CULTURE
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RIVERS
• Among the 220,000
kilometers of rivers
the Changjiang
(Yangtze), Huanghe
(Yellow (eow River) Rve and ad
Zhujiang (Pearl River)
are the most famous.
• Yangtze
River
Basin is the cradle of
Chinese civilization, as
the many culturalhistorical
sites along
the banks of the
Yangtze River.
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CHINESE CULTURE

CHINESE HISTORY
About 3,000 years of recorded history, with traditional accounts of prior dynasties.
• 770–221 BC: Rival states grow in strength and battle for control.
• 221 BC China united by First Emperor Qin
• 206– 220 AD the Han Dynasty takes over giving its name to the Chinese majority.
• 618-907: the Tang Dynasty - China influenced the west through the ancient Silk Road
• 1271–1368: the Yuan Dynasty — China’s first foreign dynasty (of Mongol origin)
• 1368-1644: the Ming Dynasty - Most of the Great Wall that we see today was constructed
• 1644–1911: the Qing Dynasty — China’s second foreign dynasty (of Manchu origin) and
last dynasty
• 1912–1949: 1949: the Republic of China years — internal struggle for power
• October 1, 1949 People’s Republic of China inaugurated by Mao Zedong
• 1978: Deng Xiaoping begins China’s opening up reforms leading to rapid economic growth.
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CHINESE CULTURE

CHINESE INVENTIONS/CONTRIBUTIONS
‣ WRITING
‣ MAGNETIC COMPASS
‣ MOVABLE SAILS & RUDDER
‣ COAL &IRON REFINING
‣ PORCELAIN
‣ CANALS & LOCKS
‣ ROADS AND RELAY HOSTELS
‣ GUN POWDER
‣ MECHANICAL CLOCK
‣ ABACUS
‣ SPINNING WHEEL
‣ PAPER MONEY
Mechanical
Clock
Abacus
Magnetic Compass
Porcelain
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CHINESE CULTURE

ETHNIC GROUPS IN CHINA
• China is a multiracial country with
55 ethnic groups, including Achang,
Bai, Bonan, Blang, Bouyei, Korean, Daur,
Dai, De'ang, Dongxiang, Derung, Oroqen,
Russian, Ewenki, Gaoshan, Gelao, Hani,
Kazak, Hezhen, Hui, Jino, Gin, ingpo,
Kirgiz, Lahu, Li, Lisu, Lhoba, Manchu,
Maonan, Mongolian, Monba, Miao, Mulam,
Naxi, Nu, Primi, Qiang, Salar, She, Sui,
Tajik, Tatar, Tu, Tujia, Va, Uygur, Uzbek,
Xibe, Yi, Yuigur, Yao, Tibetan, and
Zhuang.
• Most of these ethnic people lives in
China's southwestern and northwestern
frontiers, such as Guizhou, Sichuan,
Yunnan province, and Xinjiang and Tibet.
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CHINESE CULTURE

POPULATION OF CHINA
• China is the most heavily
populated country in the world.
Over 1.33 billion in fact, over
40% urban.
• Stringent population controls
have been in place for several
decades, and the government
aims to limit the mainland
population lti to 1.37 billion by
2010.
• However, the population of great
Beijing, for example, is
approaching 15 million.
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CHINESE CULTURE

LANGUAGES OF CHINA
‣ In china, there are various kinds
of minority languages, which is
very rare in the world.
‣ The MANDARIN language group
forms the largest group spoken
in China and consists of a wide
range of dialects in the northern,
central, and western regions.
‣ Mandarin → Jin
‣ Wu → Huizhou
‣ Yue → Pingh
‣ ua
‣ Min
‣ Xiang
‣ Hakka (Kejia)
‣ Gan
Yue
Wu
Mandarin
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CHINESE CULTURE

CHINESE CALLIGRAPHY
• Being one of the world's oldest continuously used and active writing systems, Chinese characters
can be traced back to the Shang Dynasty (1600 BC-1046 BC).
• Over thousands of years, the writing of Chinese characters has been evolved into a highly
regarded art form, the Chinese calligraphy.
• Calligraphy is considered as a treasured artistic form of Chinese culture.
• It is not merely a practical technique for
writing Chinese characters or a tool for written
communication, but also, more importantly, a
unique expression of the spiritual world of the
calligrapher.
• It conveys the emotions, aesthetic feelings,
moral it integrity it & character of the calligrapher.
Paper Scroll
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CHINESE CULTURE

TRADITIONAL CLOTHING OF CHINA
• Three main types of traditional Chinese clothing are the
pienfu, the changpao, andthe shenyi.
• The pienfu is an ancient two-piece ceremonial costume of
a tunic-like top extending to the knees and a skirt or
trousers extending to the ankles.
• The changpao is a one-piece garment extending from the
shoulders all the way to the heels.
• The shenyi is a cross between the pienfu and the
changpao; it consists of a tunic and a skirt or trousers like
the pienfu, but the tunic and the skirt are sewed together
and essentially one piece like the changpao. Consequently,
the shenyi was the most widely worn of the three types.
• Three types of clothing were wide and voluminous sleeves
and a very loose fit. Tunic and trousers or tunic and skirt,
utilized a very minimum number of stitches for the amount
of cloth used.
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CHINESE CULTURE

TRADITIONAL
CLOTHING
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CHINESE CULTURE

CHINESE MEDICINE
• According to Chinese religious philosophy, p all
things in nature, both on this planet and
beyond, are interrelated.
• TCM embraces a number of other health-related
concepts in the broadest sense, including
concepts such as animism (the notion that all
things possess a spirit), the yin and the yang
(the notion of opposing forces in nature and of
striking the right balance between the two), Qi
Gong and Feng-shui (both are based on the
mind-over-matter notion that there exist
exogenous forces in nature that can and should
be harnessed to provide well-being) etc.,
• practices such as acupuncture, moxibustion, Tui
N(A Na(Acupressure), Taiji Quan ("internal" martial il
HERBS
art), and fire cupping etc., to name a few.
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CHINESE CULTURE

CHINESE
ACUPUNCTURE
CHINESE
MOXIBUSTION
CHINESE FIRE
CUPPING
Chinese Qi Gong
CHINESE TUI NA 20

RELIGIONS
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CHINESE CULTURE

BUDDHISM
• Buddhism is the most
important religion in China.
• It is generally believed that
it was spread to China in 67
AD during the Han Dynasty
(206 BC-220) from Hotan in
Xinjiang to Central China.
• During its development in
China, it has a profound
influence on traditional
Chinese culture and
thoughts, ht and has become
one of the most important
religions in China at that
time.
CHINESE CULTURE

TAOISM/DAOISM
• Daoism or 道 教 (dào jiào) is one of
China’s major religions indigenous to
the country.
• The primary belief is in learning and
practicing “The Way” (Dao) whichis
the ultimate truth to the universe.
• Daoism traces its roots to 6th Century
BC Chinese philosopher Laozi wrote
the iconic book Dao De Jing on the
tenets of the Dao.
• Daoist religion was born at the time of
the Han Emperor Shun-di at the end of
the first century A.D. At this time.
• The term "Daoism" is also associated
with ihassorted naturalistic i ormystical
religions.
CHINESE CULTURE

ISLAM
In the Tang dynasty, y, Islam was
introduced to China by the
Arabian merchants. Many
Muslims settled in China and
married Han people.
Christianity, one of the three big
world religions to come to China
from the west - it was the
second to arrive - after
Buddhism and before Islam.
CHRISTIANITY
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CHINESE FESTIVALS
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CHINESE CULTURE

CHINESE NEW YEAR
• Chinese New Year, also known as the Spring
Festival, is the most important traditional
festival.
• It falls on the first day of the first Chinese
month (late January and early February),
and ends with Lantern Festival which is on
the 15th day.
• Various cultural activities such as lighting
fireworks, dragon dancing, lion dancing
and other traditional performances, are
arranged in parks and streets in cities and
towns.
• Every family thoroughly cleans the house,
sweeps the floors and washes daily things.
It is bli believed to di drive away ill-fortune &
bring good luck in the coming year.
Toys
at
New
Year Fair
Lion
Dance
clay
figurines
sold at the
new year
fair
CHINESE CULTURE
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LANTERN FESTIVAL
The first month of the Chinese calendar is called yuan
month, and in ancient times people called night xiao;
therefore, the day is called Yuan Xiao Festival in China
and Taiwan.
The fifteenth day is the first nighttoseeafullmoonin
that lunar year. According to Chinese tradition, at the
very beginning of a new year, when there is a bright full
moon hanging in the sky, there should be thousands of
colorful lanterns hung out for people to appreciate.
CHINESE CULTURE
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SHOTON FESTIVAL
• The Shoton Festival is one of the
most popular traditional festivals
in Tibet.
• In the Tibetan language, the word
Shoton means "sour milk
banquet."
• Buddhists go to mountains to
cultivate themselves, and then
after the period of cultivation,
their family members will go and
meet them on the mountains.
• On their way home, people drink
yoghurt, sing and dance. The
Shoton Festival has become a
comprehensive celebration lb that
influences the culture of Tibet.
Buddha Thangka
painting iti
unfolding
ceremony,
Zhaibung-
Monastery
of Lhasa
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CHINESE CULTURE

LUCKY NUMBERS AND COLORS IN CHINESE CULTURE
• In Chinese culture, certain numbers are
considered "lucky" because their
pronunciations sound similar to words
that have "lucky" meanings.
• People select lucky numbers when
choosing residences, tl telephone
numbers, business addresses, wedding
dates, festivals and other celebratory
events.
• If the day has an 8, it is believed to
bring luck. If the day has a 9, the
business will have permanence. If
the day has a 6, the venture will be
successful.
• Number 8 indicates prosperity,
Wealth, success or social status.
Number 8 sounds similar to the word
"Fa" in Cantonese.
• "Fa" means prosperity, wealth, success,
or social ilstatus.
tt
• Even numbers are preferred over
odd numbers. Chinese believe in
harmony and balance.
• Therefore, even numbers are preferred
over odd numbers. Number 2 represents
harmony, and number 6 success.
• YELLOW, RED AND GREEN ARE
CONSIDERED LUCKY COLORS
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CHINESE CULTURE

• Yellow symbolized royalty and power
of the throne. The first Emperor of China
was known as the Yellow Emperor.
• China was often referred to as Yellow Earth,
and its mother river is the Yellow River.
• During the Song Dynasty, yellow glazed tiles
were used to build imperial palaces.
• During Ming and Qing Dynasties, emperors
were dressed in yellow imperial robes.
• They rode in "Yellow Palace" carriages and
traveled on "Yellow Paths".
• Official flags were yellow. Official seals were
packaged in yellow fabric.
• yellow glazed tile roofs adorned the roofline
of the Forbidden city.
• Gildedd copper urns and animals adorn
many palaces.
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CHINESE CULTURE

• Red is the Chinese
national color and
represents happiness,
beauty, success and good
fortune.
• Red lanterns adorn businesses
and residences.
• Double rows of red "Xi"
(happiness) letters are pasted
on gates and doors.
• People wore red during
weddings, festivals and other
celebrations.
• Green symbolizes money.
Buildings, banks and
restaurants are often painted
in green and red.
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CHINESE CULTURE

MYTHS & LEGENDS
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CHINESE CULTURE

DRAGON
• The Chinese dragon is a symbol of
wisdom, power, and luck in Chinese
culture.
• Dragons have long been a symbol blin
Chinese folklore and art.
• Temples and shrines have been built
to honor them.
• Thedragonsarebelievedtocontrol
the rain, rivers, lakes, and sea.
• They can ward off wandering evil
spirits, protect the innocent, and
bestow safety ft unto all. They are
called lung or long in the Chinese
language.
• In yin and yang, a dragon is yang
and complements a yin fenghuang
Nine Dragon Wall
Dragon
on Roof
tops
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CHINESE CULTURE

BA-GUA : THE EIGHT TRIGAMS
• The Ba-gua are eight diagrams
used in Taoist cosmology to
represent the fundamental
principles i of reality, seen as a
range of eight interrelated
concepts.
• Each consists of three lines, each
line either "broken" or
"unbroken," representing yin or
yang, respectively.
• A bagua map is a tool used in
feng shui hi to map a room or
location and see how the
different sections correspond to
different aspects in one's life.
• These are believed to relate to every area or aspect of
life and are divided into categories as fame,
relationships/marriage, children/creativity, helpful
people/travel, career, inner knowledge,
family/ancestors/health, and wealth/blessings etc.,
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CHINESE CULTURE

PERFORMING ARTS
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CHINESE CULTURE

FOLK DANCE
• The early Chinese folk
dances, like other
forms of primitive art,
were essentially ritual
enactments of
superstitious beliefs
performed in the hope of
a good harvest
• Two of the main
Chinese folk dances
– the Dragon Dance and
the Lion Dance – stem
from the Han Chinese.
Lion
dance
Dragon dance
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CHINESE CULTURE

SHADOW PLAYS
• In China, people staged dramas on
screens and added musical
entertainment and sound effects.
• Shadow plays were one of the types of
puppet theater that were popular in
China before the modern era.
• Even in rough camps of troops or
primitive villages, the people could
entertain themselves by moving
figures against a screen or sheet
illuminated by a lamp.
• For the royal courts or the rich
people, the performers added refined
music and sound effects, and the
shadow theater performers might
have been highly experienced.
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CHINESE CULTURE

PUPPET PLAYS
• Called "marionette show" in
ancient China, a puppet show is a
theatre performance in which
puppet figures are made to moveby
puppeteers pulling strings or by
putting their hands inside their
hands inside them.
• After the Han Dynasty, a puppet
show gradually developed into a
folk art combining opera, literature,
sculpture and painting that
appealed ld to bth both humans and
divinities.
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CHINESE CULTURE

PEKING OPERA
• Peking Opera is a form of traditional Chinese
theatrical art which combines music, vocal
performance, mime, dance, and acrobatics.
• It appeared in the late 18th century and
became fully developed and recognized by
the mid-19th century.
• This form of opera
was extremely
popular in the Qing
Dynasty court and
has been taken as
one of the cultural
treasures of China.
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CHINESE CULTURE

KUNG FU
• Kung fu, (also known as
wushu or martial arts) is
one of the most well
known examples of
traditional Chinese
culture.
• The theory of Kung Fu is
based upon classical
Chinese philosophy.
p • Over its long history it
has developed as a unique
combination of exercise,
practical self-defense,
self-discipline and art.
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CHINESE CULTURE

ACROBATICS
• The performance of
physical feats such as
leaping, hopping,
swinging,
twisting,
tumbling, cart-wheeling
and somersaulting, and
even cycling, rollerskating,
walking or
standing, the latter
perhaps on only one foot,
where these require
complete poise, such as in
connection with tightrope
performances, involving
bl balance and the precise
control of movement.
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CHINESE CULTURE

ARTS & CRAFTS
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CHINESE CULTURE

CHINESE SILK
• China is the birthplace of silk.
• Sericulture (the raising of silkworms for silk
production) has a history of over 6,000 years.
• For more than 2000 years, the Chinese kept the
secret of silk to themselves. It was one of the
most zealously guarded secrets in history.
• Silk garments were worn by emperors & royalties
and became an indication of wealth. Common
people p were prohibited from wearing silk.
• With increased travels and trading, sericulture
slowly reached the outside world, first to Korea,
then to Japan, India and finally Europe.
• Brocades are made with very high quality silk
materials. The three top brocades are Sichuan
Shu brocade, Suzhou Song brocade, and
Nanjing Yun brocade.
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CHINESE CULTURE

CHINESE LANTERNS
• The Chinese lantern originated as an
improvement over the more simple, more
natural & more widespread source of lighting:
• The lantern is used in festivals, especially in
Lunar New Year, Mid-Autumn Festival and
Lantern Festival.
• During these events, streets in big cities and
small towns are decorated with red lanterns.
• While the earliest Chinese lanterns were
created for use in the home and for use as
entrance-way lighting (which, as all human
endeavors, eventually became a status symbol)
eventually became highly ornamental.
• The lantern also made an excellent
"flashlight“ h & aportable lighting i medium.
Traditional Chinese Lanterns
Lantern Festival 44
CHINESE CULTURE

CHINESE EMBROIDERY
• Ancient Chinese embroidery was
crafted using silk, since the
Chinese had already learned how
to spin silk thread from
silkworms. The earliest extant
example of Chinese silk
embroidery is a ritual garment
recovered from a 4th century BC
burial tomb at Mashan, which
stems from the early Taoist era.
• The four schools of Chinese
embroidery are:
Shu embroidery
Xiang embroidery
Su embroidery
Yue embroidery.
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CHINESE CULTURE

CHINESE KNOTS
• The art of knotting is an ancient Chinese
handicraft that dates as far back as the
Tang (CE 618-907) Dynasty.
• The most commonly used knotting
material in China is silk, which comes in a
varietyofbrightcolors,red being one of the
most popular colors in China, as it symbolizes
good luck, a long and prosperous life, etc.
• Used as a hanging g decoration in the home and as
an adornment to articles of clothing.
• Chinese Decorative Knotting ranges from articles
of jewelry - rings, earrings, bracelets and
necklaces, as well as small pendants that hang on
bracelets and necklaces to actual articles of
clothing – ornamental, articles il of clothing –
such as buttons and belts.
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CHINESE CULTURE

CHINESE CLOISSONE
• Chinese cloisonné was strictly of the
enameled variety (the other, and original,
variety used small, worked precious stone
pieces that were held in place by the
soldered metal strip that was snuggled
around the stone's base, similar to the way
that modern-day jewels are held in their
settings), and as such was most certainly an
imported craft.
• The earliest cloisonné seems to have
originated in Egypt around BC1800.
• The earliest cloisonné was, as indicated,
small pieces of precious stone that were set
ontoacopperbaseontowhichbrassstrips,
standing edgewise, hd had been soldered,
d
creating small enclosures, or cloisons.
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CHINESE CULTURE

CHINESE WAX PRINTING - BATIK
• Wax printing, also known
as batik, is one of the
three ancient Chinese
handicraft methods of
producing dyed, multicolored
textiles via a
process which prevents the
dye from reaching certain
(chosen) parts of the fabric.
• It is believed that wax
printing existed in China
as early as during the
late Qin (BC 221-207) or
early Han (BC 206 – CD
220) Dynasty.
48
CHINESE CULTURE

CHINESE BONSAI
• Chinese Bonsai is the art of designing g a miniature
tree in a shallow pot or container.
• Chinese Bonsai, inspired by nature, originated in
China around 1300 years ago. Originally Bonsai was
practiced only by the elite of ancient China.
• The miniatures trees were considered a luxury and
were given as gifts.
• Around 1100 AD Buddhist monks brought the
Bonsai to Japan and the art was adopted by the
Japanese.
• The purpose of Bonsai is not just to re-create
nature in a pot, but to actually capture the spirit.
The Chinese see the universe as having two sides of
cosmic energy; this is called the yin and the yang.
• In aBonsai tree, this is depicted d through h drama,
rhythm and balance.
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CHINESE CULTURE

JADE ARTICLES
• In China, nephrite was
regarded as a status symbol and
was used for jewelry and for
expensive decorations.
• In the distant past about 4,000
years ago, jade was used to
carve weapons and useful
articles such as cups and
buttons.
• It has always been considered a
luckycharmandfullofvirtue,
and it still a popular gemstone.
• During the Chinese Bronze Age
and before, jade was valuable as
a material ilfor making weapons
and axes.
50
CHINESE CULTURE

CHINESE PAPER UMBRELLA
• The colorfully decorated, almost gauze-like Chinese paper umbrella is as quintessentially
Chinese. The collapsible Chinese paper umbrella is believed to have existed in China since
before the beginning of the Christian era.The decorations vary from solid colors to drawings of
flowers, birds, blossoms, landscapes, etc., as well as calligraphic characters.
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CHINESE CULTURE

CHINESE PAPER CUTTING
• Paper cutting is one of the most popular decorative Chinese
handicrafts. It is popular for its low cost and artistry.
• Moreover, folk paper cutting conveys the content and nature of
traditional culture with its own particular language. Paper
cuttings were mainly used in regional rituals, decorations and
styling.
• In the past, paper was cut into images of people or things
such as money and clothes, which were buried with the dead
or burned at funerals.
• Paper cuttings were also used to decorate sacrifices.
• Used as decorations, and they are usually made with red
paper, which is the most popular and propitious color in
Chinese culture.
• They adorn walls, windows, doors, pillars, mirrors,
lamps and lanterns, and they themselves can also be
given as gifts.
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CHINESE CULTURE

CHINESE PAINTINGS
• Chinese painting has a rich history
as an enduring art form and is well
known throughout the world.
• Traditionally, Chinese painting is
done on rice paper or thin silk,
using a variety of brushes, Chinese
ink and dye.
• Chinese painting covers a variety of
subjects: portrait, landscape,
flowers, birds, animals, and
insects.
• Traditional Chinese painting is
known as “guo hua ( 国 画 )”.
• Traditional painting has also been
done on walls, porcelain li and
lacquer ware.
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CHINESE CULTURE

CHINESE SCULPTURE
Jade Carving
Stone sculpture
Stone Carving
Wood
Carving
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CHINESE CULTURE

BAMBOO CARVING
IVORY CARVING
BRONZE WARE
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CHINESE CULTURE

CHINESE POTTERY &VASES
• Pottery is the oldest artwork of
human beings; One of the most
significant forms of Chinese art.
• China is richly endowed with
the raw materials needed for
making ceramics.
• The first types of ceramics
were made during the
Palaeolithic era.
• Chinese Ceramics range from
construction materials such as
bricks and tiles, to hand-built
pottery vessels, to the
sophisticated Chinese porcelain
wares made for the imperiali court.
Blue & white ware
56
CHINESE CULTURE

A black pottery
cooking cauldron
from the
Hemudu culture
Painted pottery
pot with raised
reliefs of dragons
and
phoenixes,
Han Dynasty
A qingbai porcelain
vase, bowl, and model
of a granary with
transparent blue-toned
glaze, from the period
of the Song Dynasty
57

CHINESE CUISINE / FOOD
• A number of different styles contribute to
Chinese cuisine, but perhaps the best known
are Guangdong (Cantonese) cuisine,
Shandong cuisine, Jiangsu cuisine and
Sichuan cuisine.
• These styles are distinctive from one another
due to factors such as available resources,
climate, geography, history, cooking
techniques and lifestyle of the people.
p
58
CHINESE CULTURE

CHINESE TEA
• Philosophy, ethics and
morality are blended into
tea activity.
• People cultivate their
morality and mind, and
savor life through tasting
tea, thereby attaining joy of
spirit.
• It is said that Chinese tea
lore places an emphasis on
spirit and makes light of form.
• Tea lore had different representations at different
historical periods. Teas are also various, but all embody
the tea spirit of “clearness, respect, joy and
truthfulness”.
CHINESE TEA CULTURE
59
CHINESE CULTURE

ANCIENT CHINESE CURRENCY
• In ancient China, coins were
the main forms of currency.
• Thesecoinscanbemadeof
copper, iron, lead, gold and
silver with different shapes,
weight and marks.
• The metal coins turned up
in the last phase of the
Spring and Autumn Period
(770 BC–476 BC), and the
historyofpapercurrencyin
China can be dtd dated up to the
Northern Song Dynasty
(960–1127).
Copper Cash
Shell money
Paper currency 60

RELIGIOUS
ARCHITECTURE
Prepared by : Mrs. S.H.R.Jawahar Benazir
61

• Chinese religious architecture consist
mainly of temples of Buddhism,
Lamaism, Islamism, and Taoism.
• They differ according to the different
religious doctrines and requirements
of usages.
• Portraits of Buddha, murals, engraved
tablets, calligraphy, Buddhist utensils,
furnishings, and Buddhist scriptures
are displayed in these buildings.
• Buddhist architecture in much of
China follows the imperial style, but
with green roof tiles
• A Buddhist temple normally has a front hall
that houses a statue of a Bodhisattva,
followed by a great hall that houses statues
of the Buddha, with accommodation for the
monks and nuns at either side.
• Taoist architecture is a little less grand. The
main deity is usually represented in the
main hall which is at the front, in contrast
to Buddhist layout where the main hall will
be to the rear. Also, the entrance is usually
at or to the side which is believed to
confuse entry by demons (a Feng Shui
guideline). Taoist roofs are generally blue.
Chinese Religious Architecture
62

• The Buddhists have the pagoda and the stupa;
stele as tombs and sites for inscriptions are
common in all traditions; the ‘spirit ways’ of
Royal tombs and the pailou gates erected by
officials i incitystreetsareallit t t to one extent tor
another kinds of religious architecture.
• Pagodas in particular are the one tradition in
which buildings of wood crossed over into a
monumental stone architecture of uniquely
religious form— minarets, spires, Hindu
shikara, domes, pyramids — that have often
been the most extraordinary achievement of
the Id Indo-European architectures.
t
• The formally unique and distinctively religious,
and the imperial sacrificial venue is best
exemplified by Beijing’s Tiantan/Temple of
Heaven.
• With its intensely symbolic geometric
layout – squares and circles are
everywhere — its remarkablemarble kbl platforms and walkways, designed for
a very specific and significant series
of rituals, and its beautiful —
arguably the most beautiful in China –
circular Hall of Prayer for Good
Harvests, this is of all things a a
structure that exemplifies the
principles i outlined above bt but also
translates them into a building form
that could have no other function than
a religious/ritual one.
Chinese Religious Architecture
63

• Temples in China are invariably located in the most beneficent spot in the landscape:
often facing south, with a hill behind them and a wide valley, ideally containing water,
ahead.
• The landscape can be heavily reworked to make this possible: the upper hall of the
Foguang g Si in Shanxi is quarried into the hillside; behind the ‘little Potala’ at Chengde
is a hill; Or they are associated with specific spots — rocks or springs or other points
deemed to be of significance — regardless of association with a settlement.
• Chinese architecture, then, is to an extraordinary degree about place, and to understand
it one has to engage with the rules of feng shui as they apply to a specific
building and its sie and function (whether it be an imperial temple or a peasant’s
house-god altar).
• The buildings themselves, then, are also arranged, and rather like landscapes, in that
their arrangement is as much about spaces enclosed as about the structures themselves.
Chinese Religious Architecture
64

• Halls running along the main axis, arranged hierarchically; less important functions
are positioned to the sides; the sequence of courtyards that result, and the routes
that interconnect them, is the primary experience of these places.
• The complex interiors and inventive spatial effects of the Western tradition are thus
completely unknown: one encounters rectangular spaces of varying size, containing
impressive, cool halls that can be left undivided as a setting for sculpture or fittings
or partitioned to make rooms.
• Entrances, openings and enclosures are absolutely fundamental; these are often the
focus of decoration, display, and on occasion inventiveness.
Chinese Religious Architecture
65

Chinese Religious Architecture
66

• The Temple of Heaven, literally the
Altar of Heaven (TIAN - TAN) is a
complex of Taoist buildings situated in
the southeastern part of central Beijing.
• One of the largest temple complexes in
china & a paradigm of architectural
balance & symbolism.
• The complex was visited by the
Emperors of the Ming and Qing
dynasties for annual ceremonies of
prayer to Heaven for good harvest.
• It is regarded as a Taoist temple,
although Chinese Heaven worship,
especially by the reigning g monarch of
the day, pre-dates Taoism.
• The Temple grounds cover 2.73 km² of
parkland and comprises three main groups
of constructions, all built according to strict
philosophical requirements:
• THE HALL OF PRAYER FOR GOOD
HARVESTS
• THE IMPERIAL VAULT OF
HEAVEN
• THE CIRCULAR MOUND ALTAR
Chinese Religious Architecture
67

Qinian Dian-Hall of
Prayer for good
Harvests
Echo Wall
Altar to Heaven
Chinese Religious Architecture
68

Qinian Dian-Hall of
Prayer for good
Harvests
Altar to Heaven
Chinese Religious Architecture
69

Golden Finial
Name Plaques-
written in the
Caisson
calligraphy of
ceiling
an Emperor
The Circular
roof symbolizes
the SKY
Red is an
Imperial color
Dragon
&
Phoenix motifs
Chinese Religious Architecture
Blue represents the
color of Heaven
Dragon Wll Well
Pillars
Tablets – in
memory of
ancestors
Symbolic offerings
70

HALL OF PRAYER FOR GOOD HARVESTS
• The HALL OF PRAYER FOR GOOD
HARVESTS is a magnificent triple-gabled
circular building, 36 meters in diameter
and 38 meters tall, built on three levels
of marble stone base, where the
Emperor prayed for good harvests.
• The building is completely wooden, with
no nails.
• The Hall of Prayer for Good Harvests
has four inner, twelve middle and twelve
outer pillars, representing the four
seasons, twelve months and twelve
traditional Chinese hours respectively.
• Combined together, the twelve middle
and twelve outer pillars represent the
traditional solar term.
Chinese Religious Architecture
Circular
mounds
71

• Initially constructed in 1420 in
a square design, it was
reconstructed in 1545 during
Emperor JiaJing's reign as a
round building with a three-
tier roof.
• At that time the roof was
constructed with blue, yellow
and green glazed tiles
symbolising Heaven, Earth
and the mortal world.
• During Qing Emperor
QianLong's reign it was
reconstructed again in 1751.
This time the roof was tiled
only in azure colored tiles.
Chinese Religious Architecture
72

• Inside the Hall are 28 tall pillars, each made from a single tree trunk.The four posts
around the inner circle represent the four seasons.
• The 12 posts around the middle circle represent the 12 months.
• The 12 postsof theoutert circlerepresent 12 ShiChen. In ancient tChina, one ShiChen
equalled two hours so that a complete day was divided into 12 ShiChens.
• The12 gilded pillars and the 12 outer eave pillars together represent the 24 solar
terms of the year.
• The designer used the numbers of the pillars to represent the time division of the
Chinese calendar about hour, day, month and season, and used the round shape of the
structure to represent the endless time and its repetition in endless circles. It is
indeed a building of time.
Chinese Religious Architecture
73

• This design was commissioned by Qing dynasty emperor QianLong (reign: 1736-1795)
in 1751.
• All the buildings within the Temple have dark blue roof tiles, representing the Heaven.
• The cleverly constructed building relies only on carpentry, with no nails employed.
Chinese Religious Architecture
74

Caisson
ceiling
Chinese Religious Architecture
75

The interior of the hall is
magnificently decorated d and
contains a large south facing
ceremonial throne.
Wooden
supports
Chinese Religious Architecture
76

Duo-gong-wooden brackets
Detail from the Hall of Prayer for Good
Harvests – the imperial colors blue, red
and yellow were used in every detail.
Chinese Religious Architecture
77

Huge
dragon
depicting carved
stones along
the
central
stairway
up to the hall. The
emperor rr would be
carried in a sedan
over these
carvings.
Chinese Religious Architecture
78

Panorama of the three main halls
Panorama from the opposite view of the Imperial Vault of Heaven
Chinese Religious Architecture
79

IMPERIAL VAULT OF HEAVEN
• The Imperial Vault of Heaven is a single-gabled circular building, built on a single level
of marble stone base.
• The Imperial Vault of Heaven sits in the center. It is a round building with a roof that
resembles the Hall of Prayer for Good Harvests, though smaller and with only one gable
of eaves and a single tier marble base.
• The hall is 19.2 meters high and with a diameter of 15.6 meters.
• The east and west annexes were used to hold divine tablets of various gods worshipped
at the Altar to Heaven.
• It is located south of the Hall of Prayer for Good Harvests and resembles it, but is
smaller.
• It is surrounded by a smooth circular wall, the Echo Wall, that can transmit sounds over
large distances.
• The Imperial Vault is connected to the Hall of Prayer by the Vermilion Steps Bridge, a 360
meter long raised walkway that slowly ascends from the Vault to the Hall of Prayer.
Chinese Religious Architecture
80

The entrance to the Imperial Vault of Heaven as seen from inside
Chinese Religious Architecture
81

Blue tiled Gable roof
Marble base-single
tier
The Imperial Vault of Heaven
Chinese Religious Architecture
82

ALTAR TO HEAVEN
• At the southern end is the Altar to Heaven (also known as the 'Circular Mound'), an
empty three-tiered plinth that rises 5 meters from a square yard.
• The Circular Mound Altar is the altar proper, located south of the Imperial Vault of
Heaven - it is made of white marble.
• The altar was used to worship heaven at the winter solstice.
• It is an empty circular platform on three levels of marble stones, each decorated by
lavishly carved dragons.
• The numbers of various elements of the Altar, including its balusters and steps, are
either the sacred number nine or its nodules.
• The center of the altar is a round slate called the Heart of Heaven or the Supreme
Yang, where the Emperor prayed for favorable weather.
• The sound of the prayer will be reflected by the guardrail, creating significant
resonance, which was supposed to help the prayer communicate with the Heaven.
• TheAltar was built in 1530 bythe Jiajing Emperor and rebuilt in 1740.
Chinese Religious Architecture
83

Aerial view of th.ecircular
mound
Chinese Religious Architecture
84

SYMBOLISM
• Earth was represented by asquare and Heaven
by a circle; several features of the temple
complex symbolize the connection of Heaven
and Earth, of circle and square.
• The whole temple complex is surrounded by two
cordon of walls; the outer wall has a taller,
semi-circular northern end, representing
Heaven, and a shorter, rectangular southern
end, representing the Earth.
• Both the Hall of Prayer for Good Harvests and
the Circular Mound Altar are round, each
standing on a square yard, again representing
Heaven and Earth.
• The number NINE represents the Emperor and is
evident in the design of the Circular Mound
Altar:
• A single round plate is surrounded by a
ring of nine plates, then a ring of 18
plates, and so on for a total of nine
surrounding rings, the outermost
having 9×9 plates.
• Mathematics and seasonal or celestial
calculations play a major role in the
design of the Qiniandian, with its roof
of three concentric circles being
supported by four massive wood
columns that symbolize the four
seasons.
• Other aspects of the building's design
equate to the twelve months of the
year and twelve hours in a day.
Chinese Religious Architecture
85

The Altar to Heaven
Chinese Religious Architecture
86

A triple set of 'Ling-Xing Gates’
Within the walled square yard is a circular wall. Both inner and outer
walls contain four sets of three gates that resemble monumental archways.
These are known as the 'Ling-Xing g Gates' and are made of white marble.
Chinese Religious Architecture
87

the inner circular wall inside the square outer wall.
Chinese Religious Architecture
88

The Heavenly Center Stone on top of the
Altar to Heaven.
Chinese Religious Architecture
89

• The first ring of consists of 9 stones, the 'magical' highest value digit. Then 18, 27 etc.
• The number of stones in the various concentric tiers are all multiples of nine - a
prevailing numerological theme at the Temple of Heaven.
• The number nine, bi being the highesth value digit, it symbolically bli ll represented td the
EMPEROR.Around the center stone is a ring of nine stones slabs. The next ring has 18
slabs; the next 27.
• There are nine rings in all, with 9 x 9 =81 slabs in the outermost ring. The numbers of
the railing boards and balustrades are also the multiple of nine, all symbolic figures of
the astronomical phenomena.
• The central stone is called the Heavenly Center Stone. It is said that the voice of a person
standing there sounds especially resonant and sonorous.
Chinese Religious Architecture
90

• The Echo Wall encloses the Imperial Vault. It
has a height of 3.7 meters and a
circumference of 193 meters.
• It is named for its acoustical properties - a
whisper spoken at one end can be heard
clearly from the other.
• Further, the Triple Echo Stones in the
courtyard return various numbers of echos
depending on which stone one stands on
while facing the Imperial Vault.
• They are good demonstrations of the
excellent skills of ancient architects in
embroidering acoustics phenomena into
their designing.
• The Hall of Prayer for Good Harvests is
approached hd along a 360 meter raised
walkway : 'Vermillion Steps Bridge' .
• In doing so, one ascends almost
imperceptibly, denoting progression
from Earth to Heaven.
• The path is 1 meter high at the start and
4 meters high at the end. At one point
there in a tunnel under it.
• The walkway is almost 30 meters wide
and has three distinct paths marked out.
The central path was reserved for the
gods.
• The path on the east was reserved for
the emperor while the path on the west
was used by the empress and court
officials.
Chinese Religious Architecture
91

'Vermillion Steps Bridge' (DanBiQiao).
Chinese Religious Architecture
92

Dragon Carving on the steps leading up to
the Hall of Prayer for Good Harvests
Dragon Carving on
the
roof
tiles
and
ridges of roofs
Chinese Religious Architecture
93

The Seven-StarStar Stone Group, eastoftheHall
of Prayer for Good Harvest, represents the
seven peaks of Taishan Mountain.
Marble gargoyles surrounding the Imperial
Vault of Heaven
Chinese Religious Architecture
94

Chinese Religious Architecture
95

Chinese Religious Architecture
96

• This nine-story octagonal structure was constructed without the use of nails and falls
under the Indian-influenced stupa classification of pagoda.
• The stupa that is the crown of the pagoda had two rows of brick lotus petals and one of
iron petals support various Buddhist characteristics - an alms bowl, a prayer wheel, and so
forth.
• Chains formerly hung from the tips with small bll bells hanging from each corner of theroof.
• The Muta stands out within the context of Liao wooden building.
• When the Buddha Shakyamuni died, a stupa was placed over his remains.
• The function of the stupa in its East Asian form likens the pagoda to a relic mound.
• A devout Buddhist ruler of the Liao continued in the stupa tradition, creating the pagoda as
an architectural homage to the death of the Buddha while simultaneously erecting a shrine
to the Liao ruler's father.
• The images within the pagoda are even considered to be funerary in nature.
• Early pagodas under Liao patronage such as Foguang Si would contain relics inside and
provided a focus of devotion to the Buddha and others transmitting faith.
Chinese Religious Architecture
97

• The (Yingxian wooden pagoda) Sakyamuni
Pagoda of
Fogong Temple
of Ying
County, Shanxi province, China, is a wooden
Chinese pagoda built in 1056, during the Liao
Dynasty.
• The pagoda was built by Emperor Daozong of
Liao (Hongji).
• The pagoda, has survived several large
earthquakes throughout the centuries; it was
given the generic nickname of the "Muta"
(literally "Timber Pagoda").
• It is the oldest existent fully wooden pagoda
still standing in China.
• The pagoda stands on a 4M(13FT)tall
stone platform, has a 10 M(33
FT) tall
steeple, and reaches a total height of
67.31
M (220.83
FT) .
Chinese Religious Architecture
98

• The structure stands 67.31 meters tall with
an inner shaft made entirely of wood that
rises 51.35 meters.
• The structure employs the use of wood
and brick ; the base is brick whereas the
stories are made of wood.
• The layout of the pagoda has an octagonal
plan
• The pagoda was built on the 4M high and
two-layer stone platform base.
• The first layer has double eaves and is
surrounded with a cloister.
• The part before the second layer is all
installed with enclosures and has a dozen
kinds of corbel brackets under each eave
looking likecloudsgatheringl i together.
Chinese Religious Architecture
99

• The structure of the Wooden Pagoda
is very ingenious with two slots of
columns inside and outside.
• On the first storey of the pagoda
stands a statue of Sakaymuni Buddha
of 11 meters high, solemn and
respectful, and 6 walls of the storey
are painted with six portraits of
Buddhas and 12 flying Apsarases in
vivid and elegant posture.
• There is a quadrangular Buddha on
the third storey and the Buddha faces
four directions.
• A sitting statue of Sakayamuni
Buddha is located in the center of the
fifth storey with 8 giant Bodhisattvas
sitting in eight directions.
Chinese Religious Architecture
11m
hig
sakayamuni
ky
Buddha
100

Remarkably, this
completely
wooden structure
has remained
intact for almost
1000 years,
weathering
environmental
disasters as well
as social
upheavals.
Chinese Religious Architecture
101

Buddhist statues t found within the pagoda, with the Sk
Sakyamuni iB Buddha at
the center
Chinese Religious Architecture
102

• Similar to earlier built Indian stupas, the Yingxian Pagoda is located in the centre of a
religious complex and is composed of three main parts, a raised base, a central body
composed of an odd number of levelsandl on thetop,apinnacleorsteeple.
l
• Unlike other ancient pagodas that were built with brick or stone reinforcement, this
Pagoda was constructed entirely out of wood and without the use of any nails.
• The strength and resilience of the structure is attributed to the type of wood used, the
rare Xing’an larch from Northern China.
• Also notable tbl is the fact thatt construction ti fll followedthe Yingzao Fashi official i code of
building that was principled by Li Jie in 1103 A.D. which outlines the strict construction
methods enforced at the time.
Chinese Religious Architecture
103

• When the wooden pagoda was under
repair in 1974, many carved Sutra,
written Sutra and color silk pictures
and other precious antiques were found
in abdomens of the broken statues.
• A number of cultural relics were found
in the pagoda, including paintings
depicting Chinese medicinal herbs,
Buddhist scriptures and carvings.
• These relics are all believed to belong
to the Liao Dynasty and are regarded
as significant discoveries for furthering
knowledge and study on religion and
culture of this period of history.
• The pagoda sits on a large octagonal stone
platform and from its exterior, the structure
appears to be divided into five levels with
encircling balconies and an extended steeple
reaching from the top; On the inside, there are
a total of 9 floors.
• At the main entrance of the pagoda there is a
tall statue of Sakyamuni Buddha and on the
walls are murals of warrior deities, various
heavenly kings, and Buddhist disciples.
• An enormous wooden staircase leads up to the
second storey of the pagoda where a balcony
extends around the entire structure offering a
panoramic view of the growing city of Shanxi.
Chinese Religious Architecture
104

• The tower adopts the structure of
secluded chambers in design,
presenting a distinctivei i national
characteristic inherited from the
Han and Tang Dynasties while
leveraging the traditional
architectural techniques to the
fullest extent.
• It's scientific and precise design
and consummate in structure,
reached hdthe highesth levell of the
architecture in ancient China.
Chinese Religious Architecture
105

• Each story of the Muta is an
independent, self-contained structure
so that each story is its own 3D
Buddhist mandala including sculpture
and wall paintings.
Wooden Brackets
• The four middle floors have a balcony
and a lean-to roof.
• The top level has a very elaborate
system of bracketing.
• There are fifty-four different brackettypes
used within the pagoda.
Chinese Religious Architecture
106

Chinese Religious Architecture
107

FENG
SHUI
CULTURE & ARCHITECTURE
108

• Fengshui, or wind-and-water, also known as geomancy, is an ancient practice that
uses almanacs, charms, and complex compasses to coordinate the
interactions of people, their living spaces, and the natural environment.
• Fengshui regulates two dimensions of the environment - the spatial (the physical
configuration of the land), and the temporal (determining i the most favorable time
to build).
• According to these principles, humans change the environment when they build
habitation sites, with a potential to alter the flow of beneficial energy or qi in a
positive or a negative way.
• The best sites allow energy or qi to flow freely, but not too rapidly.
• The placement of earth (hills) and water (streams) was seen as especially crucial.
Feng Shui & its Applicability
109

• Fengshui, a special Chinese
tradition in architecture, usually
links the whole process from site
selection, designing, i construction
ti
and interior and exterior
decorating in ancient times.
• Feng means WIND and shui is
WATER.
• Fengshui combines the trinity of
the Heaven, the Earth and
humans, and seeks harmony
between selected site, orienting,
natural doctrine and human
fate.
• It repulses human destruction of
nature and stresses cohabitation
with the environment, which h is
regarded as perfect and occult.
• In China, a fengshui practitioner,
or a diviner, usually applies
theories as Yingyang, Sixiang,
Wuxing and Bagua, based on the
principle of the Heaven and the
Earth in harmony, to select an
optimum place for accommodation.
Feng Shui & its Applicability
110

• Qi, deemed as the basic • There are five elements - long
element of the physical world (dragon), xue (cave), sha (sand), shui
in ancient Chinese
(water) and xiang (orientation). ti They
philosophy, is the essence of avoid evil qi and gain auspicious qi.
fengshui.
• The art of fengshui advocates
there is a certain field, sort
of like magnetic field, termed
• In order to keep qi of the Heaven and the
Earth in harmony in the construction of
a new structure, earth vein should not
as qi field.
be spoiled.
• An auspicious qi field is what
fengshui practitioners
seek
• The best orientation ti is abuilding with its
while an evil one is what they
strive to avoid.
face facing a river or a lake in the south
and back against a hill in the north.
Feng Shui & its Applicability
111

• Feng Shui is an ancient art and science
developed over 3,000 years ago in
China.
• It is a complex body of system that
reveals how to balance the energies of
any given space to assure the health
and good fortune for people inhabiting
it.
• In Chinese culture wind and water are
associated with good health, thus good
feng shui came to mean good fortune,
while bad feng shui means bad luck, or
misfortune.
• Feng Shui is based on the Taoist vision
and understanding of nature,
particularly on the idea that the land is
alive and filled with Chi, or energy.
• The ancientChinese bl believed that the
land's energy could either make or
break the kingdom.
• The theories of yin and yang, as well as
the five feng shui elements, are some
of the basic aspects of a feng shui
analysis that come from Taoism.
Feng Shui & its Applicability
112

• Feng shui is the art of placing
objects and arranging space in a
way that harmony and a balance of
the elements can be attained in that
particular environment.
• Feng shui is anancient Chinese system
of aesthetics believed to use the laws
of both Heaven (astronomy) and Earth
(geography) to help one improve life by
receiving positive qi(chi)
• Historically, feng shui was widely used
to orient buildings—often spiritually
significant structures such as tombs,
but also dwellings and other
structures—in an auspicious manner.
• Feng shui (pronounced fung shway)
is an ancient Chinese practice dating
back over 7000 years that, literally
translated, means "wind-water".
• Used primarily in architecture,
landscaping and interior i decorating,
Operating on the belief that all things
both living and inanimate have a
"chi", or energy force, that flows
through it.
• Most Chinese interior design
principles are based on Feng Shui, or
the ancient tradition of arrangement
of space to create a harmonious
environment.
11

• It is believed that adjusting the
energy of the home through feng
shui can promote health, prosperity,
success and love.
• Manipulating our outer world is often
an effective way of changing our
inner selves.
• The success of Feng Shui dependsd
on
one’s intentions and constant
attention.
• One has to forget negative beliefs
and this will help in overcoming the
obstacles that are preventing
positive things from happening .
• In Feng Shui it is important to
harness positive energy and allow it
to flow freely.
Feng Shui Otag
Octagon
114

FENG SHUI IN INTERIORS
• Feng shui principles operate
mainly around the openings in a
room.
• Doors that face high activity
roadways and windows that look
out onto a beautiful view are
preferable.
• Foyers should be brightly lit and
completely free of clutter.
• Chi flows through the home like
water, throughh doors and
windows, so it is imperative that
these entrances not be
blocked.
• Inauspicious (unlucky) energy is called
"killing
breath".
• Lucky energylines travel in acurved,
d
wandering pattern.
• The unlucky lines that create killing
breath are straight and sharp, pointed
objects which are referred to as
poison arrows.
• Sharp corners, pointy roof angles, even
outside electrical poles or exposed
overhead beams are all considered d to
be poisonous.
• Too many sharp angles are aggressive.
Feng Shui & its Applicability
115

ELEMENTS OF FENG SHUI
• WATER – promotes opportunities and
wealth; Colors -Blue, Black
• WOOD - promotes development and
creative energies; Colors -Green,
Brown
• METAL - generates attention and
transmit energy; Colors - White, Gray
• EARTH – represents stability,
permanence; Colors - Light Yll Yellow,
Sandy/Earthy, Light Brown
• FIRE - is considered the most
powerful of all five elements and
represents energy & passion;
Colors - Red, Strong Yellow, Orange,
Purple, Pink
Feng Shui & its Applicability
116

COLORS IN FENG SHUI
The feng shui Color chart
• Colors of Feng Shui hl helps to get
as much positive energy as
possible.
• the color chart of Feng Shui
determines the best color to
harmonize the emotions and to
radiate positive energy.
• Ultimately, Feng Shui is the belief
that believes in the manipulation
i
of colors and the positioning of
the various objects in a house, in
order to divert the same amount
of energy strong and positive as
possible.
Feng Shui & its Applicability
117

Feng Shui Chart
– representing the
placement/grouping
of
spaces
in a
house
Feng Shui & its Applicability
118

Feng Shui Chart
– representing the
placement/grouping
of
spaces
in a
house
Feng Shui & its Applicability
119

THE BAGUA
• The Bagua, originating g from the I
Ching or Book of Changes, is an
eight-sided map that overlays
the floorplan of a lot, building or
room.
• Each of the eight sections and
the center corresponds to a
section of life experience:
career, wisdom/knowledge,
family, finances, reputation,
relationships,
children/creativity,
benefactors/supportive
people, and health.
• By overlaying the Bagua onto a floor-plan,
the locations of these life areas are
identified for the flow of chi through the
structure.
• For less chi areas simple solutions to
adjust the chi flow to strengthen the area
and bring it into harmony.
• Simple Solutions such as Colors,
textures, plants and mirrors are just a
few of the many elements that easily
create good energy flow and transform
an environment to one of harmony and
well being.
Feng Shui & its Applicability
120

Feng Shui & its Applicability
• Feng shui (or Fung shui)
is a Chinese system of
geomancy believed to use
the laws of both Heaven
and Earth to help one
improve life by receiving
positive qi.
• It involves the intuitive,
aesthetic adjustment of
visible and invisible
objects or factors,
realigning all dimensions
of the environment into a
balanced, harmonious
state.
121

FENG SHUI SYMBOLS TO BRING GOOD FORTUNE
Frogs are said to bring
fortune and luck.
The Fish (Carp or Koi)
Wealth, strength and prosperity
p Feng Shui & its Applicability
122

The Chinese
Horse -
Success,
fame,
endurance,
courage and
speed
The Chinese Ox
Success, abundance and accumulation of wealth
Feng Shui & its Applicability
123

The Chinese Cranes
Longevity, health, happiness,
wisdom and good luck
The Lucky
Money Ct Cat
Money luck,
business,
wealth,
prosperity and
opportunities
The Wise Old Elephant
Strength,wisdom,prosperity,
p good luck and prudence
Feng Shui & its Applicability
124

LUCKY CHARMS OF FENG SHUI
Feng Shui & its Applicability
125

INFLUENCES OF CONFUCIANISM, DAOISM
& BUDDHISM ON CHINESE ARCHITECTURE
CULTURE & ARCHITECTURE
126

CHINESE ARCHITECTURE
INFLUENCES OF
CONFUCIANISM
TAOISM
BUDDHISM
127

• Chinese architecture refers to a style of architecture that has taken shape in East Asia over the
years. Over the centuries, the structural principles of Chinese architecture have remained largely
unchanged, the main changes being on the decorative details.
• An ancient civilized nation and a great country on the East Asian continent, China possesses a vast
territory covering 9.6 million sq. km. and a population accounting for over one-fifth of the
world's total, 56nationalities and a recorded history of 3,OOO years, during which it has created a
unique, outstanding tt traditional Chinese Clt Culture.
• Traditional Chinese buildings are always found in pairs or groups, whether they are residences,
temples or palaces.
• Most structures in Chinese architecture are simple rectangles, and it is the architectural complex
composed by single structures rather than the single structures themselves that expresses the
broadness and magnanimousness of ancient Chinese architecture.
128
• Traditional Chinese architecture, unlike that of other cultures, uses wood-frame construction as
one of its most distinctive features.

• Traditional Chinese architecture can still be
seen throughout China, offering a tangible
expression of traditional Chinese culture.
• Traditional Chinese architecture encompasses
palaces, temples,
tombs, parks,
and
residences.
• Traditional Chinese architecture
represents the synthesis of political,
economic, cultural, and technical
influences over the ages.
• In the past, these structures provided the
ancient Chinese people with functional
spacetoliveandworkin.Today,theymake
us to experience the essence of Chinese
culture.
129

CONFUCIANISM
130

ARCHITECTURE & CONFUCIANISM
• Confucius (551-479 BC) established the FUNDAMENTAL PRINCIPLES :
Confucian school of thought around 500 BC,
during China's Spring and Autumn Period (770-
476BC).
Among the fundamental principles of
Confucian philosophy are:
• Loyalty
• Confucianism became one of the pillars of
Chinese culture, and was named China's official
• Filial piety
• moral integrity
state ideology around 100 BC, during the Han
Dynasty (206BC-220AD) by Emperor Han Wudi,
who reigned from 140-87 BC.
• Righteousness
• benevolence
• wisdom
• It continued to be revered throughout • Faith
subsequent dynasties.
• Confucian philosophy attaches great importance
• Adherence to the Confucian code
• The absolute authority of the ruler
to ethics and human relationships, and is one of
the main pillars of Chinese culture.
over subject, father over child, and
husband over wife.
• The values of confucianism i permeate the life,
thinking, and customs of the people.
131

COURTYARD RESIDENCES: CONFUCIAN IDEOLOGY IN RESIDENTIAL DESIGN
• Confucian ideology was the core of feudal • Rites in Confucianism was a means of
China's hierarchical social system.
regulating order in human
• Traditional courtyard residences drew strict relationship. Its ultimate purpose was to
distinctions between interior and
ensure a social order.
exterior, superior and inferior, and • The quadrangle building was one the reflected
male and female; internal affairs and rites in traditional chinese residential
external affairs, the honorable
building.
(master) and humble (maid) ranking.
• The compounds were enclosed and isolated
• In traditional Chinese architecture,
o The center was considered to be superior
from the outside world, and serving as
material expressions of Confucian ideology.
andthesidesasinferior;
o the north was superior and the south
• The fundamental purpose p of Rites in inferior;
Confucianism was to enable a ranking and o The left was superior and the right inferior;
orderly system in a family.
o The front was superior and the back
• The chinese quadrangle buildings
(known as “Si He Yuan") was highly
influenced by Confucanism's rite.
inferior.
132

• In courtyard residences,
WING
NORTH
SOUTH
EAST
WEST
ROOMS
Receives most sunlight; Center
Room - Living Room /Ancestral
hll hall
East rooms-grandparents room
West rooms-Head of the family
guest rooms, studies, kitchens,
and storerooms
Eldest Son & his family
younger sons and their families
• The southern and back rooms will have
short walls to form a division between
internal and external family.
• At the back are also rooms of woman who
are not yet married or for maids.
• Woman cannot enter external region. Guests
cannot enter internal region.
• All the windows id in quadrangles are faced
towards the inside of the house. There are no
windows inside the rooms, which look
isolated. But inside the house, it formed a
natural system.
• It emphasized the relationship between elder
lies and youngster, eldest son and younger
son, male and female status.
• It reflected aparochial feudal class system of
"Higher-lower ranking class system",
"Internal and External", "Difference
between male and female",
"difference between master and
maid".
.
133

COURTYARD RESIDENCES: CONFUCIAN IDEOLOGY IN RESIDENTIAL DESIGN
Courtyard
Principal Room
East wing-
Eldest son
West
wingyounger
sons
Residential
Gt Gate of
complex
Plan of Typical Courtyard Residence - SIHEYUAN
134

Aerial view of courtyard
residence
Interior view of courtyard
135

THE CONFUCIAN CODE AND CITY PLANNING
• City planning was based primarily on the Confucian code that held up the feudal system.
• Urban planning has played an integral role in the life of Beijing throughout its history.
• The city was laid out on a square grid, and covered an area of approx 50 square kms.
• Ahigh wall surrounded the entire city, with three gates on the east, west, and south walls, and
two gates on the north wall.
• The main thoroughfares, which formed a north-south and east-west axis through the city, were
28M wide.
• The secondary streets were 14 M wide, and the alleyways were 7M wide.
136

• The13thcenturycapitalcityofDaduwasbuiltusingthearchitectural principles of the
Confucian classic Zhou Li: Kaogong Ji (Rites of the Zhou: Engineering References), which
states: "When designing a capital city, it should be laid out in a square grid measuring nine by
nine li (about 4.5 kilometers) per side, with three gates on each of the city walls.
• Thereshouldbeninestreetsandnineavenues,eachwide enough for nine horse carts to pass
abreast.
• The palace should be in the center of the city, with the ancestral temple on the left, temples to
the deities on the right, office buildings in front, and a marketplace behind.“
• The layout of the city was extremely orderly, with clearly demarcated streets and districts.
137

CITY PLAN OF DADU
138

HIERARCHICAL DISTINCTIONS IN ARCHITECTURE
• China's hierarchical social system gave rise to a highly restrictive system of architectural
regulations.
• All construction was controlled by abuilding bildi code that clearly l differentiatedi d rank and status.
This code controlled every aspect of design and construction, and was enforced as law.
• A comprehensive building code was established which specified permissible construction for
each level of society, from the imperial family to the nobility, officials, & the common people.
• Its regulations encompassed every aspect of building design and construction, including
scale, floor plan, roof shape, and decoration.
• Stone lions: Only officials of the fifth rank and above were allowed to place the magnificent
stone lions outside the gates of their homes.
• Officialsi in ancient China were classified according to rank. The fifth rank was regional
administrators,.
• They have traditionally stood in front of Imperial palaces, Imperial tombs, government
offices, temples, and the homes of government officials and the wealthy, and were believed to
have powerful mythic protective benefits.
139

• The number of
rows in a lion's
mane
further
indicated the
rank of the
home's resident.
• The emperor's
lions had thirteen
rows, those of
dukes and
princes
hd had
twelve rows, and
those of officials
were determined
according to
rank.
AQing-era
guardian lion pair within the Forbidden City
-The
lions are always created in pairs, with the male
resting his
paw
upon
the
world
and
the
female
restraining a playful cub that is on its back.
140

BEIJING'S FORBIDDEN CITY PALACE - BEST REPRESENTATION OF CONFUCIAN RITE
• The Forbidden City represents the
• Beijing's Forbidden City, designed d by Ming
ultimate architectural expression of Dynasty (1368-1644) architect Kuai Xiang,
Confucian ideology.
who lived from 1397 to 1481.
• Beijing's Forbidden City was the most • This massive imperial courtyard complex
classical example and representation of clearly embodies the Confucian emphasis on
Confucian Rite system.
strict divisions of rank, and the
• In Confucianism, there was a strong position of the individual within a
emphasis on the relationship of an hierarchical system- Emphasis on
individual id in acollective society.
divisionsi i between ruler and subjects, husband
• Forbidden city forms a super-large and wife, Nobles and commoners etc.,
quadrangle architecture that was the most • The Forbidden City served as the imperial
complex representation of this rite residence and seat of government for twentyfour
relationship.
• The Imperial Palace is the world's
emperors of the Ming and Qing (1644-
1911) dynasties.
largest wood-frame construction • The Forbidden City covers 720,000 square
royal complex.
meters, and contains 9,999 rooms.
141

• The complex includes ceremonial halls,
governmental offices, and housing for
servants and staff, tff aswell as the palaces and
courtyards, in which the members of the royal
family lived, studied, worshipped, and
entertained.
• The Emperor's working office was at
the front of the city complex and was used
by the Emperor to hold large ceremony.
• Important ceremonial functions and audiences
with civil iiland military officials i were carried id
out in three large halls.
• These halls were constructed on a raised
platform that extended from south to north,
along the Forbidden City's revered central axis.
• The magnificence and central location of their
construction were expressions of respect
for imperial power.
• The residential portion of the emperor was
at the rear. At the center line from south to
north are the livingi hll halls of the emperor
and queen.
• They were also formed by a group of 3 large
halls to reflect the meaning of “Past
dynasty at the back “.
• In ancient times, Chinese nobles has the
system of 'one husband, one wife and many
concubines'.
• The livingi hll hall of the queen was in the
centerline of the back while the other
concubines lived in 12 palace courtyards on
east and west side.
• This living arrangement was used to
reflect the ranking system between
the queen and concubines.
142

Forbidden city – Architecture of Quadrangles
143

A. Meridian Gate
B. Gate of Divine Might
C. West Glorious Gate
D. East Glorious Gate
E. Corner towers
F. Gate of Supreme
Harmony
G. Hall of Supreme
Harmony
H. Hall of Military
Eminence
I. Hall of Literary Glory
J. Southern Three Places
K. Palace of Heavenly
Purity
L. Imperial garden
M. Hall of Mental
Cultivation
N. Palace of Tranquil
Longevity
144

ThedesignoftheForbiddenCity,from
its overall layout to the smallest detail,
was meticulously planned to reflect
philosophical and religious principles,
and above all to symbolise the majesty
of Imperial power. Some noted
examples of symbolic designs include:
145

SYMBOLISM
• Yellow is the color of the Emperor. Thus
almost all roofs in the Forbidden City bear
yellow glazed tiles. There are only two
exceptions. The library at the Pavilion of
Literary Profundity had black tiles because
black was associated with water, and thus
fire-prevention. Similarly, the Crown Prince's
residences have green tiles because green
was associated with wood, and thus growth.
• The main hll halls of the Outer and Inner courts
are all arranged in groups of three – the
shape of the Qian triagram, representing
Heaven.
• The residences of the Inner Court on the
other hand are arranged in groups of six –
the shape of the Kun triagram, representing
the Earth.
• The sloping ridges of building roofs are
decorated with a line of statuettes led by a
man riding a phoenix and followed by an
imperial dragon. The number of statuettes
represents the status of the building – a minor
building might have 3 or 5.
• The Hall of Supreme Harmony has 10, the only
building in the country to be permitted this in
Imperial times. As a result, its 10th statuette,
called a "Hangshi", or "ranked tenth”, is also
unique in the Forbidden City.
• The layout of buildings follows ancient
customs laid down in the Classic of Rites.
• Thus, ancestral temples are in front of
the palace. Storage areas are placed
in the front part of the palace
146
complex, and residences in the back.

DAOISM / TAOISM
• Taoism is a religion native to China. Laozi, a
famous thinker living in 6th Century BC,
established this philosophy and came to be
regarded as the father of Taoism.
• It formed mainly during Eastern Han Dynasty
y
(25-220). Many Taoist ideas and thoughts are
greatly reflected in Taoist architecture.
147

DAOISM
MAJOR DAOIST PRINCIPLES
1. Dao [Tao] is the first-cause of the
universe. It is a force that flows through
all life.
2.Abeliever’sgoalistobecomeonewith
Dao ; one with nature.
3. Wu wei - Letnaturetakeitscourse.
- The art of doing nothing.
- Go with the flow!
4. Man is unhappy because he lives
according to man-made laws, customs,
& traditions thatt are contrary to the
ways of nature.
THE DAO (TAO)
To escape the “social, political, &
cultural traps” of life, one must
escape by:
1. Rejecting formal knowledge and
learning.
2. Relying on the senses and
instincts.
3. Discovering the nature and
“rhythm” of the universe.
4. Ignoring political and social laws.
Nature-worshiping i and ghost-worshiping, hi i popular in ancient Chinese society,
contributed a social and cultural basis to the formation of Taoism.
148

THE UNIVERSE OF OPPOSITES – YIN & YANG
YIN
• Feminine
• Passive
• Darkness
• Cold
• Weak
• Earth
• Moon
YANG
• Masculine
• Active
• Light
• Warmth
• Strong
• Heaven
• Sun
149

BELIEFS
• Daoism focused on meditation, breathing and
recitation i of verses. This was the dominant
practice of Daoism until about 1,100 AD.
• In the 5th Century AD, the Lingbao school
emerged which borrowed much from Buddhist
teachings such as reincarnation and cosmology.
The use of talismans and the practice of alchemy
were also associated with the Lingbao school.
• In the 6th Century, Zhengyi Daoists, who
bli believed in protective ti tli talismans and rituals,
emerged. Zhengyi Daoists performed offering
rituals for showing thanks and the retreat ritual
that includes repentance recitations and
abstinence.
• Around 1254, the Quanzhen school emerged
which used meditation and breathing to promote
longevity.
• Daoism has influenced Chinese culture
for over 2,000 years.
• Its practices have given birth to martial
arts such as Tai Chi and Qigong.
• Healthy living such as practicing
vegetarianism and exercise.
• And its textsts have codified Chinese views
on morality and behavior, regardless of
religious affiliation.
• The basic ideas of Taoism are
Changsheng (long living), Shen (god),
and Xian (immortal), etc.,
150

MAIN TENETS
• The Dao: The ultimate truth is the Dao or
The Way.
• The Dao has several meanings. It is the basis
of all living things, it governs nature, and it
is amethod
to live by.
• Daoists do not believe in extremes, instead
focusing on the interdependence of things.
• There is no total good or evil or negative and
positive. The Yin-Yang symbol exemplifies
this view.
• The black represents the Yin the white
represents the Yang. Yin is also associated
with weakness and passivity and Yang with
strength and activity.
• The symbol shows that within the Yang there
exists the Yin and vice versa. All nature is
the balance between the two.
• The De: Another key component of
Daoism is the De, which is the
manifestation of the Dao in all things.
• De is defined as having virtue, morality
and itgit
integrity.
• Immortality: Historically, the highest
achievement of a Daoist is to achieve
immortality
through breathing,
meditation, helping others and the
use of elixirs.
• Daoists believe that influential Daoists are
transformed into immortals who help
guide others.
151

ARCHITECTURE
• Taoist architecture includes various structures
according to different functions, categorized as
palace
for oblation
and
sacrifice,
altar
for
praying and offering, cubby for religious service,
residence
for Taoist
abbes
and
garden
for
visitors.
• During the last period of the East Han Dynasty
when Taoism was introduced, Taoist ascetics
mostly lived in huts and even caves in remote
mountains under guidance of their philosophy of
nature.
• During the Jin dynasty y and the Northern and
Southern dynasty, Taoism experienced reforms
and was accepted by the rulers.
ARCHITECTURE &DAOISM
• Many Taoist temples were set up in the capital
under imperial orders. Taoist architecture
reached a rather large scale then.
• Taoism reached its peak during the Tang
Dynasty and the Song Dynasty, when
Chinese
timber framed
architecture,
characterized by high base, broad roof
and perfect integration of decoration and
function, matured in all aspects were
built.
• There were strict regulations on size,
structure, decoration and use of colour.
• For the 660 years, Taoism, Buddhism and
Confucianism influenced each other, so
that certain structures in Buddhism and
Confucianism architectures were
transformed into Taoist architecture.
• As a result, there remained
similarities in designing and
grouping among the three systems.
152

ARCHITECTURE & DAOISM
• Taoism pursues the harmonious
unity of
humans and
nature.
Taoists skillfully built temples that
conformed to the contours of the land.
• Starting with inherited Chinese
traditional ideas of construction, they
added their own concepts.
• Splendorous symmetric architectural
complexes are composed of many
ordinary yards spreading orderly
along a central axis.
• In every single yard, there are neatly
located attached architectural structures.
The whole layout reflects Taoists' emphasis
on order and equability.
• Most Taoist architectures resort to nature
topography to build towers, pavilions,
lobbies and other garden structural units,
decorated with murals, sculptures and
steles to entertain people, fll fully
interpreting Taoist philosophy of nature.
153

• Taoist architecture applies two architectural
styles - traditional style and Ba-gua
style.
• In the traditional style, traditional
architectural
layout, which
is
symmetric, was applied.
• Main halls were on the central axis, while
other religious structures on the two sides.
• Usually, on the northwest corner of the
complex, Lucky Land to Meet God was
located.
• Annexes like dining hall and accommodation
were located at the back or the flank of
the complex.
• The second is the Bagua style in which
all structures surround the Danlu (stove to
make pills of immortality) in the center
according to Bagua's position request.
• The center axis from the south to the
north is very long and structures flank the
axis.
• The style reflects Taoist philosophy that
the human cosmos follows the natural
cosmos to integrate energy, qi and spirit.
154

• In Taoist principles, GOLD, WOOD, WATER, FIRE AND EARTH are considered five
elementary substances to form everything in the world.
• Timber was chosen by Chinese architects because it is derived from wood, one of the five.
Taoism respects anything which is more of nature or closer to nature as first choice when
they make choices among many alternatives.
• It is bli believedthatt when people live in a timber house rather than cements or stone
structures, they are supposed to keep a constant exchange with nature and reach the
integration of nature and human beings.
• That's why Taoist architecture resort to nature topography to build towers, pavilions,
lobbies and other garden structural units, decorated with murals, sculptures and steles to
entertain people, fully interpreting Taoist philosophy of nature.
• Another unique feature of Taoism temple structure is the up-turned
eaves. Thisup-turned
structure with a beautiful curve presents a volatile and lively style and symbolizes a flying
to the wonderland in Taoism.
155

DAOIST TEMPLES
• Taoist temple buildings also
clearly reflect Taoists' strong will
in the pursuit of
happiness,
longevity and immortality.
• Most Taoist temples are woodenframed
and have garden
structures. Some garden features
are man-made pavilions, towers,
walkways and terraces.
• Quiet and beautiful mountains
provide an unblemished
environment in which Taoists can
cultivate their inner selves.
• Together with a park cleverly
built on the basis of the
architectural complex.
• Taoist temple buildings, basically consist of the divine
hall, the alter, the room for reading sculptures and
practicing asceticism, the living room, the reception room
for pilgrims, and the park.
• The main hall for a single deity, but other deities’ statues
could come on the sides or bhidth behind the main statue. tt
• The general layout adopts the form of Chinese
traditional courtyard, with the divine hall on the
mean axis and the reception room and Taoists' living
room, etc., on both sides.
• Also, an interesting feature of Daoist temple architecture is
that the main door is not centred, but on the side, in the
belief that this would prevent unwanted spirits from
entering the main sanctuary.
156

CHINESE TAOIST TEMPLES
• A Statue of Dragon and Lion
guards the gates of a Taoist
temple;
• In the main hall, the four
Heavenly Emperors in Taoism
replace the Buddha trinity and
four Heavenly Kings in Buddhism;
• The stories illustrated in Taoist
murals depict a more earthly
world of common people rather
than holy or sacred world and
clay figures set in the hall are
more like common people.
The highest three celestial realms of Jade Purity,
Highest Purity, and Great Purity. They are
emanations of Tao, omnipresent and supreme.
The Three Star-gods of
Happiness, Rank and
Affluence, and Longevity.
157

ORNAMENTATION & DECORATION
• Taoist architectural • Taoist architectural motifs
decoration reflects
were meaningful - Celestial
Taoist pursuit of luck
bodies mean brightness
and fulfillment, long
shining i everywhere while
lifespan etc.,
landscape and rocks
• Common decorative
immortality.
figures of a Daoist
• Folding fan, fish, narcissus,
temple include a
bat and deer are used to
tortoise
imply beneficence, wealth,
intertwined with a
The stove for offerings celestial being, fortune and
snake, elephants,
official position.
lions,
gourds
• Pine and cypress stand for
(which is said to
affection.
contain the immortal
• Tortoise for longevity.
pills) etc.,
• crane for man of honor.
Fish motif
158

Roof with upturned eaves & rich
ornamentation
Taoist Temple in a picturesque setting
Taoist Temple set up along with
the topography of the place
159

DEITIES & IMMORTALS
The Door Spirits are the
spirits who guard the
doors of houses.
The Kitchen Spirit
160

BUDDHISM
161

• Buddhism was introduced to China
fromIndiaaroundthefirstcenturyAD,
since the fourth century AD, it was
widely spread and gradually became
the most influential religion in China.
• Because of varied id it introduction ti time
and channel as well as regional,
historic and social backgrounds,
Buddhism in China is divided into three
branches, namely Chinese Buddhism,
Tibetan Buddhism and Pali Buddhism.
• China has more than 13,000 Buddhist
temples.
• Chinese Buddhism refers collectively to the
various schools of Buddhism that have
flourished in China since ancient times.
Buddhism has played an enormous role in
shaping the mindset of the Chinese people,
affecting
their
aesthetics,
politics,
i
literature, philosophy and medicine.
• The coming of Buddhism to China from India
was a great event in the development of
Chinese culture and of Buddhism itself.
• After a long period of assimilation, it
established itself as a major system of thought
as well as a religious practice.
162

• Indeed, it became one of the Three Pillars
of the traditional culture of China.
• Buddhism was firstly introduced into the
region inhabited by the Han people around
the 1st century.
• It is said that in the year 2BC, Yi Cun, an
emissary of Dayuezhi Kingdom (an ancient
mid-Asian country established by a strong
Chinese minority originally living in northern
China and later moved to the west), went to
Chang'an (today's Xi'an City) to impact
Buddhist sutras to a Chinese's Doctor Jing Lu.
And this is the first record about the
introduction of Buddhism into China.
• There is another saying that during the
reign of the Indian King Asoka (272-226
BC), 18 Indians visited China’s Xianyang
City during the reign of Emperor Qin
Shihuang.
• In the year 250BC, King Asoka convoked
the third conference and, after the
conference, Dade was sent to spread
Buddhism to other countries including
China.
163

• The feature of Chinese Buddhism lies in the
coexistence of Mahayana Buddhism and
Hinayana Buddhism.
• Buddhism was initiated in India, developed
in China and adfurther ut expanded epadedto Japan
and Korea.
• During the Southern and Northern
Dynasties(420-589) the ruling classes
further
helped the
spread
of
Buddhism by building temples and
monasteries,
translating Buddhist
sutras and constructing grottoes, and
many famous monks, scholars and teachers
emerged.
• By the Sui and Tang Dynasties(581-907),
Buddhism reached its apex of popularity and
splendors, and different sects of Buddhism
had been formed in China .
• Over a long og period, Buddhism gradually gadua took root in the feudal society of
China , intermingling with Confucian
and Taoist thought.
• It had a strong popular appeal and its ideas
made a notable impact on Chinese
philosophy, literature and art.
164

• The development of Chinese Buddhist
architecture can be traced back to the
introduction of Buddhism.
• The main Buddhist architectural icons
include TEMPLES, PAGODAS, AND
GROTTOES.
• Buddhist architecture is regarded as a
great art treasure where sculpture,
calligraphy and painting combine.
• Being the spiritual symbols of
Buddhism, they are not only monastic
holy places, but
also
serve
as
sacred land that can purify souls.
• The Buddhist temple is the holy place
where Buddhist doctrine is maintained.
• Differing from other religions' temples, Chinese
Buddhist temples have many characteristics of
their own.
• For example, similar to Chinese palaces and
dwelling houses, they are comprised of a
number of small yards.
• The oldest temple in China - White Horse
Temple is a typical example of this.
• Temple roofs were curved because the Buddhist
believed that it helped ward off evil spirits
which were believed to be straight lines.
• The temple's roof is also made of glazed ceramic
tiles and has an overhanging cave distinguished
by a graceful upward slope.
165

BUDDHIST SYMBOLS
• The umbrella
• The Golden Fish
• The Treasure Vase
• The Lotus
• The Conch Shell
• The Endless Knot
• The Victory Banner
• The Dharma Wheel
166

• LOTUS: The Lotus flower is one of the
most important religious symbols in
Buddhism. The lotus symbolizes
purity and enlightenment. Lotus
flower symbol has been depicted in
some form or other in Buddhist art.
Especially, Buddha is often portrayed as
sitting on a lotus while praying for
enlightenment.
• CONCH SHELL: The conch shell is
used in Buddhist rituals for
gathering devotees together. It
represents the thoughts h of the Bddh Buddha.
The musical sound of conch shell
reaches the ears of the devotees and
awakens them from slumber and
ignorance.
• ENDLESS KNOT: The endless knot is a
geometric diagram which symbolizes that
everything is interrelated. All living
thingsexistonlyaspartofawebofkarma
and its effect. As the endless knot has no
beginning and no end, it also represents the
infinite wisdom of Buddha.
• DHARMACHAKRA: Dharmachakra is one
of the best known symbols of Buddhism
which is a turning wheel which
represents the endless cycle of birth
and rebirth. It also symbolizes the
teachings of Buddha which brings spiritual
change in a person.
167

INFLUENCE OF BUDDHISM IN CHINA
• The influence of Buddhism on Chinese • The introduction of Buddhism also
culture is profound, not only in terms of
religion, but also literature, art,
traditional customs, etc.,
• Ancient Chinese architecture, being exquisite
and magnificent, especially Buddhist
temples,
had
its
configuration
originated and
imitated
from
primitive Buddhism of India.
• The development of sculpture, painting and
murals accelerated due to the prosperity of
Buddhism in China.
• Yungang Grottoes located in Datong City of
Shanxi province, for example, represents
outstanding Chinese Buddhist Grottoes Art
during the 5th and 6th century with 51,000
Buddhist statues in 252 grottoes.
exerted subtle influence on China's
traditional customs and social
mores.
• It helped improve people's view on
life and the further spreading of
filial piety.
• The principle of "Bad deeds, as well
as good, may rebound upon the
doer." is deeply rooted in the society,
causingpeopletodogooddeedsin
order to pursue a better afterlife.
• The advocacy of filial piety in
Buddhism makes people go after
virtues and pay respect to other
people,
forming a society
of
amicability.
168

BUDDHISM & ARCHITECTURE
• The main Buddhist architecture include • Buddhist temples tend to be
temples, pagodas, and grottos.
decorated in red or black, and there
• The architectural styles of Buddhist temples is a main hall for a statue of a
in China were mainly formed in three periods:
Bodhisattva, followed by a smaller
• HAN DYNASTY (206BC-220) - hall with statues of other Buddha's
retention of Indian styles.
and deities.
• NORTHERN AND SOUTHERN • The Chinese Buddhist monastery or
DYNASTIES (386-589)- wooden temple is fashioned after the imperial
framework was added to the original palaces and bears very little
styles.
resemblance to the temples in India
• TANG DYNASTY (618-907) - the or other Buddhist countries.
styles of Buddhist temples were totally • Generally there are three groups of
Sinicized and the pavilion-like pagoda, buildings separated by courtyards.
which is unique to China, became The monastery, like other
popular.
Chinese structures, normally
faces south.
169

• Grotto, another type of Buddhist
architecture, is often chiseled into
cliffs.Inthe3rdcentury,Chinese
Buddhists began to build grottoes
and Xinjiang is the first area
where grottoes were hewn.
• Grottoes are decorated with
painted sculptures, carvings
and frescos.
• Craftsmen revealed real life
pictures and their understanding
of society in these art works,
which gave them great historical
and cultural value.
• The four famous grottoes in China
are: Mogao Caves, Longmen
Grottoes, Yungang Grottoes
and Maiji Caves.
The Long-men Grottoes in Henan Province
170

Grottoes of Zhongshan Mountain
Mogao Grottoes
171

PAGODA
• Pagoda, symbol of Buddhism is often erected in
temples.
• Pagodas were made of stone, wood, colored
glaze or metal.
• Pagodas have an odd number of layers. Sevenlayer
and Nine-layer pagodas are commonly
built.
• The shape of cross-section is rectangular, eightsided
or even circular.
• Initially, the pagoda served as the central axis
alongside which rows of halls and monks' rooms
spread out.Later, pagodas pg were built near the
main palace hall.
• Chinese pagodas, in short, are a significant part
of the country's cultural heritage -with their
beautiful shapes, bas-relief carvings, dougong
brackets and upturned eaves.
North Temple Pagoda
172

STUPA
• Stupas appeared in China with the import of Buddhism
and, during a long history of well over a thousand years,
have become a valued part of the national Buddhist art.
• Stupa, a word from ancient Sanskrit meaning a square
or round tomb or a 'soul shrine’.
• The perfect proportions of the Buddha’s body
corresponds to the design of religious monuments -
STUPAS
• Its architecture developed from the pre-Buddhist Indian
grave-mound.
• Under these mounds the saintly ascetic were
buried; ; their bodies were seated on the ground and
covered with earth.
• These dome-shaped graves, or tumuli, of the saints were
regarded as holy places.
• And were destinations for pilgrimage for the devotional
and places of practice for meditators.
Beihei Park , Beijing
173

Stupa & Pagoda – Analogy with the 5 elements of nature
174

175

BIBLIOGRAPHY / REFERENCES
• Lawrence G. Liu – Chinese Architecture – Academy Edition. London 1989
• http://www.wikipedia.org/
/
• http://www.travelchinaguide.com/
• http://www.chinahighlights.com/
• http://chineseculture.about.com
• http://www.kinabloo.com/