Liang Si became one of the filming characters of "A Hundred Years of Master and Architecture".
The launching ceremony of the second season of "Centennial Masters" and the launching ceremony of "Centennial Masters and Architecture" were held on April 23, 2018 at the Wuying Hall of the Palace Museum. CCTV-1 "News Network", CCTV-4 "China News", CCTV-13 "News Live Room", CCTV Network, China Academy of Arts official website, China Federation of Literature and Literature official website, Central New Film Group official website, Guangming Daily, Beijing Youth Daily, China Architecture News, China Press, Publication, Radio and Telegraph, Global Times and other reports on the launching ceremony.
Highlights of "Centennial Master - Liang Sicheng"
In the past hundred years, since the Opium War, since the so-called "Europeanization of the East", and more precisely, since the imperialist invasion of China, there has been a great change and a great chaos in the politics, economy and culture of the whole of China. This period lasted for a hundred and nine years. On October 1, 1949, the Chinese people had announced to the world the end of this period and the beginning of a new era.
What was the period of the past one hundred and nine years? It was China's semi-colonial period. The political and economic situation in China during this period is familiar to everyone, and I do not need to discuss it here. What we are going to discuss is the cultural aspect of the period, especially the artistic aspect. And in art, our focus is on our own side, our architecture. We will review and analyze the development of the architectural art in this period, how it ended, and then see how the architecture of our new era should begin.
In China's five-thousand-year history, our era is the first great era, the first important era. This is not an era of changing dynasties and changing surnames, but an era of radical revolution, a complete change in the political and economic system. Our generation is the most honored generation in Chinese history and the most important generation in the historical task it has undertaken. In the effort to create a new China, everyone in our region has a great task.
In this task of creating a new China, the task of our colleagues here is naturally to create our new buildings. This is an extremely difficult question. To be honest, none of our construction workers in the whole country know how to do it, so today I raise this question, review it with you, and work with you to find a way, to find a way to create the national form of our architecture.
If we want to create the national form of architecture, or to find a way to create the national form of architecture, we must first understand what is the national form of architecture.
When you read the history of architecture, you often hear a sentence that "architecture is a reflection of history", that is, each building faithfully expresses its time and place. How to interpret this sentence? It was the people of that place who would follow the material and intellectual needs of their lives. Applying their original construction techniques, using all the conditions around them, to obtain the choice of materials to complete the various buildings they need. So the result is always a naked expression of the social background of the place at that time and the system of thought followed by people through material creation.
When we study the history of architecture, our idea of the style of a certain era is not only to pay attention to the combination of its material structure and appearance, but also to see through it the combination of the living conditions, labor skills and economic strength of the other place. Admire their success in seeping or see the phenomena produced by their contradictions.
The so-called architectural style, or the epoch, place or ethnic form of the building, is the whole expression of architecture. It is not just a matter of carving, but more basic is a matter of plane deployment and structural methods. These three issues are mutually exclusive. Therefore, to find the way of national form, we must look for it from the basic plane deployment and structural methods. The emergence of planar deployment and structural methods was determined by the needs and technologies of life under the social situation in that place at that time.
According to this theory, let us first look at several important forms of antiquity.
First, let's look at an example of a cultural tradition that is not as old as Greece. Before Greek architecture developed its characteristic style or form, there was already a highly developed commercial exchange and cultural exchange in the eastern half of the Mediterranean. Therefore, in the art of this period, there are many "international" characteristics and motifs. There is a common "round" flower on Crete Island, exactly the same as seen in Egypt. The Egyptian and Assyrian "anchovy" patterns are extremely similar.
When the Greeks came to Greece from unknown areas in the north, they absorbed the original primitive peoples and their art, and spent a long time consolidating themselves. The Doric order is the most faithful manifestation of this period of consolidation. There is much speculation about its origin, but I dare to say that it is the product of many different cultural exchanges, and we can trace some clues in the cliff tombs and Aegean architecture of Beni-Hasan in Egypt. It is a mixture of the culture of the primitive people and the culture of other places. But it immediately formed the main form of Greece, and in the early Greek period, that is, during the period of consolidation, it was the only form. It was only after the Greek nation was gradually consolidated on the Greek peninsula that it gradually began to boldly communicate with distant places. This period was marked by the emergence and use of the Ionic and Corinthian orders, both of which were introduced to Greece from the eastern shores of the Mediterranean. The Greeks of the time unceremoniously borrowed other cultural fruits. And their original wooden structure was changed to stone. They did not mean to create their own national art, but because they were good at using their wisdom and skill to suit their needs, to make it better and more beautiful, they created their national form. This national form is not just expressed on the façade. If you look at a plan of a Greek building, its national character is equally significant and will not be misplaced.
Second, we can look at an architectural form that embraces the existing cultural traditions – Rome. The Romans were influenced by Greek culture at a very early age and had considerable engineering techniques. When they became stronger, they learned from greece, which was the highest level of art at the time, and absorbed the Greek format to suit their own needs. They combined the virtues of Greece and Etruscan to adapt to their further needs of life, creating an unprecedented form of architecture with a high level of engineering, extremely careful planar deployment, and extremely ornate and rich carvings.
We can look again at another historical example – the French Renaissance. At the end of the 15th century, The French kings Charles VII, Louis XII, and Francis I invaded Italy many times, and although they failed militarily and politically, they gained great cultural gains. At that time, Italy was the center of all European culture, and the French people admired it so much that they spared no effort to imitate it. But at that time France already had a very mature architecture, it was the heyday of the "Flame Pattern Period" of Gothic architecture, they had a deep-rooted tradition of art and technology, more different from the climate, so in the early days of the French Renaissance, its architecture was still indigenous and national in its bones. The large area of windows, the steep roof, and the flat layout to which they lived were all determined by the French climate. Until the 17th century, French compound architecture, and the roman classical style has been very skillfully applied, matured a strong National style in France, but they did not deliberately do so to promote the national spirit, but because their architects were able to absorb the beauty they needed to adapt to their own conditions, materials, technologies and environment.
Historically, the formation of national forms was not intentionally created, but formed through long-term evolution. One of the main reasons is that the artistic creation at that time was almost unconscious, and everything was formed unconsciously.
But since the 19th century, because of the development of historiography and archaeology, because of the improvement of national consciousness, the environment has forced architects not to use the only method they have learned to create as they have learned. In the 19th century, the intellectual intellect of archaeology tempted architects to consciously imitate or collect antiquities; after the First Century War, many extremist architects denied all traditions. Every architect consciously creates his own form when designing, a phenomenon that has not existed before. Individual liberalism has made modern architecture a manifestation of undisciplinedness. Each building in itself may be a good creation, but in fact the building cannot be separated from the environment and cannot be left alone. As a result, each city became a strange fake antique stall and an architectural costume dance party. Take a look at how many of the best works in The Anglo-American architecture magazines have been in recent times, and the best works in itself are all on high cliffs, in lush forests, or in deserts where no one is. This fully demonstrates the failure of the architecture of individual liberalism, which cannot withstand the test of the urban environment, and has to escape from reality, detach from the masses, and seek its own paradise alone.
On the other hand, the capitalist agrarian system, which enables the capitalists to cut the land into small squares and sell it piece by piece, for the sole purpose of profit, makes the whole city a quilt, without order and discipline.
Since the 19th century, the increasingly developed transportation has infected the construction diseases of Europe and the United States to China, and for more than a long period of more than a century, Chinese completely lost its self-confidence, everything is good for foreign countries, and it has developed a complete colonial mentality. In art, the ability to discern is lost, and all standards are confused. Throw away Ni Yunlin or Shen Shitian at home, and hang up a month card of Swire Foreign Firm. The architects had no idea of their own architecture and moved a set of Romanesque and Renaissance styles learned in foreign countries to China. That's fine. As for the countless shops, the original magnificent paving was demolished and replaced with a "Western-style" façade, and the essence of the "Western-style" could not be obtained, only a handful of scum was caught, not to obtain nutrition on the old basis, but to smash it and not get the good things of others, which thoroughly showed the character of the colony. This shameful era of one hundred and nine years is nakedly expressed in architecture.
Around 1920, several European and American architects who were accustomed to "Eclecticism" actually saw that Chinese architecture also had merits, and began to use their methods of making various styles to make their so-called "Chinese". All they saw were the glazed tile roofs of Chinese architecture, the brilliant paintings, and the ever-changing panes. For example, they built a western-style building with a glazed tile hat on it, some colored paintings under the eaves, some diamond flowers on the windows, and perhaps a white jade Sumire seat under their feet. It is like a foreigner in a suit, wearing a red hat, a piece of silk on his chest, and a pair of boots on his feet, thinking that he is a Chinese! Union Hospital, The Salvation Army, are examples of this. Yenching University is more like a bit of learning, but please look at it: there are several gables windows that have opened into the pillars. The pillar head of Jinling University in Nanjing was completely missed by Dou Li. It's really furry, formalist architecture. They did not grasp the basic features of Chinese architecture in the slightest. In Nanjing, in Shanghai, there are many architects who have also been involved in this trend, although most of them have failed, but there are also a few unsatisfactory attempts.
Now that period is over, a new era is beginning. Those of us who are engaged in construction work can neither do it unconsciously as the ancient craftsmen did, nor blindly do palace-style antique buildings, nor should we do Western-style buildings unconditionally. What to do? We can only create our own national form of architecture.
The direction we have created has been indicated for us in Article 41 of the Common Programme. "The cultural education of the People's Republic of China is new-democratic, that is, national, scientific, and popular cultural education." Our architecture is "new-democratic, that is, national, scientific, popular architecture". This is our programme, our direction, and we must make it happen. How to achieve it is our big problem.
From an architectural point of view, what is national, scientific, and popular? We can say that there is a national history, art, and technological tradition, and with reasonable and modern engineering design technology and structural methods, the building that meets the needs of the people's mass life is a national, scientific, and popular building. At first glance, these three aspects seem to be unrelated, but in fact they are closely related to each other and difficult to distinguish.
In terms of designing the procedure, we have to reverse the sequence. The first step we need to understand is what democratization is, that is, what the needs of the people are. What is the way of life of the people, what their needs are in terms of art, aesthetics. Here we construction workers have undertaken an important task, a heavy and difficult task. This task is fraught with contradictions.
On the one hand, we must obey the habits of the people and adapt their living environment to their habits. On the other hand, there are many bad habits in life, especially those that hinder hygiene, and we should not only not obey him, but must also correct them in design. Although architecture is a product of lifestyle, lifestyle may also be a product of architecture. They have a cyclical effect of mutual influence. Therefore, we architects have a powerful tool in our hands, we can change the habits of the people, we can improve them, we can also promote bad habits, or prolong them.
However, in the habits of life, except for those who belong to health and health, most of them belong to the social nature, and it is difficult for us to criticize it for sure. For example, until now, most people have the habit of living together in large families, with generations of grandchildren and brothers and sisters living together. It has a feudal connotation and will cultivate a small family-style circle. But after the political consciousness of each person in the family has increased, this small circle is not necessarily bad, if this family is a farmer and the fields are all together, should we use the building to break their family, or to adapt to their habits? This should be well considered. Another example: Chinese dishes are fried, there must be a big flame, if the kitchen is electrified, then the whole country can only eat steamed, boiled, boiled, grilled dishes, and can not eat stir-fried vegetables, which is contrary to the living habits of the whole Chinese. Personally, I feel compelled to obey it.
Now this habit of life continues on the one hand, and some of them are changing, some are very sharp, some are very slow, and many others may continue for a long time. As construction workers, we must understand the situation, use our tools, and do our best to adapt and at the same time improve the living environment of the people.
This step of work first affects the floor plan of the design. If this step is not properly resolved, we will not be able to create our national form.
Scientific architecture is first and foremost inseparable from popularization. We must deploy the plane in the most scientific way according to the needs of the masses of the people. The next step is to build it in the most economical and robust structural way according to the materials we can get. Of the three aspects, this aspect is a relatively simple technical issue. We must strive for its most scientific, structurally faithful technology.
After achieving the above two items, we can talk about the tradition of the technique of historical art. The tradition of architecture and technology is inseparable from the first two.
In terms of flat deployment, we have special national traditions. Houses in China, from the far south to the north, from the far east to the far west, are made up of many buildings, surrounded by a courtyard on all sides. Its original origin was undoubtedly formed by the needs of life. Once formed, it affects the habits of life and becomes a tradition. Mr. Chen Zhanxiang analyzed the deployment of Chinese architecture; he said that every house is a small city, and every city is a big house. Because each house is composed of most single buildings, surrounded by walls, it is a small city, and a city is also composed of the same principle. This plane deployment is one of the important components of our basic national form. Is it still suitable for the needs of today's life? Can the needs of today's lives be addressed reasonably and appropriately with this traditional deployment? That's all we need to know.
The second is the problem of structure. The most basic feature of Chinese architectural structure is the use of the structure method. The reason why the Chinese building system can be adapted to the extremely different climates between the north and the south is because this structural method gives it the freedom to use it with almost unlimited flexibility in the proportion of walls, doors and windows. It affects the planar deployment of Chinese buildings. Coincidentally, the R.C and steel frame architecture produced by modern science are characterized by this feature. But this material is different, the old chinese is wood, the new is R.C and steel frame, in this regard, how do we express our old characteristics with new materials. This new material, and the needs of modern life, will affect the number of floors and the appearance of our new buildings. There are basic similarities between the old and the new, but there is a great distance in construction technology. How will we apply and exploit this essential similarity in order to produce the backbone of our national form? That is what we must pay attention to. Among the Chinese-style buildings made by foreign countries, the only one that can grasp this point is the Beihai Beijing Library. But the antique smell is still extremely strong. We should look for ourselves to have the right standards.
Source | Sandalwood House
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The launching ceremony of "Century-old Masters and Architecture" has received the attention of many media, and the above video is a collection of reports from CCTV-1 "News Network", CCTV-4 "China News", CCTV-13 "News Live Room" and other columns
On April 23, 2018, the launching ceremony of "A Century of Great Masters and Architecture" was held at the Palace Museum (from left: Huang Yuzang, Yang Jingdao, Liu Xiaoli, Zhao Xuemin, Li Qianguang, Hu Zhenmin, Cai Wu, Gong Xinhan, Xu Ronglie, Yan Xiaoming, Wang Wenwen, Jin Yue)
Producer | Hou Xuan
Art Editing | Magical conch
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"A Hundred Years of Masters" was selected as a key documentary celebrating the 100th anniversary of the founding of the Communist Party of China
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About us
The large-scale cultural project "Centennial Masters" is China's first large-scale series of biographical documentaries focusing on the masters and masters who made outstanding contributions to Chinese civilization in the 20th century, and is jointly produced by the China Federation of Literary and Art Circles, the Central Radio and Television Corporation, the China Academy of Arts, the Central New Film Group, the China Literature and Art Foundation, and the Centennial Masters (Beijing) Cultural Communication Co., Ltd.
"Centennial Masters" is the "Chinese Excellent Traditional Culture Inheritance and Development Project" of the General Office of the CPC Central Committee, the General Office of the State Council and the Central Propaganda Department, which has been selected for two consecutive years as the "Record China" communication project of the Propaganda Department (Information Office of the State Council), the key topic planning project of the "14th Five-Year Plan" documentary of the State Administration of Radio, Film and Television, the key documentary celebrating the 100th anniversary of the founding of the Party, the "Recording the New Era" documentary boutique project and the key documentary project (2018), and the major theme main line publicity and key topic selection project of CCTV. It is also funded by the National Arts Fund, the China Literature and Art Foundation, the China Art and Culture Foundation, the Beijing Municipal Government Cultural Innovation and Development Fund, the Beijing Culture and Art Fund, the Beijing Radio and Television Network Audiovisual Development Fund, and the Beijing Xicheng District Cultural and Art Creation Support Special Fund. It has won 12 documentary awards.
From 2013 to 2017, the filming of 43 masters in the first season of "100 Years of Masters" has been completed, which is divided into art, calligraphy, Peking Opera, drama, music and literature. The filming of 57 masters in the second season of "100 Years of Masters" has been launched in 2018, adding science and technology, education, traditional Chinese studies, architecture, traditional Chinese medicine, opera, and film, which are planned to be completed one after another, and will be presented with the "100 Years, 100 People, 100 Episodes" documentary, "100 Masters Special Exhibition" and "100 Books Publishing".
The completed documentary "100 Years of Masters" has been broadcast on CCTV (one set, three sets, four sets, nine sets, ten sets, fifteen sets, discovery channels, international channels), China Education Television, provincial satellite television, overseas television stations and other 157 tv stations at home and abroad, which have been widely praised and have repeatedly set new high ratings for similar documentaries. "100 Years of Masters (International Edition)" is broadcast worldwide in 8 languages.
CCTV Market Research Co., Ltd. (CTR) in July 2020 According to the statistical results of CSM National Measuring Instrument, "Centennial Masters" reached a total of 10.2 billion people.
The series of books "100 Years of Masters" has been distributed to nearly 1,000 colleges and universities across the country for three consecutive years by the Ministry of Education, the Ministry of Culture and Tourism, and the Ministry of Finance as a "High Art entering the campus" study book.
"Centennial Masters" has become one of the most high-end phenomenon-level brands in the field of culture, and with its unique advantages, it has built an important platform for disseminating China's excellent traditional culture, interpreting and displaying cultural self-confidence, and practicing the core values of socialism.