This paper mainly sorts out and analyzes the five aspects of the brief description of the wall of the Temple of Literature, the classification and pattern characteristics, and the treatment method of the shape and decoration pattern, summarizes its decorative art techniques, and expounds its important value for the inheritance and research of modern architecture.
Classification and pattern of the walls of the Temple of Literature
The wall of the Temple of Literature is a symbol of the architectural form of the Temple of Literature, which greatly reflects the nature and characteristics of the temple of literature architecture, and the author summarizes the brief situation of the wall from the classification of the wall and the characteristics of the theme of the pattern.
1. Brief description of the wall
Zhaobi is a unique architectural form produced by the influence of feng shui concepts in Chinese architecture. Zhaobi is an independent wall, and the wall that acts as a barrier can also be called a "shadow wall". It often appears on both sides of the gate of the building complex, and is widely used in palaces, temples, ancestral halls, houses, gardens, etc. It has the effect of dividing space, decorating space, and excessive space. The zhao wall located in front of the temple of literature is also known as the screen wall and the palace wall. The Temple of Literature with the main entrance is generally on the opposite side of the road in front of the gate, and the Temple of Literature without the main entrance has become the front wall of the Temple of Literature.
According to the "World Confucius Temple Research", the Wall of the Confucian Temple was first seen in the Confucius Temple in Qufu, which began in the fifteenth year of Ming Yongle in the Ming Dynasty (1417), and a wall was built in front of the temple gate, and the wall here is actually the Wall. Although the Ming Dynasty built zhaobi, it was not yet popularized. Judging from the existing temple map records, the vast majority of the temples of literature were not built on the wall. It was not popularized until the Qing Dynasty, and in the late Years of The Qing Dynasty, there was no temple of literature that would not be built on the Zhaobi Wall. The original practical function of zhaobi was to block the collection of impurities in front of the temple, and later began to use the zhaobi to theme the praise of Confucius, thus forming the unique architectural decoration system of the Confucius temple.
2. Classification of the wall of the Temple of Literature
The classification of the wall can be classified according to the name, location, material, form and other factors. In terms of name, the shape of the wall depends on the layout of the plan, and is divided into one-character wall, eight-character wall, skimming mountain wall, and mountain wall. According to the inspection, the wall of the Temple of Literature is mainly one-character type, and there are few figure-eight-shaped walls, and there are almost no other forms of walling.
According to the characteristics of the material form of the Temple of Literature, the summary is mainly divided into the following types: First, the glass wall. The glass walls are mainly used in imperial palace and temple architecture. The most representative of China is the Forbidden City and the Nine Dragon Wall in beihai, there are few glass walls in the Temple of Literature, and the Five Dragons Glass Wall in Hancheng, Shaanxi Province, is the most representative in the Northern Temple of Literature. Second, brick carvings illuminate the walls. It is the main form of traditional Chinese wall illumination, all of which are stacked with bricks and tiles. A large number of traditional houses are used, and many of the Temple of Literature are also used as the main form, such as the Shandong Jinan Fuxue Confucian Temple, the Shanxi Jingsheng Confucian Temple, etc. Third, other illuminated walls. Mainly divided into stone wall, wooden wall, etc., China rarely sees such walls, and has not yet appeared in the Temple of Literature.
3. Decorative themes with clear intentions
Looking at the walls of the Temple of Literature, its main purpose is to express the Confucian idea of "human life". The decorative themes of the Temple of Literature are used to educate the world, symbolize auspiciousness, and encourage scholars to strive to be strong, to ascend to the top, and to be rich and glorious. In summary, the idea of its decorative theme has a distinct allegorical feature.
The idea of "joining the WTO" educates the people of the world
Since the Han Dynasty, Confucianism has become the orthodoxy of China, and its influence has permeated every aspect of social life. The Temple of Literature was a temple in the feudal period where the state worshipped Confucius for honor and admired Confucius's thought. The rise and fall of the Temple of Literature is closely related to the ancient Chinese imperial examination. Therefore, in the Ming Dynasty, temples were set up for learning, and with the prosperity of the imperial examination and education, the Temple of Literature flourished.
Through the summary of the theme of the decorative pattern, it is not difficult to find that the most direct influence of the Confucian influence on the wall of the Temple of Literature is to adopt a large number of patterns containing the meaning of "imperial examination" and "renshi" to embody the idea of "the unity of heaven and man". For example, the walls of the Temple of Literature have adopted a large number of decorative patterns centered on the ideological content of learning and excellence, such as "Fish Leaping Dragon Gate", "Five Sons Dengke", "Ren Ge Worship Xiang", and other patterns that encourage the scholars to study and study, which means that as long as the scholars are studying and advancing, they can enter the career path and appear in the world, and the beauty of the Temple and the wealth of the hundred officials that they admire can be realized with it. It can be seen that the pattern of the Temple of Literature combines the inner beauty and connotation beauty of the graphic symbols, and uses the decorative form and allegorical connotation of the pattern to express the inner Confucian culture.
Harmonic meaning, auspicious symbol
When applying symbolic techniques to architectural decoration, it is often used to express a certain content of thought with the help of homophones of the theme name, which is called "all sounds to take meaning". This philosophical relationship between man and nature also deeply influenced the traditional architectural form of China, which led to the harmonious development of architecture and nature. In essence, it is to regard man and nature as a whole, and the decorative patterns of the Chinese Temple of Literature are also taken from nature, implying beauty.
Looking at a large number of temples in the north, the patterns of the walls of the temples are mostly based on lotus, peony and lotus; Animal patterns mostly use dragons and phoenixes, fish-based totems. As a result, people use harmonic sounds, through false borrowing, symbolism and other techniques, to apply things with allegories that are considered beautiful to the decoration of architectural patterns, so as to express beautiful yearning. For example, "all the way to glory", "five sons win the championship", "seal the seal of the marquis", etc., are all taken from the harmonic sounds in natural things to give a beautiful meaning, to symbolize the ascension of the keju, wealth and glory.
Storyline, rich and noble meaning
The folklore storyline is also a direct influence on the formation of the cultural connotation of Zhaobi. Some far-reaching folklore and Confucian culture are organically combined to rely on a relatively wide range of social life through generalization and imagination on a certain historical event, person, or certain natural and man-made objects.
It can be seen from the wall of the Nanyang Xuewen Temple, and the back of it is carved with "Yuyue Dragon Gate" and "Wuzi Dengke". On the right is a seven-level goose pagoda, and a row of flying geese at the top of the tower is in the shape of an inverted "human" character, showing the historical allusion of "the goose pagoda leaves its name". The mythical story of the immortal "Eight Immortals Crossing the Sea" carved on the top of the dragon gate expresses their ideals and beliefs in life. The decorative pattern of the Temple of Literature adopts many narrative patterns in the selection of the title, and conveys the folk culture by narrating the storyline, which also explains people's desire for wealth to a certain extent.
The shape of the wall and the treatment of decorative patterns in the Temple of Literature
The shape of the wall and the treatment method of the decorative pattern of the temple are rich and diverse, and the author mainly summarizes them into three ways of expression, namely the natural contrast between the color of the wall and the brick surface, the extensive use of text symbols, and the large number of figurative patterns. From the material, color, pattern and other aspects of the wall, the decorative art techniques of the temple of literature are compared and summarized.
1. The contrast between the wall color and the brick surface
Many Chinese walls use this form to decorate the color of the wall with the brick surface. There are two main forms of wall painting in the Temple of Literature, the wall center is whitewashed and the wall center is brushed red. This treatment method is extremely simple, but it seems particularly simple and atmospheric.
The center of the wall is whitewashed
Figure 1 The front of the wall of the Tangyi Confucian Temple (Source: The author took it himself)
Figure 2 The back of the wall of the Tangyi Confucian Temple (Source: The author took it himself)
Tangyi Confucian Temple (Figure 1, Figure 2) is located in the northeast corner of Tangyi Old Town, Dongchangfu District, Liaocheng City, and was later renamed Tangyi Confucian Temple Museum. Looking at the wall, it can be found that it is not engraved on the front and back sides, and the green bricks and gray tiles are not engraved. The sides of the wall are made of green bricks to form two column edges, and the walls within the two pillars are illuminated with white ash. The contrast between the two produces an orderly formal beauty through the contrast between the white ash surface, the contrast between the smooth white plain surface and the rough gray brick surface has a decorative effect.
The center of the wall is brushed red
The Walls of the Guozijian in Beijing and the Confucius Temple in Nanjing are in this form. First of all, the value mention is the Guozijian Confucian Temple in Beijing. In the fourteenth year of Hongzhi (1501), "Xie Duo" said: "There are small alleys outside the Guixing Gate, and the horizontal ditches are dirty, and it is advisable to build a high screen wall and cover it with blue glazed tiles, and build small red walls on both sides, covered with barrel tiles, and protect the fence." The Guozi Supervision Wall belongs to the figure-of-eight illuminated wall, and there are small walls on both sides of the wall that extend to the north. To modern times, the Guozijian Confucian Temple in Beijing still continues this form. Color has a strong expressiveness, so the control wall is also a very important decoration. Although there is no embellishment of decorative patterns, the combination of the red color of the wall center and the figure-of-eight illuminated wall makes the Guozi Supervision Wall appear generous.
Figure 3 Nanjing Confucius Temple Zhaobi (Source: Author's own photo)
Figure 4 Night view of Nanjing Confucius Temple (Source: Author's own photo)
Secondly, the Walls of the Confucius Temple in Nanjing (Figures 3 and 4) are also significantly representative. It is located on the other side of the Qinhuai River and is the largest wall in China. The walls of the Confucius Temple are also figure-eight-shaped walls, with the roof of the gray tile tiger hall and the walls painted red. Later, due to the street lamp culture of the Qinhuai Confucius Temple Scenic Area, the illumination of the Erlong Play Bead was added to the wall. During the day, the yellow two dragon play beads and the red wall complement each other, and at night, the huge illuminated wall is lit by the glowing double dragons. The combination of the two not only plays a decorative effect, but also adds a lot of life to the brightly lit neighborhood through the configuration of color lights. Throughout the picture, many Chinese temples use this method, such as the Foguang Temple in Wutaishan, Shanxi, with a red plastered wall; Jiangsu Hanshan Temple brushes yellow walls and so on. This contrast between the texture and color of the building materials and the texture and color of the wall makes the monochrome wall of the wall orderly and generous.
2. Widespread use of text symbols
In the decorative pattern of the wall of the Temple of Literature, the text symbol is also widely used. The inscriptions are "Wanlinggong Wall", "Counting GongGong Wall" and "Confucius Temple". Although the inscriptions on the wall are different, most of them praise Confucius.
Inscription "Wall of Wanling Palace"
Most of the inscriptions on the wall are "WanlingGong Wall", "Counting Gonggong Wall", and "Palace Wall Wanling". The "Wall of the Wanling Palace" (Fig. 5) is derived from the Analects of Zi Zhang, implying that Confucius's learning is broad and profound, like the wall of the Shuju Palace. Later, people thought that "counting" was difficult to express the praise of Confucius's learning, and it was even more "Wanling". The inscriptions of the Confucius Temple Are from the "Wanling Palace Wall" on the qufu city wall. According to historical records, Ming Jiajing established a new county town centered on the Confucius Temple in Qufu in the first year. Since the Confucius Temple did not have a city gate at that time, it inscribed "WanlingGong Wall" on the city wall. These four characters are still preserved on the walls of Qufu City, but they have been replaced by the inscription of the Qianlong Emperor. There are many such examples, such as the red wall of the Nanjing Jiangning Fuxue Literature Temple, which has the words "Wanling Palace Wall" in the inner and outer walls.
Figure 5 Qufu '''Wall of Wanling Palace' (Source: Self-portrait)
The inscription "Confucius Temple" text is combined with other motifs
The brick carved wall of the Xi'an Stele Forest (Figures 6 and 7) inscribed with the inscription "Confucius Temple" is the largest surviving text shadow wall in northwest China, built in the Song Dynasty. Observed, the walls are grey tile roofs, made of brickwork, and decorated with simple bucket arches and hanging flower stigmas under the eaves. The wall on the front wall is inscribed with the Inscription "Confucius Temple", and the wall is tall and gray. The back of the wall adopts the shape of the center of the four corners, the pattern in the center of the wall is called "box", and the four corners are called "forks". Decorative patterns are mainly plant patterns, and most of the plant and flower patterns are concentrated in these two places, and they are also the most used decorative patterns in the central four-corner form. The back wall is carved with a peony pattern, and the right side is attached with plum blossom and magpie motifs, which symbolize "blossoming and rich" and "happy eyebrows". According to the literature, peony has the name of "Flower King", so in ancient times, peony was often used to mean Shi Tu Tengda, high-ranking officials and nobles, that is, the so-called "official residence of a product". Express your wishes for the candidates' ascension to the top and enjoy glory and wealth from now on. The whole wall is simple and broad, and the whole looks solemn and thick, which is a cultural symbol of China's feudal society ruling the world with Confucianism.
Figure 6 The front of the Forest of Steles temple in Xi'an (Source: The author took it himself)
Figure 7 The back of the Forest of Steles temple in Xi'an (Source: The author took a picture)
3. Figurative patterns have been popularized
Highly condensed plant form
The Temple of Literature adopts a variety of flowers and plants according to the wall theme, mainly because the plant pattern has the characteristics of realism and generalization. Most of the Jinan Fuxue Confucian Temple (Figure 8) retains the pattern of the Ming Dynasty, and from the close-up point of the building of zhaobi, it should be a relic of the Qing Dynasty. The one-line wall of the glazed tile house is located outside the gate, the original wall is made of green bricks into a flat gray surface, the north wall of the wall is a circular brick carving pattern, and the south wall has no pattern. After 2005, it was restored and the brick carving pattern with the broken center of the wall was completed. The walls are painted in big red, and the central wall center is inlaid with a garden-like plant pattern brick carving, and the carved chrysanthemum is commensurate with the curly grass pattern. The curly grass pattern as a background foil is intricate, but it makes the chrysanthemum pattern in the center more prominent. The center is made into the shape of a copper coin, and the interior is surrounded by four chrysanthemums, separated by brick carved bamboo knots, which give it a collection of compositional beauty. It symbolizes the tenacious and thriving vitality and the blessing of the students.
Figure 8 Jinan Fuxue Confucian Temple Zhaobi (Source: The author took it himself)
A motif that encourages admission
The legend of the "Carp Leaping Dragon Gate" has been circulating in China for more than 2,000 years, and there is an account of this legend in the earliest dictionary on the mainland, "Erya". The use of this pattern on the wall of the Temple of Literature is also due to the meaning of the change of fish and dragons. After the emergence of the Sui Dynasty examination system, perhaps the ancients thought that the scholars who studied hard in the cold window were like carp in the waves, selected layer by layer, and only a few lucky enough people could pass the examination and become famous. There are many people who use this pattern in the northern Confucian Temple, such as the Shanxi Jingsheng Confucian Temple, the Hancheng Confucian Temple in Shaanxi Province, and the former Nanyang Fuxue Confucian Temple in Henan. Although the decorative forms and expression techniques of the Ichthyosaur Transformation are different, the meaning of the Keju and the first is the same. The following is to take the Shanxi Jingsheng Confucian Temple as an example.
Figure 9 Shanxi Jingsheng Confucian Temple (Source: The author took it himself)
The stone sculpture shadow wall of the "Fish Leaping Dragon Gate" outside the Gate of the Jingsheng Confucian Temple (Figure 9) in Shanxi Is a double-sided skeleton of the Yuan Dynasty. It is made of 23 huge carved stone blocks and is topped with green tiles. The main ridge is a glazed painted sculpture, the yellow dragon meandering, and the wall center pattern is "Carp Leaping Dragon Gate". Looking at the shadow wall, I can only see the waves of the Yellow River rolling over, the heavy mountain blades, and the dragon gate of the city directly into the heart of the river. There are three dragons in the picture, and two giant dragons stand tall in the clouds, showing their heads and tails. One of the dragons peeked in the air, and one of them spat water straight into the dragon gate. There is also a dragon with a dragon in its tail that is still a fish. Several carp in the water chase the waves, eager to try. In pingyao county, Shanxi, there is a brick carving that reflects the pattern of fish and dragons, which is inferred to be under the influence of Confucian culture, reflecting the mentality of The Jin merchants in Pingyao County to strive for development.
Extensive use of totem worship
The xianglong pattern comes from the ancient totem worship, which was a totemic symbol of the Chinese nation before Han Gaozu called himself a dragon. It is generally used in the palace buildings with the highest architectural grade and belongs to the symbols of royal architecture. A large number of auspicious dragon patterns are also used in the Confucius Temple architecture, which shows the status of the Confucius Temple in the Chinese architectural system. The wall decoration of the Temple of Literature also uses the official architectural decoration content of "dragon" as a large number of architectural decoration elements.
Located in Dongxue Lane, an old city in Weinan Hancheng, Shaanxi Province, the Hancheng Confucian Temple (Figure 10) is a well-preserved group of Yuan Dynasty buildings. The "Wanling Palace Wall" of the Hancheng Confucian Temple in Shaanxi Province is a brick carved palace wall-style wall that uses five dragons as the main decorative elements of the wall. The wall is built in front of the chess star gate, and in the middle is inlaid with colorful glass reliefs of five dragons, and the colors are mainly yellow, blue and green. The posture is vivid, jumping, majestic, and the glass is colorful. Its image is realistic and beautifully carved. Therefore, the wall of the Hancheng Confucian Temple adopts a wall dominated by dragons and flanked by carp patterns. Brick carved fish leaping dragon gates on both sides of the wall, the wind and waves are high, and the carp leaps. This means the change of the ichthyosaur, which means that the flying dragon leaping fish is full of talents. There are many temples of literature that use "dragon" as a decorative element, such as the two dragon play beads decorated in the middle of the Taiyuan Confucian Temple in Shanxi, and a multicolored dragon in each of the four corners, which is a fine product in the wall. The Xuewen Temple in Pucheng County, Shaanxi Province, has three groups of two dragons on the front, which are not listed here.
Figure 10 Shaanxi Hancheng Confucian Temple City Zhaobi (Source: Network)
The inheritance and application of the Temple of Literature in modern design
The study of the Wall of the Temple of Literature can more deeply understand the spiritual value and cultural significance of the architecture of the Chinese Temple of Literature, which is conducive to inheriting the essence of the temple of literature architecture. The author discusses the significance of the inheritance of the Temple of Literature and its inheritance and application in modern design.
1. The inheritance significance of the Wall of the Temple of Literature
As the carrier of Confucian culture, the Temple of Literature has a monumental role. Confucianism occupies an important place in the history of Chinese culture. Confucian classics are not only tools of ideological rule, but also the main body of China's feudal culture, preserving a rich national cultural heritage. The Zhaobi can be described as the "façade" of ancient Chinese architecture, which reflects the hierarchy of the building and the status of the owner. In the face of these decorations of ancient buildings, whether the composition is concise or complex, whether it is colorful or elegant, whether it is realistic or freehand, they are the skills mastered by the application of ancient craftsmen, pouring all their energy and wisdom. Therefore, the ingenuity of the builder can be seen in the shape and pattern treatment of the wall. Studying the walls of the Temple of Literature, we can understand the Chinese Confucian culture and ancient architectural culture in a small way, which is a direct embodiment of the decorative culture of ancient Chinese buildings.
The study of the Wall of the Temple of Literature is of great significance to modern inheritance and is reflected in the following aspects. First of all, the allegorical connotation of the wall of the Temple of Literature embodies Confucian culture, which is of great significance for future generations to understand the "cultivation", "entry", "ceremony" and "ceremony" of Confucian culture. Secondly, from the perspective of architectural form, zhaobi has a summative effect on the building, and is a strong stroke in architectural decoration. It is of great significance for modern designers to excavate their architectural connotations. Finally, the decorative pattern of the wall of the Temple of Literature is an architectural visual symbol element of the Temple of Literature. Inheriting its design ideas and artistic spirit has great practical significance for modern designers to extract the essence and inherit innovation. It can also add light to the traditional culture with Chinese characteristics.
2. The inheritance and application of the Wall of Literature in modern design
Zhaobi is a highly decorated wall, which summarizes, summarizes, deforms, reorganizes and abstracts its decorative patterns, and extracts representative cultural symbols, which is of great significance for modern design in inheriting its functions and decorations, as well as for the embodiment and "hidden" extension of Confucian culture.
Figure 11 Indoor shadow wall of Banyan Tree Huangshan (Image source: Internet)
For example, in interior design, the modern entrance design is a deformation of the traditional illuminated wall. It can be used in modern restaurants, clubs, home and other indoor spaces as decorative emphasis and space buffer. For example, the new Chinese style is a model of inheriting ancient architectural culture. It is worth mentioning that the indoor shadow wall of Banyan Tree Huangshan Villa (Figure 11), using lotus flowers and other plant patterns to decorate the shadow wall, extracting the ancient wall pattern essence 118, simplifying the form of the wall, coupled with modern materials, in the overall design of the architectural characteristics, color sense, continue the simplicity and stability of the traditional architecture.
Conclusion
The decorative pattern of the Temple of Literature shows people's pursuit of auspicious meanings and forms of expression of external beauty, and also shows a strong Confucian didactic meaning. The study of Zhaobi is conducive to a more specific understanding of Confucian culture, refining the ancient architectural space processing form and the decorative pattern of the Temple of Literature, and refining and innovating in modern design, so that Confucian cultural symbols can enlighten and guide the context of urban construction, add traditional cultural elements to modern Chinese design, and inject Confucian cultural blood.
The social value of the architectural art of the Temple of Literature
Although the Temple of Literature has lost its functional value, the traditional architectural art represented by the architectural art of the Temple of Literature still deeply influences the contemporary era and plays an immeasurable social value. The most typical is its painted art and detailed decorative arts. In modern architecture, traditional painted decoration can still exert its unique artistic charm and inherit a deep cultural connotation. Among them, the banquet hall of the Great Hall of the People in Beijing is a good example, on the basis of traditional spinel painting, integrating modern elements, and the painted patterns are mostly from the perspective of space needs and functions, and the curved undulating color drawings are outlined with modern warm tones, so that the ceiling shape of the hall is both solemn and lively and elegant. For the excavation and protection of the painted art of the Temple of Literature, the fusion of new aesthetic concepts with traditional decorative arts is not only conducive to the development of contemporary architectural decorative arts, but also the promotion and inheritance of traditional Chinese culture and art.
The Chinese Confucian Temple is a materialized symbol of Confucian culture, a special carrier of material and spiritual culture containing Chinese civilization, a microcosm of the splendid culture of the Chinese nation, and the crystallization of the wisdom and painstaking efforts of the ancient working people, in which brick by brick, grass and tree embody rich cultural connotations. The Chinese Confucian Temple is not designed and constructed under the guidance of architectural aesthetics, and with the progress and change of the times, although it has lost its practical significance and role, the architectural and aesthetic value of the Chinese Confucian Temple has become a splendid eternity. The Chinese Confucian Temple is a collection of traditional Chinese culture, Patriarchal rituals in the Chinese feudal period, the continuation of the Chinese context, etc., so it has become a representative work of traditional Chinese cultural architecture. The splendid art of the Chinese Temple of Literature is embodied in the shape planning, spatial layout, structural modeling, and decorative techniques, and is embodied in the unity of heaven and man, balance and order, corresponding coordination, and spatial agility. In summary, the Chinese Confucian Temple is an organic whole with precious cultural and artistic heritage value embedded in the Chinese cultural background, and is a precious cultural and artistic heritage that carries forward and inherits China's excellent traditional culture and realizes the Chinese nation's great rejuvenation of the Chinese dream.
See also: Abbreviated
Author:Xue Juan,Zhao Ya,Zhang Yuyu;
Author Affilications:School of Art, Shandong Jianzhu University
Source: Proceedings of the First Symposium on "Traditional Architecture and Non-Genetic Inheritance" of Shandong Social Science Forum 2017,2017:10-15.;Publication Date: 2018-01
Original title: "Analysis of the Decorative Patterns of the Wall of the Temple of Literature"
The copyright of graphics and texts belongs to the original author or the original institution
The source | the house of the philosopher