general architectural characteristics of china

1. UNIT-2
ARCHITECTURE & CULTURE IN CHINA
 ARCHITECTURAL FEATURES - Concepts of Bilateral symmetry
Enclosure
Hierarchy
Horizontal Emphasis
Cosmology
 ANCIENT CHINESE WOODEN ARCHITECTURE
 ARCHITECTURAL TYPES
 RELIGIOUS ARCHITECTURE – Pagoda of Fogong
Temple of Heaven pagoda
 CONFUCIANISM
 TAOISM
 BUDDHISM
 BASIC CONCEPTS OF FENG SHUI
 APPLICABILITY OF FENG SHUI TO INTERIOR DESIGN
ARCHITECTURE & CULTURE IN CAMBODIA
 CAMBODIA – KHMER BELIEF
 HINDUISM & BUDDHISM
 TEMPLES AT ANGKOR WAT AND BAYON
 KHMER HOUSE

2. INTRODUCTION
Architecture and culture are tightly related to each other. Architectural style may be regarded as a reflection of the
life and the culture of the people in a particular history period. Each great architectural work is an integral part of its own
time, and expresses the culture and technology of the particular period in history.
Architecture styles have greatly changed over the course of time. Traditional architecture is today but a remnant of
the past, an antique ruin which a modern architect may admire but would hardly seek to imitate. Architectural style
changes over time, just like the flows of water in a river – today’s water is no longer the same as yesterdays; but in any
valid architecture there always remains an underlying system that gives the architecture its validity. In a sense,
architecture is the carrier of culture.
Traditional architecture in a large country with a long, diverse history such as China contains many appropriate and
time-lasting architectural solutions. Learning from the past can help us ensure the continuation of our culture, and
provide us with some useful resources and reference materials to apply to contemporary architectural problems.
China is a nation of vast territory, long history, and rich resources. Great differences in geographical and
climatic conditions have caused marked diversity in the architecture of various regions in China. However, it is possible
to distinguish the underlying distinctive common characteristics. Since ancient times, Chinese culture has been heavily
influenced by conservative philosophies like Confucianism, Taoism etc. Over the centuries, the structural principles of
Chinese architecture have remained largely unchanged, the main changes being on the decorative details. Chinese
architecture has had a major influence on the architectural styles of Korea, Vietnam, and Japan.
Styles of Chinese ancient architecture are rich and varied, such as temples, imperial palaces, altars,
pavilions, official residencies and folk houses, which greatly reflect Chinese ancient thought - the harmonious
unity of human beings with nature.
Chinese architecture refers to a style of architecture that has taken shape in East Asia over the years. 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 traditional Chinese 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. 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. In
both individual structures and overall building practices, 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 space to live and work in. Today, they make us to experience the essence of
Chinese culture.

3. TRADITIONAL CHINESE ARCHITECTURE
CHINESE ARCHITECTURE DESIGN TECHNIQUES
 THE AXIAL CITY PLAN AND SITE PLAN
 THE ALTERNATION BETWEEN THE ARCHITECTURE INTERIOR AND EXTERIOR SPACE
 THE MODULAR SYSTEM
 THE EXPOSED STRUCTURE
THE AXIAL CITY PLAN AND SITE PLAN
 One of the great religious beliefs that influenced the
design of the classical Chinese city and Chinese
architecture is Confucianism. In order to create a
stable social order, Confucianism established the
strict doctrines putting the society in order with
rules and filial piety.
 An axial symmetrical city layout was the most suitable
means of expressing the concept of rigid hierarchical
social system in ancient China. This is because
compositional elements in an axial layout plan are
never independent – they are always subordinate to
the axis and ruled by its coordinates. The
relationship of each compositional element to the
reference axis is an important factor in the axis
plan. For example, it is important whether a building is
on the north-south axis or on the east-west axis.
 The classical Chinese city axial plan was based on an
orthogonal system that was regarded as the best
means to express the social system in ancient China.
Some common characteristic features of the classical
Chinese cities were as follows:
1. The classical Chinese city’s plan exhibited obvious axial symmetry, with palace or other important
government building in the axial center, symbolizing the centralized power of Chinese emperor.
2. The traditional Chinese cities were usually designed with a square plan; the streets were laid out running
north-south and east-west along the plan axis to form a checker-board grid.
3. They were all enclosed inside a wall.
 Like the Chinese city, the house, representing a microcosm of Chinese private life, was also influenced by
Confucian doctrine. The obvious axial arrangement of Chinese architecture had often been seen as an expression
of Confucian idea of harmonious social relationship, which was formal, regular and clearly defined. Nothing
inharmonious or irregular existed inside this kind of Chinese building. Usually the north-south axis was considered
to be the major axis and east-west axis as the minor. This was because China is geographically situated north of
the equator and the climate is, for the most part, cold in the winter and warm in the summer with a southeasterly

4. prevailing wind. A north-south axis makes it possible for building to take the advantage of the southeasterly winds
and sunshine. Thus, traditional Chinese buildings along the south-north axis usually have a more pleasant
environment than the traditional Chinese buildings along the east-west axis.
 One of the essential points of the Confucianism is “HARMONY”. Harmony in a family was considered the primary
source of happiness of one’s life in traditional China. Traditional Chinese believed the Confucian ethical concept
of DEFERENCE TO ELDERS was the useful way to have family harmony in which happiness and propriety
prevailed. The classical Chinese house was planned to express and reinforce this philosophy. The halls for the
older generations and for important ceremonies were arranged along the main axis, which usually was the north-
south axis, to have the best ventilation and sunshine, while the young occupied the side halls facing east and west.
The halls for the parents would be higher, more exquisitely decorative than the quarters for children. Various types
of buildings had been created to fit the different uses. Such as,
o Ting (Hall) – the largest and the most formal room used to treat important guests,
o Tang (Living room) – the place to hold family meeting
o L’ou (Apartment) – the place for family member live and for taking advantages of scenery
o Ting (Pavilion) – the place for relaxation
 Usually, in ancient China, the entire house was enclosed by a high, solid wall. One or two doors lead out to the
street. The function of the wall was to make the house a safe domain of a family, to protect the home from theft and
fire, and to provide a sense of privacy and seclusion.
THE ALTERNATION BETWEEN THE ARCHITECTURE INTERIOR AND EXTERIOR SPACE
Deciduous
trees
COURTYARD
WIND DIRECTION INTERIOR INTERIOR 



 The axis in traditional Chinese architecture not only controls the layout but acts as a path.
 The entire traditional Chinese building complex is composed of ALTERNATING INTERIOR AND EXTERIOR
SPACES. From a building to a courtyard, and then from the courtyard to another built space, there is a spatial
sequence of solids and voids.
 The interior and exterior spaces in the Chinese courtyard house are complementary to one another, rather than
being independent.

5.  Hence traditional Chinese courtyard (an exterior space) is also one of the necessary parts of the spatial
organization in classical Chinese architecture. A Courtyard in Chinese architecture may be seen as the extension of
the interior space. Almost all the doors and windows of traditional Chinese buildings open toward the courtyard. The
courtyards usually are the center of family activities.
Space Complex of a Traditional Chinese House
View A- from outside into Building View B - from Courtyard into a building
View C - Through the building into View D - Through the moon Gate
the second courtyard into the Garden

6. THE MODULAR SYSTEM OF CHINESE ARCHITECTURE
 One of the basic principles of classical Chinese buildings is the USE OF A JIAN
MODULE, much like the modular concept of prefabrication in contemporary
architecture.
 Traditional Chinese carpenters used “JIAN” – a structured bay as a standard
unit to construct all buildings. “Jian” was a rectangular space marked by Repetition
adjacent structural frames. “Jian”, as the basic interior unit, can be of Jian
expanded or repeated along the architectural plan axis to join together to
create a hall, then a building.
 Along a longer axis, several buildings can be connected around a traditional
Chinese courtyard to form a traditional Chinese courtyard house. Several
traditional Chinese courtyard house units along the city plan axis create a
small street district. A number of such districts form a grid-like network based
on the longer city plan axis with palaces, government buildings and other
public buildings in the center. This is typical of traditional Chinese cities.
THE EXPOSED STRUCTURE OF CHINESE ARCHITECTURE
 In ancient China, almost all of the main structures of classical Chinese
architecture were made of wood. Thus, the art of traditional Chinese
architecture may be seen as the aesthetic of wood.
 The original texture and color of the wood was exposed. The wood frame in
traditional Chinese was only painted with a kind of transparent wood oil to
prevent it from decaying. This kind of transparent oil allows the wood’s original
texture, grain and color to be seen.
 The wood frame, the skeleton of the classical Chinese building, supported the weight of the huge roof as well as the
upper stories. Walls were used only as enclosing elements. This traditional Chinese structural system made it possible
for the interior space to be divided freely according to the needs.
 In the division of the interior space, besides using solid fixed partitions, such as solid walls, sliding screens and folding
panels, Chinese also used temporary partitions, such as a moon door, decorative panels, open shelves, decorative
panels, etc. These partitions only partially divided the space, to mark the “separation of the space” and allow free
access and the continuity of vision.
 In traditional Chinese buildings in southern China, the character of the exposed wood structure was even more
obvious. In this Chinese region, the weather is more hot and humid, so the walls are thinner and not only the interior
wood structure but also all the columns and beams were exposed or half embedded in the outside walls of the
building. The exposed framework in the wall is the integral part of the composition of classical Chinese architecture.

7. ARCHITECTURAL FEATURES
o ARCHITECTURAL BILATERAL SYMMETRY
o ENCLOSURE
o HIERARCHY
o HORIZONTAL EMPHASIS
o COSMOLOGICAL CONCEPTS
ARCHITECTURAL BILATERAL SYMMETRY
An important feature in Chinese architecture is its emphasis on articulation and bilateral symmetry, which signifies
balance. Bilateral symmetry and the articulation of buildings are found everywhere in Chinese architecture, from palace
complexes to humble farmhouses. Secondary elements are positioned either side of main structures as two wings to
maintain overall bilateral symmetry.
In contrast to the buildings, Chinese gardens are a notable exception which tends to be asymmetrical. The principle
underlying the garden's composition is to create enduring flow.
The plan of Yan's House, Fuzhou, Fujian. This plan shows that a formal geometric architecture and
irregularly and naturalistic garden are skillfully integrated.

8. AXIS
ENCLOSURE
 In Traditional Chinese architecture, the buildings or
building complexes encloses open spaces within itself.
These enclosed spaces come in two forms: “THE
COURTYARD” AND THE "SKY WELL"
 The use of open courtyards is a common feature in
many types of Chinese architecture. This is best
exemplified in the Siheyuan, which consists of an
empty space surrounded by buildings connected with
one another either directly or through verandas.
 These enclosures serve in temperature regulation
and in venting the building complexes.
 Northern courtyards are typically open and facing the
south to allow the maximum exposure of the building
windows and walls to the sun while keeping the cold
northern winds out.
 Usually, large deciduous trees are planted inside the
courtyard. During summers it provides shade
whereas in the winter, it allows in plentiful sunshine.
Hence the courtyard is really an ideal space for
relaxation.
 Although large open courtyards are less commonly
found in southern Chinese architecture, the concept
of a "open space" surrounded by buildings, which is

9. seen in northern courtyard complexes, can be seen in the southern building structure known as the "sky well". This
structure is essentially a relatively enclosed courtyard formed from the intersections of closely spaced buildings and offer
small opening to the sky through the roof space from the floor up.
 Southern sky wells are relatively small and serves to collect rain water from the roof tops while restricting the
amount of sunlight that enters the building. Sky wells also serve as vents for rising hot air, which draws cool air from
the lowers stories of the house and allows for exchange of cool air with the outside.
 The Sky Well (in Hui Style architecture) is the most important feature of the house. It is a variation on the courtyard
of the Central-Courtyard Houses found in northern China. Unlike the courtyard, the “Sky Well”, is very small, similar
in dimensions to the opening of a well, hence, the name.
 The Sky Well is the only internal part of the house directly exposed to the exterior. In this way, it connects the
home to the earth outside the built structure. It provided both sunlight and rain water, and was the only open area
in which inhabitants conducted their daily activities, thus representing the important connection of Heaven, Man,
and Earth in line with Feng Shui principles.
 The ground level of the Sky Well is typically lower than that of the Zheng Tang (Main Hall). The ground is covered
with stone slats, beneath which is an area for the storage of rain water, which is connected to an underground
drainage system. The last function of the Sky Well, particularly in a two story residence or higher, is to serve as a
chimney, for removing dust and stagnant air, thus permitting improved air circulation.
HIERARCHY
 The projected hierarchy and importance and uses of buildings in traditional Chinese architecture are based on the
strict placement of buildings in a property/complex.

10.  Buildings with doors facing the front of the property are considered more important than those facing the sides.
Buildings facing away from the front of the property are the least important. As well, building in the rear and more
private parts of the property are held in higher esteem and reserve for elder members of the family or ancestral
plaques than buildings near the front, which are typically for servants and hired help.
 Front-facing buildings in the back of properties are used particularly for rooms of celebratory rites and for the
placement of ancestral halls and plaques. In multiple courtyard complexes, central courtyards and their buildings
are considered more important than peripheral ones, the latter typically being used as storage or servant's rooms or
kitchens.
IMPERIAL PALACES
 The Forbidden City emphasizes on symmetry, which
connotes a sense of grandeur. Even the style of the roof
shows the power of the sovereign, with the ridges engraved
with the immortal or beasts symbolizing stateliness.
 This massive imperial courtyard complex clearly embodies
the Confucian emphasis on strict divisions of rank, and the
position of the individual within a hierarchical system-
Emphasis on divisions between ruler and subjects, husband
and wife, Nobles and commoners etc.,
 The overall arrangement of the Forbidden City accords with
traditional Chinese ritual requirements and the Yin-Yang
Principle.
 The front part is a place for the emperor to handle official businesses, and the rear part is the residence for
emperors and concubines.
 Within the complex there are several immense courtyards divided by individual gates.
 There is a shrine for the ancestors in the east and another one for the agricultural deities in the west.
 The structure is symmetrical.
 In addition to the palaces, there is a fabulous garden for the imperial family to relax themselves.
RESIDENTIAL BUILDINGS OF THE ROYAL RELATIVES
PRINCE GONG'S PALACE
 Compared with the imperial palace, residential buildings for
the royal relatives seemed less solemn and much smaller in
size and scale. There were less sidesteps in front of gates.
 Ridges were decorated with engraved beasts; however, the
number of beasts could not exceed nine because the
number "nine" carried a special significance in old China and
symbolized the emperor's supreme sovereignty.

11. MANDARINS'(BUREAUCRAT) RESIDENCE
 Although lower in rank than the above two categories,
mandarins' residence was also restricted by a set of rules.
 All buildings were legally regulated. "Guardian lions" were
not allowed to stand in front of the gate; and engraved
beasts were forbidden to decorate ridges of roof.
RESIDENCE OF WEALTHY BUSINESS PEOPLE
 Different from government officials, business people
belonged to a much lower social class no matter how rich Yintaidi in Ningbo
they might were.
 Doors of these buildings were totally different in style from that of officials' residence.
 There were no ornaments around the door symbolic of official position in
ancient Chinese hierarchical society.
RESIDENCE OF ORDINARY PEOPLE
 Ordinary people could not afford
buildings as decent as those of
the wealthy or officials. The
houses were very simple. Doors
and windows were much smaller;
Siheyuan belonging to the
wealthy usually featuring an
A Gate into the Siheyuan
elaborate doorway
belonging to commoner
HORIZONTAL EMPHASIS
 Classical Chinese buildings, especially those of the wealthy are
built with an emphasis on breadth and less on height, with
close heavy platform and a large roof that floats over this base,
with the vertical walls not well emphasized. This contrasts
Western architecture, which tends to grow in height and depth.
Chinese architecture stresses the visual impact of the width of
the buildings.

12.  The halls and palaces in the Forbidden City, for example, have rather low ceilings when compared to equivalent
stately buildings in the West, but their external appearances suggest the all-embracing nature of imperial China.
COSMOLOGICAL CONCEPTS
 Chinese architecture from early times used concepts from Chinese cosmology such as feng shui (geomancy) and
Taoism to organize construction and layout from common residences to imperial and religious structures. This
includes the use of:
o Screen walls to face the main entrance of the house, which stems from the belief that evil things travel in
straight lines.
o Talismans and imagery of good fortune:
o Door gods displayed on doorways to ward off evil and encourage the flow of good fortune
o Three anthropomorphic figures representing Fu Lu Shou stars are prominently displayed, sometimes with the
proclamation "the threes star are present”.
o Animals and fruits that symbolize good fortune and prosperity, such as bats and pomegranates, respectively.
The association is often done through rebuses.
 Orienting the structure with its back to elevated landscape and ensuring that there is water in the front.
 Considerations are also made such that the generally windowless back of the structure faces the north, where the
wind is coldest in the winter
 Ponds, pools, wells, and other water sources are usually built into the structure
 The use of certain colors, numbers and the cardinal directions in traditional Chinese architecture reflected the belief
in a type of immanence, where the nature of a thing
could be wholly contained in its own form.
One way to summon good fortune is to invoke the
character fu, seen on the wall to the right. Fu can be
translated as "happiness," "good fortune,"
"blessings," or "luck."
A picture of a tiger with the eight trigrams. This is often hung
above doors in some parts of China, the word for tiger is
pronounced "fu." The eight trigrams are thought to ward off
evil influences. In combination with the tiger's fierce face, this
image makes a powerful amulet(element of good luck).

13. A stylized form of shou can be seen in the middle of the door-Because
Chinese people honor age and desire long life, the character
representing longevity shou is also often seen on Chinese houses.
Another character
thought to express
longevity is wan which
means "ten
thousand." This
character is often
represented
stylistically as a
backwards swastika.
ANCIENT CHINESE ARCHITECTURE
 Ancient Chinese architecture is mainly timberwork. Wooden posts, beams, lintels and joists make up the framework of a
house. Walls serve as the separation of rooms without bearing the weight of the whole house, which is unique to China.
 The art of constructing tall buildings was already highly developed in China during ancient times. Many multiple-
storeyed towers of complex structure had wholly wood frameworks fixed together with dougong brackets without the use
of a single piece of metal. Yueyang Tower in Hunan and Huanghelou (Tower of the Yellow Crane) in Wuchang are
masterpieces among ancient towers.
 Colored glazed roofs, windows with exquisite applique design and beautiful flower patterns on wooden pillars reflect the
high-level of the craftsmen's handicraft and their rich imagination.
 The layout of a courtyard complex is also unique to China. The main structure is located on the central axis of a court
while less-important structures are located to the left and right. The whole layout is symmetrical.
 A Chinese courtyard is like a hand scroll of painting which should be unfolded little by little. The scenery is different in
each courtyard. Even in moving several steps within the court yard, there is a gradual changing of prospects.
 Likewise from the interior of the buildings the view from no two windows is the same.
 A fundamental achievement of Chinese wooden architecture is the load-bearing timber frame, a network of interlocking
wooden supports forming the skeleton of the building. This is considered China's major contribution to worldwide
architectural technology
 STRUCTURAL FLEXIBILITY-The chief building material of ancient Chinese buildings is wood. The components are
mainly columns, beams, and purlins that are connected by tenons and mortises. As a result, the wooden structure is
quite flexible. The ancient Chinese wooden building possesses a unique design found only in China, termed dougong
(i.e., a system of brackets inserted between the top of a column and a crossbeam), and constitutes one of the most
important features in ancient Chinese architecture.
 In ancient Chinese wooden architecture, the wall only defined an enclosure, and did not form a load-bearing element.
Buildings in China have been supported by wooden frames

14.  In traditional Chinese architecture, every facet of a building was decorated using various materials and techniques.
Simple ceiling ornamentations in ordinary buildings were made of wooden strips and covered with paper. More
decorative was the lattice ceiling constructed of woven wooden strips or sorghum stems fastened to the beams.
 Mortise and tenon joinery was used to build wood-framed houses; Wooden beams or earth supported the roofs which
were mostly thatched.
 Dougong is a unique structural element of interlocking
wooden brackets, one of the most important elements
in traditional Chinese architecture. It evolved into a
structural network that joined pillars and columns to the
frame of the roof. Dougong was widely used in the
Spring and Autumn Period (770–476 BC) and Sliding Dovetail joints
developed into a complex set of interlocking parts in
the later periods.
 Since ancient times when the Chinese first began to
use wood for building, joinery has been a major focus
and craftsmen cut the wooden pieces to fit so perfectly
that no glue or fasteners were necessary Lap Dovetail joints
THE DECORATIVE ROOF
 Because of the intricacy of its ornamentation, elaborate
cupolas were reserved for the ceilings of the most
important structures such as tombs and altars,
although it is not clear what the spiritual beliefs of the
Stepped Bevel splice joints
early Chinese were, as alters appear to have served as
burial sites
 In traditional Chinese architecture roofs and ceiling, like
the other structural elements, were constructed without
nails, the layered pieces of the ceiling are held together by
interlocking bracket sets (dǒugǒng).
 Elaborate wooden coffers (zǎojǐng) bordered by a round,
square, or polygon frame with its brackets projecting
inward and upward from its base were used around the
7th century. Dougong-Corbelled
 Deeply recessed panels shaped like a well (square at the wooden brackets
base with a rounded top) were fitted into the ceiling's
wooden framework. The center panel of the ceiling was
decorated with water lilies or other water plants. (The
relationship of the name to water has been linked to an
ancient fear that wooden buildings would be destroyed by
fire and that water from the zǎojǐng would prevent or quell
the fire's flames).

15.  The tomb of Empress Dowager Wenming has a coffer in the flat-topped, vaulted ceiling in the back chamber of her tomb.
 The Baoguo Temple in Yuyao in Zhejiang has three cupolas in the ceiling, making it unique.
Coffered ceiling(zaojing) with elaborate ornamentation – Found in the imperial garden, the Forbidden City

16. ARCHITECTURAL TYPES
 IMPERIAL ARCHITECTURE
 RELIGIOUS ARCHITECTURE
 COMMONER ARCHITECTURE
IMPERIAL ARCHITECTURE
IMPERIAL MAUSOLEUM ARCHITECTURE
 Imperial mausoleum architecture accounts for a major part in ancient Chinese architecture since they usually
stand for the highest architectural techniques of the time.
 Mausoleums in and around Beijing include the Ming Tombs, and the Imperial East and West Mausoleums of
the Qing Dynasty.
 The mausoleums are generally built against the mountain and divided by valleys along which walls are erected.
 A stone monument stands in front of the deceased emperor.
 The mausoleums have broad ways called Shendao (the Sacred Way) at the entrance. Along both sides of the
Shendao, there are ornamental columns and stone sculptures of men and animals which guard the tombs.
 A stone bridge proceeds the roads leading to separate tombs.
 In each tomb area, there are a number of constructions, including the Dragon and Phoenix Gate, a tablet, the
Gate of Eminent Favours, the Hall of Eminent Favours, the side halls, the Soul Tower, the grave mound and
subterranean constructions with the underground palace as the main part. Mausoleums of the Ming Dynasty
(1368-1644) are magnificent, while those of the Qing Dynasty are carefully built.
 Examples - The Hall of Eminent Favours of Chang-ling Tomb; the tomb of Zhu Di; the Hall of Supreme
Harmony in the Forbidden City.
THE HALL OF SUPREME
HARMONY IN THE
FORBIDDEN CITY

17. THE HALL OF PRESERVING THE HALL OF CENTRAL
HARMONY, FORBIDDEN CITY HARMONY, FORBIDDEN CITY
THE GATE OF DIVINE MIGHT, THE NORTHERN GATE

18.  IMPERIAL PALATIAL ARCHITECTURE
PALACE (GONG)
 Since palaces are where emperors live and
practice their reign, palaces of different
dynasties integrates essences of Chinese
architecture. The famous palace complex,
Efang-gong built by and for Qin Shi Huang
Emperor.
 The Forbidden City, also called the Imperial
Palace, which was set up under the reign of the
Ming dynasty covers an area of 720,000 sq.m PALACE OF HEAVENLY PURITY
and consists of more than 9900 palaces and
other structures. It is the grandest and biggest palace in the world.
 Designs related with nine appeared almost on every imperial structure such as palace. For example, on gates of the
Forbidden City, there are 81 gold-plating bronze studs which were arranged in nine columns and nine rows. Ancient
palaces usually were designed to be nine-section architectural complex.
 The Chinese word for "palace" is Gong. The Forbidden City of Beijing, served as the imperial palace for both Ming
and Qing emperors (1368-1911) covers an area of 720,000 square meters and embraces many halls, towers,
pavilions and studies measured as 9,900 bays. It is one of the greatest palaces of the world. The palaces grew into a
veritable city and are often called Gong-cheng (palace city).
 The Qing emperors used to live at Qianqing-gong (Palace of Heavenly Purity) in the Forbidden City, whereas the
living quarters of the empresses were at Kunning-gong (Palace of Female Tranquility). The imperial concubines of
various ranks inhabited the six Gongs or palace quadrangles on either side of the central axis of the Forbidden City.
 The temples of Taoist priests are generally called Sanging gong (palace of triple purity).
 For thousands of years, the word Gong was reserved
exclusively for naming imperial and religious buildings.
PAVILION (TING)
 The Chinese pavilion (ting, which means also a kiosk) is
built normally either of wood or stone or bamboo with
any of several shapes - square, triangle, hexagon, octagon,
a five-petal flower, a fan and more. But all pavilions have
columns for support without walls. In parks or some scenic
places, pavilions are built on slopes to command the

19. panorama or are built by the lakeside to create intriguing images by water.
 Pavilions also serve diverse purposes The wayside pavilion is called Liangting (cooling kiosk) to provide weary
wayfarers with a place for rest.
 The "stele pavilion" gives a roof to a stone tablet to protect the engraved record of an important event.
 Pavilions also stand by bridges or over water-wells. In the latter case, dormer windows are built to allow the sun to
cast its rays into the well as it has been the belief that water untouched by the sun would cause disease.
 Bronze pavilions are rarely found. The most celebrated of these is Baoyunge Pavilion of Precious Clouds in
Beijing's Summer Palace. The entire structure including its roof and columns is cast in bronze. It is popularly known as
the "Gold Pavilion” for its elegance and dignity.
TERRACE (TAI)
 The Tai was an elevated terrace with a flat top. In most
cases be built of earth, stone and surfaced with brick, they
are used as a belvedere from which to look into the distance.
 In some Tai, some palatial halls are also built on top.
 A typical example is the Round City of the Beihai Park in
Beijing. As a terrace five meters high, it has an area of 4, 500
square meters on its top and a main hall with side corridors.
 The Tai could be built to serve different practical purposes-
could be an observatory, watch towers, military purposes
or beacon (fire) towers.
 Ex.,- Jianguomen in Beijing is an observatory.
 The beacon towers along the Great Wall, to transmit urgent
information with smoke by day and fire by night in emergency.
Also on the Great Wall, there is a square Tai at intervals of every 300 to 400 meters from which the defense force
troops kept watch.
STOREYED BUILDING (LOU)
 A Lou is a building of two or more storeys with a
horizontal main ridge.
 Ancient buildings with more than one storey were meant for a
variety of uses.
 The smaller two-storeyed buildings of private homes
generally have the owner's study or bedroom upstairs.
 Ancient cities had bell and drum towers (zhong-lou and
gu-lou), usually palatial buildings with four-sloped, double-
caved, glazed roofs, all-around verandas and coloured and
carved dougong brackets supporting the overhanging eaves.
They housed a big bell or drum which was used to toll hours.

20. STOREYED PAVILION (GE)
 The Chinese Ge is similar to the Lou in that both are of
two or more storey buildings. The difference between
them is that the Ge has a door and windows only on
the front side with the other three sides being solid
walls. Moreover, Ge is usually enclosed by wooden
balustrades or decorated with boards all around.
 Such storeyed pavilions were used in ancient times
for the storage of important articles and documents.
 Ex., Wenyuan-ge, in the Forbidden City of Beijing was in
effect the imperial library.
 Kuiwen-ge in the Confucius Temple of Qufu, was
devoted to the safekeeping of the books and works of
painting and calligraphy bestowed by the courts of
various dynasties.
 The Ge is also used to describe the towers which shelter the colossal statues in great monasteries.
PAGODA (TA)
 Buddhism came to China during the Eastern or Later Han
period. A pagoda can also be seen as a symbol for a
monastery.
 The word "pagoda" derives from the Sanskrit word bhagavat
(cf. the book Bhagavatgita) "holy".
 The typical Chinese pagoda has superficially nothing in
common with the old Indian.
 But the shapes and appearances of the Chinese pagodas in
earlier ages, leads back to the Indian origin also of the
typical octagonal and straight Chinese pagoda with the
curved roofs. It reflects a pagoda of Bodhgaya, where some
typical features of a pagoda or stupa: the tower is multi-
storied and more or less decorated on the surface and
tapers from bottom to top. The top is crowned with something that looks like a flower bud, in Buddhism an expression
for the lotus flower.
 In other cases, the construction at the top is an honorific umbrella with up to ten layers. Around the main tower there
are small miniature pagodas, ranging from four to eight, depending on the shape of the whole pagoda complex. Most
pagodas contain relics of the Buddha or at least a statue of the Enlightened.
 The inside of a pagoda may be a dome-like room or can be climbed by stairs to take care for the decorations or the
jewels that are fixed atop of the lotus flower bud.
 The oldest pagoda still intact on Chinese soil is the pagoda of Songyue Monastery of Dengfeng / Henan at the
foothills of the sacred mountain Songshan. While the lower parts of the round pagoda are built of twelve flat surfaces
symbolizing the twelve causes of sin, the upper part is octagonal and constructed in the shape of 15 steps. The top is
crowned by a bud that once was adorned with jewels.