Will returning to traditional color styles become a new design trend?

Returning to traditional color styles will become a new trend in design_Bisen Youxin_Architectural Design_Architecture Chinese Network A city and a building, apart from the appearance, are the colors. The progress of an era and the evolution of a city reflect the popularity of urban architectural colors.

A city or a building gives people not only its appearance but also its color. The progress of an era and the evolution of a city reflect the popularity of urban architectural colors.

Tang Dynasty: Color reflects grade

Architect Wang Hui said that the colors of Chinese buildings originally reflected natural functions. Before the Tang Dynasty, there were no colors, and what stood out was the natural color of the materials. By the Tang Dynasty, there was a unified plan for architecture, and the buildings were under the control of the "Ministry of Rites", and there was a hierarchical division. The buildings in the Tang Dynasty all used a combination of vermilion and white, resulting in a bright, simple and bright color beauty.

Yellow has become a special color for the royal family. Palaces and temples use yellow and red tones. Red, green, and blue are the colors of royal officials. Residential buildings can only use black, gray, white, and other colors. It can be said that the Tang Dynasty used color to safeguard the interests of the ruling class.

The architecture of the Tang Dynasty was majestic, simple in shape and powerful in form. In the architecture of this period, the application of bricks was more extensive, the firing of colored glaze was more advanced, and the proportion of building components gradually became more stereotyped. The Tang Dynasty was the heyday of architectural development in Chinese history. The main halls of Nanchan Temple and Foguang Temple in Wutai Mountain are relatively complete and have been preserved to this day. Many others have not been preserved and have been recorded in murals. In addition, stupas are scattered all over the country. Their thick and straight architectural components with simple style and strong and magnificent beauty make the decorative art of the Tang Dynasty attractive.

Straight lattice windows were popular in the Tang Dynasty. The patterns on the window lattice include turtle brocade pattern and dense ball pattern. There are often murals on the indoor walls and the ceilings are simple in form. At this time, "halo" was initially used in the composition of color paintings, which had a certain enlightenment effect on the color paintings of the Song Dynasty, which were based on the basic principles of halo and halo. In terms of the use of patterns, in addition to lotus petals, curly grass is often used to form a ribbon pattern on the narrow long lace, or figures are mixed into the curly grass pattern. These patterns not only have a full composition, but also have smooth and graceful lines. They are also often arranged in alternating patterns of half clusters and whole clusters, as well as rich and full decorative patterns such as fretwork, beaded patterns, tassels, flame patterns and flying fairies.

Song Dynasty: Color reflects the mainstream

The Tang and Song Dynasties are of the same origin, and the architecture of the Song Dynasty is the inheritance and development of the architecture of the Tang Dynasty. The extensive use of paint, as well as the influence of Indian Buddhism, the architectural color is highlighted as red. The colors of this period reflected the prevailing culture of the time. The Song Dynasty's preference for stable, simple, light and elegant colors was due to the social thought of the Song Dynasty based on Confucian rationalism and Zen philosophy.

The architectural specifications of the Song Dynasty were generally smaller than those of the Tang Dynasty, but they were more beautiful, gorgeous and varied than those of the Tang Dynasty, with various complex forms of palaces and pavilions appearing.

The architecture of the Song Dynasty was greatly influenced by the Tang Dynasty. It was mainly represented by palaces, temples, towers and tomb buildings. Colored paintings, carvings and glazed bricks were mostly used for decoration. Building components began to become standardized, and there were Comprehensive works on architecture such as "The Wooden Classic" and "Building French Style". The organic combination of decoration and architecture is a major feature of the Song Dynasty. The decoration of temples and towers is of reasonable scale and complete and vigorous in shape. Suzhou Huqiu Pagoda and Quanzhou Renshou Pagoda are both typical works. The stone carvings of the Zhaoling Mausoleum and the patterns in the tomb chambers are all powerful and magnificent, and they have guiding significance for the subsequent development of folk patterns.

In terms of decoration, buildings during this period used a large number of doors and windows that could be opened and had extremely rich combinations of lattice bars. Compared with the panel doors and straight lattice windows of the Tang and Liao buildings, it not only changed the appearance of the building , and improve indoor ventilation and lighting. The Xumizuo in the lower part of the house and the Buddha's seat inside the Buddhist hall are mostly made of stone, with rich and colorful compositions and exquisite carvings. The forms and carvings of column bases tend to be diverse. In addition to round, square, and octagonal pillars, there are also melon-shaped pillars, and a large number of stone pillars are used. Various patterns are often carved on the surface of the pillars. At the same time, the indoor space is enlarged, giving people a cheerful and bright feeling. The roof may be entirely covered with glazed tiles, or the glazed tiles may be combined with blue tiles to form a shear-edge roof. The proportions, composition and colors of the paintings and decorations all achieved a certain artistic effect, so that the architecture of the time gave people a soft and brilliant impression.

Yuan Dynasty: Beautiful and splendid style

The palace architecture of the Yuan Dynasty also inherited the tradition since the Tang and Song Dynasties. After the Yuan Dynasty, the decorative patterns tended to be plain and realistic, and the colors and colors of the palace buildings were The patterns are carefully researched and the style is beautiful and gorgeous.

After the death of the Song Dynasty and the rise of the Yuan Dynasty, the architecture was once influenced by foreign craftsmen, mainly northern craftsmen. Its architectural structures were often bold and rough, and its artistic style was also uninhibited. In the Yuan Dynasty, there were many ethnic groups, and each ethnic group had different religions and cultures. Through mutual exchanges, several new factors were added to the art of traditional architecture. At this time, religious architecture was quite developed. Many Lamaist temples and pagodas were built from Tibet to Dadu, bringing some new decorative themes and new techniques of sculptures and murals. Islamic mosques were built one after another in Dadu, Xinjiang, Yunnan and some cities in the southeast. They began to be combined with Chinese architecture to form an independent style, and decorations and colors were gradually integrated. The crossing tower is another type of Lamaist building. The Yuntai in Beijing is the most famous. On the stone of Yuntai and the inner wall of the cave, there are Lamaist patterns such as gods, Garuda, dragons and clouds, as well as scriptures in six languages.

These carvings are all high-relief, the figures' postures and expressions are very vigorous, and the various patterns have a vivid and lively atmosphere. They are different from the traditional Han style and are excellent works of Yuan Dynasty carvings. Lamaist carving themes and techniques had a great influence on the architectural art of the Ming and Qing Dynasties, especially on official architecture.

Ming Dynasty: The colors are rich and pleasing to the eye

When Nanjing was founded in the early Ming Dynasty, it mainly relied on craftsmen from the south of the Yangtze River. Yongle moved his capital to Beijing, and the construction of Beijing palaces and gardens was also dominated by southern craftsmen. The architecture of the Ming Dynasty was rigorous, beautiful in workmanship, delicate and elegant, and had the style of Jiangnan art. However, after being exaggerated by royal nobles, it was huge in size and rich in color, and it was far away from the elegance and blandness of Jiangnan. But its root system is actually similar to Jiangnan architecture. The production of bricks increased significantly, and the quantity and quality of glazed tiles exceeded those of any previous dynasty. Official architecture has been highly standardized and stereotyped. The main part of the house, that is, the part that often gets sunlight, generally uses warm colors, especially vermilion; for the shadow parts under the grid, use cool colors that match green and blue. This way, the warmth of the sun and the coolness of the shadows are emphasized, creating a pleasing contrast. The use of color was restricted by the hierarchy in feudal society. In general civil residential buildings, blue-grey brick walls and tile roofs are mostly used, and the beams, doors and windows are mostly made of natural wood, which also looks very elegant.

During the Ming and Qing dynasties, Tibetan and Mongolian Lamaist architecture further developed on the basis of the Yuan Dynasty. Because temple buildings have some relatively complete and qualitative decorative techniques, the shapes of many buildings in the temple have different artistic characteristics. The walls are very thick, the openings are large, and the windows are small, so the building looks majestic and strong. The large number of horizontal friezes on the cornices and walls give people a multi-layered feel. These features artistically increase the sense of scale of the building. Contrast techniques are used in color and decoration. Doctrine stipulates: the sutra hall and pagoda should be painted white, Buddhist temples should be painted red, white walls should be painted with black window frames, red wooden doorways and brown ribbons, and red walls should mainly use white and brown ribbons. The roof part and the ribbon are decorated with gold decoration, or the roof is decorated with gold. These strong contrasts in decoration and color help to highlight the importance of religious architecture.

Islamic architecture in the Ming and Qing dynasties is represented by Uyghur mosques and mazaars. The combination of window lattice strips in this type of building uses a variety of subtle geometric patterns. There are many types of Uyghur architectural decorations, and the most outstanding ones are the combination of brickwork, plaster decorations, colored paintings and window lattice strips. Various decorations are often used in combination to create a gorgeous and meticulous artistic atmosphere.

Qing Dynasty: Paint and Color Paintings were Popular

In the Qing Dynasty, the use of colors became more and more complex, and buildings became more and more decorative. The most prominent feature of this period was the "paint and color painting" painting". A series of contents related to architectural culture have been formed around colorful paintings, and a certain function of colorful paintings has evolved into decoration. In the late Qing Dynasty, the hierarchical system polarized architectural colors, and artistic expression was based on content requirements. For example, palaces have the most important status and have the strongest colors; followed by temples, mausoleums, and temples, the intensity of colors also decreases; residential buildings are the most common and have the simplest colors. For example, the color of the Forbidden City in Beijing is red and yellow, some important surrounding buildings connected to the Forbidden City are red, and the roofs are green, while most of the other buildings in Beijing are gray.

Architectural decoration in the Ming and Qing Dynasties was the last peak in the history of ancient Chinese architecture. Many large-scale palaces, gardens and mausoleums were built, which were outstanding in both quantity and quality. Their decorative style was profound and profound, reflecting the prestige of the imperial power in the heyday of the Ming and Qing Dynasties. After the middle of the Qing Dynasty, the vitality of architectural decorative patterns or paintings became low, and the style of decoration in the Tang and Song Dynasties disappeared. The excessive pursuit of delicacy led to a trivial and lack of vitality.

Modern and modern times: The retro style is booming

During the Revolution of 1911, influenced by the West, the architectural system changed and the color relationship also changed. Concessions have appeared in some places in China, and these buildings highlight their essential colors. The architectural color at that time set off the function of the architectural carrier.

Under the influence of the elimination of architectural decoration in European and American countries, Chinese modern architecture has entered a stage that emphasizes the use of modern technology and new materials instead of decoration. Decorative patterns are no longer common. In addition to the requirements of function and construction technology, the beautification of buildings can only find the ideal pattern among doors, windows and solid walls that meet the functions and technology

After the founding of the People's Republic of China , during the "Cultural Revolution", just like other fields in China, architectural creation was also greatly devastated, and was very inappropriately required to embody certain distorted and inflated "political" concepts, so In the so-called "Long Live Pavilions", city central squares or other urban landmarks built in various places, what can be called political concrete symbolism or abstract symbolism, as well as unprincipled imitations of Beijing's top ten National Day buildings, etc., have appeared. Creation method". Architectural colors become monotonous and boring.

Retroism can be said to be a continuation of the previous "national form" architectural movement. Its proposition is generally to give "national form" in a narrow sense, that is, traditional architectural styles to new buildings, with little regard for the form of new buildings. Unity with content.

One of its ideological foundations worthy of recognition is the motivating effect of the fact that "the Chinese people have stood up" on patriotic architects. However, "architecture" is a very complex thing, and attempts to apply it to wooden structures and handicrafts Forcing the palaces, temples and other styles built by the operation method on new buildings with completely different functions, materials, structures, construction methods and people's aesthetic tastes is definitely a wrong way. The external conditions for the prevalence of retroism were the movement to learn from the Soviet Union that was advocated at that time. Soviet architecture at that time was on the path of retroism. The more influential works of this period include the Xiyi Hotel in Beijing, the Great Hall of the People in Chongqing, the "Geological Palace" in Changchun, and the "Four Ministries and One Association" office building in Sanlihe, Beijing. Most of them have a huge palace-like roof, covered with colorful glazed tiles, and the eaves are covered with brackets cast from reinforced concrete. All reinforced concrete beams and columns imitate wooden structural components, and are covered with colorful paintings. The doors and windows are also ancient wooden doors and windows. style.

After the 1980s: Return to Nature

Since the 1980s, due to the irreversibility of reform and opening up, which has contributed to the active thinking, Chinese architects and architectural theorists have deeply realized that Architectural art should be closely synchronized with the times, should be based on the solid soil of China's modern life, and insist on creating a new architectural culture that has both the characteristics of the times and the Chinese style. All architectural works can be roughly divided into archaism, neoclassicism, new vernacularism, new nationalism and local modernism.

Archaicism is a serious creation that draws more on the external image of traditional buildings under special circumstances. Almost all of them are in places of interest where the original ancient buildings have been destroyed and are rebuilt or newly built as tourist buildings, such as Wuchang. Yellow Crane Tower, Nanjing Confucius Temple and Qinhuai River, Beijing Liulichang Cultural Street, Tianjin Tianfeigong Cultural Street, etc.

Neoclassicism has more transformations in the external image of traditional buildings, focusing on drawing on its expression and interest. Its more representative works include Queli Guest House in Qufu, Shandong, Shaanxi History Museum in Xi'an, Nanjing Yuhuatai Memorial Hall, Beijing West Railway Station, etc.

New ruralism has taken a different approach, instead of focusing on the traditional mainstream of palaces and temples, it has turned to local folk architectural elites. Its more representative works include Fujian Wuyi Mountain Villa Hotel, which has a strong flavor of northern Fujian folk houses, and Huangshan Yungu Villa Hotel with the characteristics of folk houses in southern Anhui Province, Dunhuang Terminal Building in Gansu Province showing the style of earthen fort-style folk houses in Hexi, etc.

New nationalism refers to the creations with local ethnic characteristics that emerged in ethnic minority areas in the 1980s. Representative works include the Xinjiang Guest House in Urumqi, the Great Hall of the People in Xinjiang, the Lhasa Hotel in Tibet, and the Xishuangbanna Stadium in Yunnan.

With the participation of Western architects and the market-oriented operation of real estate companies, the colors of buildings have become stronger, such as the orange color of modern cities. Today's houses are relatively clear in terms of color, such as white.

In 2005, what will be the popular architectural colors in China?

Song Jianming believes that the color style of returning to nature and traditional culture will continue to become a popular trend, that is, people choose architectural images shaped by colors that are more like natural materials. Such as the "Phoenix Totem" in Beijing. In addition, the "modern" European style still has a large market, so it will continue to be popular, such as Beijing's "Olympic Garden" and Shenyang's "Riverside New City".

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