The Aesthetic Implication Of Traditional Chinese Architecture, Beijing Courtyard

The architecture expresses the mentality, aesthetic perspective and philosophic ideas through the special artistic images of the space inside and outside. With the development of the society, the modern arts have gradually lost their traditional characters, and also the architecture. So, many people consider the ways of inheriting and developing the traditional arts. The architectures of different nations in the world display people's different life intelligence and aesthetic perspective in different environment. The dwelling houses express the popular aesthetic and value orientations by architecture languages. As the symbol of China dwelling houses, Quadrangle dwellings of Beijing not only express the people's life style of Beijing, but also show the living history of Chinese. So the purpose of this thesis is to seek the traditional aesthetic style and spirit pursue through discussing the quadrangle dwellings in Beijing. In this thesis, the author put the quadrangle dwellings in the Chinese traditional culture backgrounds, which is mainly Confucian and Taoism; meanwhile, the author also considers the culture backgrounds of Beijing that affects the style of the quadrangle dwellings at a certain extent. Under the influence of Confucian, the quadrangle dwellings in Beijing emphasize the beauty of ceremonial rites and regulations, beauty of group aggregate and beauty of symbol. Many landscape of nature are put into the courtyard, which express the people's hope of realizing the Taoism ideal. The major point of this thesis is the connotation of courtyard, which is the sign of Chinese architecture. The author studies the features of courtyard that include close, neutralization and coexistence. Through these different features, it is not only shows the culture of Beijing, but also shows the Chinese traditional philosophic and aesthetic ideas, which are different from the architecture of foreign countries. A nation that has its traditions is a nation that has its foundations. So the author thinks inheriting the traditions is the starting point of developing modern arts.Although the modern art has achieved the whole world's unity, the unity is not completely the same, and this unity doesn't mean the Chinese art must completely copy the foreign countries' art. The Chinese modern art should be the coexistent art of ancient, modern, Chinese and foreign.