Doucai is a variety of decorative porcelain formed by the combination of underglaze blue-and-white and overglaze decoration. Before firing, the contour of the pattern should be sketched on the base with blue-and-white, and some part should be filled with blue-and-white too. Then the painted base should be sent into the kiln and fired into blue-and-white porcelain, on which the blank of the previously-sketched pattern should be filled with paints of various colors. And then it should be fired again in the low-temperature kiln with oxiding flame about 800 degrees Celsius. As the underglaze blue-and-white and the overglaze decoration seem to contend for beauty, it is called "Doucai" (literally, compete for color).
The firing of doucai porcelain dates back to the Chenghua Period of the Ming Dynasty, which is most well-known for its doucai. Chenghua doucai porcelain features quiet and elegant blue-and-white, bright and smooth white glaze, soft color, as well as white and fine base. It is a rare and fine variety of porcelain. In addition, the doucai procelain made from Kangxi to Qianlong Period is also of high artistic value.
Dream Art Gallery
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Monday, 14 December 2009
Tuesday, 8 December 2009
Chinese Ceramics: Wucai
The wucai porcelain is a kind of overglaze decoration porcelain which is made by firing the already-fired plain base painted with a few colorful patterns in the colorful kiln with 770 - 800 degrees Celsius. It features rich colors, with red, yellow, green, blue, purple etc as the basic hue. As it has clear lines and the firing temperature is slightly higher than that of famille rose, and the color not so soft, it is also called "yingcai" (literally, hard color).
Wucai is a new variety of the Jingdezhen Kiln during the Ming and Qing Dynasties. As blue paint did not exist in the Ming Dynasty, blue-and-white took the place where blue color should be presented, hence the name "blue-and-white wucai". It then became a feature peculiar to the age, with wucai in the Jiajing and Wanli Periods as the representatives.
The Wucai fired in Kangxi's reign is the most well-known among all those in the Qing Dynasty. Other than red, green, yellow, brown and purple paints, overglaze blue was newly made to replace underglaze blue-and-white, and golden and black paints were also extensively applied, which added resplendence and flamboyance to its color.
Dream Art Gallery
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info@dreamartgallery.com
Wucai is a new variety of the Jingdezhen Kiln during the Ming and Qing Dynasties. As blue paint did not exist in the Ming Dynasty, blue-and-white took the place where blue color should be presented, hence the name "blue-and-white wucai". It then became a feature peculiar to the age, with wucai in the Jiajing and Wanli Periods as the representatives.
The Wucai fired in Kangxi's reign is the most well-known among all those in the Qing Dynasty. Other than red, green, yellow, brown and purple paints, overglaze blue was newly made to replace underglaze blue-and-white, and golden and black paints were also extensively applied, which added resplendence and flamboyance to its color.
Dream Art Gallery
www.dreamartgallery.com
info@dreamartgallery.com
Tuesday, 17 November 2009
The Art of Chinese Furniture
The development of traditional Chinese furniture went from the simple to the intricate, and was closely inked to the Chinese lifestyle and cultural and economic changes in China. In early antiquity, the Chinese sat mostly on straw mats on the floor. After the Warring States period (475-221 B.C.), beds and couches began to come into widespread use as seating. During the Wei-Chin (220-420 A.D.) and the Northern and Southern dynasties (420-589 A.D.) period, Western-style chairs, folding stools, and other seating gradually entered China. From this point on, Chinese everyday living began to be conducted from chairs rather than sitting cross-legged on the floor. Straw mats came to be used as coverings for beds and couches.
Beginning in the late Ch'ing Dynasty, foreign living styles began to be adopted in China, with the result that originally predominant Chinese-style furnishings gradually became collector's items. Not only chairs, but also Chinese tables, cabinets, bookcases, and decorative screens reached the summit of their development during the Ming (1368-1644 A.D.) and Ch'ing dynasties.
Ming furniture features simple, smooth, and flowing lines, and plain and elegant ornamentation, fully bringing out the special qualities of frame-structure furniture. Influenced by China's burgeoning foreign trade and advanced craftsmanship techniques, furniture of the Ch'ing Dynasty period turned to rich and intricate ornamentation, along with coordinated engraved designs. Because of the high level of development of Chinese furniture in the Ming and Ch'ing dynasties, most Chinese furniture design today follows in the tradition of pieces from these two periods. In the Taiwan on Taiwan, traditional Chinese furniture has been preserved in excellent condition in the Lin residence in Wufeng, Taichung; in the Cheng residence in Hsinchu, which used to belong to Taiwan's first scholar to pass the Chinese civil service examination; and in the Folk Art Museum of Lukang.
As in traditional Chinese architecture, wood is the major material used in the manufacture of furniture. This was in response both to needs arising from Chinese lifestyles, and to China's rich forest resources. The two main types are lacquered furniture and hardwood furniture. Lacquered furniture was commonly used in palaces, temples, and in the homes of the wealthy. It includes the t'i-hung , or carved lacquer style; t'ien-ch'i in which lacquer is used to fill in an engraved design, and then rubbed flat; miao-ch'i , or outlined lacquer style; and luo-tien, or furniture inlaid with mother-of-pearl. Two or more methods might also be combined in the same piece. Hardwood furniture was frequently found in the homes of the wealthy, but was even more common in the homes of nobles and officials. Woods employed include red sandalwood, pearwood, padauk, ebony, and nanmu. Of these, red sandalwood is the most highly valued material for use in furniture making; it is dense, hard, and resistant to decay.
Bamboo and rattan furniture also have a long history. Bamboo is a product unique to Asia, and is an especially developed industry in hot and sunny Taiwan. Simple and ingenious techniques are used to make clever and useful products that can be "knocked down," and modular pieces that can be used together or separately. Bamboo may be used in combination with other materials, such as wood, rattan, metal, and ceramic tile, in endless variation. Much bamboo and rattan furniture is exported to Europe and the United States, where it enjoys great popularity.
Chinese are fond of furniture with inlaid and carved work. In addition to shells and enamel chips, brilliant, colorful, and artistically grained jade, stones, ivory (and other animal teeth), horn, agate, and amber are used for inlaid designs. Marble, for example, is a stone often used for inlaid work; colorful ceramic plates are also a popular material for ornamentation. Another elegant technique used since ancient times is the inlaying of different kinds and colors of woods in a single piece. The methods of carving include relief carving, negative engraving, and free-style carving. Common subjects for furniture carving are flowers; dragons and phoenixes; the ch'ilin, a Chinese mythical beast; and stylized cloud and leaf patterns.
Traditional Chinese furniture is generally arranged in symmetrical suites or sets. These are, however, supplemented with other more flexible arrangements to prevent the room from having too staid an atmosphere. For example, paintings or examples of calligraphy might be hung on the wall; ceramic, enamel or other knick-knacks might be placed in an antique display cabinet; or flower arrangements made of jade or stone might top a square occasional table. Any or all of these can add splashes of color and elegant form to the room. These delicate additions set off the heavy furniture to give a rich composite effect.
With Taiwan's increasing economic prosperity, just about everybody now places great importance on interior design and room arrangement, and is very particular when choosing furniture. And because of a corresponding enhancement in spiritual life, traditional Chinese style furniture now enjoys especial vogue. Many like to collect and use traditional Chinese furniture in all sorts of ways in their homes; it has become part of the modern lifestyle.
Traditional style furniture not only lives and thrives in the Taiwan ; furniture aficionados of other countries who buy a piece of Chinese style furniture will usually display it with pride in a prominent place in their house. Exports of traditional Chinese furniture not only bring monetary wealth, but also enable more and more people of countries all over the world to enjoy and acclaim the beauty of the art of traditional Chinese furniture.
Dream Art Gallery
www.dreamartgallery.com
info@dreamartgallery.com
Beginning in the late Ch'ing Dynasty, foreign living styles began to be adopted in China, with the result that originally predominant Chinese-style furnishings gradually became collector's items. Not only chairs, but also Chinese tables, cabinets, bookcases, and decorative screens reached the summit of their development during the Ming (1368-1644 A.D.) and Ch'ing dynasties.
Ming furniture features simple, smooth, and flowing lines, and plain and elegant ornamentation, fully bringing out the special qualities of frame-structure furniture. Influenced by China's burgeoning foreign trade and advanced craftsmanship techniques, furniture of the Ch'ing Dynasty period turned to rich and intricate ornamentation, along with coordinated engraved designs. Because of the high level of development of Chinese furniture in the Ming and Ch'ing dynasties, most Chinese furniture design today follows in the tradition of pieces from these two periods. In the Taiwan on Taiwan, traditional Chinese furniture has been preserved in excellent condition in the Lin residence in Wufeng, Taichung; in the Cheng residence in Hsinchu, which used to belong to Taiwan's first scholar to pass the Chinese civil service examination; and in the Folk Art Museum of Lukang.
As in traditional Chinese architecture, wood is the major material used in the manufacture of furniture. This was in response both to needs arising from Chinese lifestyles, and to China's rich forest resources. The two main types are lacquered furniture and hardwood furniture. Lacquered furniture was commonly used in palaces, temples, and in the homes of the wealthy. It includes the t'i-hung , or carved lacquer style; t'ien-ch'i in which lacquer is used to fill in an engraved design, and then rubbed flat; miao-ch'i , or outlined lacquer style; and luo-tien, or furniture inlaid with mother-of-pearl. Two or more methods might also be combined in the same piece. Hardwood furniture was frequently found in the homes of the wealthy, but was even more common in the homes of nobles and officials. Woods employed include red sandalwood, pearwood, padauk, ebony, and nanmu. Of these, red sandalwood is the most highly valued material for use in furniture making; it is dense, hard, and resistant to decay.
Bamboo and rattan furniture also have a long history. Bamboo is a product unique to Asia, and is an especially developed industry in hot and sunny Taiwan. Simple and ingenious techniques are used to make clever and useful products that can be "knocked down," and modular pieces that can be used together or separately. Bamboo may be used in combination with other materials, such as wood, rattan, metal, and ceramic tile, in endless variation. Much bamboo and rattan furniture is exported to Europe and the United States, where it enjoys great popularity.
Chinese are fond of furniture with inlaid and carved work. In addition to shells and enamel chips, brilliant, colorful, and artistically grained jade, stones, ivory (and other animal teeth), horn, agate, and amber are used for inlaid designs. Marble, for example, is a stone often used for inlaid work; colorful ceramic plates are also a popular material for ornamentation. Another elegant technique used since ancient times is the inlaying of different kinds and colors of woods in a single piece. The methods of carving include relief carving, negative engraving, and free-style carving. Common subjects for furniture carving are flowers; dragons and phoenixes; the ch'ilin, a Chinese mythical beast; and stylized cloud and leaf patterns.
Traditional Chinese furniture is generally arranged in symmetrical suites or sets. These are, however, supplemented with other more flexible arrangements to prevent the room from having too staid an atmosphere. For example, paintings or examples of calligraphy might be hung on the wall; ceramic, enamel or other knick-knacks might be placed in an antique display cabinet; or flower arrangements made of jade or stone might top a square occasional table. Any or all of these can add splashes of color and elegant form to the room. These delicate additions set off the heavy furniture to give a rich composite effect.
With Taiwan's increasing economic prosperity, just about everybody now places great importance on interior design and room arrangement, and is very particular when choosing furniture. And because of a corresponding enhancement in spiritual life, traditional Chinese style furniture now enjoys especial vogue. Many like to collect and use traditional Chinese furniture in all sorts of ways in their homes; it has become part of the modern lifestyle.
Traditional style furniture not only lives and thrives in the Taiwan ; furniture aficionados of other countries who buy a piece of Chinese style furniture will usually display it with pride in a prominent place in their house. Exports of traditional Chinese furniture not only bring monetary wealth, but also enable more and more people of countries all over the world to enjoy and acclaim the beauty of the art of traditional Chinese furniture.
Dream Art Gallery
www.dreamartgallery.com
info@dreamartgallery.com
Monday, 9 November 2009
The Three Gorges of the Yangtze River
Labeled as one of the ten most famous scenic sites in China, the three famous gorges of the Yangtze offers travelers 120 miles (192km) of spectacular scenic landscapes, death defying rapids, surreal shaped peaks and mountaintop, and countless historical sites.
Yangtze Basics
The Yangtze is the third longest river in the world. The 3900 mile (6275 km) Yangtze river flows from the mountains of western China, eastward across the plains, and ends at the East China Sea. The source of the Yangtze is located on the Tibetan Plateau (the roof of the world). For centuries the Yangtze was the main transportation route from China's coast to its central region.
The Three Gorges
Just beyond the city of Chongqing the Yangtze river passes through the famous Three Gorges. The three famous gorges, celebrated in Chinese art and poetry, are the Qutang Gorge, the Wu Gorge, and the Xiling Gorge and extend from the White King Town in Fengjie County in the Sichuan Province to the Nanjinguan Pass in Yichang (Hubei Province). The gorges are formed mostly from limestone and have very step sides with pinnacles of rock jutting out.
Qutang Gorge
The Qutang Gorge is the first and narrowest of the Three Gorges. It extends eastward from White King Town to Daxi. At times labeled as the most dangerous pass in the world, the gorge is no more than 5 miles (8km) long yet its rough waters and narrow passage (as narrow as 150 feet, 50 meters) can make for a beautiful yet dangerous passage. At the entrance of the Qutang Gorge, steep cliffs on either side look like two towering closing doors. This section of the Yangtze River is flanked with steep and jagged knife-cut cliffs and towering peaks. Once in the gorge, Mt. Chijia on the north (Red Armor Cliffs) and Mt. Baiyan (White Salt Cliffs) on the south penetrate into the sky facing each other so closely that they sometime appear if each mountain crosses the Yangtze touching each other. Looking from a distance in a clear day, Mt. Chijia sometimes resembles a huge pink peach and Mt. Biyan, a mountain of white salt glittering in the sunlight. The most spectacular view of the gorge is when both mountains disappear in the mist and low cloud cover.
The Qutang Gorge boasts not only splendid scenic landscapes but also places of great historical interest. Displayed along the rock faces are master artworks of calligraphy and stone engravings from different dynasties.
Wu Gorge
Leaving the magnificence of the Qutang Gorge behind, the splendor of Wu Gorge comes in sight. The Wu Gorge (gorge of witches) appears as the most enchanting of the three gorges. The Wu Gorge has beautiful peaks and steep cliffs on either side, some reaching as high as 6400 feet (2000 meters). The high canyon walls sometimes block out the sun’s rays and when misty, create an almost surreal view of the gorge. The Wu Gorge is named after Mt. Wushan. It extends eastward from the mouth of the Daning River in the east of Wushan City (Sichuan Province) to the city of Guandukou in Badong County (Hubei Province). Having a length of 28 miles (45km), the wide Wu Gorge is flanked with towering peaks, steep cliffs, and countless twists and turns in the river. The twelve peaks of Mt. Wushan crate a spectacular scene. The peaks are varied in shape with some appear as forms such as dragons flying to the sky or phoenixes spreading their wings. Some mountains are shrouded in clouds and others covered with ancient pine trees. Located in the region of Wu Gorge are such famous walled cities as Wushan, Badong, and Zigui.
Xiling Gorge
Described by an ancient poet as “torrents from above falling upon ten thousand snow drifts", the Xiling Gorge is the longest and the last of the three gorges. The Xiling Gorge stretches 48 miles (76km) from the mouth of the Xiangxi River in Zigui County in the west to Nanjin Pass of Yichang City in the east. Once dangerous for hidden shoals and rock landslides, the Xiling Gorge was once refereed to as a “ship graveyard.” In Xiling Gorge lie a few small gorges from west to east including the Tactics Books and Sword Gorge, the Bull's Liver and Horse's Lung Gorge, the Shadow Play Gorge, and the Ox Gorge. Along the Shadow Play Gorge are hidden waterfalls and caves.
Dream Art Gallery
www.dreamartgallery.com
info@dreamartgallery.com
Yangtze Basics
The Yangtze is the third longest river in the world. The 3900 mile (6275 km) Yangtze river flows from the mountains of western China, eastward across the plains, and ends at the East China Sea. The source of the Yangtze is located on the Tibetan Plateau (the roof of the world). For centuries the Yangtze was the main transportation route from China's coast to its central region.
The Three Gorges
Just beyond the city of Chongqing the Yangtze river passes through the famous Three Gorges. The three famous gorges, celebrated in Chinese art and poetry, are the Qutang Gorge, the Wu Gorge, and the Xiling Gorge and extend from the White King Town in Fengjie County in the Sichuan Province to the Nanjinguan Pass in Yichang (Hubei Province). The gorges are formed mostly from limestone and have very step sides with pinnacles of rock jutting out.
Qutang Gorge
The Qutang Gorge is the first and narrowest of the Three Gorges. It extends eastward from White King Town to Daxi. At times labeled as the most dangerous pass in the world, the gorge is no more than 5 miles (8km) long yet its rough waters and narrow passage (as narrow as 150 feet, 50 meters) can make for a beautiful yet dangerous passage. At the entrance of the Qutang Gorge, steep cliffs on either side look like two towering closing doors. This section of the Yangtze River is flanked with steep and jagged knife-cut cliffs and towering peaks. Once in the gorge, Mt. Chijia on the north (Red Armor Cliffs) and Mt. Baiyan (White Salt Cliffs) on the south penetrate into the sky facing each other so closely that they sometime appear if each mountain crosses the Yangtze touching each other. Looking from a distance in a clear day, Mt. Chijia sometimes resembles a huge pink peach and Mt. Biyan, a mountain of white salt glittering in the sunlight. The most spectacular view of the gorge is when both mountains disappear in the mist and low cloud cover.
The Qutang Gorge boasts not only splendid scenic landscapes but also places of great historical interest. Displayed along the rock faces are master artworks of calligraphy and stone engravings from different dynasties.
Wu Gorge
Leaving the magnificence of the Qutang Gorge behind, the splendor of Wu Gorge comes in sight. The Wu Gorge (gorge of witches) appears as the most enchanting of the three gorges. The Wu Gorge has beautiful peaks and steep cliffs on either side, some reaching as high as 6400 feet (2000 meters). The high canyon walls sometimes block out the sun’s rays and when misty, create an almost surreal view of the gorge. The Wu Gorge is named after Mt. Wushan. It extends eastward from the mouth of the Daning River in the east of Wushan City (Sichuan Province) to the city of Guandukou in Badong County (Hubei Province). Having a length of 28 miles (45km), the wide Wu Gorge is flanked with towering peaks, steep cliffs, and countless twists and turns in the river. The twelve peaks of Mt. Wushan crate a spectacular scene. The peaks are varied in shape with some appear as forms such as dragons flying to the sky or phoenixes spreading their wings. Some mountains are shrouded in clouds and others covered with ancient pine trees. Located in the region of Wu Gorge are such famous walled cities as Wushan, Badong, and Zigui.
Xiling Gorge
Described by an ancient poet as “torrents from above falling upon ten thousand snow drifts", the Xiling Gorge is the longest and the last of the three gorges. The Xiling Gorge stretches 48 miles (76km) from the mouth of the Xiangxi River in Zigui County in the west to Nanjin Pass of Yichang City in the east. Once dangerous for hidden shoals and rock landslides, the Xiling Gorge was once refereed to as a “ship graveyard.” In Xiling Gorge lie a few small gorges from west to east including the Tactics Books and Sword Gorge, the Bull's Liver and Horse's Lung Gorge, the Shadow Play Gorge, and the Ox Gorge. Along the Shadow Play Gorge are hidden waterfalls and caves.
Dream Art Gallery
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info@dreamartgallery.com
Wednesday, 28 October 2009
The Life of Emperor Qian Long
Emperor Qianlong, also named Ai Xin Jue Luo Hong Li, (1711-1799) was the sixth Emperor of the Qing Dynasty, and the fourth after Manchu troops finally broke through the Great Wall that had protected central China. He gained fame as the feudal emperor responsible for one of China's longest reigns, longest life and greatest influence. Although he was one of the most controversial sovereigns in Chinese history, Emperor Qianlong was a keen poet, writer and calligrapher: he produced three collections of essays and five albums of poetry, making him one of the most prolific poets and calligraphers in ancient China. He also sponsored the compilation of Si Ku Quan Shu (Complete Collection in Four Treasuries). He was familiar with military strategies and invented Shi Quan Wu Gong (perfect gongfu). He was fond of hunting and travelling, and visited Southern China six times on tours of inspection, as well as making four visits to Shengjing. Almost every Autumn, he would visit Mount Wu Tai in the west and Confucius's Temple in the south. Emperor Qianlong took great pride in his administrative style which ushered in a period of great prosperity in the country. Unfortunately, however, in his old age he appointed corrupt officials such as Ho Shen, and problems of extortion and poor administration contributed directly to the decline of the Qing Dynasty.
In China, Emperor Qianlong is a well-known historical figure of legendary proportions, and the story of his life has given rise to a huge amount of popular folklore, including tales of palace affairs, political intrigue, and tours in disguise. Court culture is regarded as the result of developments and progress in traditional Chinese society, and the emperor's life has been the focus of constant debate, speculation, concern and general interest over the years.
Emperor Qianlong's reign marked the peak of feudalism in China and, together with the reign of Emperor Kangxi, this period is known as Kang Qian Sheng Shi (the Great Prosperity of Emperor Kangxi and Qianlong).
Dream Art Gallery
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info@dreamartgallery.com
In China, Emperor Qianlong is a well-known historical figure of legendary proportions, and the story of his life has given rise to a huge amount of popular folklore, including tales of palace affairs, political intrigue, and tours in disguise. Court culture is regarded as the result of developments and progress in traditional Chinese society, and the emperor's life has been the focus of constant debate, speculation, concern and general interest over the years.
Emperor Qianlong's reign marked the peak of feudalism in China and, together with the reign of Emperor Kangxi, this period is known as Kang Qian Sheng Shi (the Great Prosperity of Emperor Kangxi and Qianlong).
Dream Art Gallery
www.dreamartgallery.com
info@dreamartgallery.com
Wednesday, 21 October 2009
Qianlong Overglaze Iron-Red Bowl
Porcelain bowl with overglaze iron-red decoration
Qing Dynasty, Qianlong Period 1736-1795
Height: 8cm, Diameter: 15.8cm
Beautiful porcelain bowl with overglaze iron red decoration with Qianlong mark and of the period. Low fired, iron-red decoration was produced in a wide range of shades. Various methods were used in applying such decoration on small, elegant vessels, bowls, water-pots, jars, and vases. Scarlet, coral-red, or salmon-pink were employed, either over the entire body or merely as ornament, as seen on this piece. The color is applied thinly and evenly, providing evidence of the high standards demanded for imperial wares from this period.
for more pictures and informations please check here: http://www.dreamartgallery.com/index.php?item=118
Dream Art Gallery
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Tuesday, 20 October 2009
Chinese Temples
Temples symbolize the long history and rich culture of China, and are regarded as valuable art treasures. There are many different religions in China, such as the Buddhism, Christianity and Islam introduced from other regions, as well as Taoism and Confucianism, the native-born religions. Of course, temples or houses of worship of different religions differ. Buddhist temples include a temple, pagoda and grotto, which are called Si, Ta, and Shiku in Chinese respectively. Taoist architecture is variously called Gong, Guan or An in Chinese. Confucian temples, such as Kong Miao, Yonghe Lamasery (Harmony and Peace Palace Lamasery) and the Temple of Heaven are called Miao, Gong, or Tan in Chinese. An Islamic house of worship is referred to as a Mosque. Christian churches have also added some Chinese flavor to them.
Chinese temples are well kept cultural artifacts of every dynasty. And temple culture has influenced every aspect of Chinese people's life such as painting, calligraphy, music, sculpture, architecture, temple fairs, folk-customs and many others. The following are typical religious architectural styles in China.
The European churches often use complicated spire, arched domed roof and stained glass window to convey religious morals. Every detail of the buildings tries with intentions to express the opposite of the Promised Land in Heaven and miserable world on Earth. However, in a different way, Chinese temples want to express the concept of the integration of heaven and humanity, that is, human beings is a part of nature. Followed by this idea, many Chinese temples actively embrace themselves into nature. The building integrated with nature is exactly the embodiment of the integration of heaven and humanity. This is to explain why many Chinese temples are located in mountains and forests.
What's more, like a beautiful picture which makes up of lines of different lengths and thicknesses, Chinese temples uses various pillars, beams and arches interlaced with each other to compose an architecture complex. Each building doesn't stand alone, for example, the hall of Mahavira should stand out against the mountain forests and side halls to highlight its elegance and artistic conception.
In addition, it is learned that the space awareness reflected in Chinese temples is different from that in European churches. In order to make people feel small and helpless compared to the powerful lord, European churches emphasize on huge and enclosed space. But Chinese temples give people the feeling of harmonious environment and comfortable life when they stroll in the changeable and complicated buildings. The spirit of entering the mortal world is encouraged when practice religious services.
Dream Art Gallery
www.dreamartgallery.cominfo@dreamartgallery.com
Chinese temples are well kept cultural artifacts of every dynasty. And temple culture has influenced every aspect of Chinese people's life such as painting, calligraphy, music, sculpture, architecture, temple fairs, folk-customs and many others. The following are typical religious architectural styles in China.
The European churches often use complicated spire, arched domed roof and stained glass window to convey religious morals. Every detail of the buildings tries with intentions to express the opposite of the Promised Land in Heaven and miserable world on Earth. However, in a different way, Chinese temples want to express the concept of the integration of heaven and humanity, that is, human beings is a part of nature. Followed by this idea, many Chinese temples actively embrace themselves into nature. The building integrated with nature is exactly the embodiment of the integration of heaven and humanity. This is to explain why many Chinese temples are located in mountains and forests.
What's more, like a beautiful picture which makes up of lines of different lengths and thicknesses, Chinese temples uses various pillars, beams and arches interlaced with each other to compose an architecture complex. Each building doesn't stand alone, for example, the hall of Mahavira should stand out against the mountain forests and side halls to highlight its elegance and artistic conception.
In addition, it is learned that the space awareness reflected in Chinese temples is different from that in European churches. In order to make people feel small and helpless compared to the powerful lord, European churches emphasize on huge and enclosed space. But Chinese temples give people the feeling of harmonious environment and comfortable life when they stroll in the changeable and complicated buildings. The spirit of entering the mortal world is encouraged when practice religious services.
Dream Art Gallery
www.dreamartgallery.cominfo@dreamartgallery.com
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