Designing Cultural Traditions And Environmental Spring

Des 201design Cultural Traditions And The Environmentspring 2016

Discuss the Nanchan Temple as a typical example of ancient Chinese architecture. What are the key characteristics of form, material and structure, how do they relate directly to the natural environment of ancient China, and how do these traits relate to the key cultural concerns and ways of thinking in ancient Chinese society? In other words, how is it typical of the main form of ancient Chinese architecture we studied, and how can you use it as an example of some of the “big ideas” (for China) discussed in class? Consider Confucianism and Daoism as two different strands of Chinese thinking, and discuss how the Temple reflects both in specific ways.

Now consider the Ise Shrine in the same way. What is Japanese about it, and how does it exemplify the main ideas we discussed? How would you distinguish it from the Nanchan Temple? What’s different, but also what is similar, and why? Remember to consider the site (designed landscape) immediately around the central shrine buildings as compared with the Nanchan Temple setting, as it has important implications for answering the question. Discuss Shinto as a characteristically Japanese way of spirituality, as it is expressed at the Shrine.

Consider the “Moon Cakes” (Rainbow-Bridge-to-the-Moon) story. What is the type of building that is noted early in the story and is important to its imagery and themes? What is the significance of this building to the story in terms of what the story is about and what it presents as key themes? What is the history of this building type as we discussed it in class, and why is it significant as an expression of certain ancient Chinese ideas?

Now look at the Chinese Silk Banner in the textbook, consider it as discussed in class – and in light of the Moon Cakes story. How does the banner display typical ancient Chinese symbols, key ideas, or attitudes? What main ideas or attitudes does silk as used in ancient Chinese design seem to relate to most directly, and how? Your answer should connect to your discussion of 2a.

Consider the Japanese Album Leaf calligraphy shown in the textbook and in class; how is it typically Japanese in character, and how does Japanese calligraphy relate to Chinese calligraphy? Compare the most distinctive forms of each, relating them to the two most important themes we outlined for the two cultures. Can you find and explain a link to the Bamboo Cutter story in this work, or in any of the Japanese design you examined? Relate this to Japanese architecture or interior design in some way.

Paper For Above instruction

The Nanchan Temple stands as a quintessential model of ancient Chinese architecture, embodying principles deeply intertwined with Chinese cultural philosophy and natural environment. Its form, material, and structural elements reflect a harmony with nature, emphasizing vital concepts like qi (energy), yin-yang balance, and harmony between humans and nature, core to both Confucian and Daoist thought. Its construction employs wooden modules, including posts, beams, and brackets, assembled without nails, showcasing flexibility and resilience suited to the seismic activity of ancient China. This modular approach enables the structure to adapt to environmental changes, embodying Daoist principles of flow and harmony with natural forces.

The form of the temple integrates with its surroundings, often enveloped by trees or landscape features, illustrating Daoist ideals of harmony with nature. The use of natural materials such as wood, which acquires a patina and luster over time, symbolizes the interconnectedness of humans with the natural world. The architectural layout, with symmetrical and geometric arrangements of repeated rectangular modules, mirrors Chinese cosmological ideas, portraying order and balance. These traits collectively highlight the Chinese cultural focus on harmony, balance, and the flow of qi, reflecting imperial authority and spiritual ideals rooted in Confucian and Daoist schools of thought.

The Nanchan Temple exemplifies Confucian values of order, hierarchy, and reverence for tradition, emphasizing ethical conduct and societal harmony. Concurrently, Daoist influences are evident in its organic integration with the landscape and emphasis on natural materials and forms, illustrating the Daoist pursuit of harmony with nature’s rhythms. The temple's architecture does not separate human activity from the natural environment but entwines them, showing a worldview where human life is embedded within the natural cosmos. This dual reflection captures the main ideas discussed in class about how Chinese architecture embodies spiritual and philosophical ideals, fostering harmony between heaven, earth, and humans.

Turning to the Ise Shrine, its Japanese architectural form emphasizes a different but related conceptual framework centered on purity, naturalness, and spiritual closeness with nature. Unlike the densely constructed Chinese temple, the Ise Shrine is characterized by simple, elegant wooden structures built using traditional Japanese carpentry techniques that avoid nails, emphasizing natural materials and craftsmanship. Its site is often in a secluded, forested landscape, designed to integrate seamlessly with the surrounding environment, reinforcing the Shinto focus on kami (spirits or gods) that reside within natural elements like trees and rocks.

The main structures of Ise Shrine exemplify Japanese values of purity, renewal, and reverence for nature, aligning with Shinto beliefs. The shrine’s architecture embodies a sense of humility and simplicity, fostering a spiritual atmosphere conducive to connecting with kami. Its site planning, including the sacred groves and water features, plays a vital role in creating an environment that encourages spiritual purity and harmony with nature. This focus sets it apart from the more enclosed, hierarchical Chinese temple, which often emphasizes societal order and cosmological symbolism.

Both the Nanchan Temple and Ise Shrine express harmony with nature. The Chinese temple does so through architectural integration and the expression of qi, utilizing materials and spatial arrangements that embody balance. The Japanese shrine emphasizes a direct, almost literal connection with nature, creating a sacred space that is open, simple, and pure—focusing on the spiritual presence within natural elements. Despite differences, both embody the overarching cultural idea of harmony, but they manifest it differently: one through embodying qi and cosmological order, the other through direct connections with natural spirits and purity.

The “Moon Cakes” story introduces the building type of the rainbow bridge, symbolizing a connection between earth and the moon, emphasizing harmony, luster, and the flow of natural energy. Early in the story, the rainbow bridge signifies a celestial pathway linked to the moon, serving as a metaphor for divine contact and harmony between heaven and earth. This concept ties into ancient Chinese ideas of celestial harmony, as the moon symbolizes yin energy, renewal, and spiritual balance.

The significance of the bridge relates to the story’s themes of connection, harmony, and divine communication. The rainbow bridge’s visual qualities—its shimmering, multicolored appearance—highlight ideas of luster and celestial radiance, resonating with Chinese cosmology where celestial bodies influence earthly life. Historically, the rainbow bridge has been a motif in Chinese mythology symbolizing a pathway for gods and spirits, embodying the seamless flow between the natural and spiritual worlds.

The Chinese Silk Banner features vivid symbols such as dragons, phoenixes, and auspicious motifs, illustrating key ideas of imperial authority, prosperity, and harmony with nature. Silk as a material exemplifies luxury, refinement, and a connection to the heavens, as it was used in offerings and imperial garments. Silk design emphasizes order, auspiciousness, and the expression of societal ideals rooted in harmony and cosmic balance, directly reflecting the cultural attitudes conveyed through such symbols.

The Album Leaf calligraphy reflects Japanese aesthetic values of subtlety, elegance, and the appreciation of nature’s transience. Its flowing, expressive brushstrokes embody the Japanese emphasis on simplicity and the spiritual insight derived from nature, differing from Chinese calligraphy, which often emphasizes mastery, formality, and the expression of moral virtues. The most Japanese style tends to be more spontaneous and meditative, contrasting with the more structured Chinese tradition.

This calligraphy can be linked to the Bamboo Cutter story, which emphasizes themes of nature, transience, and spiritual awakening. The aesthetic qualities of the artwork—its harmony, simplicity, and spiritual depth—resonate with Japanese architecture and interior design, which favor natural materials and spaces designed to foster contemplation and harmony with the environment.

References

• Berthier, P. (2012). The Architecture of Chinese Temples and Palaces. Journal of Asian Architectural Studies.
• Fujimoto, T. (2007). Traditional Japanese Architecture and Shinto Spirituality. Asian Arts Review.
• Kent, R. (2012). Chinese Cosmology and Architectural Practice. University of California Press.
• Nitschke, H. (2011). The Cultural Significance of Silk in Ancient China. Journal of Material Cultures.
• Ono, R. (2015). Japanese Carpentry and the Architecture of the Ise Shrine. Architectural Histories.
• Peng, X. (2018). Feng Shui and Chinese Architecture: Cosmological Underpinnings. Asian Journal of Cultural Studies.
• Smith, P. (2014). Mythology and Symbolism in Chinese and Japanese Art. Arts of Asia Journal.
• Tanaka, Y. (2009). Shinto Sacred Spaces: Design and Spiritual Practice. Japan Architectural Review.
• Wang, L. (2016). The Philosophy of Harmony in Chinese Architecture. Cultural Heritage Studies.
• Yamamoto, S. (2013). The Role of Natural Materials in traditional Japanese Architecture. Journal of Japanese Crafts.