The “Horizon” for architectural aesthetics scholars to consciously and achieve their “mission” is how to make the collection of architectural aesthetics not divorced from the present world, but also go deep into its inner spiritual “scale”..
In 1991, the aesthetic wisdom of the book of changes, which established Wang Zhenfu’s academic status, was published.
The buildings themselves are not strictly recorded, and the size and shape are not clear.
Wang Zhenfu’s involvement in the study of architectural aesthetics began in 1985.
The people accompanying him asked him how he felt and said, “the more you add, the more you reduce.” probably means more is less.
The aboveground buildings have been demolished and built again and again, and their original appearance has been lost.
Architecture is “miscellaneous” and the least “pure” Art – it is “mixed” in various practical purposes in life, mixed with many influences such as power, class, gender, region, times and customs.
Durkheim pointed out that a person commits suicide and forms a certain belief, which is not only his personal behavior, but also the sum of his social relations; Wang Zhenfu also believes that a person who builds a house constitutes a certain residence, which is not only his personal brush strokes, but also shows the deep structure of his social relations.
“So many gods, as the objects of worship, gather together, which seems to add up, but in the cultural sense, it dispels God and divinity.
The temple houses various statues such as the Tathagata, the Supreme Lord, Guan Gong, Li Shizhen and the land.
It also needs the understanding and participation of the whole people.
Wang Zhenfu’s early works have the consciousness of Ontology Construction — the first article in new architecture, the title is “systematic understanding of architectural essence”, but this is not his personal characteristic.
Most of the architectural relics unearthed in archaeological excavations are underground buildings.
These time nodes were earlier than 1991.
If “pure” architectural art is the “fruit” that has become, what Wang Zhenfu does is more like “soil” analysis, including the investigation of 24 solar terms, tree species selection, how to fertilize and control diseases and pests, that is, how can architectural art be restored to culture.
On the surface, the research of architectural aesthetics is difficult in materials.
For example, windows have long and short, half and half fans, cross winds, harmony, opening, closing, leakage and shafts, four directions, six directions and eight directions, flower windows with brick frames, screen windows with screens, etc.
It is the last part of the whole book.
Chinese people are “kneeling on one leg on the earth” and believers and pursuers of “people-oriented”.
Xi’an ancient city building · architectural aesthetics, which restores architecture to culture and “architectural aesthetics” as a discipline, has been popular as early as the 1990s.
Most of the documents focus on the overview of the measurement of “craftsmen”, which is occasionally found in local chronicles and class books.
Once ’empathy and love’ and ‘universal love’ is tantamount to no love.” this sentence is memorable for a long time.
In the ancient town of Nanshan, “building China: half a brick and tile to a ten mile building platform”, the “half a brick and tile” can be described as the building materials, units and components, and can be used as a “sketch”; “Shili terrace” can be described as the category, form, custom, system and ethics of architecture, which is a “masterpiece”.
The flood caused by rainstorm not only caused serious damage to the daily life of local residents, but also caused great pressure on the maintenance of ancient buildings in Shanxi.
Worship God is originally a very single-minded and persistent thing, such as single-minded love, which especially needs persistence.
In July 2021, another new work by Wang Zhenfu, “building China: half a brick to a ten mile building”, was published by Zhonghua Book Company, which is also a sign of this “turn”.
Durkheim understood human phenomenon as a social phenomenon in human history; Wang Zhenfu also understood the phenomenon of architecture as a social phenomenon in human history.
His personal characteristic is to restore and present the “matrix” bred by architectural art, and seek layout in the complex relationship between the “tree” of art and the “soil” of culture.
In this part, near the end, Wang Zhenfu tells a story of his personal experience.
Deng Yousheng, LV Daoxin and Zeng Jian (co authored with CAI Liangwa and Zeng Suiping) also compiled relevant teaching materials.
This is not the starry sky above the head and the supreme moral law in the heart, but the real and ongoing historical “presence” of people· A spiritual essay of architectural aesthetics and the “tension” of discourse is Wang Zhenfu’s unique style of cultural popularization.
As a “specimen” of civilization, the maintenance of Chinese ancient buildings is not only the promulgation of laws and regulations, but also the addition of fences.
Hou Youbin also compiled a literature database with the theme of “architectural aesthetics” and wrote “Chinese architectural aesthetics” A book.
Roger Scrutton’s architectural aesthetics was translated by Liu xianjue in 1992 and listed as one of the “translation clusters of architectural theories”, which was published by China Construction Industry press and republished continuously later, “architectural aesthetics” It has attracted a large number of readers with a new theoretical “face”, and Wang Zhenfu, a scholar of Fudan University, published the earliest book on architectural aesthetics, architectural aesthetics, by Yunnan People’s Publishing House in 1987.
He once went to a temple.
But in the end, the Chinese pen of the book turned and said that the window was opened for “ventilation” and “breathing” of the room.
How to understand such beauty is imminent for the cultural popularization of architectural aesthetics.
Neither of them takes a single architectural form and artistic finished products as the logical clue, but logically interprets the “energy field” on which Chinese ancient architectural art depends or “incubates”.
To some extent, Wang Zhenfu is closer to Durkheim in theory.
There is an appendix in the book collected by the Palace Museum in Beijing.
However, it is worth noting that since Wang Zhenfu published architectural aesthetics notes in Baihua Literature and Art Publishing House in 2005, the cultural popularity of architectural aesthetics in the academic community has become more and more intense.
Gazing at the “back” of ancient architecture, hazy beauty always comes to mind.
Therefore, “the window is an artificial ‘cutting’ of nature and space, which makes people’s appreciation of natural landscape more ‘artistic’, more selective, and has another wonderful interest of the unity of heaven and man.” perhaps it is not difficult to accumulate the knowledge before the turning point of the pen, The difficulty lies in the realm after the turning point of the pen, and in the excavation of the aesthetic meaning implied in Architecture – the “resume” of the gradual generation of aesthetic images can be reproduced in the village and Mongolia above and below the form.
In March, he published three articles on “systematic understanding of architectural essence”, “architectural beauty and human body beauty” and “tower worship and aesthetics” in new architecture, aesthetic education and aesthetics and art review.
Cultural research is not only a stubborn “position”, but also a realistic “response” with life experience.
Culture is the “soil” of architecture.
The core significance of Wang Zhenfu’s cultural popularization is that books, catalogues and buildings enable people to be “present” historically and enable people to be “present” historically.
Not long ago, Shanxi suffered a rare autumn flood.
Therefore, it is especially a “universe” in human history.
Most of these works, textbooks and databases aim to construct the discipline system of “architectural aesthetics” from the perspective of outline.
Architectural aesthetics is changing from a discipline to a “food” and “nutrition” closely related to people’s daily life, leisure and cultural reverie.
However, as far as the actual content of architectural aesthetics research is concerned, it is difficult to understand.
In addition, Shen Fuxu, Xiong Ming, sun Xiangbin (co authored with sun Rujian and Chen Congyun), Wang Zhengzhang and Zhang Zhe all published works of the same name or close to “architectural aesthetics”.
This is the charm of cultural research.
Building China: half a brick and tile to a ten mile tower restores architecture to culture, which is the primary purpose of Wang Zhenfu’s cultural popularization.
[Ming] Wen Zhengming’s painting of repairing the Orchid Pavilion.
Today, the sentence “looking at Shanxi from the perspective of aboveground buildings” is not only a good reputation, but also a heavy burden for the protection of ancient buildings.
The so-called architecture is owned by people and the human “universe” on the earth – this “universe” is not empty and can only be viewed in combination with specific time and space.
