中国古建筑之老北京 The Art of Chinese Architecture
现在的北京，是在明初一举盖成的。明成祖朱棣在南京即位后，觉得南京缺少他自己的社会基础，便积极筹划迁都。准备并施工了13年，北京的内城城墙，连同其中的皇宫、街道、民房都基本就绪??形成了一个正方形的城市（即今天的内城），他就颁布圣旨，宣布迁都北京。
计较于东西南北
人类时刻都在关注东西南北。日出于东而没于西，周而复始又开启新的一页。北寒而南温，是要稍微经历一段时间才能感觉到的。
当然，南半球的冷暖恰恰相反，但中国人一直无从感知。
久而久之，东西相比，东为上。南北相比，北为上。坐北朝南，就成为君权、正统必须具备的一种形象和态势。
世界上没有哪个国家和民族，像中国这样关注东西南北；中国当中也没有哪个城市，像老北京那样"斤斤计较"于东西南北。
造就帝都文化
首先，是东西南北的观念，造就了中国的帝都文化。当然，帝都文化反过来也极大丰富了东西南北的内涵。
北京城从一建城开始，就依据了一条鲜明的坐北朝南的中轴线。
老北京，得到一个背倚长城的大背景，它坐北朝南，俯瞰中原以南的各省，同样也气象万千。
从这里入手琢磨老北京和老北京中的帝王，我们就可以得到无穷的乐趣和答案。
符合东西南北规范
东西南北的理念也涵盖老北京的居民，使他们无时无刻不在关注自己一言一行是否符合"东西南北"的规范。
比如北京人选择住宅，无论是买是租，一是看房子质量，同时也要看其方向。
就民居而言，比较好的房子是四合院。但作为一个整体，它通常也需要坐北朝南；北京东西向胡同中，有一半房子是坐南朝北的，因此也有同等数量的房子处在后者位置上。
这样，形成了比较、衡量。一般来说，后者次一些的，价格则低廉一些。
东西南北的派生物
东西南北这种地理概念在老北京城里的落实运用，久而久之，也出现了略有影响的派生物。
比如民谚"有钱不住东南房"，因为北屋才算"上房"，南房背阳，东房又挨西晒，于是比较下来，只有西房才是北房之下的唯一选择。
不知旧戏中称呼皇帝宠妃为"西宫"，是否和现实生活中的这种智慧有关？
比如"衙门口，朝南开，有理没钱别进来"。衙门就是官府，官府的背后就是皇上，都是要坐北朝南的了。还比如"不撞南墙不回头"，为什么撞的非得是"南墙"呢？因为发出这种感叹的人，是站在北边（坐北朝南）的立场上。从北边的立场看，最大的背叛就是脱离北边的管辖向南闯，碰了头是活该的。如果碰头还不知悔改就更是罪上加罪。
在北京，这类民谚挺多的，每一条都值得再三玩味。还有，在慈禧和光绪斗法激烈的时候，宫廷中的太监偶然谈起这件事，都习惯把慈禧简称为"西边"，地点发生在宫廷，可这种习惯却属于民间。
The basic feature of Chinese architecture is rectangular-shaped units of space joined together into a whole. Temples in ancient Greece also employed rectangular spaces, but the overall effect tended to austerity. The Chinese style, by contrast, combines rectangular shapes varying in size and position according to importance into an organic whole, with each level and component clearly distinguished. As a result, traditional Chinese style buildings have an imposing yet dynamic and intriguing exterior.
The basic feature of Chinese architecture is rectangular-shaped units of space joined together into a whole. Temples in ancient Greece also employed rectangular spaces, but the overall effect tended to austerity. The Chinese style, by contrast, combines rectangular shapes varying in size and position according to importance into an organic whole, with each level and component clearly distinguished. As a result, traditional Chinese style buildings have an imposing yet dynamic and intriguing exterior.
The combination of units of space in traditional Chinese architecture abides by the principles of balance and symmetry. The main structure is the axis, and the secondary structures are positioned as two wings on either side to form the main rooms and yard. Residences, official buildings, temples, and palaces all follow these same basic principles. The distribution of interior space reflects Chinese social and ethical values. In traditional residential buildings, for example, members of a family are assigned living quarters based on the family hierarchy. The master of the house occupies the main room, the elder members of the master's family live in the compound in back, and the younger members of the family live in the wings to the left and right; those with seniority on the left, and the others on the right.
Another characteristic of Chinese architecture is its use of a wooden structural frame with pillars and beams, and earthen walls surrounding the building on three sides. The main door and windows are in front. Chinese have used wood as a main construction material for thousands of years; wood to the Chinese represents life, and "life" is the main thing Chinese culture in its various forms endeavors to communicate. This feature has been preserved up to the present.
Traditional rectangular Chinese buildings are divided into several rooms, based on the structure of the wooden beams and pillars. In order to top the structure with a deep and over hanging roof, the Chinese invented their own particular type of support brackets, called tou-kung, which rise up level by level from each pillar. These brackets both support the structure and are also a distinctive and attractive ornamentation. This architectural style was later adopted by such countries as Korea and Japan.
Some special architectural features resulted from the use of wood. The first is that the depth and breadth of interior space is determined by the wooden structural frame. The second is the development of the technique of applying color lacquers to the structure to preserve the wood. These lacquers were made in brilliant, bold colors, and became one of the key identifying features of traditional Chinese architecture. Third is the technique of building a structure on a platform, to prevent damage from moisture. The height of the platform corresponds to the importance of the building. A high platform adds strength, sophistication, and stateliness to large buildings.
The highly varied color murals found on a traditional Chinese building have both symbolic and aesthetic significance, and may range from outlines of dragons and phoenixes and depictions of myths to paintings of landscapes, flowers, and birds. One notable architectural development in southern China, particularly in Taiwan, is fine wood sculpture. Such sculptures, together with the murals, give the structure an elegant and pleasing ornamental effect.
Most traditional architecture in Taiwan today traces its origins to southern Fukien and eastern Kwangtung provinces. There are many different types of traditional style residences in Taiwan, but most are variations and expansions on the central theme of the san-ho-yuan ("three-section com-pound," a central building with two wings attached perpendicular to either side) and the szu-ho-yuan ("four-section compound," a san-ho-yuan with a wall added in front to connect the two wings). Two examples of relatively large and well-known residences of these types are the Lin Family Compound in Panchiao, a suburb of Taipei, and the Lin Family Compound in Wufeng, near Taichung. In the past, relatively wealthy Chinese people would often set up a garden in the back or to the sides of the compound. Such gardens are to be found in the two Lin residences in Panchiao and Wufeng. They are larger in scale even than the Soochow Gardens in the Yangtze River Valley area.
A broad variety of architectural styles are employed in Chinese temples. The religions of the temples vary from Buddhist to Taoist to ancestral and folk religion, but all share the same basic temple structure. With Taiwan's rich folk religious tradition, temples are to be seen everywhere; they are one of the island's unique cultural features. A conservative estimate numbers Taiwan's temples at over 5,000, many of which have particular architectural significance. Some of the more famous and important examples of traditional Chinese temple architecture in Taiwan include the Lungshan Temple and Tienhou Temple in Lukang, the Lungshan Temple in Taipei, and the Chaotien Temple in Peikang. The Lungshan Temple in Lukang is particularly noted for its long history and sophisticated artistry.
The ornamentation on traditional buildings in Taiwan is especially exquisite; it is like a comprehensive Chinese folk art exhibit. Its main elements include color painting; calligraphy; wood, stone, and clay sculpture; ceramics; and cut-and-paste art. Thus an acquaintance with Chinese traditional architecture in Taiwan can at the same time be a gateway to understanding China's rich folk culture.
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