Later, the influence of China was obviously dominant, and the wooden frame adopted China beam-column structure, and even a bucket arch. They bend in parallel, so the space layout also takes "space" as the basic unit, and several rooms are arranged side by side to form a horizontal rectangle. They have all the features of China architecture, including curved roofs, cornices and various details, such as kissing and fanning. Therefore, it can be said that ancient Japanese architecture belongs to China architecture system.
However, Japanese architecture still has distinctive national characteristics and is very creative, especially their aesthetic characteristics. In addition to early shrines, the capital structure of ancient Japan, large temples and palaces, etc. Adhere to the China system, and the house is almost completely unaffected by China, becoming its own style, its structural methods, spatial layout, decoration, artistic style, etc. It's completely different from the house in China. Tea room, mail room, etc. can be said to be completely original in Japanese architecture. Their aesthetic characteristics are very approachable and humanized. Small scale, meticulous and simple design, exquisite and elegant. Japanese architecture attaches importance to and is good at presenting the natural beauty of materials, structures and functional factors. Grass, wood, bamboo, stones, even linen and paper are used properly.
However, in some periods, in some aspects, Japanese architecture is very exaggerated. For example, the eaves extending into the distance, huge arches, gorgeous decorations, dried-up mountains and rivers in the garden, and even the hobby of natural art stones will all be paranoid and artificial.
During the development of nearly two thousand years, Japanese architecture has kept in touch with China architecture, constantly responding to the architectural changes in China. Because it is mainly related to the folk architecture in southern China in the later period, it can maintain a free and lively character.
The most distinctive feature of Japanese architecture is the shrine, which is spread all over the country. There are about100000 shrines, which have been built since ancient times. The early shrine imitated the more exquisite residential buildings at that time, because in concept, the shrine was the residence of the gods, and people could only try to figure out the life of the gods according to their own lives. In addition, architecture is far from reaching the level of creating a shrine system for God. Therefore, these early shrines are close to the simple people's lives, and their architectural styles can represent the basic temperament of Japanese architecture.
The shrine is an inherent worship building in Shinto towns in Japan, which began in the primitive historical period. Shintoism worships natural gods and ancestors and is divided into three systems: Shintoism, sect Shintoism and folk Shintoism, with Shintoism as the mainstream and existing to this day. Shintoism in the shrine worships the goddess of the sun as the main god. Pursuing the unity of politics and religion, deifying the lineage of the emperor, and taking Historical Records and Japanese Century written in the eighth century as classics. The main content is that since the first generation of Emperor Jimmu, emperors of all dynasties are descendants of the gods. They unified the Japanese islands and had natural indisputable sovereignty.
Shinto believes that human nature is sacred, and human personality and life should be respected. People are responsible for the society and have the bounden duty of connecting the past with the future. Advocating "truth" as the basic attitude of life can derive various virtues of "loyalty, filial piety, benevolence and faithfulness".
Shintoism has no fixed date of worship. You can pay homage at any time, or you can pay homage on the first day, the fifteenth day or Memorial Day. Devoted people also pay homage every morning. In Japanese houses, there are shrines dedicated to gods and protectors, as well as shrines dedicated to buddhas and ancestors. The main festivals are Spring and Autumn Festival and Sacrifice Festival. The Spring Festival is a blessing festival, and the Mid-Autumn Festival is a new taste festival. The annual sacrifice is also called the annual sacrifice. A blessing ceremony is held, and believers carry the sacred land on their shoulders and March.
The shrine has a profound layout and rich levels. There is an archway at the entrance. A pair of pillars are supported by a large wooden frame, with both ends protruding left and right. Some of them are supported by a wooden Fang at a lower position. This arch is called "torii". Enter the archway, walk along the right path, and reach the "clean basin". The worshippers wash their hands and gargle before entering this hall. The symbols dedicated to the gods in this temple are generally mirrors, wooden statues and "Cong Yunjian". They represent the sacred body, known as the "Huangling generation", and are carefully wrapped so that the worshippers can't see them. Only the high priest can go to the innermost part of this hall.
The most sacred shrine in Japan is Ise Shrine, which is located in the coastal forest of Mie City. It used to be a sacred place. Divided into inner palace and outer palace. The inner palace is called the "Emperor's Great God Palace" and is dedicated to the gods. It was built shortly before BC. The outer palace is about 500 years later than the inner palace, and it is called "Harvest God Palace", which protects the food of Zhao Tian God. The forms of the inner hall and the outer hall are basically the same. In the 7th century, Emperor Tianwu (reigned from 673 to 685) established a system, which was rebuilt every 20 years. So the present building is not an early original, but it is basically well preserved. In order to avoid having nowhere to worship and pay homage during reconstruction, the inner and outer palaces are placed side by side, and the shrines are built and demolished in turn.
The inner and outer palaces are not far apart, and they are all small buildings centered on the "palace". The site is rectangular and surrounded by a fence. The palace is three rooms wide and two rooms deep, and the style is "made by God". There is a tall wooden frame below to form a platform, called a "high bed", surrounded by a high fence. Except for the outdoor door in the center, the walls are all thick wooden boards, and the two slopes are covered with thatch, which is about 30 cm thick and soft and elastic. The roof is a long piece of wood, supported on a pillar in the middle of the outside of the gable. Nail the "deck" to the roof and pick out many gables on both sides. On the ridge, there are 10 "strong fish trees" protruding horizontally from front to back, and the wind shields cross under the ridge and tilt upward to form a "thousand trees". There are four thin strips of wood at the upper end of each wind, which are called "whip hooks". Deck, fish wood, thousand wood and whip crane are all evolved from structural components, and after exaggeration, they have become decorative components with great artistic expression.
Coupled with high beds and high hurdles, our palace is full of reality, light and shadow, and the contrast of shape is extremely ethereal and light. They extend in different directions, and the small palace presents the characteristics of outward radiation.
The details of the shrine are very exquisite. The fishwood is spindle-shaped and the top of the column is rolled. The cross section of the whip is square, but it gradually becomes round at the front end. They make the simple and square shrine soft and rich, more vivid and more human. At both ends of the sturdy fishwood, on thousands of trees, on the doors and even on the floor, some carved Jin Yezi were properly decorated, giving a noble luster to the plain white wood and thatch in Wen Ya. The golden color contrasts with plain wood and thatch, which is simple and gorgeous, showing keen aesthetic power and freedom of thought. There is a layer of pebbles floating on the site, which is relatively loose. They set off the building more beautifully.
The Asuka period (552-645) witnessed the transition of Japanese society from slavery to feudalism. In order to consolidate the feudal system and unify the autocratic country, Japan absorbed a large number of laws and regulations and culture of the feudal court in China. Buddhism was introduced into Japan from China via Korea, and was initially resisted by the Shinto tradition. In 587 AD, the Su family who won the battle for the throne supported Buddhism. In 604, Shoto Kutaishi officially believed in Buddhism and built 46 Buddhist temples in 30 years. Buddhist architecture in China was also introduced into Japan from Korea.
In 588 AD, King Baekje of Korea sent several temple workers, bricklayers and exposed workers to Japan, and brought a model of a Buddhist temple to help build it. At the beginning of the 7th century, Baekje craftsmen kept coming to Japan, and later there were craftsmen directly from China. Baekje and craftsmen from China laid the basic characteristics of Japanese Buddhist architecture, which was also the basic characteristics of Buddhist architecture in China at that time. The main points are as follows: first, the wooden structure system with parallel beams, including bucket arches; Secondly, the internal space of the building is composed of the "room" as a space unit and the parallel connection of rooms; Thirdly, the layout and symmetry axis of the inner courtyard are introduced. The fourth is the form and style of architecture; Fifth, the layout and architectural types of Buddhist temples, such as towers. The first four features are not limited to Buddhist temple architecture, but are of fundamental significance to all kinds of Japanese architecture, which is China-like.
In 607 AD, Shoto Kutaishi built the first large temple near Nara-Horyuji. There was a fire in 670, which was later rebuilt. The East Hospital was built in 739. The main body of Horyuji is a "convex" courtyard surrounded by cloisters. In front is the Tianwang Hall, and behind it is the lecture hall. The lecture hall is divided into two sides, namely the Lou Jing and the Bell Tower, which are connected with the porch. In front of the lecture hall, in the center of the courtyard, and around the central axis are Jintang and Pentecostal Tower. This layout was later called "Tang Style", which may be the style of China in the Southern and Northern Dynasties or the last years of the Northern Wei Dynasty. Jintang has two storeys, five storeys wide and four storeys deep (18.36m×15.18m), each with one storey reduced. There is a bucket arch at the top of the mountain, and the form is not very strict. Use a cloud arch and a cloud bucket. Rows are rolled into shuttle rows, but rainbow beams are not used. The lower column is only 4.5 meters high and the eaves reach 5.6 meters, which is very exaggerated. The two-story eaves column falls on the bottom gold column, which greatly shrinks and makes the eaves float far and wide. The quintuple tower was built in 672-685. There are three square towers from the ground floor to the fourth floor, and two on the fifth floor. The width of the ground floor is 10.84m, the column height is more than 3m, and the column height of the working floor is only1.4m. But the eaves are very large, and the ground floor is as much as 4.2m.. So it looks like five layers overlap, which is very elegant. The tower also uses a bucket arch, similar to that of Jintang, with a cloud arch and a cloud bucket, which was made by China in the Northern and Southern Dynasties. Replacing double arches with single arches and calculating hearts with stealing hearts have become important features of Japanese bucket arches in the future. There is a central column in the tower, which runs from underground to the top of the treasure. The tower is 32.5 meters high, of which the phase wheel is 9 meters high.
There are an octagonal dream hall and a stall hall in the East Courtyard, both of which were original objects when they were first built. At that time, Japan had its first fixed capital Nara.
The era with Nara as its capital (7 10-794) is called Nara era, which was the heyday of China's Tang Dynasty, and China culture was introduced to Japan on a large scale.
Use Chinese characters, learn calligraphy and painting, compile history books and write Chinese metrical poems. According to the law of the Tang Dynasty, the code was formulated and the title of "emperor" was officially used. At this time, the central government has been fully formed, imitating the establishment of various ministries and agencies in the Tang Dynasty. The territory expanded to the south of Kyushu and the north of Honshu, and a road network extending in all directions was built. The short Nara period was a prosperous period of Japanese culture.
The ancient capital of Nara is called Pingchengjing, which completely imitates the planning and layout of Chang 'an in Tang Dynasty. As Buddhism has been established as the state religion, Nara has built many very important temples, the most important of which is the Tang Zhao Ti Temple (built in 759), which was built under the auspices of China Du Dong and monk Jian Zhen. Jian Zhen monks spread legalist thoughts in Japan, and the Tang-Zhao Temple is the general hospital of Japanese legalist thoughts. Some craftsmen who built temples were brought from China by monks from Jian Zhen. Only the Jintang, lecture hall and East Tower of Zhao Ti Temple in Tang Dynasty were the original objects when it was first built. Jintang is 7 rooms wide, about 28. 18m long and 4 rooms deep, about 16.85438+0m long. The size of the bay decreases from the bright bay to both sides, the fifth bay in the middle is provided with a door, and the last bay is only provided with a window. There is a bucket arch on the stigma, and only a bucket column is added. Stigma bucket arch six shops, double copy single downward, single arch, stealing heart. There are colored paintings on the beams, squares and Dougong, and the columns are painted red. The arch wall and pad are all white, which clearly set off the load-bearing members, with clear structure and clear logic. The roof is four-spray. After the transformation, the slope is steeper than before. The center of the room is dedicated to the Buddha of Lushena, flanked by the pharmacist Buddha and Guanyin with a thousand hands, and there are four heavenly kings on the back wall. The Imperial Shadow Hall is dedicated to the sitting statue of Jian Zhen, which is one of the most outstanding dry lacquer wood carvings in Japan. This Jintang can be regarded as a representative of memorial buildings in China in Tang Dynasty, with elegant, dignified and peaceful style.
In 784 AD, in order to avoid the interference of the increasingly powerful Buddhist forces in Nara on political affairs, Emperor Kanmu decided to move the capital. In 793, he set out to build a peaceful Beijing, which was later Kyoto. 794- 1 185 is the heian period in Japanese history. Like Pingcheng Well in Nara, the pattern of Pingcheng Well is similar to that of Chang 'an in Tang Dynasty, and its scale is similar to that of Pingcheng Well, but slightly larger.
After the 9th century, due to the further development of feudal relations, local separatist forces hired, manor expanded and occupied public land. The emperor's power declined, the Chinese centralized regime gradually disintegrated, and the regime fell into the hands of big noble, which eventually led to the abdication of 1086 and the implementation of "imperial administration".
With the rise of local separatist forces, Buddhism is no longer the state religion, and ancient Shinto regained its influence and infiltrated into Buddhism. Buddhism has been secularized, monks can get married and have children, and they can drink and eat meat, so Buddhism is more popular.
Due to the development of feudal economy, in the 1 1 century, the aristocratic society reached its peak, and the life of princes and nobles and powerful families became cheaper and more indulgent. They built a large number of mansions and other businesses, and built Buddhist temples in mansions and other businesses, or, according to the custom of China, abandoned their houses as temples.
In this case, Japanese culture has strengthened its own national characteristics, and since the second half of the 10 century, Japanese architecture has also begun to be localized and tends to be luxurious. However, it has not got rid of the influence of China architecture. On the contrary, it is still absorbing the architectural achievements of China and responding to the architectural changes in China.
At this time, a new type of system emerged in the luxury building, namely, the front room and the back room, which are connected by the porch. The front room often has a pool, which is called "bedroom building". Buddhist temples have also adopted this system. The most important representative of building a Buddhist temple in the sleeping hall is Pingting Fengtang, located in Yuzhi. Byodoin Temple was originally another business of Fujiwara, then the minister in power in Zheng Tai. 1052 was converted into a Buddhist temple, and the main building of the temple was the Phoenix Hall. Indulgent aristocrats dare not forget their home, but use their world view to understand their home. Among them, the belief of "pure land" emerged, believing that as long as people get together to recite scriptures, they can transcend the secular "filth" and reach the western paradise. This belief is the pure land Sect of Buddhism, worshipping Amitabha. The Amitabha Hall was built in the mansion and other industries, where monks were called to ring bells, dish wooden fish and chant Buddhist scriptures. They decorated the Amitabha Hall with precious materials and even jewels, and painted the beautiful scenery of Elysium on the boards and doors. These amitabha halls were the highest achievements of Japanese architecture and technology at that time. However, they are often too delicate, full of aristocratic taste, and sharply opposed to the traditional folk architecture that advocates simplicity and nature. Phoenix Hall is such a Amitabha Hall.