Later, China's influence was obviously dominant, and the wooden frame adopted Chinese beam-column structure, even with a bucket arch. They are bent 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 characteristics of China architecture, including curved roofs, cornices and various details, such as kissing and fan-blowing. 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 the early shrines, the ancient Japanese capital structure, large temples and palaces, etc., adhered to the China system, while the houses were almost completely free from the influence of China and became sui generis, and their structural methods, spatial layout, decoration, artistic style, etc. were quite different from those of China houses. Tea room, mail room and so on can be said to be completely original in Japanese architecture. Their aesthetic characteristics are very approachable and humane. 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, stone, even linen and paper are all used properly.
However, in some periods, Japanese architecture is exaggerated in some aspects. For example, the eaves that stretch far away, the huge arches, the ornate decorations, the dry mountains and rivers in the garden, and even the hobby of natural art stones will be paranoid and artificial.
In the development process of nearly two thousand years, Japanese architecture has kept in touch with China architecture, constantly responding to the changes of China architecture. Because it is mainly related to the folk architecture in the south of China in the later period, it can keep its character of freedom and liveliness.
The most distinctive Japanese architecture is the shrine, which is spread all over the country, with more than 1, shrines, and the construction age has never stopped. Early shrines imitated the more exquisite residential buildings at that time, because in concept, shrines were the residences of gods, and people could only ponder the life of gods according to their own lives. Moreover, architecture was far from reaching the level of creating a shrine system for gods. Therefore, these early shrines are close to the simple people's life, and their architectural style can represent the basic temperament of Japanese architecture.
The shrine is an inherent Shinto-style building in Japan, which began in the original 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 so far. Shinto in the shrine respects the God of Heaven, that is, the goddess of the sun as the main god. Pursuing the unity of politics and religion, deifying the lineage of the emperor, taking the ancient records and the Japanese century, which were 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 God of Heaven. They unified the Japanese islands and had natural indisputable sovereignty.
Shintoism 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. Advocate "truth" as the basic attitude of life, from which various virtues of "loyalty, filial piety, benevolence and faithfulness" can be derived.
There is no fixed date for worship in Shintoism. You can visit the shrine at any time, or you can visit it on the first day, 15th day or memorial day. Devoted people also pay homage every morning. In Japanese houses, there are shrines for the God of Heaven and the protector, as well as shrines for buddhas and ancestors. The main festivals are spring and autumn festivals and ritual festivals. Spring festival is a prayer festival, and autumn festival is a new taste festival. The annual sacrifice is also called the annual sacrifice. It is a lucky ceremony for the gods, and the believers carry the gods and parades on their shoulders.
The shrine is arranged in depth and has many layers. At the entrance, there is an archway, with a big wooden cross-frame on a pair of pillars, with both ends protruding from the left and right. Some of them have a wooden square cross-frame at a slightly lower position. This archway is called "torii". Enter the memorial archway, walk along the right path, reach the "clean basin", and the worshippers wash their hands and gargle before going to this hall. Symbols dedicated to the gods in this temple are generally gods mirrors, wooden idols and "Cong Yunjian". They represent the divine body, called "Imperial Spirit Generation", and are carefully wrapped so that worshippers can't see them. Only the Grand Worship Officer can walk 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 was originally a holy place. It is divided into an inner palace and an outer palace. The inner palace is called the "Emperor's Great God Palace", which is dedicated to the God of Heaven. It was built shortly before the AD era. The outer palace is about 5 years later than the inner palace, which is called "Fengshou Great God Palace", and Fengshou Great God specializes in protecting the food of Tianzhao Great God. The form of the inner and outer palaces is basically the same. In the 7th century, Emperor Tianwu (reigned from 673 to 685) established a system and rebuilt it every 2 years. Therefore, the present building is not an early original, but it is basically preserved. In order to avoid having nowhere to worship and pay homage during reconstruction, there are two sites side by side in the inner and outer palaces, and the shrines are built and demolished in turn.
The inner and outer palaces are not far apart. They are all small buildings with the "Palace" as the center, with rectangular sections and a fence around them. The palace is three rooms wide and two rooms deep, and the style is "made by the gods". There is a high wooden frame below to form a platform, which is called a "high bed" with high fences around it. Except for the outdoor door in the center, the walls are all made of thick wooden boards, and the two slopes are covered with thatch, about 3 cm thick, soft and elastic. The roof is a long piece of wood, which is supported on the pillar in the middle of the outside of the gable. Nail the "deck" on the roof and pick out many gables on both sides. On the ridge, there are 1 "strong fish wood" protruding horizontally from front to back, and the wind board crosses under the ridge and inclines upwards to form "thousand wood". There are four thin strips of wood at the upper end of each wind, which are called "whip hanging". Deck, fish-wood, thousand-wood and whip-hanging are all evolved from structural components, which are exaggerated and become decorative components with great artistic expression.
Together with high beds and high hurdles, they make our palace full of the contrast between reality and reality, light and shadow, and look extremely ethereal and light. They stretch out in different directions, and the small palace presents a character of outward radiation.
The details of the shrine are very delicate. 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 lively and more human. On both ends of the strong fishwood, on the thousand trees, on the door leaf and even on the floor, some carved Jin Yezi were properly decorated, which gave a noble luster to the plain white wood and thatched spots in Wen Ya. Gold and plain wood and thatch reflect each other, both simple and gorgeous, which shows the keen aesthetic power and the freedom of thought. There is a layer of pebbles floating on the site, which is loose. They set off the building more beautifully.
asuka period (552-645), Japanese society was in transition from slavery to feudalism. In order to consolidate the feudal system and unify the autocratic country, Japan absorbed a lot of laws and regulations and culture of the feudal court in China. Buddhism was introduced to Japan from China via Korea, which was initially resisted by the Shinto tradition. In 587, Su's family, who won the struggle for succession to the throne, supported Buddhism. In 64, Shoto Kutaishi officially believed in Buddhism, and 46 Buddhist temples were built within 3 years. Buddhist architecture in China was also introduced into Japan from North Korea.
In 588 AD, King Baekje of North Korea sent several temple workers, bricklayers and exposed workers to Japan, bringing models of Buddhist temples to help build Buddhist temples. At the beginning of the 7th century, Baekje craftsmen continued to come 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: firstly, the wooden structure system with parallel beams is used, including bucket arches; Secondly, the interior space of the building is composed of "rooms" as the space unit and the parallel connection of rooms; Thirdly, the inward courtyard layout and symmetry axis are introduced; The fourth is the form and style of architecture; Fifth, it is the layout and architectural types of Buddhist temples, such as towers. The first four features are not limited to Buddhist temple buildings, but are of fundamental significance to all kinds of buildings in Japan. Japanese architecture is China-like.
Shoto Kutaishi built the first large-scale temple, Horyuji, near Nara in 67. There was a fire in 67 and it was rebuilt later. East Hospital was built in 739. The main body of Horyuji is a "convex" courtyard, surrounded by corridors. There is the Heavenly King's Hall in front of it and a lecture hall behind it. The lecture hall is divided into two sides: the Jinglou and the Bell Tower, which are connected with the porch. In front of the lecture hall, in the center of the courtyard, on the left and right sides of the 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 floors, with five floors in width and four floors in depth (18.36m× 15.18m), and one floor each reduced. At the top of the mountain, there is a bucket arch, and the form is not very strict. Cloud arch and cloud bucket are used. The column is rolled and killed into a shuttle column, but no rainbow beam is 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 gold column at the bottom, which shrinks greatly and makes the eaves float far and wide. The quintuple tower was built in 672-685, with three square towers from the ground floor to the fourth floor, and two on the fifth floor. The width of the ground floor is 1.84 meters, the height of the column is more than 3 meters, and the height of the working column is only 1.4 meters. But the eaves are very large, and the ground floor is as much as 4.2 meters. So it seems to be the overlap of five layers, which is very elegant. The tower also uses a bucket arch, which is similar to Jintang's, with a cloud arch and a cloud bucket, which was made in China during the Southern and Northern Dynasties. The use of a single arch instead of a double arch, and the use of stealing hearts instead of calculating hearts have become important features of Japanese bucket arches in the future. There is a central column in the tower, which runs from the ground to the top of the treasure. The total height of the tower is 32.5 meters, of which the phase wheel is 9 meters high.
There is an octagonal dream hall and a land-spreading 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 (71-794) was called nara era, which was in the heyday of China, and Japanese introduced China culture on a large scale.
Use Chinese characters, learn calligraphy and painting, compile history books and write Chinese-style metrical poems. According to the laws of the Tang dynasty, the code was formulated and the name of "Emperor" was officially used. At this time, the central government was fully formed, and various ministries and agencies were set up in imitation of 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 period of prosperity of Japanese culture.
The ancient capital of Nara is called Pingchengjing, which completely imitates the planning and layout of Chang 'an City in Tang Dynasty. Because Buddhism was established as the state religion, a number of very important temples were built in Nara, among which the most significant one was the Tang Zhaoti Temple (built in 759), which was built under the auspices of Jian Zhen, a monk from Dongdu, China. Monks from Jian Zhen spread the legalism in Japan, and the Tang Zhaoti Temple is the general hospital of Japanese legalism. Some craftsmen who built temples were brought from China by monks from Jian Zhen. Only the Jintang, the lecture hall and the East Tower of Zhaoti Temple in Tang Dynasty were the original objects when it was first built. Jintang is 7 rooms wide, about 28.18 meters long, and 4 rooms deep, about 16.81 meters. The size of the bay decreases from the bright bay to the two sides, and the fifth bay in the center is provided with a fan door, and only a fan window is provided in the last bay. There is a bucket arch on the stigma, and only the Bucket Shu column is added. Stigma bucket arch is made of six shops, double copy single downward, single arch, stealing heart. Beams, Fang and Dougong all have colored paintings, and the pillars are painted red. The arch wall and pad are all white, which clearly sets off the load-bearing members, which makes the structure clear and logical. The roof is a four-injection type. After renovation, the slope is steeper than the original one. The center of the interior is dedicated to Lushenafo, flanked by the pharmacist Buddha and Guanyin with a thousand hands, and there are four heavenly kings on the backing 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 the memorial buildings in China in the Tang Dynasty, and its style is elegant, dignified and peaceful.
In 784 AD, in order to avoid the interference of the increasingly powerful Buddhist forces in Nara in political affairs, Emperor Kanmu decided to move the capital, and in 793, he started to build a peaceful capital, which was later Kyoto. 794-1185 was the heian period in Japanese history. Like Pingchengjing in Nara, the pattern of Pingchengjing is similar to that of Chang 'an in Tang Dynasty, and its scale is similar to that of Pingchengjing but slightly larger.
after the 9th century, due to the further development of feudal relations, the local separatist forces hired and the manor expanded and occupied the public land. The emperor's power declined, the Chinese-style centralized regime gradually disintegrated, and the regime fell into big noble's hands, which finally led to Sadahito's abdication in 186 and the implementation of "imperial administration".
With the rise of local separatist forces, Buddhism is no longer the state religion, and the influence of ancient Shintoism has been restored and infiltrated into Buddhism. Buddhism has become secular, and monks can marry and have children and drink and eat meat, so Buddhism has become more popular.
due to the development of feudal economy, in the 11th century, the aristocratic society reached its heyday, and the life of princes, nobles and powerful families was even worse, with excessive indulgence. They built a large number of mansions and other businesses, and built Buddhist temples in mansions and other businesses, or, as is the custom in China, abandoned their houses as temples.
In this case, Japanese culture has strengthened the national characteristics. Since the second half of the 1th century, Japanese architecture has also been 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 achievements of China architecture and responding to the changes of China architecture.
at this time, a new type of system was produced in the mansion building, that is, a front compartment and a back compartment, which were connected by a porch, and there was often a pool in front of it, which was called "the bedroom building". Buddhist temples have also adopted this type of system. The most important representative of building a Buddhist temple in a sleeping hall is the Phoenix Hall of the Equal Court, which is located in Uji. Byodoin Temple was originally the other business of Taizheng Minister Fujiwara, who was in power at that time. In 152, it was transformed into a Buddhist temple, and the main building of the temple was the Phoenix Hall. The indulgent aristocrats dare not forget their destination, but they use their worldview to understand their destination. Among them, the belief of "pure land" has arisen, and it is believed that as long as people gather to recite scriptures, they can transcend the worldly "filth" and reach the western paradise. This belief is the Pure Land Sect of Buddhism, which worships Amitabha. Amitabha Hall was built in the mansion and other industries, and monks were called to ring the bell pan wooden fish and read the scriptures. They decorated the Amitabha Hall with precious materials, 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 elaborate and full of aristocratic interests, which are sharply opposed to the folk architectural tradition of advocating simplicity and nature. Phoenix Hall is such an Amitabha Hall.