REligious architecture of china - Temple of Heaven, PAgoda of Fogong

1. CULTURE & ARCHITECTURE 1

2. • Chinese religious architecture • Buddhist architecture in much of China follows
consist mainly of temples of the imperial style, but with green roof tiles. A
Buddhism, Lamaism, Islamism, and Buddhist temple normally has a front hall that
Taoism. houses a statue of a Bodhisattva, followed by
• They differ according to the different a great hall that houses statues of the
religious doctrines and Buddha, with accommodation for the monks
requirements of usages. and nuns at either side.
• Portraits of Buddha, murals, • Taoist architecture is a little less grand. The
engraved tablets, calligraphy, main deity is usually represented in the main
Buddhist utensils, furnishings, and hall which is at the front, in contrast to
Buddhist scriptures are displayed in Buddhist layout where the main hall will be to
these buildings. the rear. Also, the entrance is usually at or to
the side which is believed to confuse entry by
demons (a Feng Shui guideline). Taoist roofs
are generally blue.
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3. • The Buddhists have the pagoda and the stupa; stele as tombs and sites for inscriptions
are common in all traditions; the ‘spirit ways’ of Royal tombs and the pailou gates
erected by officials in city streets are all to one extent or another kinds of religious
architecture.
• Pagodas in particular are the one tradition in which buildings of wood crossed over into
a monumental stone architecture of uniquely religious form— minarets, spires, Hindu
shikara, domes, pyramids — that have often been the most extraordinary achievement
of the Indo-European architectures.
• The formally unique and distinctively religious, and the imperial sacrificial venue is best
exemplified by Beijing’s Tiantan/Temple of Heaven. With its intensely symbolic
geometric layout – squares and circles are everywhere — its remarkable marble
platforms and walkways, designed for a very specific and significant series of rituals,
and its beautiful — arguably the most beautiful in China – circular Hall of Prayer for
Good Harvests, this is of all things a a structure that exemplifies the principles outlined
above but also translates them into a building form that could have no other function
than a religious/ritual one.
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4. • Temples in China are invariably located in the most beneficient spot in the landscape:
often facing south, with a hill behind them and a wide valley, ideally containing water,
ahead.
• The landscape can be heavily reworked to make this possible: the upper hall of the
Foguang Si in Shanxi is quarried into the hillside; behind the ‘little Potala’ at Chengde
is a hill; Or they are associated with specific spots — rocks or springs or other points
deemed to be of significance — regardless of association with a settlement.
• Chinese architecture, then, is to an extraordinary degree about place, and to understand
it one has to engage with the rules of feng shui as they apply to a specific
building and its sie and function (whether it be an imperial temple or a peasant’s
house-god altar).
• The buildings themselves, then, are also arranged, and rather like landscapes, in that
their arrangement is as much about spaces enclosed as about the structures themselves.
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5. • Halls running along the main axis, arranged hierarchically; less important functions
are positioned to the sides; the sequence of courtyards that result, and the routes
that interconnect them, is the primary experience of these places.
• The complex interiors and inventive spatial effects of the Western tradition are thus
completely unknown: one encounters rectangular spaces of varying size, containing
impressive, cool halls that can be left undivided as a setting for sculpture or fittings
or partitioned to make rooms.
• Entrances, openings and enclosures are absolutely fundamental; these are often the
focus of decoration, display, and on occasion inventiveness.
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7. • The Temple of Heaven, literally the • The Temple grounds cover 2.73 km² of
Altar of Heaven (TIAN - TAN) is a parkland and comprises three main groups
complex of Taoist buildings situated in of constructions, all built according to strict
the southeastern part of central Beijing. philosophical requirements:
• One of the largest temple complexes in • THE HALL OF PRAYER FOR GOOD
china & a paradigm of architectural HARVESTS
balance & symbolism. • THE IMPERIAL VAULT OF
• The complex was visited by the HEAVEN
Emperors of the Ming and Qing • THE CIRCULAR MOUND ALTAR
dynasties for annual ceremonies of
prayer to Heaven for good harvest.
• It is regarded as a Taoist temple,
although Chinese Heaven worship,
especially by the reigning monarch of
the day, pre-dates Taoism
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8. Qinian Dian-Hall of
Prayer for good
Harvests
Echo Wall
Altar to Heaven
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9. Qinian Dian-Hall of
Prayer for good
Harvests
Altar to Heaven
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10. Golden Finial Caisson
ceiling
Name Plaques-
written in the
calligraphy of
an Emperor
The Circular Blue represents the
roof symbolizes color of Heaven
the SKY Dragon Well
Pillars
Red is an
Imperial color Tablets – in
memory of
Dragon & ancestors
Phoenix motifs Symbolic offerings
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11. HALL OF PRAYER FOR GOOD HARVESTS
• The HALL OF PRAYER FOR GOOD
HARVESTS is a magnificent triple-gabled
circular building, 36 meters in diameter
and 38 meters tall, built on three levels
of marble stone base, where the
Emperor prayed for good harvests.
• The building is completely wooden, with Circular
no nails. mounds
• The Hall of Prayer for Good Harvests
has four inner, twelve middle and twelve
outer pillars, representing the four
seasons, twelve months and twelve
traditional Chinese hours respectively.
• Combined together, the twelve middle
and twelve outer pillars represent the
traditional solar term.
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12. • Initially constructed in 1420 in
a square design, it was
reconstructed in 1545 during
Emperor JiaJing's reign as a
round building with a three-
tier roof.
• At that time the roof was
constructed with blue, yellow
and green glazed tiles
symbolising Heaven, Earth
and the mortal world.
• During Qing Emperor
QianLong's reign it was
reconstructed again in 1751.
This time the roof was tiled
only in azure colored tiles.
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13. • Inside the Hall are 28 tall pillars, each made from a
single tree trunk. The four posts around the inner
circle represent the four seasons.
• The 12 posts around the middle circle represent the 12
months.
• The 12 posts of the outer circle represent 12 ShiChen.
In ancient China, one ShiChen equalled two hours so
that a complete day was divided into 12 ShiChens.
• The12 gilded pillars and the 12 outer eave pillars
together represent the 24 solar terms of the year.
• The designer used the numbers of the pillars to
represent the time division of the Chinese calendar
about hour, day, month and season, and used the
round shape of the structure to represent the endless
time and its repetition in endless circles. It is indeed a
building of time.
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14. • This design was commissioned by Qing dynasty emperor QianLong (reign: 1736-1795)
in 1751.
• All the buildings within the Temple have dark blue roof tiles, representing the Heaven.
• The cleverly constructed building relies only on carpentry, with no nails employed.
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15. Caisson
ceiling
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16. The interior of the hall is
magnificently decorated and
contains a large south facing
ceremonial throne.
Wooden
supports
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17. Duo-gong-wooden brackets
Detail from the Hall of Prayer for
Good Harvests – the imperial colors
blue, red and yellow were used in
every detail.
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18. Huge dragon depicting carved stones along the central stairway up to
the hall. The emperor would be carried in a sedan over these carvings.
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19. Panorama of the three main halls
Panorama from the opposite view of the Imperial Vault of Heaven
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20. IMPERIAL VAULT OF HEAVEN
• The Imperial Vault of Heaven is a single-gabled circular building, built on a single level
of marble stone base.
• The Imperial Vault of Heaven sits in the center. It is a round building with a roof that
resembles the Hall of Prayer for Good Harvests, though smaller and with only one gable
of eaves and a single tier marble base.
• The hall is 19.2 meters high and with a diameter of 15.6 meters.
• The east and west annexes were used to hold divine tablets of various gods worshipped
at the Altar to Heaven.
• It is located south of the Hall of Prayer for Good Harvests and resembles it, but is
smaller.
• It is surrounded by a smooth circular wall, the Echo Wall, that can transmit sounds over
large distances.
• The Imperial Vault is connected to the Hall of Prayer by the Vermilion Steps Bridge, a 360
meter long raised walkway that slowly ascends from the Vault to the Hall of Prayer.
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21. The entrance to the Imperial Vault of Heaven as seen from inside
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22. Blue tiled Gable roof
Marble base-single
tier
The Imperial Vault of Heaven
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23. ALTAR TO HEAVEN
• At the southern end is the Altar to Heaven (also known as the 'Circular Mound'), an
empty three-tiered plinth that rises 5 meters from a square yard.
• The Circular Mound Altar is the altar proper, located south of the Imperial Vault of
Heaven - it is made of white marble.
• The altar was used to worship heaven at the winter solstice.
• It is an empty circular platform on three levels of marble stones, each decorated by
lavishly carved dragons.
• The numbers of various elements of the Altar, including its balusters and steps, are
either the sacred number nine or its nodules.
• The center of the altar is a round slate called the Heart of Heaven or the Supreme
Yang, where the Emperor prayed for favorable weather.
• The sound of the prayer will be reflected by the guardrail, creating significant
resonance, which was supposed to help the prayer communicate with the Heaven.
• The Altar was built in 1530 by the Jiajing Emperor and rebuilt in 1740.
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24. Aerial view of th.e circular mound
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25. SYMBOLISM
• Earth was represented by a square • The number NINE represents the Emperor and
and Heaven by a circle; several is evident in the design of the Circular Mound
features of the temple complex Altar: a single round marmor plate is
symbolize the connection of Heaven surrounded by a ring of nine plates, then a
and Earth, of circle and square. ring of 18 plates, and so on for a total of nine
• The whole temple complex is surrounding rings, the outermost having 9×9
surrounded by two cordon of walls; plates.
the outer wall has a taller, semi- • Mathematics and seasonal or celestial
circular northern end, representing calculations play a major role in the design of
Heaven, and a shorter, rectangular the Qiniandian, with its roof of three
southern end, representing the Earth. concentric circles being supported by four
• Both the Hall of Prayer for Good massive wood columns that symbolize the four
Harvests and the Circular Mound Altar seasons.
are round, each standing on a square • Other aspects of the building's design equate
yard, again representing Heaven and to the twelve months of the year and twelve
Earth. hours in a day.
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26. The Altar to Heaven
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27. A triple set of 'Ling-Xing Gates’
Within the walled square yard is a circular wall. Both inner and outer
walls contain four sets of three gates that resemble monumental archways.
These are known as the 'Ling-Xing Gates' and are made of white marble.
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28. the inner circular wall inside the square outer wall.
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29. The Heavenly Center Stone on top of the
Altar to Heaven.
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30. • The first ring of consists of 9 stones, the 'magical' highest value digit. Then 18, 27 etc.
• The number of stones in the various concentric tiers are all multiples of nine - a
prevailing numerological theme at the Temple of Heaven.
• The number nine, being the highest value digit, symbolically represented the EMPEROR.
• Around the center stone is a ring of nine stones slabs. The next ring has 18 slabs; the
next 27.
• There are nine rings in all, with 9 x 9 =81 slabs in the outermost ring. The numbers of
the railing boards and balustrades are also the multiple of nine, all symbolic figures of
the astronomical phenomena.
• The central stone is called the Heavenly Center Stone. It is said that the voice of a
person standing there sounds especially resonant and sonorous.
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31. • The Echo Wall encloses the Imperial • The Hall of Prayer for Good Harvests is
Vault. It has a height of 3.7 meters approached along a 360 meter raised
and a circumference of 193 meters. walkway : 'Vermillion Steps Bridge'
• It is named for its acoustical (DanBiQiao).
properties - a whisper spoken at one • In doing so, one ascends almost
end can be heard clearly from the imperceptibly, denoting progression from
other. Earth to Heaven.
• Further, the Triple Echo Stones in the • The path is 1 meter high at the start and 4
courtyard return various numbers of meters high at the end. At one point there in
echos depending on which stone one a tunnel under it.
stands on while facing the Imperial • The walkway is almost 30 meters wide and
Vault. has three distinct paths marked out. The
• They are good demonstrations of the central path was reserved for the gods.
excellent skills of ancient architects • The path on the east was reserved for the
in embroidering acoustics emperor while the path on the west was
phenomena into their designing. used by the empress and court officials.
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32. 'Vermillion Steps Bridge' (DanBiQiao).
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33. Dragon Carving on the steps leading
up to the Hall of Prayer for Good
Harvests
Dragon Carving on
the roof tiles and
ridges of roofs
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34. The Seven-Star Stone Group, east of the Hall
of Prayer for Good Harvest, represents the
seven peaks of Taishan Mountain.
Marble gargoyles surrounding the Imperial
Vault of Heaven
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37. • This nine-story octagonal structure was constructed without the use of nails and falls
under the Indian-influenced stupa classification of pagoda.
• The stupa that is the crown of the pagoda had two rows of brick lotus petals and one
of iron petals support various Buddhist characteristics - an alms bowl, a prayer
wheel, and so forth.
• Chains formerly hung from the tips with small bells hanging from each corner of the
roof .
• The Muta stands out within the context of Liao wooden building.
• When the Buddha Shakyamuni died, a stupa was placed over his remains.
• The function of the stupa in its East Asian form likens the pagoda to a relic mound.
• A devout Buddhist ruler of the Liao continued in the stupa tradition, creating the
pagoda as an architectural homage to the death of the Buddha while simultaneously
erecting a shrine to the Liao ruler's father.
• The images within the pagoda are even considered to be funerary in nature.
• Early pagodas under Liao patronage such as Foguang Si would contain relics inside
and provided a focus of devotion to the Buddha and others transmitting faith.
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38. • The (Yingxian wooden pagoda) Sakyamuni
Pagoda of Fogong Temple of Ying
County, Shanxi province, China, is a wooden
Chinese pagoda built in 1056, during the Liao
Dynasty.
• The pagoda was built by Emperor Daozong of
Liao (Hongji).
• The pagoda, has survived several large
earthquakes throughout the centuries; it was
given the generic nickname of the "Muta"
(literally "Timber Pagoda").
• It is the oldest existent fully wooden pagoda
still standing in China.
• The pagoda stands on a 4 M (13 FT) tall
stone platform, has a 10 M (33 FT) tall
steeple, and reaches a total height of
67.31 M (220.83 FT) .
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39. • The structure stands 67.31 meters tall with
an inner shaft made entirely of wood that
rises 51.35 meters.
• The structure employs the use of wood
and brick ; the base is brick whereas the
stories are made of wood.
• The layout of the pagoda has an octagonal
plan
• The pagoda was built on the 4M high and
two-layer stone platform base.
• The first layer has double eaves and is
surrounded with a cloister.
• The part before the second layer is all
installed with enclosures and has a dozen
kinds of corbel brackets under each eave
looking like clouds gathering together.
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40. • The structure of the Wooden Pagoda
is very ingenious with two slots of
columns inside and outside.
• On the first storey of the pagoda
stands a statue of Sakaymuni Buddha
of 11 meters high, solemn and
respectful, and 6 walls of the storey
are painted with six portraits of
Buddhas and 12 flying Apsarases in
vivid and elegant posture.
• There is a quadrangular Buddha on
the third storey and the Buddha faces 11m hig
four directions. sakayamuni
• A sitting statue of Sakayamuni Buddha
Buddha is located in the center of the
fifth storey with 8 giant Bodhisattvas
sitting in eight directions.
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41. Remarkably, this
completely
wooden structure
has remained
intact for almost
1000 years,
weathering
environmental
disasters as well
as social
upheavals.
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42. Buddhist statues found within the pagoda, with the Sakyamuni Buddha at
the center
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43. • Similar to earlier built Indian stupas, the Yingxian Pagoda is located in the centre of a
religious complex and is composed of three main parts, a raised base, a central body
composed of an odd number of levels and on the top, a pinnacle or steeple.
• Unlike other ancient pagodas that were built with brick or stone reinforcement, this
Pagoda was constructed entirely out of wood and without the use of any nails.
• The strength and resilience of the structure is attributed to the type of wood used, the
rare Xing’an larch from Northern China.
• Also notable is the fact that construction followed the Yingzao Fashi official code of
building that was principled by Li Jie in 1103 A.D. which outlines the strict construction
methods enforced at the time.
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44. • When the wooden pagoda was under • The pagoda sits on a large octagonal stone
repair in 1974, many carved Sutra, platform and from its exterior, the structure
written Sutra and color silk pictures appears to be divided into five levels with
and other precious antiques were encircling balconies and an extended
found in abdomens of the broken steeple reaching from the top.
statues. • However on the inside, there are a total of
• A number of cultural relics were nine floors to the structure.
found in the pagoda, including • At the main entrance of the pagoda there is
paintings depicting Chinese a tall statue of Sakyamuni Buddha and on
medicinal herbs, Buddhist scriptures the walls are murals of warrior deities,
and carvings. various heavenly kings, and Buddhist
• These relics are all believed to disciples.
belong to the Liao Dynasty and are • An enormous wooden staircase leads up to
regarded as significant discoveries the second storey of the pagoda where a
for furthering knowledge and study balcony extends around the entire structure
on religion and culture of this period offering a panoramic view of the growing
of history. city of Shanxi.
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45. The tower adopts the structure of
secluded chambers in design,
presenting a distinctive national
characteristic inherited from the
Han and Tang Dynasties while
leveraging the traditional
architectural techniques to the
fullest extent.
It's scientific and precise design
and consummate in structure,
reached the highest level of the
architecture in ancient China.
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46. • Each story of the Muta is an
independent, self-contained structure
so that each story is its own 3D
Buddhist mandala including sculpture
and wall paintings.
Wooden Brackets
• The four middle floors have a balcony
and a lean-to roof.
• The top level has a very elaborate
system of bracketing.
• There are fifty-four different bracket-
types used within the pagoda.
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