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A Courtyard House – siheyuan四合院as the Dwelling Place of the Traditional Chinese Family

100%

Wesołowski Z.

Forum Teologiczne

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2020

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vol. 21

207-217

EN

A Chinese courtyard house, called in Chinese siheyuan, equipped with a single entrance and with one or more open courtyards encompassed by one-storey buildings, represents traditional house dwelling in China. Throughout Chinese history, courtyard dwelling was the basic architectural pattern used for building governmental (palaces and offices) and family residences, and religious compounds (temples and monasteries). In this short contribution, the author depicts a standard traditional Beijing court house from the Ming dynasty (1368-1644) which would normally host an extended family of three and four generations. The physical construction and spatial structure of the traditional Chinese courtyard house were deeply rooted in ancient Chinese philosophical thought. The Chinese used fengshui (wind and water) principles to harmonize themselves with their environment in order to secure prosperity, longevity, and family blessings. From the viewpoint of fengshui, a basic courtyard house compound was not only a dwelling place, but also a structured and complicated vision of the cosmos that should function as an ideal container of qi (life energy). The fundamental north-south axis which rhythmically and continuously guarantee the vital flow of qi and the square shape of a courtyard house which means near to the earth, should promise health, prosperity, and the growth of the family. The fengshui system (nowadays mostly associated with Daoism) in the context of a Chinese courtyard house was intimately combined with China’s strict social and family system (Confucianism). The structure of the Chinese traditional family – and the author calls it “Confucian familism” – i.e., the Confucian conviction of family as a model for the whole state. This rigid and hierarchically structured family system, which had been the basis of Chinese society in imperial China for over two thousand years, has been reflected in courtyard house compounds. At the end of this contribution, the author mentions the efforts of present-day architects to find a way to revive traditional courtyard housing for modern times.

2

Współczesna architektura chińska Drugiej Fali – Modernizm Udomowiony

75%

Ingarden K.

Państwo i Społeczeństwo

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2018

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issue 2

95-108

EN

The article presents two generations of Chinese architects (architects of the so-called First and Second Wave) operating in the post-Mao period, that is, since the reforms of Deng Xiaoping. The main purpose of the article is to present the works of the youngest architects of the Second Wave and try to characterize them. Examples illustrating the article are the realizations of such offices as: META-Project (Wang Shuo), TAOA (Tao Lei), ZAO/standardarchitecture (Zhang Ke), Zhao Yang Architects and DnA_Design and Architecture (Xu Tian an). Selected projects are certainly an inspiring example of the experimental Chinese architecture of recent years - critical architecture, which in response to the mistakes of previous years, associated with extensive modernization of cities, tried to rebuild the relationship with the lost tradition, direct and focus its attention to problems of locality and man and his heritage in the modern world. The article was compiled on the basis of source materials obtained directly from architectural offices as part of the author’s work on the exhibition Contemporary Architecture of China, Localized Modernism. The author together with prof. Wang Lu (Tsinghua Univ., Beijing) were co-curators of this first presentation of Chinese architecture in Poland. The exhibition was presented at the Manggha Museum, its opening was accompanied by the Architecture Biennial in Krakow in 2017.

PL

Artykuł przedstawia dwa pokolenia chińskich architektów (architekci tzw. Pierwszej i Drugiej Fali), działających w okresie post-Mao, czyli od czasu wprowadzenia reform Deng Xiaopinga. Zasadniczym celem artykułu jest przedstawienie prac architektów Drugiej Fali i próba ich charakterystyki. Przykłady ilustrujące artykuł to realizacje takich biur jak: META-Project (Wang Shuo), TAOA (Tao Lei), ZAO/standardarchitecture (Zhang Ke), Zhao Yang Architects oraz DnA_Design and Architecture (Xu Tian an). Wybrane realizacje są z pewnością inspirującym przykładem eksperymentalnej chińskiej architektury ostatnich lat – architektury krytycznej, która w reakcji na błędy poprzednich lat, związane z ekstensywną modernizacją miast, starała się odbudować relację z utraconą tradycją, kierować swoją uwagę na człowieka, świadomego swojego miejsca we współczesnym świecie, jak również swojego dziedzictwa. Artykuł został opracowany na podstawie materiałów źródłowych pozyskanych bezpośrednio z biur architektonicznych w ramach pracy autora nad wystawą Współczesna Architektura Chin. Modernizm udomowiony, której autor był pomysłodawcą i, wraz z prof. Wang Lu (Tsinghua Univ, Pekin), współkuratorem. Wystawa została zaprezentowana w Muzeum Manggha, jej otwarcie towarzyszyło Biennale Architektury w Krakowie w roku 2017.

3

William Chambers’s “Designs of Chinese Buildings, Furniture, Dresses, Machines, and Utensils” in Context: An Authoritative Guide to Chinese Visual Culture

51%

Kozik A.

Biuletyn Historii Sztuki

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2022

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vol. 84

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issue 3

563-591

PL

Designs of Chinese Buildings, Furniture, Dresses, Machines, and Utensils Williama Chambersa (1723–1796) tradycyjnie uznaje się za wzornik przeznaczony dla europejskich architektów i zleceniodawców zainteresowanych tzw. stylem chińskim. W niniejszym artykule podjęto próbę umiejscowienia traktatu Chambersa w szerszym kontekście postępów w dziedzinie nowożytnej (proto)sinologii i ówczesnych strategii radzenia sobie z nadmiarem wiedzy o chińskiej kulturze wizualnej. Niezależnie od oczywistej funkcji wzornika, publikacja Chambersa może być rozumiana jako część zjawiska, które dało początek wielu nowożytnym kompendiom dotyczącym Państwa Środka, takim jak naukowe publikacje jezuitów – dziełom mającym na celu uporządkowanie napływających chaotycznie informacji i przeformułowanie ich tak, by były dostępne szerszemu gronu odbiorców. Opierając sią na pracach takich badaczy jak Ann Blair i Georg Lehner, w pierwszej części artykułu skoncentrowano się na nowożytnych sposobach porządkowania wiedzy sinologicznej i narastającej wówczas potrzebie stworzenia jej naukowej syntezy. W części drugiej problem „przeciążenia informacją” omówiony został w odniesieniu do chińskiej produkcji artystycznej i jej percepcji w Europie. Ostatnia część tekstu jest poświęcona analizie Designs Chambersa jako autorytatywnego kompendium, stworzonego w celu jednoczesnego uporządkowania wiedzy o chińskiej kulturze wizualnej i dowiedzenia nieautentyczności opisów i ilustracji zawartych w innych wydawanych wówczas wzornikach.

EN

Traditionally, William Chambers’s (1723–1796) Designs of Chinese Buildings, Furniture, Dresses, Machines, and Utensils (1757) have been referred to as a pattern book designed for European architects and patrons interested in the so-called “Chinese style”. This study seeks to locate Chambers’s treatise in a broader context of both the European progress in the field of (proto-)sinology and the early modern strategies of coping with the abundance of knowledge about Chinese visual culture transferred to and disseminated in Europe. Its obvious role as a pattern book notwithstanding, Chambers’s book may be presented as a part of the phenomenon that gave rise to authoritative works of reference such as scholarly Jesuit publications, i.e., compendia aimed at structuring the chaotic influx of information and reformulating it in a universally accessible way. Drawing on the research of scholars such as Ann Blair and Georg Lehner, the first part of the article centres on the problem of structuring sinological knowledge in the early modern period and the need for scholarly syntheses. In section two, the same problem of information overload was identified with regard to Chinese artistic production and its reception in Europe. Finally, the last part offers an analysis of Chambers’s Designs as a normative work of reference conceived to simultaneously standardize knowledge about Chinese visual culture and to falsify the descriptions and illustrations included in other pattern books published at the time.

4

Tajemnice i pułapki chińskiego domu

51%

Helman A.

Kwartalnik Filmowy

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2012

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issue 79

201-217

EN

The author takes as her starting point the symbolic treatment of Chinese architecture, as this is its most common function in film. The idea of separation shaped architecture for centuries, expressing the need to protect and isolate oneself from what is foreign and therefore undesirable, unnecessary and dangerous. Walls give cities, estates, palaces and houses an aura of security, made firm through their own, familiar identity against all that is foreign. The subject of the analysis are three films in which normally positive connotations associated with the concept of home are reversed, leading to metaphors, which go beyond what is usually associated with the house as such – i.e. a building inhabited by a family. The following works are examined: Raise the Red Lantern (1991) by Zhang Yimou, Temptress Moon (1996) by Chen Kaige and Spring in a Small Town (2002) by Tian Zhuangzhuang. In each of these films the house is conceived as a closed space, a world from which the characters trapped within it cannot escape. „Closed space” functions in these three films in different ways, but in each it is a sentence that cannot revoked and to which the inhabitants of the houses are condemned. The houses shown in these films include building, which Chen Zuoqian aquired for his concubines, a palace inhabited by the Pang family clan and Dai family home, but apart from being family homes, at the same time they are also booby-trapped houses, prison houses and ruins, that metaphorically represent China as a country closed off from the outside world. In each of these films an individual case is presented, but at the same time the houses and the families serve as a microcosm that reflects the macrocosm with all the relations between the apparatus of power, society and the state.

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A Courtyard House – siheyuan四合院as the Dwelling Place of the Traditional Chinese Family

Współczesna architektura chińska Drugiej Fali – Modernizm Udomowiony

William Chambers’s “Designs of Chinese Buildings, Furniture, Dresses, Machines, and Utensils” in Context: An Authoritative Guide to Chinese Visual Culture

Tajemnice i pułapki chińskiego domu