In May, 2004 I was invited to join a delegation with six architects from the Royal Institute of British Architects (RIBA) and RIBA-USA to Beijing and Zhengzhou in Henan Province for a cross cultural exchange and forum on architecture, sustainable living, and urban design by the Chinese Ministry of Commerce (China Council for the Promotion of International Trade). We were all key note speakers - it was really wonderful to share our understanding of sustainable architecture, and in my case, “sacred” architecture with our Chinese counterparts.
All Images Copyright Caroline Davies © 2010
MASTER BUILDERS OF THE PAST 2:
TIANTAN TEMPLE OF HEAVEN
http://riba-usa.org/Lifestyle/04-Master%20builders%202/masterbuilders2.htm
Beijing’s Sacred Gem of Symbolic Architecture
In southeast Beijing an empyreal gem of history is to be experienced that is a superb example of Classic Chinese Sacred Architecture as well as beautiful examples of Ming and Qing Dynasty artistry and craftsmanship, Tiantan Gongyuan. Tiantan - The Temple of Heaven, sits in 263 hectares of parkland with thousands of ancient trees of cypress and pine, gentle Chinese classical music, serene dancers, thai chi practitioners, and chinese brush stroke water painters, whose temporary masterpieces evaporate rapidly from the warmth of the morning sun.
The original temple complex was built in 1420 by Ming Emperor Yongle, who also founded the smaller Forbidden City, but changes have been made by various Emperors throughout the ages. The main ceremonial structures, The Circular Mound Altar and The Altar of Prayer for Grain, linked with a 360 meter road, were used by the “Sons of Heaven” (the Emperors) in elaborate rituals to pray for abundant harvest.
Upon entry into the park from the south, the one line axis, which joins the temples, ascends slightly, giving one the feeling of moving toward heaven. The temples are round, but their bases are square. This represents the ancient belief that heaven is symbolically round, and earth square, thus creating a place where heaven and earth meet. The northern end of the park, representing heaven, is bound by a semi-circular wall, whilst the southern end, representing earth, is square. There are also gates at each of the cardinal points surrounding the temple. The numbers three and nine, amongst other symbolic expressions found within the layout of this sanctuary, are predominant throughout Tiantan - odd numbers were considered heavenly, and nine is considered to be a master number.
The grand designers of Tiantan applied an ancient and universal understanding of mathematics and geometry imbuing the temple complex with a resonance to create harmony in form and place, reflecting a congruent relationship between man, nature, and Heaven during that period of time.
Caroline Davies, Editor, Lifestyle and Culture
Photographs: Caroline Davies © 2004
