THE METAPHOR CITY
A yin-yang guide to The Purple Forbidden City
based on Dans La Cité Pourpre Interdite
by Cyrille Javary, ed. Philippe Picquier, 2001
A description by Pierre Loti
“Before leaving, I wanted once more to see the “Purple
City” and the royal halls, this time entering, not by way
of hidden passages and secondary doors, but along corridors of honor
and through great doors that had been closed for centuries, trying
to imagine through the ruins of today the past splendor that must
have greeted the arrival of sovereigns.
None of our western capitals was conceived and laid out with such
uniformity and audacity, with the dominant thought of exhalting
the magnificence of the processions and, above all, of preparing
the terrible effect of an apparition of the emperor.
The throne here was the center of everything; this city, as regular
as a geometric figure, was created, it could be claimed, with the
sole intention of protecting and of glorifying the throne of this
Son of the Sky, master of four hundred million souls, with the idea
of it becoming the peristyle, to provide access to it along colossal
streets that bring to mind cities such as Thebes or Babylon. And
it is understandable why Chinese ambassadors, who in the epoch in
which their immense patria flourished, came to our kings, were not
so astonished at seeing our Paris of those times or our Louvre or
Versailles!…
The southern gate of Peking, through which the processions pass,
is situated exactly on the axis of this once frightful throne, approachable
along six kilometers of straight roads, through arcades and monsters,
when by way of the south portal one has crossed the defensive wall
of the “Chinese city” passing immediately between two
immense sanctuaries, which are the “Temple of Agriculture”
and the “Temple of the Heaven”, one follows for half
a league the great artery flanked by gold-decorated houses, which
leads to a second defensive wall, that of the “Tartar City”,
taller and more imposing than the first. Then one finds himself
face to face with a still larger portal, surmounted by a black bastion,
and the avenue stretches beyond this gate, still impeccably magnificent
and straight, all the way to a third portal in a third system of
fortifications, blood red in color, that of the “Imperial
City”.
Once inside the “Imperial City” one is still distant
from the throne, which is reached by following a straight line;
that throne which dominates all, which once was hidden from sight;
but judging from the surroundings, its presence can be sensed; from
this point on the marble monsters multiply in number, the colossal
lions bare their teeth from their high pedestals to the left and
to the right, one can behold marble obelisks, dragon-envelopped
monoliths on whose summits are seated the same identical heraldic
creatures, a sort of emaciated jackal with long ears and a deadly
grin on its face, an animal which seems to be barking, howling with
terror towards that extraordinary thing that stands in front of
it: the throne of the emperor. Also the walls multiply in number,
cutting across the avenue, walls the color of blood, thirty meters
thick, surmounted by strange roofings and crossed by triple portals,
even more disquieting, low, narrow traps for rats. The defensive
motes at the foot of these walls are crossed by white marble bridges,
triple, in keeping with the portals. And on the pavement, now, huge
and superb slabs of stone intersect one another, like boards in
a wooden pavement.
Then penetrating into the “Imperial city” this same
avenue, the length of one league, suddenly becomes deserted and
continues, widening still more eloquently amidst long, dark, rectangular
buildings: lodgings for guards and soldiers: no more gold trimmed
house, no more little shops, nor crowds. From this oppressive bastion
onwards peoples lives come to a halt under the oppression of the
throne. And at the extremity of this desolation, whatched over by
the emaciated beasts from the heights of the marble obelisks, at
last the so well protected center of Peking, the refuge of The Sons
of Heaven.
This last enclosure of walls which appears from here below to be
the enclosure of the “Purple City” and of the palace,
has the color of dry blood, like the previous one, is surmounted
by watch towers whose lacquered roofs curve up at their triple portals,
as always, arranged following the axis of the monstruous city, are
too small, too low for the height of the wall, too deep, anguishing,
like tunnel entrances.
What an overweightedness, what an enormity in all of this, and what
originality in the design of this covering, that characterizes so
well the genius of the “Yellow Colossus”…
The falling apart of things here must have begun centuries ago:
the red plaster of the walls has either fallen to pieces, as it
is, covered with black spots, the marble of the ferocious obelisks,
of the huge lions with their nasty sneers could have yellowed only
as the result of innumerable seasons of rain, and the green grass,
growing everywhere from among the granite junctures brings into
relief like strips of velvet the design of the pavimentation…
And so one enters, after a series of tunnels, into the immense whiteness
of marble, to tell the truth, a candor that runs towards ivory yellow,
blotched by the rusting of dead leaves by autumn grass and by the
wild bushes that have invaded this place so abandoned unto itself.
One comes upon a square paved with marble, an oppressive marble
platform on which is erected the throne hall, with its fat blood
colored columns and monumental roof of antique enamel… Lying
on the ground there are rows of blocks of bronze, none distinguishing
itself from the others, sorts of cones upon which the forms of animals
were sculpted. They have simply been placed there, lying on the
ground, among singed grass and naked branches. They could be taken
for the pins in a massive game of bowling, and yet they once served
as the ritual entrance-way for processions; they marked the alignments
of the banners and indicated where magnificent visitors were to
prostrate themselves when The Son of Heaven condescended to make
an appearance in the background like a god, on the summit of the
marble terraces, surrounded by flags, wearing one of those costumes
whose designs conserved at The Temple of Ancestors has sent down
to us the super human splendor, all bordered in gold, with the heads
of monsters on its shoulders and golden wings on its hood. These
terraces sustaining the throne hall are reached by way of a flight
of stairs of Babilonian proportions and this, only for the emperor,
by way of an “Imperial path”, meaning an inclining plane
realized with a single block of marble, one of those untransportable
blocks that men belonging to a certain epoch were capable of moving.
The five-clawed dragon develops its ring sculpted from top to bottom
from this stone that separates at the middle, into two equal spheres,
the large white stairs to emerge at the foot of the throne: no Chinese
would dare to walk along this path from which the emperors descended,
placing the thick soles of their shoes on the scales of the heraldic
animals in order not to slide.These marble ramps, still obstinately
white, notwithstanding the years, have hundreds of balustrades planted
everywhere, whose tops capture the light, and which under close
observation reveal the presence of sorts of gnomes enveloped by
reptiles.
The hall that is situated up there, now open to the winds and all
the birds of the air, has as its roof the most prodigious quantity
of yellow majolica to be found in all of Peking and the hairiest
of monsters, with angular ornaments having the form of large, open
wings. On the inside, needless to say, there is the splendor, that
blaze of red gold by which one becomes obsessed in Chinese palaces.
Under the vault, of an inextricable design, dragons contort themselves
in all directions, knotting and twisting among them; their claws
and their horns are visible everywhere, mingling among clouds, and
there is one detached from the knot, one that seems ready to plummet
down from this threatening sky, holding a golden sphere in its mouth,
right above the throne. The throne of red golden lacquer stands
in a shadowy light, at the summit of a raised platform. Two large
screens made of feathers, emblems of power, stand behind it, above
some poles, and upon all the steps that lead up to it there are
incense burners, as in the pagoda at the feet of the gods. Like
the avenues I have followed, like the triple-gated bridges, this
throne is situated on the selfsame axis of Peking, of whose soul
it is representative. If it were not for all these walls and fortifications,
the emperor seated here, upon this pedestal of marble and lacquer
would have been able to extend his gaze all the way to the extremities
of the city to the last portal of the outer wall; the tributary
kings who came to him, the ambassadors, the armies, from the moment
of their entrance into Peking, through the south were, by way of
saying, under the fire of his invisible gaze…
On the pavement, a thick carpet of imperial yellow and gold reproduced,
with the technique of designs mingling together, the battle of the
chimeras, the nightmare sculpted on the ceiling; it is a singular
carpet, one that is immense, made of wool that is so thickly woven
that walking upon becomes heavy and plodding, as though upon a field
of thick grass…
For us, barbarians, who are not initiated, the mystery of this palace
is present in these three halls that are absolutely identical, with
the same throne, the same carpet, the same ornaments in identical
positions; they follow one another along the same line, always on
the same precise axis of the four-walled cities, which together
form the city of Peking; they follow one upon the other preceded
by great marble courts and built upon the very same marble terraces:
one reaches them by way of identical stairs, identical imperial
paths… But why three halls, seeing that one necessarily has
to hide the other two and that it is necessary in order to go from
the first to the second and from the second to the third, to descend
each time to the bottom of a vast, mournful and viewless court,
and climb back down only to reascend amidst masses of ivory colored
marble, superb, but so monotonous and oppressive?
There has to be some mysterious reason tied to the number three…”
Pierre Loti The last days of Peking, 1902.
Being an expert antropologist, Loti intuits that he cannot understand
The Forbidden City by looking at it through the eyes of an occidental.
With great sensibility he is able to register strong impressions,
but he obtains only a sense of disorientation, almost of frustration.
His minute attention towards the buildings, to the decorations dismays
him in front of the repetitivity of the elements and of the forms.
They do not permit him to gather a fundamental aspect of Chinese
architecture: the great importance given to empty spaces as an element
of introduction and valorization of “fabrication”.
A counter position which reproposes the interaction among opposites,
the cyclic repetition, the sense of flow that is within the eternal
present of the yin-yang system, conceptual basis of Chinese thought.1
So then why not try and “read” Forbidden City, following
this formidable interpretative key that is capable of throwing open
the impenetrable conceptual doors that made of the capital of the
Celestial Empire the “metaphor-city”.
The Yin-Yang guide by Cyrille Javary
A “yin-yang guide” to its deeply symbolic architecture
has been elaborated by the chinese scholar Cyrille Javary. In his
Dans la Cite Pourpre Interdite, in deciphering the multiple semantic
levels of this icon of Chinese culture, he makes it possible even
for us “non initiated barbarians” to penetrate into
the “mysterious reasons” of a palace as large as a city,
residence and at the same moment prison for one of the most powerful
sovereigns of the past.
Reading the Forbidden City in a yin–yang key is an exciting
experience that restores life and sense to the immense empty squares,
to the maze of streets, to the splendid and deserted halls, to the
thousands of sleeping dragons. And doing so clarifies for us that
the architectonic elements are all employed in such a way as to
refer space and form to symbol and to rank.
Philosophical bases of the urbanistic conception of the Forbidden
City
“The place where earth and sky come together, where the seasons
melt into one another, where wind and rain gather together, and
yin and yang are in harmony”.2
On the basis of Confucian philosophy the capital of the Middle Empire
was to be built at the center of the space conquered by Chinese
civilization and insert itself as the ideal cosmic center, identified
thanks to the principle of geomancy.3
In the heart of this strongly symbolic city, according to the feng
shui, one comes upon the three levels of life of the universe (celestial,
terrestrial and human) and there the emperor, “Son of Heaven”
the only man participating in all three realities was to reside.4
The topographical situation of Beijing (Peking) rendered it particularly
appropriate to this aim: the small plane occupied by the city is
situated at the north-western extremity of the great plane of southern
China and is surrounded by mountains to the north, northwest and
to the west, a natural bulwark of protection from invasions by its
dangerous neighbors. Going east along the mountainous margin one
reaches the sea, while the south opens onto the vast fertile plane
crossed by ample rivers, which facilitated the transportation of
goods and the payment of taxes.
In the course of the centuries the city was built and successively
destroyed more than once, but, like the phoenix, it always resurged
from its own ashes, changing name according to its new “owner”.5
The monumental city of today was wished for by Yong Le, third Ming
emperor and has not since his time undergone substancial changes,
not even at the hands of the Manchu dynasty of the Qing who conquered
it in 1664 (the moment of dynastic succession was always marked
by the destruction of the works of the previous dynasty).
As in a game of chinese boxes, the nucleus of Peking was made up
of four distinct cities, one built inside the other and separated
by high walls, but all of them oriented in a south-north direction.The
southern–most part was the “External City” destined
for the people: under the Qing the Chinese inhabitants were relegated
there, and in view of this it assumed the name of Chinese city.
The true commercial center of the capital, it was characterized
by thousands of shops, houses with courtyards, having the same uniform
color of gray, one against the other. To the north stood the “Inner
City” or, as it was called after Manchu conquest, the “Tartar
City”. Here were the residences of men of letters, of mongol
princes and of troops whose duty it was to defend the city. At the
center of the “Inner City”, also surrounded by walls,
stood the Imperial City, or the Yellow City, seat of administrative
activity, residences of the mandarins, civilian and military functionaries.
The most internal was the Forbidden City or Purple City, dwelling
of the emperor.
“He who governs with virtue can be compared to the pole star
of the north which holds its position, while all the other stars
rotate around it”. It is Confucius himself who confirms the
symbolic centrality of the emperor’s role, and the immobile
star he compares him to, the pole star (Zi Wei or the purple star)
spreads its blood red glow upon the entire city, making the relation
evident through chromatism.
The plan of the Forbidden City is a 960-meter rectangle running
from north to south, in width, running east to west, it is 750 meters.
The width, therefore, is 7/10 of the length. The proportion is the
same as that of the ideal rectangle into which the lines of the
ideograms must fit, the characters of chinese writing that express
an idea in graphic form.
And according to Javary the entire Forbidden City, is an idea, rather
than a palace, a construction of the mind that is as vast as a city.
The general conception derived from the principle of geomancy, combined
the orthogonal disposition of the buildings (in the direction of
the cardinal points) with a view to a hierarchy of the spaces: the
buildings were distributed in function with the particular symbology
attributed to each direction. On the vertical axis which was the
line along which the entire Forbidden City was developed, to the
south was associated midday, the summer, yang at the apex of its
potency and to the south were disposed or were oriented the building
of representation reserved to the exterior manifestation of imperial
power, buildings that Javary defines as yang palaces: 6 The Palace
of Supreme Harmony, or rather, The Throne Hall (according to our
“yin-yang guide” The Palace of Revealed Harmony, Tai
He Dian), The Palace of Perfect Harmony (The Middle Palace, Zhong
He Dian), The Palace of Preserving Harmony, or rather, The Hall
of the Banquets (Palace of Nurtured Harmony, Bao He Dian); to the
north were associated winter, midnight, yin, and the yin palaces
situated in the northern part were reserved to the more intimate
and private dimensions of the sovreign’s life: The Palace
of Heavenly Purity (Great Hall of Yang Limpidness, Qian Qing Gong),
The Palace of Potent Fertility (Palace of the Prosperity of Meeting,
Jiao Tai Dian) and The Palace of Terrestrial Tranquility (Great
Hall of Tranquility, Kun Ning Gong). On the horizontal axis, to
the east were associated the dawn, spring, the coming year, yang
at its rising, ready to manifest itself: it was the area that was
reserved to the residences of the hereditary princes; to the west
dawn, dusk, autumn, the year ending, yin at its rising: in this
zone, reserved to the past, lived the widows and concubines of the
defunct emperors.
At the intersection of the two axes, at the center (which is the
fifth and most important of the cardinal points that which does
not indicate a direction but fuses them together) was situated the
most relevant building from the symbolic point of view, qualified
as such, departing precisely with its name: The Palace of Perfect
Harmony (Middle Palace, Zhong He Dian).
According to Javary, the wave of imperial power widened concentrically,
starting from its initial source, The Middle Palace (Zhong He Dian)
all the way to the confines of The Middle Kingdom.7
However, the movement of propagation is organized according to a
structure that is more complex and subtler than a series of things
fitting into each other. It departs from a base module, which is
repeated in continuation, in such a way that the organizing element
contemporarily connotes of itself detail and togetherness.
The base module of this organization is the Forbidden City itself,
globally speaking, its form is that of a triangle open towards the
south on a sort of entrance that is rather narrow, flanked on each
side by a building dedicated to cult, the one situated to the east
in relation to the sky and to yang is The Temple of the Ancestors
of the reigning dynasty, the other situated to the west is tied
to the earth and to yin is The Altar of the Earth and of Grain.
The complex of the city of the Ming corresponds to that of the Forbidden
City.
Here as well we come once more upon an access portal in front of
the sun (Zhang Yang Men) and a street pointing south, the Qian Men,
on both of whose sides two large sanctuaries are situated: The Temple
of Heaven and The Temple of Agriculture. To the former crowned by
a pinnacle identical to that of The Middle Palace, The Son of Heaven
at the winter solstice would come to prostrate himself before his
father, asking him to renew the creative verve that would bring
about the rebirth of the grain.
To the latter, during the celebration of spring, the emperor with
the aid of instruments presented to him in The Middle Palace, came
to solemnly relaunch the cycle of the grain by tracing the first
furrow.
Thus, as in a great symphony having three dimensions, the same theme
is proposed from level to level, each time more amply but always
according to the same organization: to the east, to rising sun the
ritual atmosphere tied to the sky and to the ascendants, to the
west, to the setting sun, that which is tied to the earth, to the
descendants. Looking at the inside of the Forbidden City, we come
upon this same module. To the Forbidden City corresponds The Throne
Hall, to the road leading south the imperial axis, the relationship
with the sky to the east is marked by solar quadrant, and that with
the earth, to the west by a grain measure, as we will observe later
on.
Notes on the techniques of construction
The building site for the new capital was initiated in 1406 and
lasted 14 years. The surprisingly brief amount of time was made
possible by the modular method of construction that the Chinese
had been adopting since the XV century which, thanks to the standardization
of the material, made it possible for rapid and economic assemblage.
It is estimated that while from one to two hundred thousands specialized
artisans were at work, at least up to one million Chinese were employed
in the process of production and of transportation of material.
The beams and columns of the palace were obtained from whole trunks:
the greater part of these belongs to a variety of cedars coming
from Sichuan, more than 2000 kilometers away. Transportation of
the trunks created not a few difficulties: felled in autumn, they
were left where they were, until the following spring, when, in
order to transport them, flooding torrents which empted into the
Yang Zi were employed, after a voyage of 3000 kilometers this river
emptied them at the entrance of the grand canal of the capital.
The bricks used for the walls were produced in the province of Shandong.
Employed were more than ten million bricks which were produced in
384 specialized ovens at the rhythm of one million per year.
The pavements were realized with tiles of a particular brilliance
and accurate glazing which resounded when struck with a wooden hammer.
They were produced 2000 kilometers away in Suzhou, south China,
and were brought to the capital floating on barges along the grand
canal.
The yellow roof tiles of the Purple City are an important part of
its beauty. If the color of yellow responds to a symbolic imperative
(it was the color that was destined for use exclusively by the emperor),
the choice of varnishing responded to more pragmatic considerations,
seeing that it was made for better maintenance and greater resistance.
The larger palaces were endowed with double eaves, which were realized
thanks to a system based on a distribution of the masses on double
shelves. The corner of the roofs were curved like the “wings
of golden pheasants”, in such a way as to give the impression
of it being held up by invisible strings. Also the crests of the
roofs had a slightly curved line, as of a “dragon’s
back”, spreading itself amply to allow for a more improved
water drainage during heavy rains and a greater protection from
the sun during periods of intense heat. The ample roofings protected
wall and columns from bad weather and from humidity and were held
up by a play of shelves disposed in the form of cart springs: this
technique of extremely complex carpentry insured for solidity, resistance
and flexibility, permitting adaptation by the structures to the
variations in temperature and humidity, and also to absorb the shocks
from earthquakes, occurring frequently in China.
The only enemy of these buildings realized entirely in wood was
fire. Heating, that was necessary in a city where winter temperatures
rarely rose above zero, was obtained by way of subterranean canalizations
which issued into the icy halls. Small coal heaters were used. But
they were of little use, unless to be the cause of frequent fire
incidents.
The Meridian Gate
At the entrance to the Purple City stood The
Meridian Gate (Wu men). This marked the limit between two worlds:
that which was reserved to the emperor, The Son of Heaven, and that
reserved to common mortals. The Meridian Gate was conceived first
of all with the intention to impress. The complex was reinforced
by a system of fortifications having a U form, oriented towards
the outside and projecting on the sides of the gate.
The form assumed by the openings of The Meridian Gate presents a
curious and significant particularity: straight and horizontal on
the outside of the city, they are in the form of a circular vault
on the inside, affirming symbolically that whoever crosses that
gate is crossing a symbolic pillar, going from the Kingdom of Earth,
associated to the square form, to the Kingdom of Heaven, whose emblem
is the round form. Another detail reveals the same change of levels:
on the outside the portal seems to have only three accesses; from
the inside on turning around, one, instead, witnesses the presence
of five doors: the two additional doors, situated in the two lateral
pavilions are not visible from the outside. The Meridian Gate is
designed on the basis of a character, wu, associated with the double
hours from 11 to 13, the moment in which the sun passes the meridian:
midday.
In the Forbidden City all the crossing points (bridges, gates etc.)
are in odd numbers, in order to leave a central passage reserved
for the emperor exclusively.
Among three external portals the middle one, reserved to the Son
of Heaven was entered only by the empress to reach the city the
day of her wedding and by the first three qualifying at a superior
grade in the imperial exams which took place in The Banquet Hall,
to leave the city.
Inside the pavilions above The Meridian Gate stood a throne which
was utilized by the emperor on the occasion of some important ceremonies:
from the heights of this portal he proclaimed imperial edicts to
his people, the annual calendar, recompenses to the faithful mandarins
and gifts on the occasion of holidays.
In the two adjacent pavilions were situated two ritual instruments:
a drum in that of the east and a bell in that of the west. These
instruments were used to announce the exit of the emperor by way
of that gate: when the emperor went to The Temple of Agriculture
to trace the first furrow or in order to carry out a ritual at The
Altar of the Earth, the bell was rung to underline the yin quality,
terrestrial of these ceremonies; when he left to go and pray in
The Temple of Heaven or to carry out rites at The Temple of the
Ancestors of the imperial family, the drum was beaten to underline
the yang quality of these functions.
The Meridian Gate was the last one of the Forbidden City to be built,
for a practical reason: the material and all the prefabricated and
preassembled elements reached the building site of the palace by
way of this passage.
If the portal had been built previously, the narrowness of the entrance
ways would have created serious problems. Preference was given to
building it subsequently.
Whoever went through The Meridian Gate experienced a sense of oppression,
due, without doubt to the length of the passage which crossed the
building from one extremity to the other. But once outside, one
found himself in front of an tremendously immense court. Closed
at its other extremity by a high purple wall girdled by yellow tiles,
with another pavilion at its center, which was a little less imposing
than the one that has just been passed. Notwithstanding the dimensions
and the symbolic elements that are found in this court, it did not
have a specific name, but like all the courts of the city, it manifested
its presence towards the negative, allowing for the magnificence
of the building that it preceded.
The River of the Golden Waters
It is only after getting used to the two and
a half hectares of empty space of this court that one notices that
along its central axis, is traversed by an internal canal, which
runs through the court for its entire length and cuts across the
imperial axis from south to north. Its presence has a reason for
being, which is magical, along with a protective function. It presents
one last line of defence, one last protection in front of The Gate
of Supreme Harmony and to The Throne Hall. The name of this canal
Jin Shui He, literally River of the Golden Waters, derives its sense
from geomancy: water (shui) is the element that is associated with
the north, while the metals, jin, is associated with the west, in
perfect observance of one of the principles of the geomantic art,
for which, in order to free a place from impurities, it is necessary
to have water flowing from north-west to south-east.
The Five White Marble Bridges
To cross the canal there are five bridges, one
next to the other. This closeness, once again serves the purpose
of reinforcing the importance of the central axis. Being of an odd
number, these bridges determine a central route along with some
passages, divided hierarchically in relation to the center: those
that were closer were at the service of princes and high ministers.
Those more external were for dukes and mandarins. Every one else
went through the lateral galleries that surrounded the court.
The hypothesis that is most frequent is that the bridges represent
the five Confucian virtues: benevolence, rectitude, respect for
the rites, wisdom, justice. There are those who maintain that they
symbolize the five elements of the Chinese cosmogony: earth, wood,
fire, metal, water. However, their meaning is not to be looked for
in their names but rather in the form of the canal that they span.
The symmetry in the course of the canal reveals the function of
magically protecting the access to the throne of The Son of Heaven,
and this is particularly evident when we observe the river from
on high (for example from The Meridian Gate). The delicate curve
of the river reveals its true nature: it is a formidable bow, and
the five bridges are nothing less than arrows, ready to be launched
against whoever has ventured inopportunely into the palace.
In China the bow was the noble weapon par excellence, also for the
shamanic populations of Asia this weapon is magical, thanks to it,
malefic spirits and malintentioned enemies can be repulsed.
The Gate of Supreme Harmony
In the northern part of the court, on a white
marble terrace, there is a pavilion with a double yellow roof, The
Gate of Supreme Harmony, flanked by two secondary doors. These,
like all the other doors of the city, were endowed with heavy jams
painted red and dotted all over with huge gilted studs. These studs
are not ornamental, rather, they have the function of protecting
the door against the axe blows of potential attackers. The original
practical use was charged with symbolism in the imperial residence.
The jams of all the doors of the Purple City are covered with a
considerable number of studs: 81 symmetrically disposed in groups
of nine, along nine rows.
The Court
The view that presents itself to whoever enters The Gate of Supreme
Harmony (of Revealed Harmony) is breath-taking: the immensity of
this court, the widest open space of the Purple City, is like a
jewel-case for the three buildings that it hosts. Here yin-yang
principle finds perfect application: utilize emptiness at the service
of fullness. The distance is so vast that the buildings, set on
a triplicate terrace of white marble, seem not to belong to this
world whatsoever. A further advantage to all this space is that
it was capable of being filled: on the occasion of great ceremonies,
such as the crowning of the emperor, his wedding, his birthday,
tens of thousands of high functionaries had the enormous honor of
uniting in this court and of paying homage to the grandeur of The
Son of Heaven. Each nobleman had his place, which was established
with scrupulous precision by a meticulous etiquette and which was
indicated with the use of small bronze plaques placed on the ground,
thus each person could impeccably situate himself in the position
corresponding to his flag and to his rank. But, if from his throne
the emperor could perceive the crowds of his vassals, they could
only imagine him. In this prodigious theater of Chinese shadows,
everything was calculated to show the imperial power without ever
showing him who held it.
Eighteen incense burners, taller than an average man, placed on
the steps of the three terraces, consumed enormous cakes of incense
and sandalwood. Behind the thick clouds of smoke that they produced,
The Throne Hall appeared and disappeared intermittently, assuming
a fantastic and unreal aspects; this fog evoked the clouds where
dragons did battle and the sky where the immortals carried out their
wanderings.
The Terrace
In China the important buildings, temples or royal residences, have
always been built on embankments paved with bricks or ceramics.
The main reason hinges on the fact that the structures that were
entirely in wood had to be protected from the hot, humid climate.
Made of three floors crossed by majestic stairs, entirely surrounded
by a balustrade of pillars of decorated white marble, the terrace
on which the three buildings stand rises to more than eight meters
above the underlying court. No other dwelling could be of a superior
height. The entire city was physically at its sovereign’s
feet. Another rule governed this visual effect: all the houses including
those of the dignitaries and of the ministers, were to have the
color of ashes. The imperial palace, like a gigantic jewel in its
jewel-case resplended with the red of its walls, shone with the
yellow of its roofs, rose in the heart of a uniform city, in the
middle of an ants nest of dust-colored dwellings. The superior level
of the terrace is reached by way of many stairs. The one that runs
on the central axis is divided into two by a decorated ramp, whose
oblique extension brings into relief the horizon tality of the platform.
Stairs and terraces are bordered by white marble balustrades composed
of robust columns surmounted by sculpted forms, generally depicting
a little dog-lion seated on a lotus flower. Each of the three levels
of the terrace was closed in by a balustrade of one thousand white
columns on whose summits was sculpted the forms of dragons playing
among the clouds. At the feet of the balustrades there rose 1142
heads of fantastic animals, representations of six of the nine children
of the dragon, a creature who is tied in with water, reason for
which it is often seen on bridges and canals. By way of a conduit
placed in the mouths of these beasts rain water was carried away;
at the end of springs The Throne Hall offered a fantastic view of
itself, by virtue of water cascading down from the double roofs
into the paws of these baroque animals: it seemed to flutter upon
a formidable throng of horizontal sprouts that fell into the court
whose pavements of glazed tiles transformed themselves into an immense
liquid carpet.
Imperalia
Once having reached the upper terrace, one becomes aware that, being
larger than The Throne Hall itself, it is, like the previous court,
entirely empty. Only at the corners of the embankment are they disposed
as if they are to be visible, above all from the court, at first,
two utensils of white marble, one for each side, and behind them,
a couple of animals in dark bronze. They are not decorative elements
but instruments that exhalt the imposition of imperial authority
on everything regarding yin and yang. The first of these instruments
is a solar quadrant which is not placed there to indicate the hours
but to recall the dominion of the emperor over the calendar and
therefore generically over time itself. The second is a niche in
the form of a small pavilion whose roof rests simply on four pillars.
The absence of space dividers makes it possible to see a kind of
cubic recipient on the inside: a measure for grains. Fundamental
in an empire that is essentially agricultural, this instrument underlines
the predominance of the emperor over the harvest and, in general,
over space. The solar quadrant, tied to the sun for its use and
to the sky for the roundness of its form, testifies to its yang
nature also for the luminous warmth of the marble out of which it
was sculpted. Symmetrically the dimensions of the grain measure,
empty, made of dark metal placed in the shelter of the roof, manifests
its relation to the earth and to the seeds that will germinate from
it. Its cubic form as well testifies to its yin nature. The positioning
of each one seals his relationship with yin-yang: the grain measure
is positioned on the west side of the open space, the solar quadrant
on the east side. Slightly behind the quadrant and the grain measure
on each side of the terrace are two allegoric animals: a turtle
and a crane, one and the other, symbols of longevity, they have
the function of reinforcing the perennialness of the dynasty, and
in view of the fact that they are two, to each is attributed a particular
form of longevity. The turtle that hibernates and moves only on
the ground, evokes its yin form, while the crane, a migratory bird
that flies vivaciously in the heights of the heavens represents
its yang form.
The Three Yang Palaces
Facing the platform of the terrace are the three anterior buildings,
the most sumptuous of the city: The Palace of Supreme Harmony, Tai
He Dian, The Palace of Perfect Harmony, Zhong He Dian, and The Palace
of Preserving Harmony, Bao He Dian. Following our guide Javary,
these are the three yang palaces, and their names correspond to
ritual meanings. They are the bearers of a commandment: they carry
out the function of indicating each one with different modalities,
the main duty of the sovereign: harmonization. The term “palace”
which we use as a translation for dian is in reality a convention,
because the ideogram can indicate all the different kinds of halls,
civil or religious in which the cult of the ancestors are carried
out, foundation of Chinese devotion. That the political conception
of power is a manifestation of this filial piety is affirmed without
ambiguity through the official title of the emperor: Son of Heaven.
The second ideogram of the name (he) exactly defines the symbolic
mission assigned to the sovereign: be a factor of harmonization,
assure, through his non-action of Taoist matrix, the harmonious
collaboration of yin and yang, in order that within the space between
earth and heaven, the benevolent destiny of men is carried out.
The Son of Heaven does not govern, for this there are the ministers:
his duty is that of incarnating on Earth that Purple Star around
which the Heaven ceaselessly rotates. Each of the buildings, therefore,
will be consecrated to a particular manifestation of this function
of harmonization, indicated by the position in space that the building
occupies and confirmed by its name. In the building situated more
to the south, the function of the sovereign is manifested under
the most yang form: The Throne Hall, the place of externalization,
of the revelation of imperial authority. In the one situated more
to the north, it assumes the most yin form: it is The Banquet Hall,
place of interiorization, of maintenance; and, lastly, placed between
the two halls, The Middle Palace, the place where imperial sovereignty
verticalizes itself and, by way of mystery, finds its most elevated
form.
The Hall of Supreme Harmony
Only by going close to The Palace of Supreme Harmony (Palace of
Revealed Harmony) does one have an idea of the immensity of its
roof: from afar it gives the impression of being a huge golden bird
alighted on the earth. The hall has no windows: the exposed panels
that acted as walls furnished sufficient light. The sovereign did
not need to see the outside: his functionaries, his mandarins, his
police saw on his behalf what went on in his country. The main beam
of the roof is an immense trunk of about seventy meters in length.
Its extremities are thrust down the throats of two enormous dragon
heads acting as counter weights. They are situated at such a height
(35 meters above the terrace) that one hardly realizes their true
height (three and a half meters) and their weight (four and a half
tons). Insuring the stability of the structure with their weight,
these dragons protected it from fire by virtue of their mythological
capacity to spew out water.
This is not the only magical protection, seeing that at the corners
of these roofs as in all the others of the Forbidden City, little
chimeras of varnished clay are found, kuilongzi, imaginary animals
whose duty it is to protect the palace from harmful enemies.
Situated to the south of the three palaces of the southern part
of the city, The Throne Hall is the place in which imperial majesty
expresses itself in the most extreme way. Magnified by the immensity
by emptiness, here the sovereign function of harmonization is exhibited
most spectacularly.
If we limit ourselves merely to dimensions, The Palace of Supreme
Harmony (The Throne Hall) is the largest building of imperial China.
Its monumental structure, the most antique of its size existing
in China, covers an area of more than 2300 square meters, with 11
intercolumniation of facades and 5 in depth. But more than its dimensions,
what better expresses its ritual importance is its accumulation
of symbolic numbers in its disposition. Its roof, for example, rests
upon a complex of 72 columns, a number which in Chinese numerical
symbology represents organized perfection. These pillars of 13 meters
in height, each made of a single trunk which the arms of two men
together could not encircle, are arranged in six rows like the levels
of hexagrams. Arranged in groups of 12, like the years of the zodiacal
cycle and the double hours of the day, these formidable pillars
form, in the mysterious semidarkness of the hall, an otherwise mysterious
forest where a solution is found to the contradiction between the
necessity of having to glorify imperial grandeur and of seeing to
it that the throne, which is forced to assume human dimensions,
does not lose importance in a hall whose proportions are dictated
upon from the outside. In order to obtain this result the architects
brought into play a subtle disposition of lights and colors. The
six central columns surrounding the throne are decorated with particular
luxury, with innumerable figures of dragons done in bas-relief against
a uniformly gilted background. Thus contrasting with the other 66
columns that are entirely lacquered in dark red, at the center of
the immense hall a magical space is delimited, a vibrantly golden
fireplace in the obscure illumination of material that has been
perfectly smoothed and admirably polished.
The imperial throne, all done in yellow-lacquered palisander, situated
on an ultimate platform which is reachable by climbing seven steps.
It is backed by a large screen made of sculpted wood, composed of
seven mobile panels, to ward off the evil influxes from the north.
Above it, inside a large square encasement from the ceiling, a large
sculpted round dragon seems to be in the act of playing with a pearl
which symbolizes the sun. An octagonal motif representing the intermediate
state between the celestial circle and the terrestrial square in
this chapel of power recalls the role of pontiff, of intermediary
between earth and heaven, which belongs to the emperor.
The Hall of Perfect Harmony
At the center of the terrace where the three yang palaces are found,
between the imposing Throne Hall ad the majestic Banquet Hall stands
a building which appears to be negligible, The Palace of Perfect
Harmony (The Middle Palace).
It is a simple square pavilion, covered by a single roof. The chimeras
that protect the corners are 7, and the beams upon which the roof
stands are 5, the number of the empty center around which everything
rotates in a harmonious way: the seasons in traditional symbology,
the virtue in the confucian one. Four columns are sufficient to
sustain the inner structure. The furniture and the decorations are
reduced to the minimum necessary. The throne backed by a screen
composed of only three panels and placed on a platform of only one
step, seems almost to be as comfortable as it is simple.
It is not placed towards the rear as in the Throne Hall, but rather
at the geometric center, precisely under the apex of the square
roof. At the point where the four apexes of the roof converge there
is a gold painted sphere: generally this kind of pinnacle acts as
a crown for religious buildings. In Peking, for example, it consecrates
the most important Temple of Heaven.
The presence, in the heart of the imperial palace, of a building
that is crowned with the same pinnacle as that of The Temple of
Heaven is a particular whose importance often goes without being
appropriately evaluated. And yet this covering manifests the fundamental
importance of what took place under that roof: the relationship
that tied the emperor to the heavens. Here the symbolic function
of the sovereign, exteriorized in the Throne Hall, had to become
central, and achieves its most sublime and most Chinese dimension,
as is confirmed by the name of this building. As with the other
buildings (dian) belonging to the yang part, it is consecrated to
the function of harmonization (he) of the sovereign. However, here
this duty is qualified by the ideogram (zhong), middle, one of the
most important for the Chinese, in view of the fact that from ancient
times until now, it is the ideogram that indicate the name of China
itself. In the Yi Jing (The Book of Changes) this advice is given:
“Act within the right middle.” The name of this building,
therefore, clarifies its symbolic function: it is the place in which
the function of harmonization that is assigned to the sovereign,
was at the same time to be central and perfect. It is, in fact in
this building of the “right center” that the emperor
realized the most sacred relationship of lay Chinese spirituality:
bring Earth and Heaven together, time and space. Here were read
to him messages which would subsequently be sung as psalms to the
defunct in the Temple of the Ancestors of the reigning dynasty;
every year during the spring festival (the new Chinese lunar year),
were presented to him ritually the imperial plough and the grain
measure, filled with seeds, with the help of which he was to reawaken
the soil and reactivate the work cycle by tracing the first furrow
in the Altar of the Earth and of the Grain.
Here in elevating vertically the south-north axis, the emperor reached
the sublime level of his duty of harmonization: insure the relationship
between high and low, between his “father” and his people,
between the Heaven and the Earth.
The Hall of Preserving Harmony
With its double roof resting on shelved columns and its corners
covered with odd numbered chimeras, The Palace of Preserving Harmony
(the Banquet Hall), in view of its form, its style, its proportions
seems to be a reproduction of the Throne Hall. The difference between
the two buildings, intuitable through many details, is particularly
evident in the name of the palace, as well as in its destination.
The ideogram bao contains in all its applications a common idea
of protection and of maintenance; in the yin-yang system this is
one of the essential functions of the yin principle: restore the
forces that the yang principle consumes, concentrate and renovate
the energy that yang ostentates, exteriorizes and disperses in the
wind. The ideogram, therefore, affirms the symbolic function of
this pavilion: while the Throne Hall, where the sovereign exteriorizes,
shows the extent of his power, here is the place in which the solidity
of this is affirmed and its perennial nature is nurtured. Here the
emperor received vassal princes and foreign ambassadors, and all
those who coming from the peripheries of China or from direction
farther abroad were directed internally, towards the Middle and
whose tributes and signs of alliance reinforced the imperial sovereignty.
Here audiences were held to strengthen alliances, and here banquets
were held. Here were held the last exams of the imperial concourses,
which brought together men of letters who had passed the previous
tests. The best three among them had the enormous privilege of leaving
the Forbidden City by way of the central passage of The Meridian
Gate. Subsequently nominated as prefects or as governors in a province
that was proportionate to their ranks, everyone took it to heart
to survey, protect and maintain the imperial power from which their
regional power descended.
The decoration of the hall follows the same characteristics of that
of The Palace of Supreme Harmony, with a throne at its center, placed
on a raised platform and backed by a screen made of sculpted wood.
However, in conformity with the yin tonality of the surroundings,
all these elements present themselves in a more unified and a more
reduced dimension. The platform, for example, is not reached by
seven but by six steps, and the screen, behind the throne is of
five instead of seven panels.
On the outside of The Banquet Hall the stairs that lead to the northern
part of the Purple City, in symmetry with the one situated to the
south, equally presents along the central axis and enormous slab
of marble with scenes of dragons sculpted on it in bas-relief: having
been substituted several times the existing slab is of a single
block of marble, which is sixteen meters in length, three meters
wide and about two meters thick. Its weight is more than two hundred
tons. This marble was extracted from a cave situated in the Fangshan
district, about 50 kilometers from Peking. For its transportation
twenty thousand peasants and many thousands of mules were employed.
But seeing that no axle could sustain such a weight, winter had
to be waited upon in order to move the block. Wells were dug intermittently
at distances of five hundred meters, in order to flood the roads,
whose borders had been raised. Along this icy track, pulled by mules
and pushed by men, this gigantic monolith reached the Purple City
in twenty eight days.
The three Yin Palaces
The central sector of the northern part is occupied by a group of
buildings that seem to be replicas of the three buildings of the
southern sector: here all the characteristics are present from the
general lines down to the most insignificant particulars.
Two large rectangular buildings, each of them crowned by a double
roof of yellow tilings, their corners garnished with odd numbered
chimeras, resting on odd numbered rows of red pillars, surmounted
by a main beam supported by two dragon heads, are disposed around
a square pavilion of reduced dimensions. The terrace onto which
the larger of the two rectangular halls faces, like that in front
of The Palace of Supreme Harmony, is marked by the same symbols
of power: the grain measure to the west, the solar quadrant to the
east and on each side the symbolic couple, turtle to the north and
crane to the south. In order to understand what the difference is
between the inner court and the outer one, between the yang manifestation
and the yin one of imperial dignity, it will be necessary to return
to the official denomination of the buildings: The Palace of Heavenly
Purity (Great Hall of Yang Limpidness, Qian Qing Gong), The Palace
of Potent Fertility (Palace of the Prosperity of Meeting, Jiao Tai
Dian) and The Palace of Terrestrial Tranquility (Great Hall of Tranquility,
Kun Ning Gong).
Only one pavilion is qualified as palace (dian), and that is the
central building. The other two are identified by a specific characteristic
which is applicable only to the private part of the imperial residence
(gong).
The ideograms that identify these two great halls, invariably translated
as “celestial” and “terrestrial”, (in our
yin-yang guide) in reality designate neither heaven nor earth, neither
yang nor yin, but rather, they tell a more subtle tale: the name
is directly tied in with Yi Jing (The Book of Changes). Among the
64 hexagrams of The Book of Changes, the two most important ones
are that formed exclusively of six yang lines and that form exclusively
of six yin lines. These situations are commented upon in the first
two passages of this work: the first that has the sky as its emblem,
shows the apex of the yang force and is defined as Qian, the creative
impetus: the second which has the earth as its symbol shows the
apex of the yin force and is defined as kun, the receptive impetus.
Lastly, a third hexagram (the eleventh, called tai, or spring fluidity)
enjoys a particularly favorable status in the dynamic prospective
of The Book of Changes, and its name qualifies the central building
of the group. The diagram of this model situation is characterized,
aside from the parity of the yin-yang lines, by a particular disposition
of them. The three yin lines, symbolizing the Earth, are grouped
together in the upper part of the figure and the three yang lines,
symbolizing the Heaven, in the lower part. In effect the yang, animated
by the tendency to rise, and the yin, animated by the tendency to
descend, when are placed in this reciprocal position, they come
to a meeting point where interpenetration occurs. And precisely
it is thanks to this encounter that living things prosper in the
universe.
The Hall of Heavenly Purity
With its “dragon back” double roofs, its penthouse façade
resting on solid red columns, The Palace of Heavenly Purity could
resemble a replica, reduced in size, of The Throne Hall. There,
all the elements of the latter are to be found, but in reduce dimensions.
The terrace upon which the building stands has only one step, the
chimeras of its roof are only nine, which is also true of the intercolumniations
of building. On the embankments that precedes it there are the same
symbolic attributes of imperial power, the grain measure to the
west and the solar quadrant to the east, as is true also of the
turtle and the crane, one behind the other, each according its own
nature. The court it faces onto recalls, with all the proportions
being maintained, the one that surrounds The Throne Hall with the
south-north axis at its center, evidenced on the ground with a particular
disposition of the pavement. Here the imperial street presents a
curious particular: it is overhead. While, in order to reach The
Throne Hall, it is necessary to descend into the court and then
reascend the triple terrace. Here, once The Gate of Heavenly Purity
has been crossed, one is at the same level of the great hall which
is reached without using the court, by way of a sort of internal
bulwark bordered by a marble balustrade, as white as the terrace
itself. This particular is due to the fact that here, we are in
the residential part of the imperial palace, therefore in a sector
that was frequented by the servants in the carrying out of their
daily chores. The contradiction, unthinkable in the official part,
had, therefore to be resolved that between the nobility of the imperial
space and the necessity of movement of the servants. Raising the
level of the main street made it possible for the north-south axis
not to be sullied by the feet of the eunuchs, and a narrow diaphragm
under this street permitted the servants to reach the opposite side
of the Forbidden City without having to cover great distances. In
concordance with its double location in the northern part and at
the same time in the south of this latter, the destination of the
hall is yang in nature, which means dedicated to the duty of representation
on the part of the government, realized, however, according to the
yin modality, common to the three posterior buildings. The ideogram
translated as “purity” (qing) combines the generic sign
of water together with a character of great evocative power. Formed
of the union between two signs, one representing a bud and the other
an alchemist’s pot in which the Taoist distilled pills of
longevity, it designates one of the fundamental principles of Chinese
philosophy: the eternal spring renewal of life, its current meaning
indicates a color: that of the life present in nature. It is for
this reason that the sign does not have a definitive translation:
it could be the green of vegetation, but it could also be the blue
of the marine depths or even the blue gray of the sky at the approach
of dawn. When it is combined with the sign of the sun, it forms
a character which means fair weather or clear sky. Here it is associated
with the sign of water, and, seeing that water is transparent at
its source, it means transparent, pure when used as an adjective
and “brighten, clean, purify” when it is used as a verb.
The Manchu conquorers were playing on this double use when they
chose this character as the dynastic name Qing, proposing themselves
at one and the same time as “pure” and as being those
to whom the Heaven had given the mandate of purifying the negligence
of the defeated sovereigns of the Ming dynasty. In the name of this
palace, therefore, the question is not one having to do with underlining
a virtue (purity) relative to the Heaven, but rather a function,
the duty of purification assigned to the daily activity of the imperial
sovereign. Throughout the Ming dynasty and at the beginning of the
Manchu dynasty, up to the reign of the emperor Yong Zheng, this
building served as personal imperial residence of the emperor. In
those times it was divided into nine rooms, each furnished with
three beds so that no one knew exactly where The Son of Heaven would
be sleeping.
The Hall of Potent Fertility
In symmetry with The Palace of Middle Harmony and, similar to it,
qualified with the term “palace” The Palace of Potent
Fertility (Palace of the Prosperity of Meeting) is a small square
building endowed with only three intercolumniation facades. Nonetheless,
it’s sole roof whose ridges are decorated with seven chimeras,
is crowned by the same pinnacle in the form of a gilded sphere,
which is the distinctive sign of the place where Heaven and Earth
move towards each other. Here the humanization of imperial power
achieves it sublimation, as is true of the function of harmonization
in the heart of the southern part of the city. Epicenter of the
yin part of the imperial residence, The Palace of Potent Fertility
was the hall of glory of the empress. There on the day of her wedding
she received all the women who lived in the Purple City, princesses,
favorites, concubines, first class servants, a solemn homage that
is renewed every year on her birthday. This sublimation of yin is
so evident, that its significance occupies a large calligraphic
panel situated inside the building, precisely above the throne.
Here only two characters are written “Wu Wei” one of
the fundamental precepts of Taoism “Do not act”, usually
considered as an advice towards inactivity, while it has to do with
an invitation on savoir faire. Like the Confucian recommendation
evoked, in The Middle Palace “Act within the right middle”,
the strategy that is proposed, doesn’t council a volontarist
attitude on the part of the sovereign, a government which is active
by way of decrees, rightly or wrongly promulgated. The ideal of
Wu Wei is not that of the do nothing, but that of the wise and competent
person. Without doubt the emperor Qian Long was inspired by this
symbology when he decided to have the twenty five imperial seals
which gave life and force of law to imperial proclamations deposited
in this hall.
The Hall of Earthly Tranquillity
In symmetry with The Hall of Limpidness yang, The Hall of Tranquility
yin, which under the Ming dynasty was the residence of the empress,
is the place where yin values are more concentrated. Its collocation
in the north of the northern part together with its name is a confirmation
of this. The first character, kun, refers as has already been pointed
out, to hexagram of the great yin, and the second, ning, translated
as tranquility, reveals through the elements that compose it a complete
range of the important functions that are attributed to yin. It
is an overloaded character which combines four elements: from top
to bottom, the sign of a roof, that of a bowl, that of the heart
the evocation of a sigh or of a hiccup. This combination describes
the sentiment (heart) of someone who aspires (sigh) to the quietude
derived from the certainty of counting on nourishment (bowl) and
lodgings (roof). Its usual meaning effectively is that of tranquility.
But if it was chosen, it was precisely for the number of yin symbols
which go into its make-up and which produce an elegant reference
to the pavilion whose name is derived from it. Globally yin has
two ways of carrying out its work, one which is more yin and the
other which is more yang. The yang way of restoring strength, that
which needs more action is eating. In the Purple City, this is the
role of the palace situated to the north of the southern part: The
Banquet Hall. Opposingly, the yin way of restoring strength requires
only calm and immobility, and also sleep. It is therefore indicated
for the pavilion that is situated farther north of the northern
part, therefore, doubly yin, originally the palace where the empress
slept.
The Imperial City as fractal organisation
However, in the Forbidden City as well as in the entire city of
Beijing, it is possible to have a key of interpretation that is
actual, one which attributes reason to and which clarifies in scientific
terms what Chinese conception applied as naturalistic and conformative
propension. Nowadays this particular disposition has found a scientific
name: fractal organization. The term fractal is used when making
reference to a complex in which in each individual part of the complex,
the general plan of the complex can be distinguished, and this is
a modality of organization that can be found, above all, in nature.
The nervations of tree leaves, for example, are distributed in exactly
the same way as are the branches of the trees on which they are
found: in each leaf the entire plan of the tree can be distinguished.
This principle of organization has for a long time been a familiar
reality to the Chinese who have been applying it intuitively in
numerous fields: medicine, distinguishing the entire plan of the
human body in the ear or in the plant of the feet; in Yi Jing, where
at every level of a hexagram a derived hexagram is to be found;
in painting, lastly, where the infinite depth of a landscape that
has been realized without perspective unfurls itself seeing that
in each point of the table an entire landscape is present. The spirit
of the Chinese is not fractal as a result of reasoning, rather it
is their propensity to observe nature and to adapt themselves to
it that has led them to utilize this way of seeing and of applying
it naturally to this symbolic universe, which is the terrestrial
dwelling of The Son of Heaven.
Notes
1 - The yin–yang system has its origins
in Yi Jing, (The Book of Changes, better known as the I Ching) the
most important among the classic Confucian texts: yin and yang are
two aspects of the very same reality (Tai-ji), the original one,
and more than representing absolute qualities, they represent themselves
as points of reference within a system of relations. The distinction
between them is relative and depends on what is chosen as a point
of reference.
Associated with yang is what is masculine, light, heat, the south
and east, sky, what is round, time, activity, solemnity , what is
public. Its symbols are the sun, fire, the dragon, the color of
red, odd numbers. What is feminine is associated with yin, darkness,
the cold, north and west, the earth, what is square, space, rest,
what is within and private. The symbols of yin are water, the moon,
the tiger, the turtle, the color of black, even numbers. In the
Yi Jing the abstract concepts of yin and yang are graphically represented:
a continuous line for yang and one that is doubled for yin. Departing
from this base 64 different combinations were conceived, defined
and commented upon.
These were represented by matrixes of six levels, one imposed upon
the other (called hexagrams for this reason). They were used as
divinatory methods.
2 - Zhou-Li, text from the Zhou dynasty (XI-III century B.C.) which
describes the characteristics of the ideal Chinese city.
3 - Geomancy, or the art of inhabiting, is the conceptual framework
that once permitted and still permits the Chinese to select and
project anthropic surroundings.
According to this concept there exists a sort of mystical essence
in nature, a vital energy that permeates all things (Qi). Man’s
destiny is interconnected with that of nature because the earth
is a single living organism imbued with currents of positive and
negative energy which need to be kept in equilibrium in order for
things to function well. Where Qi is concentrated and energic, there
is development along with prosperity. It is necessary for it not
to be dispersed neither by water nor by wind. Thus the place that
is considered as ideal for a settlement is one having a hill behind
it (to shield it against the wind), one facing towards water and
oriented towards the sun. Seeing that the concrete surroundings
often are not perfect, this theory called feng shui in Chinese (wind
and water) encourages artificial remedies: hills can be raised by
the addition of soil, water can be chanelled, practically speaking
the natural surroundings can be projected.
4 - The ideogram that represents the monarch (wang) is, in fact,
formed by a vertical line and three horizontal ones to indicate
that the sovereign is the only person to establish communication
between Earth and Heaven, represented respectively by the inferior
and superior lines of the character.
5 - Luigi Gazzola “Peking and the Cosmology of the Chinese
City” in: China: architecture and city. Bulletin of the Faculty
of Architecture of the Università degli Studi of Rome La
Sapienza, n. 52, 1995, Gangemi editor pag. 21-38.
The original site of Peking shows signs of settlement dating back
to 500.000 years ago (the famous Sinanthropus Pekinensis), but the
first historic reports go back to the principality of Yan, who set
up his capital there, Ji, which was destroyed in 221 B.C., by the
first emperor of unified China Shi Huangdi. From amidst the ruins
of Ji in the Han epoch the city of Yuzhu came into being razed to
the ground in 936 by the Liao or Khitan tartars. On the very same
site they built a larger and entirely fortified city, which they
called Nan Jing, capital of the south, to distinguish it from their
other capital to the north, in Manchuria. The Liao were defeated
in 1125 by the Nuzhen or Jurcin tartars, who united a city of theirs
to the existing one, rebaptizing the resulting union with the name
of Zhongdu, capital of the center. With the arrival of Genghis Khan’s
Mongols in 1215, these two cities were also razed to the ground:
in their stead Genghis Khan’s successor, Kubilai Khan, built
a new and splendid capital, Dadu, whose glory was sung by Marco
Polo in his “Il Milione”. The Mongols, founders of the
Yuan dynasty, were driven out after a series of insurrections. They
were succeeded by the Ming Chinese, who once more moved the capital
to the south, on the banks of the Yangtze river, at Nanjing, capital
of the south. Dadu was reduced to the level of provincial prefecture
with the name of Beiping, Peace of the North, and only with the
third Ming emperor, Yong Le, did it assume the name Beijing, Capital
of the North, and the role by which we now know it.
6 - For all the buildings cited in the text a double denomination
is indicated: that which is current and, in parenthesis the indication
according to the yin-yang terminology proposed by Javary. In italics
the Chinese name
7 - Zhong (middle) Guo (country) is the name by which China it has
identified itself from antique times, claiming through this its
privileged status within the cosmic order.
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