Architecture and Mystical Beliefs: How Does Feng Shui Impact Architecture

Feng Shui seems to be a hot topic that is always in the heat. Whether it's about being close to mountains and water, or positioning ourselves to face south, we've all heard various beliefs about Feng Shui to some extent in our lives. But do these seemingly mystical assertions have any basis?

01

Origin of Fengshui

The earliest concepts of Feng Shui are closely tied to ancient people's choices of living environments. The origins of Feng Shui can be traced back to the hunting period of primitive humans. Our ancestors discovered that certain places were more comfortable and peaceful to live in, while others were prone to disease or disasters. Through observing natural phenomena such as mountains, rivers, and wind directions, our ancestors gradually formulated a set of criteria for judging the advantages and disadvantages of living environments, laying the foundation for Feng Shui.

The Feng Shui compass encompasses all phenomena, navigating the heavens and the earth

When we trace the written records of Feng Shui, it's not difficult to find that the study of Feng Shui was already present in the Book of Changes ('Yi Jing'), compiled as early as the 11th century BCE. The concept of Feng Shui was further elaborated by Guo Pu of the Western Jin Dynasty in his work 'Burial Classic' ('Zang Jing'), where he wrote: "Burial rides on vital energy. When energy is carried by wind, it disperses; when it encounters water boundaries, it stops. Ancient people gathered it to prevent dispersion and directed it to find rest. Therefore, it is called Feng Shui.”

Guo Pu: A Famous Warlock in the Jin Dynasty

Guo Pu regarded Feng Shui as the origin of "vital energy," which can be defined as the source of continuous vitality for all things in the universe. He emphasized that living spaces should conform to nature, allowing humans to harmoniously coexist with the environment, thus achieving the effects of seeking auspiciousness and avoiding calamities, and ensuring sustained blessings. This is not merely a simple summary of life experiences but rather a profound interpretation of the concept of harmonious coexistence between humans and nature, and between architecture and the environment.

02

The Nature of Feng Shui

In a CCTV interview, Professor Wang Qiheng further interpreted the essence of Feng Shui. He mentioned, "The two words Feng Shui represent landscape architecture. It's not just about pursuing visual beauty but more about seeking harmony between humans and the environment, and between architecture and nature." He emphasized that the core of Feng Shui lies in the harmonious coexistence of 'people, land, and heaven,' a viewpoint that aligns with the principles of modern architecture and urban planning. In Professor Wang Qiheng's view, architectural design should fully consider human needs, harmonize with the geographical environment, and balance the relationship between timing, location, and people. Under the influence of Chinese culture, which values the wisdom of sages, the preserved study of Feng Shui can indeed be seen as a successful example of statistics over thousands of years.

Professor Wang Qiheng’s Lecture on Feng Shui

03

Classical Case Study of Feng Shui

The phrase "The country's important affairs involve warfare and sacrifice" from the 'Zuo Zhuan' is familiar to many. Now, let's look at the Temple of Heaven, a place of sacrifice for emperors during the Ming and Qing dynasties, in terms of Feng Shui selection.

Site Selection

In ancient China, Kunlun was regarded as the ancestor of dragon veins, giving rise to five veins. Among them, the northern vein is the longest, with Beijing surrounded by mountains on three sides and facing a plain, with the only regret of lacking water being compensated for by the artificial Beijing-Hangzhou Grand Canal. Generally, Chinese architecture does not choose a due north-south orientation; ancient people believed that the meridian line represented the image of heaven and earth, which humans could not bear, even the Forbidden City deliberately deviates from a straight angle. As a place where the emperor communicates with heaven and earth, the Temple of Heaven is oriented north-south to reach heaven and earth.

Kunlun Mountain: Three Main Ridge of Dragon Mountain

The location of the Temple of Heaven is predetermined by the Eight Trigrams. Beijing placed the Temple of Heaven in the true south of the inner city, the Altar of Earth in the true north, the Altar of the Sun in the true east, and the Altar of the Moon in the true west, based on the theoretical basis of the Eight Trigrams of the Book of Changes.

Zhouyi: Ancient Eight Trigrams

Our ancestors believed that heaven was round and earth was square. Therefore, the design of the Temple of Heaven is influenced by the ancient concept of "covering the sky," and it is also designed as "round heaven and square earth."

Architecture Layout

So, what parts does the Temple of Heaven complex include?

Temple of Heaven Layout

From north to south, they are: the Qinian Complex (Hall of Prayer for Good Harvests), the Yuanqiu Complex (Circular Mound), the Zhaigong Complex (Imperial Vault of Heaven), the ShenLe Complex (Divine Music Administration), and the Xisheng Complex (Sacrificial Department) (note: this is one complex). The latter two complexes serve as the emperor's resting area and the place for preparing sacrifices, and will be briefly mentioned. Let's focus on the Hall of Prayer for Good Harvests and the Circular Mound Altar complexes.

Qinian Complex

First is the Hall of Prayer for Good Harvests complex on the north side of the main axis, which is the group of buildings at the northeast corner of the overall plan. In terms of architectural layout, the Hall of Prayer for Good Harvests complex is oriented north-south and consists of multiple parts including the front hall, main hall, and rear hall, with a total building area of approximately 1000 square meters.

Hall of Prayer for Good Harvests complex

Looking at the entire complex, we can observe an intriguing aspect—triple eaves and three-tiered terrace. The number three is repeatedly utilized. Of particular interest is the design of the "Nine-tiered Divine Canopy" of the Hall of Prayer for Good Harvests.

Hall of Prayer for Good Harvests Temple

The canopy, which covers the roof, symbolizes the celestial dome. The Nine-tiered Divine Canopy signifies the nine heavens, representing the supreme symbol of heaven. In traditional Chinese culture, "nine" is the greatest yang number, representing the ultimate and perfection. Therefore, the Nine-tiered Divine Canopy not only reflects reverence and awe for heaven but also demonstrates the close relationship between the emperor and heaven, emphasizing the emperor's supreme status as the "Son of Heaven." Additionally, the design of the Nine-tiered Divine Canopy adds layers and depth to the architecture, making the Hall of Prayer for Good Harvests appear more magnificent.

Circular Mound Altar complex

To the south of the Hall of Prayer for Good Harvests complex, there is a clear main axis line, with the Circular Mound Altar complex on its south side.

Circular Mound Altar Complex

The image of the Circular Mound Altar may also be quite familiar; its design utilizes the principle of sound reflection. The Circular Mound Altar is a high platform built of blue stone, serving as the true altar for sacrificial offerings to heaven. Because of the ancient misconception of "heaven being round and earth being square," the interior of the Circular Mound Altar is circular, while the outer wall is square. The Circular Mound Altar has three tiers of stone terraces, each with steps for ascending. People stand in the center of the terrace to speak, and sound waves are reflected from the railings to the platform, then back to the ears, creating a mixed sound.

The acoustic design is closely related to Feng Shui, as reporting to heaven requires a louder voice, which adds solemnity.

Another important building, the Imperial Vault of Heaven, is used for the worship of the Supreme Deity of the Sky and maintains alignment with the main axis.

The Imperial Vault of Heaven

The Imperial Vault of Heaven is the main hall of the Circular Mound Altar of the Temple of Heaven, dedicated to enshrining the deity of the Circular Mound Altar. Similar to the Circular Mound Altar, the surrounding wall of the Imperial Vault of Heaven is circular, serving as an acoustic reflector, hence also called the Echo Wall.

04

Conclusion

The overall layout of the Temple of Heaven complex embodies the concept of "harmony between heaven and man" in Feng Shui. The complex is centered around the north-south central axis, with key buildings such as the Hall of Prayer for Good Harvests and the Imperial Vault of Heaven situated along this axis, symbolizing the connection and harmony between heaven and earth.

This layout not only reflects the ancient reverence for nature but also expresses the concept of harmonious coexistence between humans and nature. The Temple of Heaven, known for its Feng Shui wisdom, exhibits architectural beauty in every detail.

Feng Shui integrates knowledge from various fields such as geography, ecology, and architecture. Through observing and analyzing natural factors such as terrain, water flow, and wind direction, Feng Shui guides the layout and design of buildings. This interdisciplinary research approach has led to similarities between Feng Shui and architectural design.

What interesting Feng Shui cases have you encountered in your life?

About the Author:

J is currently based in U.S, exploring the field of architecture in an unconventional way. Enjoy seeking intersections between architecture and unusual fields, using a rigorous research process to delve into imaginative and creative ideas. Currently still diving deeper into the world of architecture.

References:

Guo, Yuanlin. 2023. “Fengshui: Science, Religion, Superstition, or Trade?” Zygon 58 (3): 591–613. https://research.ebsco.com/linkprocessor/plink?id=fc9c5ed8-f063-3155-8f7f-27dafcf2fb2b.

Tian Tan gong yuan guan li chu. 天坛 =: The Temple of Heaven. 第1版. 北京: 文物出版社, 2008.