The European Influence on Qing Dynasty Architecture: Design Principles and Construction Innovations Across Cultures
The design and planning of Western-style constructions during the early Qing Dynasty in China constituted a significant multicultural encounter that fused technological advancement with aesthetic innovation. This cultural interplay is particularly evident in the imperial garden and pavilion projects...
| Autor: | |
|---|---|
| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2025 |
| País: | España |
| Institución: | Universidad de Sevilla (US) |
| Repositorio: | idUS. Depósito de Investigación de la Universidad de Sevilla |
| OAI Identifier: | oai:dnet:idus________::02e65ab1f8d930ac8d7f1b367b84dbad |
| Acceso en línea: | https://hdl.handle.net/11441/186012 https://doi.org/10.3390/heritage8080311 |
| Access Level: | acceso abierto |
| Palabra clave: | Cross-cultural architecture Linear perspective techniques Sino-Western architecture exchange Imperial garden design Qing dynasty |
| Sumario: | The design and planning of Western-style constructions during the early Qing Dynasty in China constituted a significant multicultural encounter that fused technological advancement with aesthetic innovation. This cultural interplay is particularly evident in the imperial garden and pavilion projects commissioned by the Qing court, which served as physical and symbolic sites of cross-cultural dialogue. Influenced by the intellectual and artistic movements of the European Renaissance, Western architectural concepts gradually found their way into the spatial and visual language of Chinese architecture, especially within the royal gardens and aristocratic buildings of the time. These structures were not simply imitative but rather represented a selective adaptation of Western ideas to suit Chinese imperial tastes and principles. This article examines the architectural language that emerged from this encounter between Chinese and European cultures, analysing symbolic motifs, spatial design, ornamental aesthetics, the application of linear perspective, and the integration of foreign architectural forms. These elements collectively functioned as tools to construct a unique visual discourse that communicated both political authority and cultural hybridity. The findings underscore that this architectural phenomenon was not merely stylistic imitation, but rather a dynamic convergence of technological knowledge and artistic vision across cultural boundaries. |
|---|