Baroque architecture in China, a unique fusion style that emerged during the Qing Dynasty through the adaptation of Baroque elements with traditional Chinese architectural features, represents a fascinating case of cross-cultural exchange, artistic creativity, and historical transformation, that reveals the complex ways in which architecture is influenced by social, cultural, and political contexts, and challenges conventional notions of style and periodization in art history.
There are many different branches of Baroque architecture in China. The most important two are the so-called “Hybrid” architecture represents by Yuánmíng Yuán, which is an imperial palace build from western stone facades over traditional Chinese wooden frames; and the “Chinese Baroque” style embodied by Daoli and Nangang Districts, which is distinguished by its baroque style structure combine with Chinese traditional decorations on the buildings. It was a reflection of the growing influence of European culture and the willingness of Chinese artists and architects to adapt and incorporate new styles and techniques.
The most famous “Hybrid” style architecture is the Yuánmíng Yuán, also known as the Old Summer Palace – a complex of palaces, fountains, and gardens located in the northwest of the country’s capital Beijing. The palace complex was built in the mid-18th century and features a mix of traditional Chinese and Baroque architectural styles, specifically the palace was built during the Qing dynasty during the rule of Emperor Qianlong (1735-1796)[1]. The emperor is very interested in the baroque style architecture and refers to it as “exotic”. The palace complex was categorized around three main areas: the Court Area, the Garden Area, and the Lake Area. The Court Area included a series of interconnected palaces, with decorations and intricate carvings on the walls, ceilings, and columns. These palaces included the French-style Palace of Grandeur, the Italian-style Palace of Serenity, and the British-style Palace of Established Happiness. The Garden Area included a series of gardens and water-view, with winding paths, rock formations, and elaborate bridges. One of the most notable features of the Old Summer Palace was its Baroque-style palaces like Haiyantang. Unfortunately, much of Old Summer Palace was destroyed during the Second Opium War in 1860, when British and French forces looted and burned the palace complex completely. Today, most of the buildings were wiped out from the ground and only a few structures remain.
The Old Summer Palace was not only known for its large artificial lake and ornate pavilions but also its unique blend of traditional Chinese architecture with Western Baroque-style elements. The Old Summer Palace’s design is a joint collaboration between Jesuit missionaries and Chinese architects, who incorporated Baroque-style features such as domes, arches, and columns into the traditional Chinese palace design[2]. In particular, the Jesuits brought in their European artistic and architectural traditions and adapted to suit Chinese tastes and sensibilities. This resulted in a unique style that combined the grandeur and opulence of European Baroque architecture with the symmetry and balance of traditional Chinese imperial design.
Figure 1: Lu, Y., Drawing of the Haiyantang Palace with its Grand Waterworks Fountain, 2001, National Historical Museum, China.
On the other hand, Chinese Baroque art is a style that emerged during the late Ming and early Qing dynasties in China. The term “Chinese Baroque” was first proposed by a Japanese scholar named Taihiko Nishizawa. Chinese Baroque art typically features highly ornamental and elaborate designs, often incorporating intricate patterns, elaborate scrollwork, and detailed reliefs. The style also incorporates a range of vibrant colors, such as bright reds, deep blues, and vibrant green, which are often used to create a sense of opulence and grandeur. One notable feature of Chinese Baroque art is the use of asymmetry, with artists often intentionally creating imbalanced compositions to create a sense of dynamic movement and tension. This is often achieved through the use of diagonals, curves, and other irregular shapes that disrupt the otherwise harmonious composition[3]. Chinese Baroque architecture was highly influential in the development of later Chinese architecture styles, including the highly decorative and ornate styles of the Qing dynasty, as well as the more restrained and simplified styles that emerged in the early 20th century.
Figure 2: Samantha S, Harbin’s Daowai District, 2010.
Chinese Baroque architecture has some unique characteristics in terms of decoration. A typical example of the Chinese Baroque style is a building that is now a hospital built in 1920 inside the Daoli and Nangang Districts[4]. The building is a brick and mortar structure, covered with relief decorations made of plaster. The main entrance is flanked by two double leaning columns combining Western-style Ionic capitals and Chinese drum base columns. The bat and cloud patterns come into sight in the frontal square directly above the entrance. Further up, two single leaning columns decorated with Chinese knot motifs extend until they meet the archway. The Chinese architecture is mingled with the columns and flowers and other components of Western architecture.
Figure 3: Two Bats “shuang1 fu2” 双福 Means Double Luck.
Figure 4: Chinese Wall Flower,
Moreover, the Western columns of the hospital are combined with the Chinese arch. It is clearly a western style structure, but the decoration is Chinese. The decoration uses plants and flowers to express good fortune and prosperity. For example, grapes symbolize the prosperity of a family, and lotus flowers symbolize richness and luck. The use of animal motifs symbolizing good fortune, longevity and happiness, such as bats, deer and cranes. In terms of structure, these Chinese Baroque buildings have almost all Chinese courtyards behind the Western façade. Often several buildings form an independent courtyard with a doorway, either one or two, through which one enters a large and open courtyard. In the courtyard, the traditional Chinese decorations, such as the outer porch-style railings and beautifully carved lintels, give people the feeling of a special cave. Multiple groups of courtyards often come together to form a neighborhood.
Both styles of Baroque art in China have similar characteristics compared to the original Chinese style and the orthodox baroque style from Europe. Although the Baroque architecture in China is trying to imitate its European benchmarks, the baroque architecture style in China is even more exaggerated compared to their European counterpart because “Chinese [people] viewed those ornate and fashionable Western buildings as symbols of wealth and sophistication”[4]. To start with, the subject matter of Baroque art in China was different from traditional Chinese art. While decorative painting in traditional Chinese architectures focused primarily on nature, landscapes, and ancient Chinese mythologies, Baroque architecture in China often depicted religious and historical scenes. This was a reflection of the influence of European Jesuit missionaries who brought with them their own religious and historical traditions.
Moreover, Chinese Baroque artists were influenced by European artists who used perspective to create the illusion of depth and space in their artwork[5]. This technique was then combined with traditional Chinese painting techniques to create a new style that was both innovative and aesthetically pleasing. In addition, Baroque architecture in China was also characterized by its grandeur. Both the Old Summer Palace and the District have buildings that are large and imposing, with elaborate facades and towering spires. At the same time, traditional Chinese architecture tends to be more modest and a better blend with the surrounding nature. Similar to the original Baroque style, the use of light and shadow is also an important aspect of Baroque architecture in China. The Jesuits who designed the Old Summer Palace used light and shadow to create a sense of drama and movement in the Great Hall. And the Chinese Baroque Style often employed comparable techniques when it comes to deal with light and shadow inside the structure, while the traditional Chinese architecture focuses on the even lighting inside every room[6].
Figure 3: Animated Restoration of “Yuanying Guan” of Changchun Garden
Despite all the similarities between two variations of baroque architecture in China, the “hybrid” style and Chinese baroque art are different in terms of the use of color and the use of symmetry due to political and historical elements. Chinese Baroque artists used bright and bold colors, which were often combined with decorative materials. These colors were used to create a sense of drama and theatricality in the artwork. This is a departure from the more neutral colors used in traditional Chinese architecture, which emphasized harmony and relaxation. However, the Old Summer Palace does feature more unified colors and exclusively yellow, an imperial color in traditional Chinese color symbolizing power, royalty, and prosperity. The color is a political symbol and very restrictive to normal people. Chinese Baroque Style architecture, unlike traditional Chinese architecture, emphasized irregularity and asymmetry rather than balance and symmetry in traditional Chinese architecture. The Chinese Baroque Style actually stands out because of its theatricality. The buildings were designed to create a sense of drama and movement, with curved lines, dynamic forms, and contrasting colors. This was a reflection of the influence of European Baroque architecture, which also emphasized theatricality and drama. On the other hand, the old summer palace is more regular compared to the Chinese Baroque Style buildings in terms of its focus on symmetry and balance in order to emphasize its status as an imperial palace. It was more restrained and balanced architectural like any other buildings prevalent in China at that point. The purpose of balance and symmetry is for creating a sense of awe and showing respect to Dao, an ancient practice that some refer to as Yin-Yang[7].
Baroque architecture in China was an important development in China’s architectural and cultural history. It was a reflection of the growing influence of European culture and the willingness of Chinese architects and artists to adapt and incorporate new styles and techniques into their own creations. Baroque architecture in China also had a lasting impact on the country’s architectural traditions. The adaptations of Baroque art in China also deeply influenced later works of arts in modern China.
Citation:
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[3]Lin, Y. (n.d.). Encounters with a baroque square and skyscrapers: The urban transformation of Zhongshan Square Dalian China. OhioLINK ETD: Lin, Yang. Retrieved April 26, 2023, from https://etd.ohiolink.edu/apexprod/rws_olink/r/1501/10?clear=10&p10_accession_num=ucin1321642088
[4]Renovation, gentrification, and revitalisation of the chinese baroque … (n.d.). Retrieved April 26, 2023, from https://www.researchgate.net/publication/357783615_Renovation_Gentrification_and_Revitalisation_of_the_Chinese_Baroque_Area_in_Harbin_Lessons_learned_from_a_heritage-driven_urban_development_project
[5]Lu, Y., 2013. Architecture is frozen music .Masterpieces Review, 5:160-161(in Chinese).
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[7]Wang, H.K., 2006. On the rise of neoclassical thought and baroque. Engineering and Construction, 20(6):737-739 (in Chinese)