Page 70 - JCAU-7-2

Journal of Chinese
Architecture and Urbanism Ting or Chinese pavilion

type distinct from its base platform, whether wooden (xie) tingxie in his work Zhangwu Zhi (长物志) in a chapter
or stone (tai). discussing the placement of refined objects for literati:
In Song dynasty poetry, ting continued to be associated “A tingxie cannot shelter [its interior] from rain
with natural landscapes. However, its function was and wind. Therefore, delicate objects should not
increasingly described as a place for temporary rest rather be placed inside.” (亭榭不蔽风雨，故不可用佳
than overnight lodging. This shift in usage is evident in the 器) (Chen & Wen, 1984, p. 355)
era’s literary works. Southern Song dynasty poet Luo Yuan These Ming-dynasty descriptions align closely with
(1136 – 1184) wrote in Wangmei ting (望梅亭): the modern definitions found in Ciyuan and the Oxford
th
“The green cliffs are amazingly crossing; the Dictionary of Architecture (4 . ed.), which describe ting
secluded pavilion invites a brief stay.” (翠壁堪橫 as a flexible, open-roofed structure, consistent with the
绝，幽亭劝小留) (Fu, 1991, p. 28972) definition established earlier in this article.
Similarly, Han Biao wrote in Ciyun Wutuiguan Ershou: During the Qing dynasty, ting retained its characteristic
Qiyi (次韵吴推官二首·其一): flexibility in both form and function. The size of ting
varied significantly. On one end of the spectrum, large-
“…Watching a chess match in a small ting located scale, elaborate examples could be found in the Imperial
in the green mountain.” (苍山小亭看弈棋) (Fu, Garden in the Forbidden City, such as the Yujing ting (
1991, p. 32509) 御景亭), located atop an artificial mound. On the other
These lines emphasize the ting as a site for brief visits hand, in the Qianlong Garden, two notably small ting
during mountain excursions. As tingxie structures in the structures contrasted sharply with the grand scale of
Song dynasty were no longer fully enclosed, they were lou and ge behind them (Figure 7). The shape of ting
unsuitable for overnight stays, marking a significant structures was equally flexible. In the Imperial Garden,
departure from the functions of ting described in Tang- rectangular baosha (抱廈) extensions were added to the
dynasty literature. fronts of two square-shaped Ming-dynasty ting – the
Fubi ting (浮碧亭) (Figure 8) and the Chengrui ting (澄
6. Ming and Qing dynasties (1368 – 1911): An 瑞亭) – creating irregular open structural compounds
open structure without rules (The Palace Museum, n.d.). Other exquisite examples
of structural flexibility of ting could also be found in
During the Ming dynasty, the construction and cultivation noblemen’s residences. For instance, Banyue ting (半月
of private gardens became prevalent among government 亭; Half-moon-shaped ting) in Qiyefu (七爷府) (Figure 9)
officials and literati. Ting structures were widely constructed was built in the shape of a half-moon. In summary, during
and continued to be utilized for esthetic purposes, as the Ming and Qing dynasties, the form and function of
Ouyang Zhan had described during the Tang dynasty. More ting continued to align with the definition established in
importantly, ting became one of, if not the most, essential the Song dynasty, with significantly enhanced creative
elements in private gardens. Ting in gardens was exquisitely designs.
elegant, often positioned to enhance the appreciation of
artificial scenery. Notably, their architectural forms varied
greatly and lacked strict regulations.
Ji Cheng (582 – c.1642), a prominent figure in private
garden construction during the Ming dynasty, emphasized
the flexibility of tingxie in his seminal work Yuanye (园冶),
a foundational guide to private garden design. He noted:
“The construction of [tingxie]. does not follow a specific
rule; from triangular, rectangular…to cross-shaped ting,
construct it according to appropriateness, and a simple
blueprint is sufficient” (Ji & Chen, 2015, p. 123). This casual
guidance is unique within Ji Cheng’s manuscript; he rarely
provided such flexible instructions for other architectural
elements in private gardens. His focus on the adaptability of
ting highlights how its architectural form was subordinated Figure 7. Anonymous painter. A bird’s-eye view of the Qianlong Garden,
1980, the Palace Museum. Source: Redrawing by the authors (https://
to its function and esthetic purpose. Similarly, the Ming- www.dpm.org.cn/dyx.html?path=/Uploads/tilegenerator/dest/files/
dynasty scholar Wen Zhenheng (1585 – 1645) mentioned image/8831/2009/0230/img0004.xml, accessed August 21, 2024)

Volume 7 Issue 2 (2025) 7 https://doi.org/10.36922/jcau.4107