Page 71 - JCAU-7-2

Journal of Chinese
Architecture and Urbanism Ting or Chinese pavilion

Li of Rivers and Mountains. While tingxie refers to various
architectural structures, tingqiao denotes a specific type
of bridge with one or more roofed structures atop it. The
second challenge stems from the broad connotations and
usages of the English terms chosen for translation, which
often exceed the scope of the original Chinese language.
For instance, the Chinese Pavilion in Drottningholm is an
architectural complex with side wings. Its Swedish name,
Kina slott, refers to a general type of palatial architecture,
reminiscent of Gustav III’s Pavilion at Haga. As a result,
the architectural implications of the English name
“Chinese Pavilion” may mislead readers as defined in the
Oxford Dictionary of Architecture, where it mainly refers
to the Qing-dynasty ting: a single-story, open structure
Figure 8. Fu bi ting (浮碧亭), initially built during the Ming dynasty, commonly found in private gardens.
with a frontal structure added in the Qing dynasty. The Forbidden City, Given these challenges, translating ting is particularly
Beijing. Source: Photo by Piao Shiyu (2024)
complex because it intersects both issues. The architectural
form and concept of ting entered Western knowledge
during the early modern period in European history and
the late imperial period in China through travelogs and
journals written by European travelers. In 20 -century
th
Western literature on Chinese gardens and architecture,
the translation of the term “ting,” or the assigned name
for specific ting structures, was often handled ad hoc by
scholars. They typically choose English terms that fit their
discussions of the architecture’s function or form. Common
translations include “kiosk,” “gazebo,” and “pavilion,” all of
which reflect the aforementioned challenges.

Before modern translations, one notable early use of
the term “ting” appeared in William Chambers’ highly
influential 1757 publication on Chinese architecture and
Figure 9. A garden pavilion with a Manchu prince, Qiyefu (七爷府), cultural objects. Chambers, the first professional European
Beijing, 1922. Featuring the younger brother of the last emperor. Source: architect to publish drawings of Chinese architecture,
Sirén (1926)
(Bald, 1950), defined ting as “the great hall of a house…
also the great halls in a pagoda or temple” (Chambers,
7. A problematic translation history: “ting,” 1757, p. ii). This definition significantly diverged from
“kiosk,” “gazebo,” or “pavilion” the standard architectural form of a Qing-dynasty ting.

The translation of architectural terms in transcultural Chambers further explained that “[t]he particular kind of
scholarship is a critical yet challenging task, particularly structure which they call ting, or kong, is used indifferently
for two reasons. The first challenge lies in the ambiguity in all sorts of edifices,” suggesting he may have conflated
of the term within its original cultural context. Unlike three distinct Chinese architectural terms: ting (厅), ting (
distinct technical elements or stylistic forms in Chinese 庭), and ting (亭) (Chambers, 1757, p. 3). His illustrations
architecture, such as bracket set components, the further support this conflation. Among the four types of
architectural type referred to as ting has evolved over time. ting he depicted, the first two resemble halls, the third
It has also gradually converged with related terms and appears to be an open structure in a temple, and the fourth
concepts, such as ting, tai, lou, and ge. This convergence represents garden structures (Figure 10). This conflation
has led to the formation of fixed phrases such as tingxie, highlights the limitations of using Romanized terms such
an architectural type mentioned in Yingzao Fashi, and as ting, which can refer to multiple phonetically similar
tingqiao, a traditional term still used by modern scholars. but semantically distinct Chinese terms. This ambiguity
For example, Fu (2017) describes tingqiao as a type of has continued to cause confusion among English readers
bridge depicted in the Northern-Song painting A Thousand and scholars unfamiliar with Chinese. Chambers’

Volume 7 Issue 2 (2025) 8 https://doi.org/10.36922/jcau.4107