*2.2.2 The cultural space of Longtan ancient village*

The "cultural space" belongs to the category of anthropology, and its concepts are numerous. The details are not the scope of this article. Mr. Liu Kuili: "according to the regional cultural characteristics of the same nature, the selection of traditional

**Figure 4.** *The overall appearance of Longtan ancient village.*

culture is relatively complete and has a certain representativeness in terms of production methods, lifestyles, and conceptual forms. It has values, folk beliefs, and many specific cultural expressions" [3]. The scope of cultural space is as small as that of village society and as large as that of regional society. Its existence, in addition to the geographical form of settlement, focuses more on the concept of space in the cultural sense, that is, it can reflect the cultural expressions that are transmitted from generation to generation by a certain community and closely related to their lives. It is also the identification bond and cognitive space formed by the community in the process of historical evolution [4]. Therefore, the cultural space can be summarized in terms of common beliefs and cultural identities. Longtan ancient village has two clans', Hu clavus and Sri Lanka, long-term living in its habitat for a long time to form a cultural identity, and the patriarchal faith naturally is transmitted from generation to generation. This cultural identity and patriarchal religion are reflected in the concept of geomancy, landscapes, natural awe, and cultural awareness[5].

Longtanzhai pursues a Feng shui culture that is in harmony with nature in the architectural environment space and, at the same time, also pursues a landscape space. Longtanzhai always attaches importance to the feudal ethical culture of Cheng Zhu's neo-Confucianism, the culture of Huizhou merchants, and the Feng shui culture of landscapes. People in longtan village attach importance to commerce and respect culture. They know how to create elegant and peaceful living environment (**Figure 6**). Hillside structures built up and down the three-dimensional elevation of residential

**Figure 5.** *Small view of Longtan ancient village.*

**43**

**Table 2.**

*Making Art Involve in the Paradigm of Ecological Landscape Construction in Ancient…*

from kitchen chimneys made a natural landscape painting [5].

**the era**

6 years

communities are with the formation of terraced mountain terraces and are combined with the ancient village of small ash shingles (for the traditional Chinese residential buildings above, which reflects a simple wooden components, walls, and other architectural elements and natural landscape). In addition, the mist in the mountains and smoke

Herbert Reid once commented on the art: "art is always a symbolic dialogue. Once there is no symbol, no dialogue and no art" [6]. As an art form, the ancient village architecture, like other art forms, integrates symbolic and musicality, and contains the cultural spirit of a particular era. It shows the harmonious beauty in both spatial layout and geographical location. Being symbolic in Chinese traditional culture is an inertial psychological language that humanizes natural objects and formalizes them into ethical colors. Chinese architectural culture also has a unique symbolic cultural space, which is expressed in the singular number of the building's Taichung and Kaiji. This is verified by the celebrity ancient houses and the Huawu residential houses in the front of Longtanzhai's human landscape analysis. The symbolic nature makes the traditional architecture have a unique spiritual and cultural space. In the advanced stage of history, the ancient villages and houses have a strong monumental

**Area Social** 

720 square meters

meters

meters

meters

meters

meters

*Hu Xiaobing. Geographic Landscape Space and Tourism Planning of Longtan Ancient Village. Boletín Técnico,* 

500 square meters

More than 2475 square meters

Qing dynasty More than 900 Live Civil structure and

Commercial houses

University mansion

Ancient village only traffic arteries

Qing Jiaqing years 1600 square

Late Qing dynasty 400 square

Daoguang 8 years 1782 square

Late Qing dynasty 1186 square

Qing dynasty Qianlong years

Qing dynasty

**significance**

**Structural characteristics**

brick, adobe brick, wood, small gray tiles, and other material structures

wood, adobe brick wall, and small gray tile roof

interior decorated with

Small brick and green brick structures

The house is built in the wood and stone structure called *Si Shui Gui Tang* (with rainwater running from the roof to the courtyard)

Stone structure

Religion Civil structure, brick, stone, and wood carving decoration

Live Stone for living,

Live Main structure of

Live Civil structure

paint

Live Courtyard of the falling wood structure

*DOI: http://dx.doi.org/10.5772/intechopen.81182*

**Cultural landscapes Establishment of** 

Hu ancestral hall Qing Jiaqing

Bridge house ancient houses

Flower house ancient houses

Ancient house ancient houses

Hu million former residence

*Vol.55, Issue 15, 2017, pp. 628-629.*

Ancient house on the house

Former celebrities Guangxu early of

Five blessing bridge Mid-Qing dynasty 30 square

*Relevant data of representative ancient buildings in Longtanzhai.*

Hui buildings Shrine ancient houses

**Figure 6.** *Part of Longtan ancient village.*

### *Making Art Involve in the Paradigm of Ecological Landscape Construction in Ancient… DOI: http://dx.doi.org/10.5772/intechopen.81182*

communities are with the formation of terraced mountain terraces and are combined with the ancient village of small ash shingles (for the traditional Chinese residential buildings above, which reflects a simple wooden components, walls, and other architectural elements and natural landscape). In addition, the mist in the mountains and smoke from kitchen chimneys made a natural landscape painting [5].

Herbert Reid once commented on the art: "art is always a symbolic dialogue. Once there is no symbol, no dialogue and no art" [6]. As an art form, the ancient village architecture, like other art forms, integrates symbolic and musicality, and contains the cultural spirit of a particular era. It shows the harmonious beauty in both spatial layout and geographical location. Being symbolic in Chinese traditional culture is an inertial psychological language that humanizes natural objects and formalizes them into ethical colors. Chinese architectural culture also has a unique symbolic cultural space, which is expressed in the singular number of the building's Taichung and Kaiji. This is verified by the celebrity ancient houses and the Huawu residential houses in the front of Longtanzhai's human landscape analysis. The symbolic nature makes the traditional architecture have a unique spiritual and cultural space. In the advanced stage of history, the ancient villages and houses have a strong monumental


*Vol.55, Issue 15, 2017, pp. 628-629.*

#### **Table 2.**

*Relevant data of representative ancient buildings in Longtanzhai.*

*Landscape Reclamation - Rising From What's Left*

culture is relatively complete and has a certain representativeness in terms of production methods, lifestyles, and conceptual forms. It has values, folk beliefs, and many specific cultural expressions" [3]. The scope of cultural space is as small as that of village society and as large as that of regional society. Its existence, in addition to the geographical form of settlement, focuses more on the concept of space in the cultural sense, that is, it can reflect the cultural expressions that are transmitted from generation to generation by a certain community and closely related to their lives. It is also the identification bond and cognitive space formed by the community in the process of historical evolution [4]. Therefore, the cultural space can be summarized in terms of common beliefs and cultural identities. Longtan ancient village has two clans', Hu clavus and Sri Lanka, long-term living in its habitat for a long time to form a cultural identity, and the patriarchal faith naturally is transmitted from generation to generation. This cultural identity and patriarchal religion are reflected in the concept of geomancy, landscapes, natural awe, and cultural awareness[5]. Longtanzhai pursues a Feng shui culture that is in harmony with nature in the architectural environment space and, at the same time, also pursues a landscape space. Longtanzhai always attaches importance to the feudal ethical culture of Cheng Zhu's neo-Confucianism, the culture of Huizhou merchants, and the Feng shui culture of landscapes. People in longtan village attach importance to commerce and respect culture. They know how to create elegant and peaceful living environment (**Figure 6**). Hillside structures built up and down the three-dimensional elevation of residential

**42**

**Figure 6.**

**Figure 5.**

*Small view of Longtan ancient village.*

*Part of Longtan ancient village.*

significance. The monumental value of Longtan ancient village is to store memory and structure history, and to transmit information to future generations through the construction of natural images to realize the communication between the living and the past (**Table 2**).
