传统与现代的关系是一个文明古国在建筑的现代化过程中所不能回避的重要问题，本文以中国近现代建筑史上七位著名建筑家的实践与写作为例，考察中国建筑师对这一问题的探索，这七位建筑家是吕彦直（1894—1929年）、杨廷宝（1901--1982年）、林徽因（1904—1955年）、梁思成（1901—1972年）、童寯（1900--1983年）、刘敦桢（1897--1968年），以及冯纪忠（1915-2009年）。%The modernization of an ancient civilization is always intertwined with the relationship between past and present. This presentation introduces the works of seven influential twentieth-century Chinese architects to showcase how they have confronted this issue. They are Lv Yanzhi （ 1894--1929）, Yang Tingbao （1901--1982）, Lin Huiyin （1904--1955）, Liang Sicheng （1901--1972）, Tong Jun （1900--1983）, Liu Dunzhen （1897--1968）, and Feng Jizhong （1915--2009） . Both Lv Yanzhi and Yang Tingbo＇ s works represented the strategy of combining the compositional principles of the Beaux-Arts school with Chinese architectural elements in creating a modern Chinese architecture. In his short life Lv left two masterpieces, the Sun Yatsen Mausoleum in Nanjing （1925--1931） and the Sun Yat-sen Memorial Auditorium in Guangzhou （1926-- 1931） . The first reveals his attempt to codify the Chinese style design by adopting some important proportional ratios in Western architecture; the other used Chinese architectural elements to ＂translate＂ a Greek-cross composition. A student of Paul RCret, Yang was arguably the most productive architect of his time. Though varied in styles, most his works, including the Chinese style ones, demonstrate his consistent pursuit of proportional excellence in the Beaux-Arts sense. Lin Huiyin Liang Sicheng, and Liu Dunzhen＇ s Chinese architectural history study embodied the ideal of Chinese intellectuals in the New Cultural Movement in the early twentieth century, which was to revive Chinese culture through scientific study and re-evaluation, Published in 1932 Lin＇ s essay ＂On the Principle Characteristics of Chinese Architecture＂ was the first effort made by a Chinese to justify Chinese architecture in the global and modernist architectural discourses. The key points in this article became the core argument in the discourse of Chinese architectural history that Lin and her husband Liang Sicheng created in the following years. Liang, the most significant architectural historian of twentieth century China, aimed his work at finding the language of classical Chinese architecture that could be parallel to the Western counterpart. His study of Yingzao FashiandGongbu GongchengZuofa, the Song and Qing dynasty state building methods and his compilation of The Reference Catalogue for Architectural Design were to discover the ＂grammar＂ and ＂vocabulary＂ of Chinese architecture. The Central Museum in Nanjing（1935-1948）, of which the design Liang contributed to, also revealed the connection between Liang＇ s history study and his ideal for a modern Chinese architecture. For instance, its style came from the architecture of the Liao and Song dynasties, which Liang regarded as the ＂vigorous＂ period in Chinese architectural history, and as he also believed that its elements came from models that exhibited the classical beauty, functional commodity, and structural rationality. A Manchus who received a systematic Western style education, Tong Jun was the most active advocate for modernist architecture among his Chinese peers. He wrote extensively on this subject and relentlessly criticized the designs of revivalist approaches. Yet he was also keen on classical Chinese literati painting and was the first modern Chinese scholar who systematically investigated and studied traditional Chinese gardens. The duality in his career should be understood as his struggle to conform himself to the modernization of China while being aware of his ethnic identity. A clear understanding of the Social Darwinism converted him to a modernist architect who consciously followed the trend of evolution in his practice. But the psychology of yimin （leftover people from the previous dynasty） drove him to arts that traditionally belonged to the literati scholars who attempted to be detached from the reality. A distinguished architectural historian Liu Dunzhen＇ s works show the similar concern of Liang and Lin for writing a modern Chinese architectural history. Not only did he work together with them to modernize the methodology of this study by combining literature study with field investigations, he also attempted to apply Marxist view of social history in editing A History of Ancient Chinese Architecture, the textbook of Chinese architecture schools. A 1941 graduate of Vienna Technology University and a pioneer educator of landscape architecture in China, Feng Jizhong＇ s best known work, the Square Pagoda Garden in Songjiang, Shanghai designed in 1979, exhibits a Chinese interpretation of the modernist architectural concept ＂space-time.＂ The visitors of the garden are not experiencing a universal ＂space＂ in early modernist term but a ＂place＂ in phenomenological term as its environment is appealing to senses more than just sight. Moreover by combining historical elements and literature idioms, Feng also added a historical dimension to visitors＇ time experience in the garden. Rather than an ＂architectural promenade＂ in the simple present tense as is in modernist architecture, this experience is thus in the present perfect tense. In short, these ＂seven worthies＂ in modern Chinese architecture answered the question of how to combine the tradition with the modern through their design research, and even their life. Their answers have become parts of the new tradition of modern Chinese architectural history and will form a driving force for late generations of Chinese architects to answer this question.
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