In this year’s 2020, the second decade from the turn of the century in Beijing the Capital of China also the People’s Republic of China, in which is also the year of the rat, marking its six hundred years anniversary of the Forbidden city that marks the transitional point of in between the middle of the Ming Dynasty (1368- 1644) transitionally from Nanjing to Beijing towards the Qing Dynasty (1636-1644-1911) …. The Imperial Palace seen so many countless seasonally transitional equinoxes but further its six hundred years is iconic, but it’s five hundred ninety nine years it marks it Autumn Equinox…. In which it only took twelve years to build the same of the Daming Palace of The Tang Dynasty Xian Imperial Capital only it was least twenty times larger…
During the construction of the Forbidden City in which the Forbidden city is also known to be the second Construction of the Palace museum in which Beijing was considered due it was a lower cost than the original site in which have cost more due to its location of being remote location also the cost rebuilding a whole imperial capital city from the ground up.. In which
In which one Pianist experience the rhythmic beauty of the Forbidden City architecture with pianist Li Yund explains the Musical relationships of the Forbidden City Architecture and Music in the Eyes of a Pianist Hegel once reminded the relationship between music and architecture: “Music and architecture are the closest, because like architecture, music puts its creation in Proportion and structure. “The square in front of the Gate of Supreme Harmony is a horizontal square with an aspect ratio of about 3:2; the square in front of the Hall of Supreme Harmony is also a horizontal square with an aspect ratio of about 3: 2; Building groups have similar proportions, so they are extremely stable and balanced in terms of visual perception. The Forbidden City, built following a certain number of proportions, is like music, with an opening, a climax, and an ending, presenting a varied but solemn and stable rhythm. Looking at the Forbidden City from the perspective of music, how many kinds of music will complement it……
【音乐与城-钢琴家眼中的建筑与音乐】黑格尔曾这样提示音乐与建筑的关系:”音乐和建筑最相近,因为像建筑一样,音乐把它的创造放在比例和结构上。”太和门前广场，是一个横长的广场，长宽比约为3:2；太和殿前广场，同样是一个横长的广场，长宽比同样约为3:2；建筑群之间具有相似的比例，在视觉感知上才会极为稳定均衡。遵循一定的数字比例营建的紫禁城，如音乐一般，有开篇，有高潮，有尾声，呈现出富于变化，却庄严稳定的韵律。以音乐的视角看紫禁城，会有多少种音乐与它相得益彰….
与钢琴家李云迪一起感受紫禁城建筑的韵律之美。@微博历史
