1. Gansu architectural style
1. quadrilateral shape
As always, the quadrangle style of wooden frame system is the basic feature of Han nationality's houses, with Qinling and Huaihe as geographical dividing lines, forming different styles between the north and the south, while Tianshui houses combine the north and south styles, which are both heavy in the north and delicate in the south. The basic forms of quadrangles can be summarized as: basic type, series type, parallel type and mixed type.
Basic type, that is, a courtyard with only one entrance (such as the North Courtyard of Zhang Qinglin's former residence in Chengyuan Lane).
In series, there are two or three courtyards, which can be divided into two types: one is the hanging door, such as the two courtyards on the south side of the wall lane of Zhang Qinglin's former residence; The other is hall-separated, with many courtyards, such as Shi Zuorui's former residence and Ren Shiyan's former residence.
Parallel connection, front-back series connection, left-right parallel connection.
Mixed type, such as Ding Te's former residence in Chengyuan Lane (now demolished). The courtyard is divided into two courtyards, with two entrances, three entrances and four entrances. The entrance between the two entrances is divided into two courtyards by the hall. This kind of courtyard is generally rectangular, close to the aspect ratio of residential courtyards in the same latitude, and meets the needs of lighting, shading, ventilation, drainage, grounding gas and so on. And can take advantage of the changes of light and shadow in a day and the changes of seasons all year round to bring people natural fun.
2. Strong introverted personality
Tianshui is in a closed hinterland in history, with simple and unique folk customs, as well as residential buildings. The facade of the courtyard presents the appearance of a closed back cornice wall, which is gray, rough, thick and cold; The courtyard has a strong inward interface, and each single building faces the two-dimensional main facade of the courtyard, which provides an obvious inward interface for the courtyard space. Because most of the four houses in the courtyard are in the position of golden pillars and are full of soft wooden door and window textures, this strong inward interface strengthens the introverted character of the courtyard; The "transition space" and "intermediary space" of the quadrangle are both inside and outside, and they have great affinity. Against the backdrop of golden pillars and introverted wooden walls, the corridor has a more obvious outdoor internalization. Such as Feng's Former Residence.
3. Confucian rites and music order
The traditional courtyard layout in China adapts to the ideological and psychological structure under the constraints of feudal ethics, and the closed courtyard space constructs a closed small world. In this closed small world, the deep and rigorous courtyard combination and the symmetrical pattern with prominent central axis provide the master-slave composition, positive deviation composition, internal and external composition and back-to-back composition of architectural space. These spatial structures are endowed with the meaning of etiquette. Through the division of main courtyard and partial courtyard, main courtyard and wing, outer courtyard and inner courtyard, vestibule and backyard. Courtyard groups have fully adapted to the needs of a set of ethical order such as feudal ethics, ethics and morality, and strictly distinguish between superiority, inferiority, intimacy, dignity, men and women, old and young, and humility. For example, the North and South Courtyards, Jia Mansion and Feng's former residence are all traditional courtyard layouts in China, which embody the cultural image of Confucian "courtesy". At the same time, the quadrangles in Tianshui, such as Feng's former residence and the courtyard with four corridors on all sides, well reflect the layer-by-layer transition relationship between the bright space in the central courtyard, the "gray" space in the eaves gallery and the "dark" space in the room, and also reflect the hierarchical relationship between the public space, the fuzzy space and the private space in the atrium courtyard. This hierarchical relationship shows the introverted character of architectural form, the organic integration of indoor and outdoor space, and the correct
4. The structure is scientific and reasonable
The architectural structure of Tianshui ancient residence belongs to the beam-lifting structure in the form of wooden frame, and it is also the architectural framework of residential buildings with thick walls and thick roofs in the northern region. But strictly speaking, it belongs to the civil-engineering mixed structure, that is, the so-called "wooden bone mud wall" and "wooden rafter mud roof", but in fact it is mainly wood structure, and the wall mainly plays the role of maintaining and strengthening the rigidity and lateral stability of the wood frame. Civil structure buildings can be widely distributed among the people, mainly because it has the technical and economic rationality under the conditions of productivity at that time. There is a clear division of labor between the load-bearing structure and the enclosure structure. The load-bearing members can form a variety of folk wooden frames in combination with the regional characteristics, and the enclosure members are eclectic. The local wall materials can be used to give full play to the advantages of local materials. These make the wooden frame system break through the geographical restrictions and spread widely, thus forming a diversified folk wooden frame architectural form with local characteristics. The restrictive function of "etiquette" and the radiation function of orthodox building core culture also have different degrees of influence on civil-civil mixed structure buildings. Tianshui Ming and Qing residential buildings adopt suspended beam frame structure, which is called joist building by the people. The joint of roof, beam and column adopts tenon-mortise connection, which is tight and firm and has good deformation resistance. There have been many large earthquakes in Tianshui history, but many houses have been intact for hundreds of years, which proves their good seismic performance.
5. Building materials
Tianshui is originally a forest-rich area, and the buildings are all made of high-quality pine columns, beams and rafters. Most columns and beams are surprisingly strong, often many times more than the structure needs. Brick-and-tile ridged beasts used in Tianshui ancient dwellings are all made of clay with suitable thickness, with consistent color, high strength and corrosion resistance. Natural soil and water resources are very rich, the soil layer is deep and easy to dig, and the soil in most places has little sand content and great viscosity, and it is easy to bond and form when it meets water, so it is a cheap and applicable building material.
6. Simple and generous decoration
There are many woodcarvings in Tianshui folk houses, and Diaohuamen is the best one in Tianshui folk houses. Wood carvings on other houses are concentrated on the decoration under the eaves, which are composed of sparrow replacement, big and small tricks, inter-column paving and inter-column paving, and flower board paving. The inner eaves are decorated with green gauze cabinets, ground cabinets, kang cabinets, god shelves, etc. , are very beautiful, don't fall into the fussy cliche. The woodcarving of Tianshui folk houses is different from that of Huizhou folk houses in the south and Shanxi merchants' folk houses in the north. Its lines are smooth, simple and rough, beautiful and generous, but not fine and complicated, with literati carving style and beautiful atmosphere. Brick carving is mainly found on the wall of the courtyard in the gate, which is a wood-like brick carving. Carving patterns are mostly based on Buddha's Eight Treasures, Dark Eight Immortals, Five Bats Holding Life, Matsuzaka, Plum and Cold Friends. It not only adds a folk culture atmosphere, but also does not show luxury.
7. The principle of adapting to local conditions
Tianshui residential buildings follow the direction of streets and lanes, and the main buildings are facing south (Liantengxiao's former residence, Hari's former residence, Feng's former residence, etc. ), facing north (Shi Zuorui's former residence, Wangjiayuan on Freedom Road, etc. ), facing east (former residence of Ren Shiyan, former residence of Zhang in Yusheng Lane, etc. ) and facing east (autonomous lane Zhang Mansion, etc. It is impossible for them all to sit facing south. Tianshui residential building adopts a mixed structure of civil engineering, and its soil part is baked soil "Ji Hu" or rammed earth wall, which is taken from and blended with nature, and is warm in winter and cool in summer. According to the data, when the thickness of the earth wall reaches 30cm (above), the thermal insulation effect is good, and it is an out-and-out ecological building.
8. Courtyard landscape
Plant landscape is one of the basic elements of the courtyard, and Tianshui courtyard has attached importance to the planting of flowers and trees since ancient times. In Tianshui residential courtyard, flowers are the main plants, and only slightly taller plants such as Chimonanthus praecox and pomegranate are planted in front of the hall and room steps. For a small courtyard, there should not be too many tall trees, otherwise it will affect the landscape of the courtyard. Tianshui people who love life attach great importance to the beautification of the courtyard, and the choice of flower varieties is very particular: in early spring and February, enjoy the spring flowers in full bloom; In March and April, watch Haitang blossom; In April and May, all kinds of peonies are in full bloom and thriving. Summer, Chinese rose, pomegranate, carnation, etc. Competing to open up, with all kinds of colors and vitality; In autumn, chrysanthemums are full of charm and gentlemanly demeanor, and the five-color brocade on the side wall is red or orange, which is quite spectacular; In the cold winter, there is more wintersweet frost and snow, which is amazing. The existing Ming and Qing dwellings in Tianshui are one of the characteristics of Tianshui as a national historical and cultural city. Overlooking the ancient city, next to Dacheng Confucian Temple, the north and south houses with national-level cultural relics protection units echo each other on the north and south sides of Zhu Min West Road; There are also ancient residential areas in Xiguan, where there are Gu Xiang after, and the alleys are all courtyards of Ming and Qing houses. Kind and familiar, comfortable and quiet, with another atmosphere and a different feeling. Times have changed, and the stars have moved. The houses in this quadrangle in the Ming and Qing Dynasties have changed a lot, and how many have risen and fallen. What happened in these deep hutongs, beside the old trees in ancient wells and on the embroidered floor of the ancestral temple, like the local history of Tianshui, has become a witness to the history of this city.
There are many temples in various regions of Gansu, represented by Xiahe Labuleng Temple, Zhangye Buddhist Temple and Shandan Buddhist Temple. The pagoda in the temple is a masterpiece. The forms of Tade in various regions are also colorful, such as Zhangye Wooden Pagoda, Huachi Twin Towers, Lanzhou White Pagoda, Xiangle Ode Pagoda, Pingliang Brick Pagoda and Minqin Lama Pagoda. , has a unique structure. Since then, only a few examples have been given.
Two. Overview of ancient buildings with Gansu characteristics
What are the famous ancient buildings in Gansu? The Mogao Grottoes in Gansu, Jiayuguan in Gansu, the Great Buddha Temple in Gansu, and the Victory Tower of the Long March, among which the Mogao Grottoes, commonly known as the Thousand Buddha Cave, are located in Dunhuang at the western end of the Hexi Corridor. Founded in the pre-Qin period of the Sixteen Countries, after the Sixteen Countries, Northern Dynasties, Sui and Tang Dynasties, Five Dynasties, Xixia and Yuan Dynasties, it has formed a huge scale, with 735 caves, 45,000 square meters of murals and 24 15 clay sculptures. It is the largest and richest Buddhist art site in the world. It is also one of the representative buildings of Gansu characteristic buildings. Details are as follows:
The Mogao Grottoes were built during the Sixteen Kingdoms period. According to the book "Li Kerang Rebuilds the Monument of Mogao Grottoes" in Tang Dynasty, in 366 AD, two years before the founding of the Qin Dynasty, some monks were happy to pass by this mountain and suddenly saw the golden light shining like Buddha, so they dug the first cave on the rock wall. Since then, Zen master Fa Liang and others have continued to build caves here to practice, which are called "desert grottoes", meaning "high places in the desert". Later generations renamed it "Mogao Grottoes" because of the common "desert" and "Mo". There is another saying: Buddhists say that it is impossible and impossible to build a Buddha cave because of its infinite merits. Mogao Grottoes means that there is no higher cultivation than building Buddha Grottoes. During the Northern Wei, Western Wei and Northern Zhou Dynasties, the rulers believed in Buddhism, and the construction of grottoes was supported by princes and nobles, which developed rapidly.
During the Sui and Tang Dynasties, with the prosperity of the Silk Road, the Mogao Grottoes flourished, and there were more than a thousand caves in Wu Zetian. After the Anshi Rebellion, Dunhuang was occupied by Tubo and Guiyi Army successively, but the carving activities were not greatly affected. In the Northern Song Dynasty, Xixia and Yuan Dynasty, the Mogao Grottoes gradually declined, and only the caves of the previous dynasties were rebuilt, with few new buildings.
After the Yuan Dynasty, Dunhuang stopped opening caves and gradually became barren. In the seventh year of Jiajing in Ming Dynasty (1528), Jiayuguan was closed, and Dunhuang became a nomadic place in the frontier fortress. In the fifty-seventh year of Kangxi in Qing Dynasty (17 18), Xinjiang was settled, and in the first year of Yongzheng (1723), Shazhou Station was set up in Dunhuang, and in the third year (1725), it was changed to Shazhou Wei, and immigrants from Gansu provinces settled in Dunhuang and rebuilt Shazhou City. In the twenty-five years of Qianlong (1760), Shazhouwei was changed to Dunhuang County, and Dunhuang economy began to recover. The Mogao grottoes began to be noticed by people.
In the 26th year of Guangxu reign in Qing Dynasty (1900), the Tibetan Sutra Cave that shocked the world was discovered. Unfortunately, under the specific historical background of the corrupt and incompetent government and the invasion of China by western powers in the late Qing Dynasty, shortly after the discovery of the cultural relics in the Tibetan Sutra Cave, western explorers such as Stein of Britain, Boscio of Japan, Zuizhou Lihua of Japan and Odenburg of Russia came to Dunhuang one after another and defrauded a large number of cultural relics in the Tibetan Sutra Cave from Taoist Wang by unfair means, resulting in the looting of all the cultural relics in the Tibetan Sutra Cave, and most of them were unfortunately scattered in Britain, France, Russia and Japan.
The Mogao Grottoes are dug on the cliff at the eastern foot of Mingsha Mountain, 25 kilometers southeast of Dunhuang City, facing Dangquan in the front and Sanwei Mountain, a branch of Qilian Mountain in the east. The total length from north to south is1.680m, and there are 735 existing caves in the past dynasties, which are distributed on the cliff with a height of1-30m, and the upper and lower floors are 1-4. It is divided into south and north areas, of which the south area is a place of Buddhist rituals, with 492 murals and painted sculptures of various dynasties, more than 2,400 painted sculptures, murals of more than 45,000 square meters, five wooden eaves in Tang and Song Dynasties, and nine floors rebuilt in the early Republic of China as a symbol of the Mogao Grottoes. There are more than 20 lotus column pagodas and more than 20,000 floor tiles. There are 243 caves in the North District (another 5 caves have been included in No.492 in the North District), which are places for monks to practice, live and bury. There are heatable adobe sleeping platform, stove pit, flue, niche, lampstand, etc., but most of them have no painted sculptures and murals.
Every cave in the Mogao Grottoes is a comprehensive art of cave architecture, colored sculpture and painting. The largest cave is more than 200 square meters, and the smallest is less than 1 square meter. Grottoes mainly include Zen Grottoes, Central Pagoda Grottoes, Buddhist niches, Buddhist altar grottoes, Nirvana Grottoes, seven buddha Grottoes and Elephant Grottoes. The main contents of color plastic sculpture combined with plastic painting are Buddha, Bodhisattva, disciple, King of Heaven, Lux statue and so on. Color plastic forms include round plastic, floating plastic, shadow plastic and good mud. Except for the two giant buddhas in Caves 96 and 130 and the two reclining buddhas in Caves 148 and 158, the round sculptures and reliefs are all carved with wooden bones. The Buddha statue is located in the center, with disciples, bodhisattvas, heavenly kings and mighty men standing on both sides, ranging from 3 to 1 1. The statue of Maitreya Buddha in Cave 96 is 35.6 meters high, ranging from 10 cm.
Three. Overview of Gansu characteristic residential buildings
The main component of Gansu folk houses belongs to the quadrangle system, which has been the mainstream of the development of Han folk houses since the Han and Tang Dynasties. This architectural form fully embodies the Confucian cultural thought, fully embodies the needs of the feudal clan system, and greatly meets the living and living needs of large families. Dominated by the local traditional geomantic concept, the gate of the courtyard is located in the southeast corner of many courtyards, and the toilet is located in the southwest corner of the courtyard. The rainwater in the hospital is collected in the southwest and discharged outside the hospital. The courtyard doors are mostly in the form of curtilage doors. It is a way to turn the east side of the inverted seat into a doorway and open the door on the wall behind the inverted seat. Door frames and doors are solid and heavy, and their shapes are simple and simple.
There are two practical purposes to adopt this kind of door: first, there are many wars and bandits in Tianshui history; After the seat is reversed, the wall is very strong and high, and it is safe to open the door here. Second, the simple shape of the gate can hide others without making a fortune. In addition, there are some gates facing the gable, that is, the gate opens to the east Fangshan wall in the front yard, or the north gate opens to the west gable.
Gansu is in a closed hinterland in history, with simple and unique folk customs, as well as residential buildings. The facade of the courtyard presents the appearance of a closed back cornice wall, which is gray, rough, thick and cold; The courtyard has a strong inward interface, and each single building faces the two-dimensional main facade of the courtyard, which provides an obvious inward interface for the courtyard space, because most of the four houses in the courtyard are in the position of golden columns and are full of soft wooden doors and windows.
This rich introverted interface strengthens the introverted character of the courtyard; The "transition space" and "intermediary space" of the quadrilateral corridor are both inside and outside, which have affinity. Against the backdrop of golden pillars and introverted wooden walls, the corridor has a more obvious outdoor internalization. Such as Feng's Former Residence.
The traditional courtyard layout in China adapts to the ideological and psychological structure under the constraints of feudal ethics, and the closed courtyard space constructs a closed small world. In this closed small world, the deep and rigorous courtyard combination and the symmetrical pattern with prominent central axis provide the master-slave composition, positive deviation composition, internal and external composition and back-to-back composition of architectural space. These spatial structures are endowed with the meaning of etiquette, such as respect and inferiority.
Through the division of main courtyard and partial courtyard, main courtyard and wing, outer courtyard and inner courtyard, vestibule and backyard. Courtyard groups have fully adapted to the needs of a set of ethical order such as feudal ethics, ethics and morality, and strictly distinguish between superiority, inferiority, intimacy, dignity, men and women, old and young, and humility. For example, the North and South Courtyards, Jia Mansion and Feng's former residence are all traditional courtyard layouts in China, which embody the cultural image of Confucian "courtesy".
At the same time, the residential quadrangles, such as Feng's former residence and the courtyard with four corridors all around, well reflect the layer-by-layer transition relationship between the bright space in the central courtyard, the "gray" space in the eaves gallery and the "dark" space in the room, and also reflect the hierarchical relationship between the public space, the fuzzy space and the private space in the atrium courtyard. This hierarchical relationship shows the introverted character of architectural form, the organic blending of indoor and outdoor space, and the courtyard.
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