Local friends said that the name of the house is Zhujialouyuan, also known as Zhujiayuan, which has a history of more than 400 years. It was built in the middle and late Ming Dynasty, with a total area of about 100 mu. After nearly ten generations of Zhu family reconstruction, expansion and repair, there were more than 200 buildings in its heyday. According to Zhu Jiapu's records, there are stone lions, high flagpoles, five steps, hidden painted doors with thousands of plaques on their foreheads, and small courtyards in the courtyard, all of which are classical buildings. Or graceful, or patchwork, or deep and quiet. In addition to the living room, cupboard room, living room and study room, there are gardens, rockeries, streams and lotus ponds.
The Zhujiajian family is well-off, lavish, surrounded by blue bricks in the courtyard, with gates connecting the southeast, northwest and alleys extending in all directions. There are two lanes at each corner, which are used for patrol, personnel exchange and sedan chair travel. I have seen the restored map of Zhu Jiaming in Qing Dynasty, which is a huge ancient architectural complex. Houses and courtyards are composed and solemn, but their shapes are different. Perhaps with the change of the owner's identity, status and wealth, the new house has also changed its style, thus forming such a pattern. "The wall of the building is paved with water mill bricks, with a square cornerstone under it and a mandarin duck tile above it. The eaves of the building are all five ridges and six beasts, and the interior is paved with square bricks ... "This is the portrayal of Jia Zhu's architecture in those days.
In ancient architecture, there are quite strict modeling requirements. What kind of house should be built according to the official position of the owner? It is necessary to obey the rules, but also to look luxurious and noble, so we are very particular about building materials. For example, water mill bricks require smooth surface, fine texture, uniform color, neat edges and corners, consistent specifications, compression and wear resistance. When building a wall, you should grind bricks and carve flowers, and the horizontal mortar joint should not be greater than the width of three grains of rice, so that the wall can be symmetrical and tidy. There are many kinds of wall-building techniques. Different techniques reflect the owner's different financial and material resources and economic status, and also reflect the technical level and aesthetic level of that era.
The Zhujiajian family has built houses for generations, and there are hundreds of skilled craftsmen, skilled craftsmen and skilled craftsmen. Without advanced computer composition and computerized data calculation, they creatively built one house after another, integrated with the whole compound in form and spirit, and brought the exquisite architectural technology handed down from their ancestors to the extreme, which had to make people admire the wisdom of the ancients and the attitude of craftsmen to strive for perfection. It is their exquisite craftsmanship that allows us to still feel the simplicity and elegance of these buildings and the ingenuity of the workers of that year.
In the construction of ancient houses, the role of carpentry is not only to make furniture, but also to carve doors and windows when building houses. With several planers and saw blades, the wooden components are carefully carved, interspersed vertically and horizontally, and layered, and a building can be combined with tiles and wood. Mortise and tenon are the soul of classical furniture and contain profound traditional culture. In classical architecture and furniture, without exception, the essence of thousands of years of traditional culture in China has been condensed, and the composite inheritance of classic furniture style has been precipitated in the streamer rotation. A friend who knows the culture of ancient buildings said that the life span of buildings is calculated by modern people, and the life span of ancient buildings is calculated by the ancients.
The screen wall is carved with flowers, and the charm of bamboo, stone and plum is looming. In the eyes of the ancients, bamboo represents integrity, stones symbolize health, and plums show noble character. Screen wall is the embodiment of reserve and introversion, which is a common phenomenon in China traditional culture. The ancients believed that the shadow wall in the courtyard was related to geomantic omen. In order to make the air around the shadow wall flow, it played the role of blocking evil spirits and exorcising evil spirits. If evil spirits are kept out, the family will be calm and peaceful. Its most practical place is to keep the discordant things out of the door, and at the same time prevent outsiders from peeping into the courtyard, and the screen wall appears horizontally, which gives birth to differences outside the courtyard. Therefore, the screen wall built by masonry should fully reflect its exquisiteness and beauty.
Yuanyang tile, also known as Yanghe tile, is the roof form of traditional buildings in China. When paving the upturned tile, first put the tile wings at both ends of the tile upward on the rafters, and then aim the tile wings downward at the upturned tile to form two shapes of the tile wings folding up and down. On the roof of the existing Zhujiajian Courtyard, there are several ridged beasts fighting with each other, which is the embodiment of the ancient social hierarchy, indicating that Zhujiajian is at least a butler. Can represent the status, there are a few inches of windowsill stone, carved door pillow stone, if there are these things, not only symbolizes that this family has rich wealth, but also a prominent position.
The vertical flagpole is a symbol of fame. When I was young, I liked to listen to old people telling stories, mostly about talented people and beautiful women. After poor scholars became famous in Beijing, most of them rode horses back to their hometown and erected flagpoles in front of the ancestral temple to report their fame. If you win the first prize, the court will give you an official reward and a gold medal to clear the way for you. Flagpole style must be uniform. On the top of Wen's flagpole is engraved a pen, and on the top of Wu's flagpole is engraved a halberd. Different fame corresponds to different styles of flagpoles. The higher the flagpole is erected, the farther the reputation will spread, which will not only honor the ancestors, but also inspire the younger generation to make a name for the genealogy.
By the end of the Qing Dynasty, with the increase of tribute students, owners paid more and more attention to the matter of erecting flagpoles. Rich and powerful families invited masons to make flagpoles, invited famous carpenters outside the village to make flagpoles, painted them with red ink, engraved them with years and months, and then invited officials and guests to blow them, which became the glory of the whole family. The "high flagpole" in the courtyard of Zhujialou indicates that several younger brothers of Zhujialou have made great achievements, climbed to the top of the world and were appointed as senior officials of the court.
In addition to fame, the wealth of the Zhu family should not be underestimated. They were big landlords in the Ming and Qing Dynasties. They used to hang a gold-lettered plaque with a thousand acres, claiming that they "went out of the city for thousands of miles, and their cars didn't run over other people's land and their boots didn't touch his mud." The word "thousand hectares" comes from "Huai Nan Zi said Xun Lin". "An ordinary stream is filled with thousands of hectares." One hundred mu of land is one hectare, and Zhujiajian has one thousand hectares, which should be roughly tens of thousands of mu.
During the War of Resistance against Japanese Aggression period, the Japanese invaders entered Shan County, and Zhu people fled to the south. Some houses were ransacked by the war, leaving almost no ruins. Fortunately, there are two houses adjacent to each other. A few years ago, due to various concerns, the ruins were repaired with bricks and tiles, which is what we see today.
The courtyard in front of us is a square three-in-one house. The main room and the left and right wing rooms are pavilion-shaped, and there is an escalator in the corner downstairs of the main room, which leads directly from the patio downstairs to the balcony upstairs. It is said that the room above is a young lady's embroidery room. Looking at the existing quadrangles, according to the strict shape and grade of feudal society, they belong to the second-class ordinary rich households. But there are wild animals on the roof, so it is difficult to tell the owner's rank and identity. Is it a mansion adjacent to it, or is it the same residence? There is no way to test. Somehow, current events have changed and the scenery of the house is gone.
The existing Zhujiayuan, like many ancient houses in the north, has lasted for more than 400 years, but it is only a medium-sized rural residence. The pattern of the core part represents the shape and style of the house. It is the missing part of Zhujialouyuan that we see now, which hardly represents Zhujiajian Island's position and identity. Only six wild animals on the roof hinted at the background of the courtyard.
Zhujiajian Island kept close contact with literati and collected antique calligraphy and painting. The wind and rain ink bamboo painted by Zheng Banqiao in the Ming Dynasty hangs on the main wall of Zhujiajian Island's study, and is accompanied by Zheng Banqiao's calligraphy poem: "I insist that Qingshan does not relax, rooted in broken rocks, and it is still strong after thousands of blows. There must be wind in the east, west, north and south." The couplet written by Lin Zexu, Minhou, "Take a step back and enjoy the scenery for three minutes" is also hanging around. The antiques we see today have nothing to do with Zhujiajia, and the paintings and calligraphy we see are not original works of that year.
Downstairs in the main room are plush chairs, mahogany couches, and a twin-dragon twisted-column top bed in the left and right inner rooms. Carved patterns in Ming and Qing dynasties, the knife work is exquisite, smooth and perfect. According to the old people, in ancient times, when rich people got married, they wanted to buy a covered bed with peony carved on the top, dragons carved on the columns, or phoenix with tassels, which was magnificent. Carving it also requires rank. Even if you don't carve dragons, you should carve dragon patterns on the bedside. The pattern itself represents not only imperial power and gods, but also good luck and multiple meanings.
There is also an embroidery room upstairs. I don't know whether it was the boudoir of the ladies in those days, or the interpretation of the plot of the characters and the use of the house by future generations, which triggered people's nostalgia. When this feeling suddenly struck, I couldn't wait to go upstairs and have a look. The stairs are cramped, and only by lifting the skirt, holding the railing and leaning sideways can you be embarrassed. I think the girls who live in it, on weekdays, either study history books, or express their feelings in a freehand manner, or improve their skills, or they are sleepy and charming, that is, like caged birds, and rarely see spring scenery outside their boudoir.
I trembled as I led the way. No wonder in the old society, people arranged girls' homes upstairs, and I don't know how much courage it took to go downstairs. The stairs are narrow and steep. How do girls imagine now? Reckless, chubby and hairy boys can't go to Xiulou. Step by step, I seem to find the feeling of a cage. Imagine lonely feet, a long pink dress and a fragile waist. ...
You in ancient times, or me in previous lives.
You are wearing hair, you are doing needlework, you are wearing a red skirt that sweeps the floor, you are wearing heavy pearls and jade, and you are wearing earrings that you dare not shake. Although you want to fly, you have not broken free.
Embroidered rooms, brocade beds, red carpet floors and tassels are not extravagant, but there is a gorgeous malaise.
There is a guqin in the living room, which is full of overtones, flawless tone and long and clear rhyme.
Some people say that architecture is solidified music, and music is dancing architecture. The ancient buildings in China are tangible cultures and pictographic textbooks. Every place is a treasure of China culture and a combination of nature and humanity. The ancient buildings show us the sound of guqin, like mountains and running water, tinkling like pine roots and flowing endlessly. Exquisite brick carving can better show the master's elegant demeanor, and the door pillow stone contains the master's cultivation and connotation. Every brick in the old house is telling the world the story that happened here. When you tap your finger bones, you will hear the echoes of thousands of years of history. With the touch of your fingertips, you will feel the incomparable structural beauty and simple and smooth texture, and you will see the blue sky, clear lake water and elegant white clouds, all of which are the charm of our long-standing civilization.
Contemporary people like to call the brick fragments on ancient buildings "tiles", and you can see such "tiles" wherever there are ancient building sites. Some were dug from the depths of the soil with huge excavators when building houses and repairing roads, and some were gently pulled out by farmers with hoes when tidying dams. Looking through the soil in the farmland, we can find one or two remnants, including many beautifully shaped pottery pots. According to the appraisal, these exquisite jars and fragments came not only from the Qing and Ming Dynasties, but also from the Song and Han Dynasties. ...
For thousands of years, emperors of past dynasties spared no expense in manpower, material resources and financial resources to build magnificent palaces for themselves and declare their supreme authority and status. Similarly, ordinary people's life ethics always regard them as symbols and components, which permeate all aspects of China's ancient buildings, symbolizing family prosperity, numerous descendants, respecting the old and loving the young, and putting "etiquette", the core social norm of the Chinese nation, in people's field of vision, reminding everyone who is inseparable from China and reminding the descendants of China with a long history.
"If Zhujiayuan is still well preserved, it may become a living historical object with great cultural value and an important representative of residential buildings, just like Qixia Moushi Manor, Shanxi Wangjia Courtyard and Qiaojia Courtyard. It carries the soul attached to history, represents the moral norms and spiritual outlook at different stages, contains a lot of profound historical and cultural information, and is also the cultural background for people to determine their identity. " -local friends said.
If you know a little about the ancient buildings in China, you will not only look at the scale of the houses, but also touch the bricks, tiles and rafters that have gone through a hundred years, see the annihilated past from the mottled bricks and tiles, and recall the historical inheritance from the carved windows. They will tell you with a silent expression that this is for the people and not for the countryside. They come from the countryside and soil. After tempering, calcination and time precipitation, they have cultivated into jade, which is not owned by people of any class.
In the process of all things and current events, only it is not afraid of being incomplete or getting old.
It exists, continues and disappears in their way.
It is independent of the world and does not fight against prosperity. But many times, I prefer the beautiful scenery that calms my mind to the busy people and fast-paced cities.