The existing classic wooden structures in China

China's wooden buildings?

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Wooden buildings have been widely distributed in China for a long time. Whether it is the Grand Palace or the ordinary houses, the wooden structure system is absolutely dominant, which is different from western architecture. Westerners build their houses with bricks and stones, and spend a lot of energy carving their beliefs on stones, hoping that they will be immortal. However, this does not conform to the philosophy of the East. In China's philosophy, wood is a symbol of endless life and eternal life. Therefore, the building system dominated by wood structure lasted for more than 7000 years.

China traditional architecture occupies an important position in the world architectural history with its unique influence. ?

The reason why Chinese and western architectures are different is that China people "don't want the original to last forever"? Because of concept. Liang Sicheng, a famous architect, once analyzed China people's view of natural life and death. He believes that China people have always adhered to the concept of natural renewal, and houses, like people's clothes and means of transportation, will be gradually updated as time goes by. Therefore, China people do not pursue the permanence of architecture. Even if the house is destroyed by natural and man-made disasters, they feel that it is destiny takes a hand, and they don't complain that the wood is not permanent. This seems to be consistent with China people's idea of seeking inner peace. ?

Of course, there are other sayings. Some people use China's Yin-Yang and Five Elements to explain the meaning of wood: in the five elements, wood is a symbol of life, so buildings for people to live in should be mainly "wood". "Earth" is a symbol of eternity, so it is safe to be buried underground. The underground mausoleum is built of bricks and stones. Masonry is rarely used in ground buildings. Stupa is a type of building with many masonry structures, but stupa itself means "tomb", so it is not an exaggeration to build it with masonry. ?

The main development direction of traditional architecture in China is wood structure, which is quite different from the exploration direction that Europe turned to masonry early. Compared with stone, wood has some weaknesses, such as poor firmness and durability, and its size is limited by the tree itself. The skilled craftsmen in China gave full play to the advantages of good flexibility of wood, and established a building structure system suitable for wood with flexibility. Not only have large-scale single buildings been built, but some "longevity" buildings have also been preserved to this day. For thousands of years, China people have learned to find beauty in wood structures, and consciously appreciate and refine beauty to make it last forever.

Single building with wood structure is the basic unit of traditional architectural art form in China, which can be divided into three parts: roof, main building and abutment. The unique and huge roof is the most striking. They have beautiful curves, as described in the Book of Songs, "like birds flying like birds". It is like an elegant big bird, which makes people feel relaxed and happy. In the long-term academic exploration, the roof is almost a symbol of traditional architecture. The tall abutment and graceful curved roof show more the tranquil temperament of China traditional architecture. ?

In addition to the three-stage outline, there are more intermediate levels and details in the single building. For example, a house is actually composed of beams and columns, walls, doors and windows. There are groups of rafters above the stigma, and branches of rafters are arranged under the eaves. The details on the roof are also rich and colorful, the ridge lines are rich, the rhythm of the tile ridge is bright, and the tile hook and the fairy beast make full use of the animal and plant themes, which are vivid and lovely. As far as a single building is concerned, China traditional architecture brings people endless artistic enjoyment with its beautiful shape and rich details. ?

But that is not the point. The significance of China's ancient architecture goes beyond this. The beauty of a single building must match the tranquil temperament, because the ultimate idea of China traditional culture is that people obey and attach themselves to nature. ?

In the layout of traditional buildings in China, the idea of living in peace with nature is revealed. Apart from military buildings and pagodas, there are few tall buildings pointing to the sky. The most magnificent palace building we can see now-the Hall of Supreme Harmony in the Forbidden City in Beijing, including the three-story pedestal, is only 30 meters high, which is much shorter than the hundreds of meters of European church buildings. However, the ancient architecture in China is majestic, even more magnificent than that in Europe. The reason is that traditional buildings in China have their own unique grouping methods. ?

The layout of ancient buildings in China, whether palaces or residential buildings, can be summarized by "space". A "room" is a space surrounded by four pillars, and a single building consists of several such "rooms". Several single buildings can form a "courtyard", and several "courtyards" can form a complete complex. Both the noble Forbidden City and the ordinary quadrangles are actually composed of basic elements such as "room-building-courtyard-group". ?

The combination principle of architecture is diverse. According to strict grading and emphasizing the symmetry of the central axis, palaces, temples, tombs and quadrangles can be obtained. However, according to the principle of eclecticism, we can get a private literati garden that is "different in pace" and "natural". Of course, there are also royal gardens and temple gardens that combine the two. In a word, the traditional architecture in China skillfully combines simple elements with rich principles, forming a very unique architectural system. The main essence of this system is that single buildings exist because of groups, and groups show their strength because of the participation of single buildings. This inseparable sense of wholeness gives people a high degree of beauty enjoyment.

Just as people always mention the authority of those stones when talking about ancient Greece and Egypt, we also like to talk about its beams, tenons and dowels when talking about wood structures. ?

Beam-column is the main structural skeleton of traditional buildings in China, and it is also a unique system of wood structure buildings. Its outstanding advantages are that the area occupied by the structure is very small, and the internal space of the building is open and connected, which is convenient for indoor layout for various purposes. In this structure, the wall does not participate in bearing, but only plays the role of enclosure, so it can be set very flexibly. Folks call this characteristic vividly "the wall falls down but the house does not fall down". In terms of robustness, this structure adopts flexible connection of tenon and mortise, which is of great toughness and is beneficial to earthquake resistance. In addition to structural functions, beams and columns are also the key parts of architectural art treatment, and all exposed parts have their own unique and meticulous artistic treatment methods. ?

Mortise and tenon generally refer to the connection form between wooden components of traditional buildings in China. Tenon, that is, the convex part of the component; The mortise is the concave part of the assembly. A large number of wooden components with tenons and mortises were found in Hemudu site six or seven thousand years ago. The mortise and tenon technology even influenced the masonry buildings in China. For example, the mortise and tenon bricks used in many tombs in the Han Dynasty are actually processed with wooden components. ?

Bucket arch is the strangest and most striking building among the traditional buildings in China. It consists of a series of wood blocks with different shapes, which are applied between the stigma and the roof to support the roof and cantilever the eaves outward. Its thinness is in sharp contrast with the solid and heavy roof, which makes people marvel at the ingenious form of "four pounds". At present, the earliest known image of the bucket is on the bronze wares of the Zhou Dynasty. At that time, its form was relatively simple, and only simple components such as cross bars were set at the upper end of the stigma, but its basic characteristics had been formed. A large number of such images can be seen in tombs, portrait bricks, funerary wares and murals in the Han Dynasty. By the Tang Dynasty, the shape of the bucket was basically finalized, especially the shape of the bucket on the stigma was quite perfect, but the bucket between columns still retained the old practices such as herringbone since the Han and Southern Dynasties. Song Dynasty is the mature period of bucket development. The bucket shape among stigma, corner and column has been unified, with obvious structural function and clear mechanical logic, which has become the standard for measuring building materials in official buildings. In the areas ruled by the Liao and Jin minority regimes at the same time as the Song Dynasty, the architecture borrowed more from the practices of the Central Plains, and also retained more characteristics of the Tang and Song Dynasties in the battle. In the Yuan, Ming and Qing Dynasties, the bucket became obviously smaller and even more complicated, which on the one hand showed that the maturity of architectural technology caused the decline of the structural function of the bucket, on the other hand, it also reflected the rising status of the bucket in the ideological field, and the bucket showed its cultural function more and more. ?

Before the Song Dynasty, the structural function of the bucket arch was very obvious, and its development and evolution mainly revolved around improving the structural function. Although the fighting in Han Dynasty seems clumsy and naive in many aspects, it has a variety of forms and gives people a feeling of prosperity and vitality. From an artistic point of view, it is undoubtedly full of vitality and progressive factors. This is inseparable from the progress and prosperity of the national strength in the Han Dynasty, and the heroic and confident social outlook has been reflected in the struggle. Compared with the clumsiness and naivety of Doudou in Han Dynasty, Doudou in Tang Dynasty is more perfect in modeling and clearer in structural logic. This fully embodies the enterprising, open and confident social spirit that came from the prosperity of the country in the prosperous Tang Dynasty. From this point of view, it can be said that the fighting in the Tang Dynasty was the healthiest and most progressive fighting.

This can only insert one picture. If you want to find it from Baidu, the Forbidden City, the Summer Palace and so on can be used.