Cultural characteristics of architecture and interior design in the Sui and Tang dynasties Need to h

Liang Sicheng once studied a book called "Constructing the French Style", which is a book about ancient Chinese architectural methods in the Song Dynasty, because of the differences in the times, there are certain difficulties in reading.

At present, the only remaining wooden buildings of the Tang Dynasty in China are the Foguang Temple in Wutai Mountain, the Nanchan Temple Hall in Wutai Mountain in the Tang Dynasty and the Guosi Hall in Pingyao Town, Shanxi, the Kaiyuan Temple in Quanzhou, Fujian, the Guangrenwang Temple in Shanxi, and the Tiantai Nunnery in Pingshun County, Shanxi. Of course, if you study, there are also many Tang style buildings preserved in Nara, Japan, such as the Hirakei Kyo Nara Horyuji East Hall. Of course, in addition to the wooden buildings, the murals in the Mogao Grottoes of Dunhuang and the Tang Dynasty mausoleums that have been excavated now, such as the tomb of Princess Yongtai and the tomb of Prince Zhang Huai, can also reflect its cultural characteristics.

For literature, you can take a look at Liang Sicheng's "History of Chinese Architecture", "What I Know About Buddhist Temples and Palaces in the Tang Dynasty", Transactions of the Construction Society, Vol. 3, No. 1, 1932 3 "The Historical Stages of the Development of Chinese Architecture", Architectural Journal, 1954

Architectural features are available in the encyclopedia.

What else is there in the style of wooden architecture in the Tang Dynasty besides the well-known "symmetry on the left and right sides of the central axis"? At first glance, the wooden buildings of the Tang Dynasty give people the impression that the structure is simple, unpretentious, and majestic. Its styling features mainly include:

First, the bucket arch is huge. The large dougong is the most basic feature of the wooden architecture of the Tang Dynasty, because the dougong is large, and the eaves look more far-reaching.

2. Simple and rugged owl kiss. It is a kind of decoration at both ends of the roof ridge of the house, and the kiss of the wooden buildings in the Tang Dynasty is generally made in the shape of a bird's beak or a bird's tail.

Third, the eaves are high. The eaves of Tang Dynasty timber-framed buildings were raised high and upward, and the eaves were usually divided into two floors.

Fourth, the roof tiles are blue-black.

Fifth, the pillar is thicker. The pillars of the wooden buildings of the Tang Dynasty were relatively thick, and the bottom was thick and the top was thin, reflecting the aesthetic orientation of the Tang Dynasty people to be fat and beautiful.

Sixth, the color is single. Tang Dynasty wooden buildings did not contain more than two colors, generally red and white or black and white.

You can check this out at the library or Xinhua Bookstore.

History of Chinese Architecture Section 30: Chinese Civilization in the Sui and Tang Dynasties-5

The Tang Dynasty inherited the Sui system, and the three religions of Confucianism, Buddhism and Taoism coexisted in the Tang Dynasty. The acceptance of the ideology and culture of the three religions enabled the Tang Dynasty to develop economically, culturally, and artistically, creating a glorious peak in the history of Chinese civilization. The building has finally formed a Tang Dynasty style that is intertwined with rationality and romance.

Its characteristics are that the capital city is magnificent and regular; Palaces, altars and temples and other large groups of buildings are spacious and stretched, and the spatial scale is very large; The building is vigorous, the outline is uneven, and the decoration is gorgeous; Buddhist temples, pagodas, and cave temples are exceptionally rich in scale, form, and color, showing a new style of close integration of Chinese and foreign cultures. The walls of Sui and Tang Dynasty buildings are mostly made of bricks, wooden pillars and planks are often painted with ochre or vermilion, and earthen walls, fence walls and brick walls are often plastered with grass and mud and painted white. There are two main categories of canopy practices:

One is the practice of "revealing the light": in the Song Dynasty, it was called "making it through the show", that is, "putting it on the shelf" is that my beams, workshops, purlins, and rafters are directly indoors, and the roof space is incorporated into the indoor space, and no other roof is made. The method is simple, and the indoor space is high.

One is "smallpox", which can be divided into three types: the first is soft ceiling, which is made of straw and pasted on it, which is mostly used in general construction. The second kind of hard ceiling, also known as wellhead ceiling, is made of a tic-tac-toe frame composed of ceiling beams and branches, on which the board is nailed, and the pattern is painted on the board, or exquisite carving is made.

The third type is the caisson, which is mainly used in important parts of the ceiling. Tang Dynasty furniture in the process of production and decoration of the pursuit of fresh and free style. The artistic style of furniture making in the Tang Dynasty got rid of the ancient and clumsy characteristics of the Shang and Zhou dynasties, the Han Dynasty and the Six Dynasties, and replaced it with a gorgeous and moist, plump and dignified style.

There are two main types of Sui and Tang screens, namely folding screens and seat screens. The folding screen is composed of multiple fans, at least two, up to more than ten fans. The seat screen is also called a hard screen, with a base under it, and it is not folded.

Interior design characteristics of the Tang Dynasty: there was a situation where high and low furniture were used simultaneously. During this period, new types of high-footed furniture, represented by tables, chairs, and stools, gradually replaced the central position of the bed. The screens are floor-to-ceiling as the mainstream, depicting landscapes, flowers and birds.