History and Evolution of Bucket Arch

1. Characteristics, evolution and functions of the bucket arches in various dynasties after the Spring and Autumn Period and the Warring States Period i. Characteristics

Bucket arch gives people a mysterious and wonderful feeling. It also has a unique style in aesthetics and structure. Whether from the artistic or technical point of view, the bucket arch is enough to symbolize and represent the spirit and temperament of China classical architecture. The middle extension of the bucket arch is still called playing head. Carved with a vertical double blue faucet. Semi-three-dimensional flame beads are carved on both sides of the arch plate of the cushion, symbolizing good luck.

Second, evolution.

The first stage was from the Western Zhou Dynasty to the Southern and Northern Dynasties. The bronze arch reed in the Western Zhou Dynasty has the image of a big bucket, and the bronze plan unearthed from Sun Yat-sen Mausoleum in the Warring States Period has the image of a bucket and a 45-degree inclined arch. There are also a large number of bucket arches on stone que, funerary wares, stone reliefs and brick reliefs in Han Dynasty. It can be seen from a que in the Han Dynasty and the Hammingpin pottery building unearthed in Mumashan, Sichuan and Gaotang, Shandong, that there are purlins, beams or floor purlins at the top of the column, and the purlins at the outer ends of the beams are not connected with each other. After the Han Dynasty, bucket arches were used between columns. At first, it was a modern bucket arch called herringbone arch, that is, a fork hand was erected on the forehead and a bucket was placed on it to support the cornice.

In the second stage, up to the early Tang Dynasty, it can be seen from the stone carving "Illustration" on the lintel of Jionji Pagoda in Xi 'an that the pillars of Buddhist temples are still arched with Chinese characters. The second stage is from Tang Dynasty to Yuan Dynasty. The main feature of the bucket arch in this period is that the beams supported by the stigma bucket arch are mostly inserted into the bucket arch, so that the bucket arch and the beam frame are tied together, and the horizontal arch along the house body also overlaps with the square (that is, the square) of the column head. A circle of stilts and beams at right angles to it are interwoven into a horizontal frame divided into several well-shaped grids, and the bucket arch becomes the strengthening node of each intersection. At this time, the bucket arch is no longer an isolated supporting frame or cornice member, but an inseparable part of the horizontal frame. This kind of cross frame is now called "paving", which is used on the column network of the palace frame and plays a key role in maintaining the integrity of the wooden frame. The existing memorial archway of Beige Temple in Wutai Mountain in Tang Dynasty is a typical example of this practice. The combination of the bucket arch contained in the architectural French of Song Dynasty with the beams and frames of various palace frames, although not as close as that of Tang Dynasty, is still similar.

The third stage is from Ming Dynasty to Qing Dynasty. Since the Ming Dynasty, large and small beams and beams have been used between the capitals, and the size of the arch has been shrinking and the spacing has been increasing. The beams of Qing-style buildings are no longer inserted into the Song Like-style buildings with bucket arches, but are pressed on the top of the bucket arches and directly bear the eaves trusses. Therefore, after the development of the bucket arch in the Ming and Qing Dynasties, it no longer played the role of maintaining the integrity of the framework and increasing the eaves. Its materials and scale are much smaller than those of the Song Dynasty.

Third, the role

1, located between the column and the beam, the load transmitted from the roof and superstructure is transmitted to the column through the bucket arch, and then transmitted to the foundation by the column. Therefore, it plays the role of connecting the preceding with the following and transferring loads.

2, pick out, you can pick out the outermost truss sandalwood for a certain distance, so that the eaves of the building are deeper and the shape is more beautiful and spectacular. For a long time after molding, it was regarded as the basic scale of component size ("modular" system). Later, the bucket arch gradually became a kind of decoration (later, brick walls were used, and the eaves were much closer, which reduced the role), and it was also a sign to distinguish the grades of buildings. The nobler, more complex and more prosperous the building is.

3, exquisite structure, beautiful shape, such as bonsai, like a flower basket, is also a good decorative component.

4. The combination of tenon and mortise is the key to earthquake resistance. This structure is very similar to the modern beam-column frame structure. The joints of the frame are not rigid, which ensures the rigidity coordination of the building. In the event of a strong earthquake, the spatial structure combined with tenon and mortise will "loosen" instead of "fall apart", consuming the energy generated by the earthquake, greatly reducing the seismic load of the whole house and playing an anti-seismic role. Compared with buildings without bucket arches, overhangs of ancient buildings in China have stronger seismic capacity under the same seismic intensity. Bucket arch is the standard component of tenon-mortise combination and the intermediary of force transmission. In the past, people always thought that the bucket arch was a kind of architectural decoration, but the research proved that the bucket arch evenly supported the weight of the eaves and played a role in balance and stability.

2. The characteristics of the ancient buildings in China At present, there are three theories about the origin of the bucket arch. One is formed by the intersection change of shaft structure; One view is that it is formed by changing the cantilever beam passing through the column; One view is that the cornice column evolved into a diagonal brace of a cantilever beam and then into a bucket arch.

Bucket arch has played an important role in the development of wooden buildings in China. Its evolution can be regarded as an important symbol of the evolution of traditional wooden frame buildings in China, and it is also an important basis for identifying the age of ancient wooden frame buildings in China. The evolution of bucket arch can be roughly divided into three stages. The first stage was from the Western Zhou Dynasty to the Southern and Northern Dynasties. The bronze arch reed in the Western Zhou Dynasty has the image of a big bucket, and the bronze plan unearthed from Sun Yat-sen Mausoleum in the Warring States Period has the image of a bucket and a 45-degree inclined arch. There are also a large number of bucket arches on stone que, funerary wares, stone reliefs and brick reliefs in Han Dynasty. It can be seen from a que in the Han Dynasty and the Hammingpin pottery building unearthed in Mumashan, Sichuan and Gaotang, Shandong, that there are purlins, beams or floor purlins at the top of the column, and the purlins at the outer ends of the beams are not connected with each other. After the Han Dynasty, bucket arches were used between columns. At first, it was a modern bucket arch called herringbone arch, that is, a fork hand was erected on the forehead and a bucket was placed on it to support the cornice.

In the early Tang Dynasty, it can be seen from the stone inscription "Illustration" on the lintel of Xi 'an Ancien Temple that the pillars of the Buddhist temple still have the arches of Chinese characters. The second stage is from Tang Dynasty to Yuan Dynasty. The main feature of the bucket arch in this period is that the beams supported by the stigma bucket arch are mostly inserted into the bucket arch, so that the bucket arch and the beam frame are tied together, and the horizontal arch along the house body also overlaps with the square (that is, the square) of the column head. A circle of stilts and beams at right angles to it are interwoven into a horizontal frame divided into several well-shaped grids, and the bucket arch becomes the strengthening node of each intersection. At this time, the bucket arch is no longer an isolated supporting frame or cornice member, but an inseparable part of the horizontal frame. This kind of cross frame is now called "paving", which is used on the column network of palace frame and plays a key role in maintaining the integrity of wooden frame. The existing memorial archway of Beige Temple in Wutai Mountain in Tang Dynasty is a typical example of this practice.

The combination of the bucket arch contained in the architectural French of Song Dynasty with the beams and frames of various palace frames, although not as close as that of Tang Dynasty, is still similar. The third stage is from Ming Dynasty to Qing Dynasty. Since the Ming Dynasty, large and small beams and beams have been used between the capitals, and the size of the arch has been shrinking and the spacing has been increasing. The beams of Qing-style buildings are no longer inserted into the Song Like-style buildings with bucket arches, but are pressed on the top of the bucket arches and directly bear the eaves trusses. Therefore, after the development of the bucket arch in Ming and Qing Dynasties, it no longer played the role of keeping the framework intact and adding eaves. Its materials and scale are much smaller than those of the Song Dynasty.

3. The bucket arches in China in 1950s are also called bucket arches, bucket arches, bucket arches, paving arches, etc. [3] is the unique structure of Han architecture in China.

At the top of the column, between the forehead purlin and the eaves purlin, or between the frames, the arch-shaped load-bearing structure formed by adding purlin layers is called an arch, and the square blocks between the arches are called buckets, which are collectively called bucket arches. The emergence and development of bucket arch (15) has a very long history.

From the architectural patterns on mulberry picking and hunting pots in the Warring States period more than two thousand years ago, as well as the tombs and murals preserved in the Han Dynasty, we can see the image of early fighting arches. The most decorative features of China's classical architecture were often seized by the emperor, and the bucket arch was banned from folk use after the maturity of the Tang Dynasty.

Bucket arch is a unique component of architecture in Han dynasty, which consists of square bucket, ascending bucket, arch bucket, tilting bucket and ascending bucket. It is the transition between the pillars and the roof of a larger building.

Its function is to bear the overhead expenses of the roof, and directly concentrate its weight on the pillars, or indirectly put it on the forehead and then transfer it to the pillars. Generally speaking, all very important or memorable buildings have bucket arches.

Bucket arch gives people a mysterious and wonderful feeling. It is also unique in aesthetics and structure.

Whether from the artistic or technical point of view, the bucket arch is enough to symbolize and represent the spirit and temperament of China classical architecture. The middle extension of the bucket arch is still called playing head.

Carved with a vertical double blue faucet. Semi-three-dimensional flame beads are carved on both sides of the arch plate of the cushion, symbolizing good luck.

China Architectural Society was founded in 1953, with the abstract bucket arch as the emblem.

4. The Historical Evolution of Gan Lan Style The Historical Evolution of Yunnan Ethnic Dwellings In the southwest border of Yunnan, the geographical climate is diverse, ethnic groups live together, and the living customs are quite different from those in the mainland. As far as the ethnic residence in Yunnan is concerned, it has been different from the Han nationality in the mainland since ancient times and has experienced a long historical evolution.

Generally speaking, the folk houses of various nationalities in Yunnan originated from nesting and cave dwelling. There are many records about nesting and burrowing in the ancient history of China.

Zhuangzi Day: "In ancient times, there were many beasts, so people lived in nests to avoid them. They gather oak and millet during the day and live in trees at dusk, so there are people who live in their nests on the day of life. " "Everything is done by everything done. "Five moths" said: "In ancient times ... wood was built into a nest to avoid group harm ... and there was another' nest clan' date ..."

The Taiping Universe was published in 16 1 year. The custom in Hezhou, Lingnan Road is to "build more trees as nests to avoid miasma". The ancestors of various nationalities in Yunnan entered the Neolithic Age about 2000 years ago after primitive caves or nests, and broke away from primitive caves and nests, establishing wooden houses, earth brown houses and bamboo houses.

Bamboo houses have a long history and developed from primitive nesting. The cultural sites around 1 150 BC discovered at Jianchuan estuary all have obvious traces of bamboo buildings.

In addition, from the cultural relics unearthed in Dianchi Lake and Erhai Lake areas, it is found that houses are mostly made of "dry fence" or "dry well". The "bronze coffin" unearthed in the countryside of Xiangyun County is cast in the shape of a "dry fence" house.

According to historical records, before the Yuan Dynasty, Dai folk houses were all "dry-column" bamboo buildings. This dry-column residence is very suitable for the tropical and subtropical humid climate in southern Yunnan. People live upstairs, livestock are raised downstairs, and debris is piled up. The weather is cool, dry and very comfortable.

Gan Lan folk houses are still widely used in Dai, Jingpo, Wa, Jino, Bulang, Hani, De 'ang, Lahu and Lisu. Since the Yuan Dynasty, with the expansion of folk cultural exchanges, bamboo houses have changed.

Under the influence of Han nationality, Yi nationality and Hani nationality, some houses of Dai nationality have changed. For example, Dehong's "Dai Na" (Handai) transformed the Ganlan Bamboo House into a quadrangle with earth walls and grass roofs, while Yuanjiang and Xinping's "Dai Na" were transformed into earth palm houses under the influence of Yi and Hani nationalities. The "well dry" house, also called "wooden house", is made of logs in the shape of a well, which is tightly closed and suitable for ethnic groups living in high altitude areas.

The "Shangcang Map" unearthed in Shizhai Mountain, Jinning, Kunming, shows that at least during the Warring States period, the burning people in Dianchi Lake area had lived in the "well-dried" houses. From the beginning of A.D. to the13rd century, that is, from the Eastern Han Dynasty to the Southern Song Dynasty, three kinds of folk houses with unique local ethnic styles were formed in Yunnan: the "earth palm house" with flat-topped wooden frame, the above-mentioned "dry column" bamboo house and the "well dry" wooden box house.

First, from Dadunzi in Yuanmou and baiyang village in Binchuan County, the residential style of Neolithic Age developed and formed. Two, three, Xiangyun County * * Nacun, Jinning Shizhai Mountain unearthed bronze artifacts have models.

These three kinds of residential buildings have a long history, and they have existed and developed continuously in various historical periods. In modern times and modern times, the wooden flat-topped earth palm houses have developed into earth palm houses of Hani and Yi nationalities. Gan Lan style has developed into bamboo houses of Dai, Jingpo, De 'ang, Bulang and Jino. In mountainous areas with dense forests, people still use dry well houses.

During the Three Kingdoms, the Jin Dynasty and the Southern and Northern Dynasties, with a large number of Han Chinese from the mainland moving into Yunnan, economic and cultural exchanges deepened, and architectural styles and technologies from the mainland were continuously introduced into Yunnan. After Nanzhao, Buddhism prevailed, and Buddhist architecture had a far-reaching impact on local architecture in Yunnan.

Therefore, since the Eastern Han Dynasty, Yunnan's architectural culture has undergone tremendous changes, and the blending of mainland cultural styles and local traditions has produced new residential building technologies and characteristics, which have deepened with the development of the times. Among the mural tombs of the Eastern Jin Dynasty excavated by Houhaizi in Zhaotong, there is a house with a tile roof and a high eaves, which obviously imitates the Chinese architecture in the mainland.

There was no such house in Yunnan before the Western Han Dynasty. It can be seen that Yunnan architecture has made a breakthrough development after the Eastern Han Dynasty, and the wooden frame has developed from straight column, well dry type and dry column type to bucket span type, beam lifting type and bucket arch type. Although this kind of building has not appeared in large numbers, it is only built by rich people and local people, but its appearance in Yunnan shows the progress of building technology, because the use of bucket-span, beam-lifting and bucket-arch has great influence on material selection, design and bucket-arch.

The application of bricks in residential buildings is another manifestation of Yunnan's architectural technology progress after the Eastern Han Dynasty. In Zhaotong, Ludian, Daguan, Yanjin, Qujing, Lvliang, Chenggong, Jiangchuan, Yao 'an, Xiangyun and other places in Yunnan, many tombs of the Eastern Han Dynasty and Jin Dynasty were excavated, including tombs, burial rooms, coupons (or quadrangular conical roofs), mostly made of bricks.

These bricks are blue bricks, printed bricks, printed bricks and portrait bricks, and they are all well burned. There are several patterns, such as diamonds and squares.

There are cows, carriages, figures and other images on the portrait brick. There is a carriage on the brick of Bainijing in Zhaotong, Yunnan, with four people walking together, some riding horses and some carrying weapons, which is vivid.

Bricks are printed with dates and inscriptions, gray and black, and convex faces are printed, most of which are positive characters and a few are negative characters. There are also white tiles with lotus patterns and dripping water with cirrus patterns.

In Dali, Weishan, Yao 'an, Chuxiong and other places, such tiles with characters and patterns have been excavated for building houses. Weishan Yulong Tushan was the city site during the reign of Xi Nuluo, King of Nanzhao. These tiles were used to build houses in Tucheng, Rowen.

The tiles unearthed on Jinsuo Island in Dali were used by Nanzhao royal family to build villas on Jinsuo Island. There is the date of firing and the name of the craftsman on the tile, and some words and patterns are difficult to identify.

It can be seen that the traditional house with dry wells and no tiles has been changed and developed into a brick house in the mainland. Nanzhao and Dali used tiles to build houses. At that time, houses were basically tiled roofs.

During Nanzhao and Dali periods, the architecture of houses, palaces, temples, Buddhist temples and pagodas reached a considerable level. Nanzhao and Dali built and expanded some towns to meet the needs of politics, economy and military affairs. Especially during the reign of Ge Luofeng, Nanzhao Dehua Monument praised their achievements of "setting up dangers to prevent evil and building a solid city in the pass".

According to Zhuo Fan's Schumann in the Tang Dynasty, the important towns at that time were Taihe City (near Taihe Village), Yangmaocheng (Dali), Weilongcheng (Shimonoseki), Longchengkou (Shangguan), Dali City (Xizhou), Dengchuan City (An Deyu Village) and Baiya City (Shimonoseki).