Naxi architectural features

I. The development of Naxi residential architecture

The Naxi residential architecture can be divided into seven stages of development due to different stages of historical development: nesting, caves, shacks (wind hedges), mud buildings, well-drying wood-fluted houses, earth and wood-framed tiled houses, and masonry and steel mixed structures. In terms of content, it can be divided into ancient town dwellings represented by Lijiang Ancient Town, rural dwellings represented by the dam area, wood-fluted houses represented by mountainous areas, and mother house dwellings represented by Yongning Nari people. Most of the wooden houses, grass houses, and generally build buildings is the establishment of the country, especially after the reform and opening up.

The Dongba scriptures have records of nesting, cave dwelling and shack dwelling, which are consistent with the origin of human construction. So far, some remote places of the Naxi people still retain the ancient form of residence, such as in Sichuan Zuozhuo Na Ri people in the wind hedge type of construction: in the surroundings of the base with earth blocks, supplemented by a wooden frame, covered with wooden boards or grass, in the middle of the fire pit. (see chart) from the old Naxi hieroglyphics, "room", "house" writing shape can be seen, the Naxi into the stage of written society, has said goodbye to the original primitive residence, has constructed different residential, such as on the cover of wooden planks piece of the The Naxi had already left the original primitive dwellings after entering the stage of written society, and had constructed different kinds of dwellings, such as the "plank house" (g'33dMi31) covered with wooden planks, and the "grass house" (z'33dMi31) covered with grass. These houses are named because of their different coverings, but their building structures may be the same as the wood-lined houses. The Naxi people call the wood-lined houses "si55li31dMi31", meaning pearwood houses. This well-dried building is the traditional Naxi architecture, in the Qing Dynasty Guangxu "Lijiang Prefecture Zhi Zhi Manuscript" Volume 1 is recorded: "What some barbarians live, with round wood vertical and horizontal frame, layer and high, to ten feet, that is, adding rafters and trusses, covered with boards, stone pressure on the room on all sides are applied to beds and couches, the center of the fireplace, the height of beds, imprisoned with iron. The wooden cauldron is routed, and the cooking stove is placed on it".

This wood-fluted room is about 3-4 meters high, generally for the bungalow, surrounded by wooden rafters into a frame, between each rafter at each end are stitched cuts; foundation requirements above the level of 1-2 feet; on the cover to oak chips or hemp poles, and pressed on the stone. With three rooms mainly, the kitchen is wider than the circle room, housing 5-10 square meters, generally divided into two rooms, the middle room accounts for two-thirds, for cooking, rest and sleep in an important place. Fire pit against the corner of the back wall, about 2-3 feet high, an area of 2 meters square. The fire pit is placed in the center of the room, which is not extinguished at any time of the day or night, which is a metaphor for the long and prosperous life of the family. Around the seat, part-time bed, is commonly known as the upper "Gegulu" (meaning positive seat), generally for the master of the family or honored guests to sit. On the upper wall there is a god, for burning incense to honor the ancestors. The side room is a place for storing food. Inside the house, there is a mother pillar, a sacred place for the family, on which hangs a vegetarian basket, which is the residence of the family god "Su". It is the place where the god of the family, Su, lives.

Wooden houses are the main construction of mountain villages in the Naxi area before the reform and opening up, mainly because of the low investment, can be local materials, especially in the period of better ecological vegetation. The majority of villagers generally have a three-room wooden house, and all of them are people and animals living together. Nowadays, basically every family has a building, and the remaining wooden houses are no longer inhabited by people, but are mainly used to keep livestock or put miscellaneous things. To this day, there are still many wooden houses in the Naxi mountains.

Chinese-style architecture in the Ming and Qing Dynasties, the rise of the Ming Dynasty, the ancient city of Lijiang has taken shape, "the beauty of the palace, proposed to the king" of the wood House large-scale complex has become the outstanding representative of the local architecture. Ancient city as the center of the surrounding area is also gradually to the earth and wood structure of the transition of the tile house. By the end of the Qing Dynasty, three houses and a wall, one into two houses, two houses corner, courtyard and other Han-style architecture has been more popular in the countryside. At the same time, a variety of temples, Taoist temples, shrines are also all over the towns and villages, also become a big Naxi architecture. However, until the early 50s of this century, the Naxi society was a variety of forms coexisting, even between different regions of the same ethnic group there are different social forms. The architecture of the Naxi region still shows different characteristics.

Two, Lijiang Naxi residential

Lijiang Naxi residential architecture is basically based on the earth and wood structure of the building, generally about 6-7.5 meters high, two-story earth and wood structure of the bungalows, buildings. The layout of the form of three houses and a wall, one into two yards, two houses corner, courtyard, in which the three houses and a wall is the main. Families with economic difficulties also build "two houses" and "one house", to be gradually expanded when the economy improves. Three houses and one wall, i.e., one house for the main house, two houses for the left and right compartments, plus the wall opposite the main house, form a triple courtyard. Generally speaking, the three houses are all two-story, east-facing main house and the south-facing wing of a house downstairs to live, upstairs as a warehouse, north-facing a house downstairs as a stable, upstairs storage forage. In addition to the use of the patio for life, but also for the use of sun grain or processing of food, so the rural patio is slightly larger, smooth floor, not paved with masonry. In addition, one of the most significant features of Lijiang Naxi houses is that there are wide mansions (i.e., porches) in front of each house. Lijiang Naxi dwellings are crisscrossed in the combination of body shapes and the modeling of wheel corridors. The fa?ade of the exterior is mostly made of stone masonry le foot, plastered walls, bricked corners, green tiles on the roof, with harmonious hues and plain appearance. In order to protect the boards from rain, most of the eaves outreach, and in the exposed wall beams at both ends of the top of the skirt, the beams play a protective role, but also to enhance the artistic effect of the whole building, locally known as the "fish" board.

In Lijiang Naxi dwellings, the wall only plays a peripheral protective role, not load-bearing, the requirements of the wall is "the wall is not the top of the wall, pouring the wall outside", because the wall is not load-bearing, there is no need to build to the top.

Lijiang Naxi people live next to the Bai people, their residential style is obviously influenced by the Bai people. But there are differences, such as the Dali Bai residential scale, regular, with a fire wall; Lijiang Naxi residential mostly small courtyards, no fire wall, the eaves are larger, appearing light and flexible. Compared with the slenderness and beauty of the Bai people's houses, the Naxi people's houses with their deep overhanging soil roofs and simple decorations appear to be simple and elegant.

Lijiang Naxi dwellings can be divided into three parts: the old town of Lijiang, the rural dam area and the mountainous area. Compared with the more concentrated, elegant and exquisite residential characteristics of the ancient city, the rural dwellings in the dam area of Lijiang are scattered, random and simple. And residential function in addition to residential function, but also for the production of labor service function characteristics, so the courtyard spacious, with grain shelves, granaries, pine wool pile, animal pens, forage room. Mountain building original sue to wooden house is more prominent, in recent years, also gradually converge with the dam area, wooden house reduced to animal pens or kitchens, the main house to the brick house is dominant. The original kitchen for the family deliberations, rituals, guests, sleeping and other functions have gradually disappeared.

Three, Lijiang Ancient City

Lijiang Ancient City was included in the World Cultural Heritage in 1997 and famous, it is also China's first included in the World Cultural Heritage of historical and cultural cities. Lijiang ancient city includes Dayan ancient city, Shuhe ancient town, Baisha ancient town, with Dayan town as the main body. The development of Lijiang Ancient Town is based on the geographical order of migration from north to south in different historical periods, from the initial Baisha, to the middle of the Shuhe, and finally in the Yuan Dynasty, the location of the current Dayan Town. So far can also be seen in the three towns of Danyan, Shuhe, Baisha architectural style and mode are consistent, are based on the mountains and water, household poplar, family water; street layout, to the four sides of the street as the center of the dispersion of the development of the surrounding area, residential and government offices mixed together; street with the water, house with the water to build, there is no traditional Han-style central axis of the building and the officials and people of the different grades of the architectural style, which honors the unconventionality and a self-contained, unintentional and wonderful hand of heaven. It respects the unconventionally and self-contained, unintentionally and wonderfully, truly realizing the ideal pursuit of the unity of heaven and man. Lijiang ancient city has its own cultural characteristics due to different regions: the cultural characteristics of Danyan town is characterized by the fusion of Han Chinese and indigenous Naxi and the formation of multiculturalism as the main body; Shuhe Ancient Town is based on the culture of the old tea-horse road, and there are still tanner's villages and Tibetan villages, and the ancient people of Shuhe "an awl to break into the world"; Baisha is known as a collection of Naxi ecological culture, which is the most important part of its culture. The Baisha is known for the Naxi ecological culture, its territory is concentrated in the Dabaojie Palace, Baisha murals, Beiyue Temple (three Duoge), three sacred Palace, Wenchang Palace, Liulidian Hall, King Kong Hall, Dading Pavilion, Fukuo Temple, Yufeng Temple, Yuju Optimus Prime and other humanistic attractions, and now increased the Dongba Wanshenyuan, the Kingdom of Dongba, the Valley of the Blue Moon, the Yushui cottage and other humanistic scenic spots. The three ancient towns constitute the complete Lijiang ancient city in harmony and unity, condensing the Naxi people from nomadic, farming, trade, industry, different stages of historical development, which is also the history of integration of different ethnic cultures, development and creation of history.

The ancient city, but it is a living city, which is reflected in three aspects: First, living water, living water, through the streets and alleys, flowing throughout the city, benefiting the whole people; Second, living culture, the Naxi people live here, in the long vicissitudes of history in the long and tenacious preservation of their own ancient culture in the process of fusion with the Han Chinese people, but also did not lose their own unique cultural traditions, and the success of the integration of culture. Win-win: Han culture and peace into the Naxi culture, so that the Naxi culture tends to be more profound, strong and clear; three, live architecture, the ancient city building on the mountain, eaves and corners, undulating, spectacular, poetic and picturesque, but for the nearly 20,000 people living in the local people here, these people live in more significance is that it has a practical function. These homes to welcome how many summer and winter, read how many spring and autumn, with a full body of vicissitudes into their years, and is still sheltering them, so that their ordinary life can continue, they themselves and the ancient city into one.

The soul of the ancient city is water, and water-related is the river, wells, bridges. Water from more than a kilometer above the Black Dragon Pool, to the entrance of the ancient city into the east, west, in the three streams of the river, three streams of the river in the city and divided into a number of, forming a vein-like river. Wells to "three wells for" name, "three wells" that is, a well divided into three, three connected, three mouths are divided into drinking water, washing water and washing water. There must be a bridge, the ancient city and for the dense residential area, the bridge naturally become a landscape: the ancient city **** there is a corridor bridge (wind and rain bridge) stone arch bridge, stone bridge, plank bridge and other different types of 354 bridges, an average of 93 bridges per square kilometer!

Curved paths, bridges, running water, homes, stone, deep alleys, combined into a perfect mood of "curved, quiet, up to, elegant". Outsiders into its inside, Tao Tao thought placed in the apricot blossom spring rain in the ancient town of Jiangnan, not a sudden look up, the silver-capped bright, towering Jade Dragon came to the face of the Dongba paintings, the seven stars of the sheepskin, the Naxi ancient music, hieroglyphics, Naxi milk and other elements of the national culture also ensue, which are composed of the magical charm of the ancient city of Lijiang.

One, Yongning Naxi people's residential architecture

Yongning Naxi people's residential architecture to the traditional wooden corrugated house, the layout of the layout of the three houses and the courtyard. The courtyard is divided into the main room, the hall (west room), the east room, and the gatehouse. The main room is the center of the family's main activities, so it is wider than the average house, generally 10 meters long. There are male and female columns in the main room, with the female column as the largest, reflecting the Nari people's respect for motherhood. It is the place where men and women hold the rite of passage; there is a fire pit in the middle of the right wall, which is the place for deliberation, eating, sleeping of the head of the family, and offering to the gods, and the fire in the fire pit cannot be extinguished, and it is not possible to cross the fire pit, spit towards it, or say unhealthy words. Under the left wall, there is a stove, which is generally used for cooking utensils and for cooking when inviting guests to do business; above it, there is a shrine, on which the statue of the god, offerings and vases are placed. Above the fireplace is a statue of the God of Stove, and in front of the fireplace is a stone bowl with a pot for offerings. In the back of the main house, there is an inner room for storing food and living room for the elderly. Warren room that is the west room, upstairs living lama, for the statue of Buddha, under the storage of firewood, some people will also live in the house, mostly single men or guests. East room, the door upstairs live adult women, downstairs off livestock.

The right side of the fire is the main seat, the left side is the guest seat, can not be confused. Generally, the right side is for women and the left side is for men. Seats are taken by the elders, and the juniors should take the initiative to give way to the elders and invite them to take their seats; once seated, they cannot move around, which would be considered disrespectful to the hosts. Children live with the elderly, and adult men have no fixed room at home.

The Yongningna people believe that a person's birth, death and growth are all completed in the family house. Since a person is born in this family house, she (he) also becomes the object of blessing of the family gods and becomes a member of the family, enjoying the warmth and joy of the family since childhood, and the adult has to take up the corresponding family and social responsibilities and obligations. This is why the Bar Mitzvah held in the mother's house is so meaningful. After the death of the Nari people, the family will make a small coffin similar to the Mukden, in order for the deceased to enjoy in the netherworld.

Three, Lijiang Naxi people to build a new house folk

Folk "Naxi Ji Zi Duo" said, that is, the Naxi people to build a house for the big. Lijiang Naxi people to build a new house to hold a grand ceremony, which has both the traditional cultural characteristics of the nation, but also the influence of foreign cultures. The following is a brief introduction to the process of the ceremony:

1, Anmu God, send wood God

Anmu God: the first thing to start work is to Anmu God. In the end of the beam saw off a small piece of round wood, the book "round wood, big luck"; and then make a small wooden horse, in the ancestral tablets next to the sacrifice and placed on the stove side. This is the god of wood.

Sending the wood god: the night before the house is erected, the master will preside over the ceremony of sending the wood god. The wood god is offered in front of the ancestors' tablets, and sacrifices, rice, wine, tea, candy, etc. are offered. In addition, a large wooden horse, a bunch of torches and four triangular red flags are also prepared. After the sacrifice of praise, lighting torches, masters carry wood god, others carry offerings, out of the door, the wood god sent to the place where you can not see the new house, pedestrians see should take the initiative to avoid, can not be greeted. The direction of the delivery is determined by the person who measures the day (Nivaruhi). As soon as the person who delivers the kigami arrives at the designated place, he or she puts down his or her belongings and leaves, without speaking or looking back. Meanwhile, the other two masters who stayed at home are to go to the site of the new house to perform the ceremony of driving the wood god, and by the roof frames that have already been interspersed, they are first to say that it is time for the wood god to leave and return to his home. Then a pillar of incense is inserted by each stone pillar block, and at the same time, a few knocks are made on each pillar, "The wood god rises, the wood god leaves ......"

2. Erecting the new house

The male master has to light firecrackers early in the morning at the entrance or at the new house. In the c time to set up a new house, the whole village of young and strong laborers to participate. It is auspicious to put up the beam at noon.

3, point in the beam

The beam is set up in two wooden horse frame, the center of the eight trigrams of Tai Chi (some are painted on the cloth and then nailed up), in front of the table for a pig's head, a rooster, a bowl of water (in the silver dollar to two yuan as a reward) preserves, candies; but also to put the carpenter's tools: five-foot pole, the ink bucket, set of mortise and tenon boards, painting sign. Five-foot pole tied to the red cloth six feet, set tenon board tied a towel.

Points in the beam before the master and master to change, the master first wash their hands with clean water, then vinegar soup Xian chicken feet. Wash your ears and listen well after the chicken dedicated to the master, after the dedication of arching hands as three bow, to show appreciation. After receiving the chicken, the master bowed to the main beam, and then began to chant the tune of building a new house:

Prince Deng, Prince Deng, received a chicken from the master, the chicken is what chicken? What kind of chicken is it? It is the Phoenix Chicken in the sky, with a golden crown on its head, colorful clothes on its body, and ten-thousand-year shoes on its feet. I am Lu Ban's disciple, Lu Ban told me to take the point of life (pinch the crown of the chicken in order to point the blood). Left after the point is the back of the column, future generations of children and grandchildren out of the scholar; right before the point is the front of the column, a thousand generations of grains; point four points in the beam column, a cause point in the dragon's head, glory, wealth and prosperity; two points in the dragon's tail, big hair big prosperity; three points in the middle of the point, blessing the master of the children and grandchildren to flourish (the bystanders echoed: children and grandchildren to flourish!)

The point of the center beam point tool, a little bit in the five-foot pole, the amount of fit or not have you in; three points in the set of mortise and tenon board, play fit or not have you in; four points in the painting on the sign, painting fit or not have you in.

4, boarding the new house on the beam

point in the beam, the master holding a small axe, came to set up in the middle of the house of the ladder side, with the axe knocked the ladder three times, and then sang:

kind of ladder what is the ladder, the ladder is the ladder of heaven as the ladder, today encountered the ecliptic day, master luban told me to go to heaven. The right foot steps on you, you do not shake, the left foot stomps on you, you do not swing. (After climbing up the ladder) I went up one after another, one after another. Once I went up to heaven, there was a bridge in heaven; what kind of bridge is it? What kind of bridge is it? The bridge is the Golden Dragon Bridge. Today is the ecliptic day, I am Lu Ban's disciple, and Lu Ban told me to cross the Golden Dragon Bridge, so I can step on you with my right foot without shaking, and stomp on you with my left foot without swinging. (The master takes his stand on the footbridge, and the people below pass the offerings in order and place them on the footbridge; the master lowers a rope from above.)

The tethered person: what kind of rope is the rope?

Master: Suo is the East China Sea Dragon King silk thread, silk thread to be tethered to the Golden Dragon beam, the left side tethered to the dragon's head, the right side tethered to the dragon's tail. Dragon head up! Dragon tail up! Dragon head and tail together! Swing to heaven! (After the new beam was placed in the right position, the master set off firecrackers)

Master: Platinum Dragon, Platinum Dragon, you're the king of the tree on the mountain, and today you meet the ecliptic, and the master has taken you to be the center of the beam, and I'm Lu Ban's disciple, and the master told me to ask three questions. I am a disciple of Lu Ban. Master Lu Ban told me to ask three questions: First, ask the dragon's head to be rich and prosperous (knock once); second, ask the dragon's tail to be rich and prosperous (knock once); and third, ask the middle, and bless the master to have a great deal of prosperity! (The crowd responded in unison underneath: Hop-!)

Master: the left side of the golden dragon flag, the right side of the phoenix flag (the left and right side of the small red flag); wine is what wine? The wine is Heqing glutinous rice wine (toast to the sprinkling); What water is the water? The water is Lijiang Nine Dragons Water (to sprinkle); what kind of money is the money? Money is Daoguang Jiaqing money. (Sprinkle money)

What is the rice? The rice is the rice of the five grains, the gods and emperors can not leave. (Throwing buns, according to the direction of the throw different and sing) a broken East A B wood; two broken South C D fire; three broken West Geng Xin Jin; four broken North Nong Dui water; broken four broken five square, five broken central E has earth, the master kneeling under the beam, catching glory and wealth, catching glory and wealth, the master of the face of a pair of copies of the (thrown to the master of the inside of the package of jewels of the buns); I have a copy of the front of the, we look at it, don't see the laugh.

Then other master carpenters together with several large plates of steamed buns all thrown to the four sides, all four a jubilation.

The new house was erected after the post couplets. The couplets were sent by relatives and friends, with the names of the relatives written on them.

Generally, the couplet reads: "The pillar is happy to coincide with the Zodiac Day, the beam is meeting the Purple Weather Star. Banner for: Auspicious stars shine high

Four, the Naxi folk building function

1, rest and recuperation

This is the biggest function of the house, the main room is the center of family activities, but also rest, talk about things, entertainment center. Downstairs in the middle of the main room is called the hall, is the male master of the family sleep, Naxi couples share beds, the hostess sleeps next door to the hall; generally girls sleep with their mothers, boys sleep with their fathers; children grow up to sleep separately, the side rooms are also used as bedrooms. Peter Gu, who visited Lijiang in the 1940s, wrote this interesting description of Naxi couples' sexual avoidance in his book The Forgotten Kingdom: "It is almost a rule that the husband sleeps in the hall (the parlor). During the day his bed is covered with a mattress as a resting place. In contrast to mainland China and other countries, there are no double beds in Lijiang, and husbands and wives are not expected to sleep together all night. If the neighbors found out they were sleeping together, they would lose face in the village. Even the quilts are always made for one person, never for two. This restriction did not apply to friends. Boyfriends who were to spend the night always slept with the man of the house, two or three in the same bed."

Some families place ancestral tablets directly above the hall, some upstairs. Upstairs is mainly for food and household goods. The pen house keeps the sex animals downstairs and the grass upstairs. The center of the family's activities is the kitchen, centered on the fire pit, where the family's cooking, eating, chatting and deliberations take place, and even the TV is placed in the kitchen. Opposite the fire pit there is a cooking stove, mostly for cooking pigs, and under the government's promotion, most of the farmers in the village have now built wood-saving stoves. In the past, when a family could not afford to build a building and had only one wooden house, the kitchen was also a special bedroom, with a place of honor right above it, and the bed was for "the one who keeps the house," so it was usually for the elders or the master to sleep in. Guests are also invited to sit here.

2, production services

that is, to meet the needs of agriculture, animal husbandry production. The main room upstairs to place food, the side room upstairs to pile up grass, downstairs for the animal pens. Large and small livestock are generally mixed together, such as pigs and horses together. The courtyard is mainly used for drying grain, keeping chickens and pigs. And other things in the place. Under the eaves of the house piled up firewood, all from the mountains after cutting back back. Some to go back and forth more than ten kilometers, the winter of the year is the season to find firewood, piled up at the bottom of the up to ten years, for a year to burn the fire, from which you can also witness the Naxi women's hard work and endurance. Yard also built a sun grain shelf, grain shelf generally erected three columns, each column are drilled holes, rafters through, as a special sun grain. Behind the house there is a pile of pine hair.

3, religious services

Naxi residential buildings are divided into secular space and sacred space, sacred space is associated with religious rituals. Festivals such as Spring Festival, Ching Ming Festival, Torch Festival, Bun Burning Festival, and Mid-Autumn Festival are also folk festivals for ancestor worship, and these rituals are usually held at home. Meanwhile, customary rituals such as marriages, funerals and rites of passage are inseparable from the house facilities. The main house room or the fire pit is always equipped with a god's seat directly above. When holding sacrificial ceremonies, incense is burned, prostrations are made and prayers are made here.

V. Characteristics of Naxi Architectural Folklore

1. Historical and Cultural

Each ethnic group has its own unique culture, and architecture is an important part of its culture, which reflects the aesthetic concepts of this ethnic group, social concepts, as well as regionality. Therefore, different nationalities have different choices of architectural locations and forms, the orientation of the rooms, and the layout of the interior of the rooms. "Palace of the beautiful, like the king," the wood of the Tusi Yamen House seat for the seat of the west towards the east, mainly east of the five elements of the "wood", to be subject to the wood gas. The folk people are more to consider whether the sun, sheltered from the wind. Sometimes, the master of the family bad year, thought the family misfortune, please diviner fortune-telling, re-change the door of the direction of the seat, in order to avoid disaster and seek blessings. Naxi forefathers had a mother for the big, so the house has a mother room, men's room, the mother room for the big. Yongning's mother house threshold is very high, the top of the door is very short, people into the house to bow down and bend over, to show respect for the hostess; there are also said to be the ghosts and monsters will not bend over, so not into the house. The main house or the mother house enshrines the family ancestor, the God of Stove, the God of Vegetables and other deities, all of which have a fixed position and cannot be confused with each other by misplacing them. Sometimes, the villagers of a family is called to the name of its place of residence, such as living in the water's edge of the family known as the water's edge of so-and-so family, living in the village road below the road below the so-and-so family, living in the water mill known as the water mill at the so-and-so family, or simply the back of the so-and-so family is also omitted, directly to the name of the name of the place to the mill, the road below the water's edge up to the name, the name of the environment has become the name of the family, and then into the family Name. This has an intrinsic relationship with the Naxi naming tradition.

2, multicultural integration

The culture of various ethnic groups has a process of mutual integration and mutual influence. This integration and influence on many aspects of culture, also reflected in the art of architecture. Naxi residential architecture absorbed the architectural features of the Han, Bai and Tibetan. For example, most of the residential buildings in the ancient city are mainly made of wood frame, and the building materials are mainly made of wood; the arch is the key to the structure and is used as the unit of measurement; in the external outline, there is a tall pedestal, and there are many kinds of roofing styles, such as hipped, hiatus, overhanging hill, solid roof, save the pointed roof, single-slope, cross-ridges, dingzhi ridges, arched roofs, helmet roofs, domes, etc. and all kinds of complex shapes formed by the combinations of these roofs and there are various kinds of ridge kisses, gables, eaves, and so on. Relatively have a variety of ridge kiss, eaves edge, corner and other curves, soft and magnificent; the organization of the courtyard, in addition to the main building hall, the ancillary buildings are mostly used in the ancillary compartments, rooms, corridors and hips, front halls, enclosures, etc., and for the symmetrical layout along the central axis of the left and right; the use of architectural colors. These are obviously borrowed from the Han architectural art. The influence of the Bai on the Naxi architecture is mainly in the doors, windows, walls, and decorative paintings. The architectural style and style of the barbaric buildings around Lijiang inherited the traditional architectural style of the Tibetans; the influence of the Tibetans is more prominent around Yongning, such as the mother house are equipped with a scripture altar and set off with traditional Tibetan decorations; every village has a mani pile and so on.

3, aesthetic art

Naxi architecture from the overall characteristics, pay attention to the layout of the balanced symmetry, transition, articulation of nature, change. First of all, the structure of a house, the structure of the house seeks the balance and symmetry of the upstairs and downstairs, front and back. Naxi folk houses between the number of single-digit-based, there are few double-digit, so that the center for the axis, the two sides for the balance point, it seems stable and generous. This symmetry is also reflected in the layout of the village to the river, the road or the middle wall of the two for the axis, each other to the axis and live. Of course, this balance is relative, such as clamping the river or clamping the road and the residence is with the river, the road changes and changes, with the mountain with the water wrong hut. Between the main house, side rooms, walls are also a high and low rise and fall, just this transition highlights the natural, hierarchical, highlighting its aesthetic qualities.

Fifth, the Naxi people's homes architecture folklore thinking

In the architecture of the nationalities expressed, rooted in the 'regional, and our research on these national architecture, should also be combined with the national region, and regional anthropological research.

The necessity of combining the study of "ethnic architecture" and "ethnic region" is that things are always developing and changing, and ethnicity and architecture are also in the process of constant change, especially the development of the economy, the changes in life, as well as the improvement of the humanities, science and technology, which will definitely affect the development of ethnic architecture. In particular, economic development, changes in life, and humanities, science, technology, etc., which must affect the development of national architecture, and the above factors are directly related to the development of the region. If we can grasp the above factors, it is possible to manage the development of national architecture in the changing historical phenomenon, i.e., to recognize the basic rules of its creation, the characteristics of the culture of the settlement, as well as the combination of architecture and nature, a primitive, simple beauty, etc., to maintain the good traditions, and in the new period to create a new regional architectural culture, to explore a new path of development.

Naxi ancestors based on their own living environment and humanistic qualities, to create a residential architecture culture in line with their own characteristics and environmental features. But now under the wave of globalization, Naxi folk architecture is also facing a crisis. Especially in the suburbs and villages, the original continuation of hundreds of years of old houses gradually show "backward", "outdated", have the economic strength of the majority of the facelift, cleanly constructed with reinforced concrete, the form of imitation of Western architecture. Sometimes according to the government's "clothes and hats" requirements, in the roof of the street side of a row of tile roof. In general, the classical architectural style has gradually faded out, completely westernized houses have gradually replaced the original old houses.

The Naxi people's homes are colorful, both traditional ethnic buildings, there is a modern rise of new-style houses, there are soil and foreign combination of new homes. But no matter it is in the, or foreign, or national, from which you can see the inheritance and development of the national primitive architecture, in its depths can be found in the origin of human life. It is native and full of local flavor, reflecting the unique concept of life of a specific nation and a specific region. It is unconventional, free and lively, blending with the natural environment. It arises from the people's life, advocating practicality and functionality, Lijiang City is carrying out a vigorous architectural retro movement, under the slogan of "building another ancient city", "cultural -Under the slogan of "creating another ancient city", "Culture Street" and "Commodity Street" are in the ascendant, and the steel-concrete buildings of the past are being "dressed up", with modern and fashionable decorations on the outside and inside. Inside all the modern fashionable decoration, but also the taste of the aborigines of the original ecological life. These fake antique buildings are like the shape, and the spirit has long been scattered. Historical culture is not a quick success, it is in the long history of the vicissitudes of precipitation, sublimation of the formation of ethnicity and geography of the interaction **** fusion. The combination of ethnic residential buildings and folk customs has become the space and place for various folk cultural activities, which itself constitutes part of the folk environment. Any innovation or development can not be detached from the historical situation, cultural traditions, this is history has repeatedly proved the axiom.