君子好色 古建之光《营造圭表》[宋]李诫撰.清初影宋手本34卷 399页高清扫描pdf

      君子好色

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    Architecture Method is an architectural work created by Li Jie in the Song Dynasty. It was compiled by Li Jie on the basis of the Wood Classic written by Yu Hao， a craftsman in Zhejiang and Zhejiang provinces. Is the Northern Song Dynasty official issued a building design， construction of the standard book. It is the most complete book on architectural technology in ancient China， which marks that ancient Chinese architecture has reached a higher stage. More high quality antiques art feng shui ancient books download all in PDF art club official website oh www.pdf-art.com hope to have the opportunity to communicate and discuss together. -- Detailed and accurate information， with benefits at the end of the paper -- Collected tens of thousands of ancient books， constantly updated.

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      'Architecture Method' is the Song Dynasty will be a supervisor Li Jie ordered reorders. For more than a hundred years after the founding of the Northern Song Dynasty， the construction of palaces， government offices， temples， gardens and parks went on one after another in a luxurious and exquisite style. The corrupt officials， both large and small， were in charge of the projects， which made the state Treasury unable to cope with the huge expenditure. Therefore， the various design standards， norms and related materials， construction quotas， indicators urgently need to be formulated， in order to clarify the hierarchy of housing construction， architectural art form and strict material example work limit to prevent corruption and theft was mentioned on the agenda. Zhe zong yuan you six years (1091)， will be the first time to supervise the compilation of 'Architecture Method'， issued by the emperor under the decree， the history of the book said 'yuan you method'.

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        In the fourth year of Shaosheng of the Song Dynasty (1097) in the north of the Song Dynasty， Li Jie ordered him to compile the work again because the work lacked material system and the materials were too wide to prevent various defects in the project. Lee commandment to his rich experience of more than 10 years to build engineering as the foundation， refer to a large number of literature and the old rules and regulations， collect the craftsman about each type of work procedures， technical essentials， and shape of building components， processing methods， finally into the 'building' and popular， from two years (1103) the national publication.

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     The book consists of 34 volumes， 357 chapters and 3，555 articles. It is the collection and summary of the architectural design and construction experience at that time， and has a far-reaching impact on the later generations. The original book 'Yuan You Method' in Yuan You six years (1091) into， but because there is no provision for modular system， that is， the use of 'material'， and can not build the proportion， materials to make strict provisions， architectural design， construction still has a great arbitrariness. Li Jie was ordered to re-compile the book， the end of the book. There are 34 volumes in the book， which are divided into five parts: explanation， system of works， work limit， sample and drawing. In front of the book， there is one volume each of 'sample observation' and a table of contents. See appearance basically is to explain all sorts of fixed data before and practice regulation and practice reason， be like the practice of housetop curve.

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        第1、2卷是《总释》和《总例》，对文中所出现的种建筑物及构件的称号、条例、术语作念一个范例的阐述。指出所用词汇在各个不同期期的着实叫法，以及在本书中所用称号，融合语汇。

第3卷:壕寨轨制、石作轨制。

第4、5卷:大木作轨制

第6至第11卷小木作轨制

第12卷雕作轨制、旋作轨制、锯作轨制、竹作轨制

第13卷:瓦作轨制、泥作轨制

第14卷:彩画作轨制

第15卷:砖作、窑作轨制等13个工种的轨制，并阐述如何按照建筑物的等级来罗致材料，确定各种构件之间的比例、位置、互联系系。大木作和小木作共占8卷，其中大木作率先轨则了'材'的用法。大木作的比例和尺寸，均以'材'行为基本模数。

第16-25卷轨则各工种在各种轨制下的构件工作定额和计较设施。· 第26-28卷轨则各工种的用料的定额，和所应达到的质地。

第29-34卷轨则各工种、作念法的平面图、断面图、构件详图及各种雕镂与彩绘画案。

'看样'和目次各1卷

    The first and second volumes are the General Explanation and General Regulations， which give a standard interpretation of the names， regulations and terms of the kinds of buildings and components that appear in the text. Indicate the exact names of the words used at different times， as well as the names used in this book， and unify the vocabulary.

Volume 3: the system of moat village and stone works.

Vol. 4 and 5: Dagu System

Volumes 6 to 11 The Small Wood System

Volume 12 carving system， spinning system， saw system， bamboo system

Volume 13: Tile system， mud system

Volume 14: Colour painting system

Volume 15: the system of 13 types of work， such as brick making system and kiln making system， and explains how to choose materials according to the grade of the building， and determine the proportion， position and mutual relationship between various components. Dagusaku and Dagusaku account for 8 volumes， of which Dagusaku first defines the usage of 'wood'. In the proportion and size of large wooden work， 'wood' is taken as the basic module.

Volume 16-25 stipulates the component labor quota and calculation method for each type of work under various systems. · Volume 26-28 specifies the quota of materials for each type of work and the quality to be achieved.

Volume 29-34 stipulates the plan， section plan， detail drawing of components and various carving and color painting patterns of various types of work and practices.

The 'sample' and the table of contents each have 1 volume

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（以材行为建筑度量衡的圭表）'材'在高度上分15'分'，而10分轨则为材的厚度。斗栱的两层栱之间的高度定为6'分'，也称为'栔'，大木作念的一切构件均以'材'、'栔'、'分'来确定。这种作念法早在唐初和佛光寺、南禅寺中诓骗，仅仅在翰墨中明确纪录，这是第一次。到清雍正十二年(1734)年清工部被颁布的《清工部工程作念司法例》的斗口制代替。

（天真）各种轨制虽都有严格轨则，但并莫得限定建筑的群组布局和圭表限定。可把柄具体项目情况，在轨则的条例下，可'随宜加减'。

（ 传统作念法延续）如侧脚、升空的轨则，使得通盘构架向内歪斜，加多构架的自若性。

（覆盖与结构的融合）对结构构件的防范轨则，并莫得因此而清除覆盖手法的推崇。将覆盖作念在结构中，不只独设立覆盖构件。比拟清朝时期的一些纯覆盖构件，更具有结构和感性。

（严格施工管制）全书34卷，用13卷来阐述各种用料用途，如斯确定工作定额，及运载、加工等所耗时辰，关于造谣预算，施工组织都有严格轨则。

      The 'timber' is divided into 15' points 'in height and 10' points 'in thickness. The height between the two sets of brackets is set at 6' points '， which is also called '栔'. All the components made of big wood are determined by 'wood'， 'frame' and 'points'. This practice was used as early as the early Tang Dynasty and in Foguang Temple and Nanzen Temple， but it was only clearly recorded in writing. This was the first time. In the twelfth year of the reign of Emperor Yongzheng of the Qing Dynasty (1734)， the Ministry of Qing Engineering was replaced by the 'Rules for Engineering Practices of the Ministry of Qing Engineering'.

       (Flexibility) Although the various regulations are strict， they do not limit the group layout and scale control of the building. Depending on the circumstances of the particular project， 'additions or subtractions as appropriate' may be added or subtracted under the prescribed regulations.

     (the continuation of traditional practices) such as side feet， raising provisions， make the whole framework to incline inwards， increase the stability of the framework.

    (the unity of decoration and structure) the detailed provisions of structural components， and therefore did not give up the expression of decorative techniques. Do the decoration in the structure， do not set up a separate decorative components. Compared with some pure decorative components in the Qing Dynasty， they are more structural and rational.

      (Strict construction management) 34 volumes of the book， with 13 volumes to explain the use of various materials， so determine the labor quota， and transportation， processing and other time consumption， for making budgets， construction organizations have strict regulations.

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     The most realistic significance of the publication of Architecture Method in the northern song dynasty is the strict limitation of materials. The book is one of a variety of financial and economic regulations enacted during Wang Anshi's administration to stamp out corruption. Therefore， a large amount of space in the book to describe the work limit and material examples. For example， to calculate the labor quota， first according to the length of the four seasons of the day divided into medium (spring， autumn)， long (summer) and short (winter). The wage is subject to the medium wage， and the wage is reduced and increased by 10% for the long and short wage. Next， to the component of each kind of work， demand according to grade， size and quality -- be like transport far and near distance， of current downstream or countercurrent， of the lumber that processes soft and hard， the calculation method that prescribed work value. The material sample section has detailed and specific quotas for the consumption of various materials. These regulations set strict standards for fabricating budgets and construction organizations， which are convenient for production and inspection， and effectively put an end to corruption and theft in civil engineering.

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      《营造圭表》的当代有趣有趣在于它揭示了北宋总揽者的宫殿、寺庙、官署、府第等木构建筑所使用的设施，使咱们能在什物遗存较少的情况下，对那时的建筑有超越防范的了解，填补了中国古代建筑发展经由中的进军门径。通过书中的记叙，咱们还知说念现有建筑所不曾保留的、今已不使用的一些建筑征战和覆盖，如檐下铺竹网防鸟雀，室内陆面铺编织的斑纹竹席，椽头用雕镂纹样的圆盘，梁栿用雕镂斑纹的木板包裹等。

      The modern significance of the book is that it reveals the methods used in the wooden structures of the palaces， temples， offices and palaces of the rulers of the Northern Song Dynasty. It enables us to have a very detailed understanding of the architecture of that time with few physical relics， and fills in an important link in the development of ancient Chinese architecture. Through this account， we also learn about some of the architectural equipment and decorations that the existing buildings did not retain and are no longer in use， such as a bamboo net under the eaves to guard against birds， woven woven bamboo MATS for the interior floors， sculpted discs for the rafters， and wrap-around wood panels for the fu beam.

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《营造圭表》的崇宁二年发行本已失传，南宋绍兴十五年(1145年)曾重刊，但亦未传世。南宋后期平江府曾重刊，但仅留残本且经元代修补，常用的版块有1919年朱启钤先生在南京江南藏书楼(今南京藏书楼)发现的丁氏手本《营造圭表》(后称'丁本')，完齐截全，据以收缩影印，是为石印小本，次年由商务印书馆按原大本影印，是为石印大本。

1925年陶湘以丁本与《四库全书》文渊、文溯、文津各本校勘后，按宋残叶版式和大小刻版印行，是为陶本。后由商务印书馆据陶本收缩影印成《万有文库》本，1954年重印为普及本。

    The second edition of Architecture Method was lost in Chongning， and it was republished in the 15th year (1145) of Shaoxing in the Southern Song Dynasty， but it has not been handed down. In the late southern song dynasty at pingkiang mansion was heavy， but leaving 12 and repaired by the yuan dynasty， commonly used version has 1919 Mr Zhu Qi Qian in the library of nanjing jiangnan dings codex (now nanjing library) found 'building' (hereafter 'ding')， intact， narrow photocopying， which is for lithographic small， the following year by the commercial press according to the original copy of Big Ben is a lithographic Big Ben.

       In 1925， after the collation of the Ding edition and the Sikuquanshu by Wenyuan， Wenshu and Wenjin， Tao Xiang printed it according to the layout and size of the Song residual leaves， which was the Tao edition. Later， the Commercial Press reduced the size of the pottery edition and photocopied it into the Library of All Books， which was reprinted as a popular edition in 1954.

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       从《营造圭表》一书的主要内容，咱们不错看到它有以下几个特质:

       (1)模数想想的制定和诓骗。大木作轨制轨则'材'的高度分为十五'分'，而以十'分'为其厚。斗栱的两层之间的高度定为6'分'称为'栔'。大木作的一切构件险些全部用'材'、'栔'、'分'来确定的。这是模数制在我国建筑业最早的诓骗，况兼行为一种法例被确定在《营造圭表》这部巨著中。

        (2)野心的天真性。《营造圭表》第3卷~第15卷中的'各作轨制'，即各工种的操作规程虽然都有相应的作念法例矩，但并未对群体建筑的布局和单体建筑的平面尺寸等有所限定;正好互异，《营造圭表》内'各作轨制'的条规后头都附有'随宜加减'的小注，以此告诉野心东说念主员可把柄每个个体野心在各作轨制的总原则下，对建筑单体和构件的比例、尺寸不错按照履行情况来确定，以充分通晓野心者的创造性。

   From the main content of the book， we can see that it has the following characteristics:

   (1) Formulation and application of modular thought. The large wooden system stipulates that the height of the wood is divided into fifteen fen and ten fen as its thickness. The height between the two sets of brackets is set at 6' points '， called '栔'. Almost all components made of large wood are determined by 'wood'， '栔' and 'points'. This is the earliest application of modular system in China's construction industry， and as a kind of law was determined in the great book 'Zhonghua French'.

    (2) Flexibility of design. The 'system of each work' in Volume 3 to Volume 15 of 'Architecture Method' means that although the operating rules of each work type have corresponding regulations， there are no restrictions on the layout of group buildings and the plane size of single buildings. On the contrary， '' each system within the building are attached at the end of' with the appropriate to add and subtract 'usu. in two lines， in order to tell designers can design according to each individual in each system， under the general principles of the single building and component ratio， size can be according to the actual situation to determine， to give full play to the creativity of the designer.

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       (3)技巧和训导的追想。为了施工时浅薄，'总例'中列举了圆、方、六棱、八棱等形骸的径、周长和斜长的比例数字，以便施工时工匠们掌合手。如:按传统的木构架结构轨则，但凡立柱都有'侧脚'(即柱础)，柱头向内微倾约1%，同期廊柱的边柱(四角柱)有'升空'，等于柱的高度从中柱向两端渐渐加高。这样，使通盘建筑木构架产生向内歪斜的倾向，客不雅上加多了建筑物的自若性，也为屋顶部分四角的飞檐创造条目。在横梁与立柱交代处用斗栱支托，既好意思不雅又可减少梁端剪力，仅仅复杂的斗栱结构的卯榫'绞割'时时会减少每个构件断面的1/3~1/2，是个进军症结，但在《营造圭表》中对此轨则了较合理的'绞割'比例和位置。

         (4)覆盖与结构的融合。《营造圭表》对石作、砖作、小木作、彩画等都有防范的阐述和图样，昭彰地体现出宋代建筑在艺术形象和雕镂覆盖等加工工艺方面比唐朝建筑更精致、更全面。柱梁、斗栱等木构件，在轨则它们的结构尺寸和构造设施的同期，也轨则了它们的艺术加工设施，如梁、柱、斗栱、椽头等构件的详细和弧线，等于用'卷杀'的设施(等于按比例、分段作圆弧弧线的设施)进行制作的，利用结构构件自己，仅仅稍作适当的艺术加工，使它兼有受力和覆盖成果，这是我国古代木构架建筑的特征之一，亦然中国建筑文化对东说念主类斯文的孝敬。

     (3) Summary of technology and experience. For the convenience of construction， the 'general examples' list the proportions of diameter， perimeter and slanting length of round， square， hexagonal and octagonal shapes， so that the craftsmen can master them during construction. For example， according to the traditional wooden frame structure， all the columns have 'side feet '(column base)， the column head is slightly tilted inward about 1%， and the side columns of the gallery columns (quadriangular columns) have' rising '， that is， the height of the column is gradually increased from the middle column to the two ends. In this way， the whole wooden frame of the building has a tendency to incline inward， which objectively increases the stability of the building and creates conditions for the cornices of the four corners of the roof. Using bracket set at the junction of beam and column is not only beautiful but also can reduce the shear force at the end of beam. However， the tenon and tenon of complex bracket set structure usually reduces the section of each component by 1/3 to 1/2， which is an important shortcoming. However， in 'Architecture Method'， a more reasonable proportion and position of 'bracket set' is set.

      (4) Unity of decoration and structure. There are detailed descriptions and patterns of stone works， brick works， small wood works and color paintings in the book， which obviously reflects that the buildings of the Song Dynasty are more delicate and comprehensive than those of the Tang Dynasty in terms of artistic image， carving and decoration and other processing techniques. Column beam， a pipe Gong wooden parts， such as the regulation of their structure dimension and construction method at the same time， also specifies their art processing methods， such as beam， column， dou Gong， rafter contours and curves of first class components， is to use the 'volume kill' method (that is， in proportion as circular arc curve method) to make， use structure component itself， just a little proper art processing， It is one of the characteristics of ancient Chinese wooden frame architecture and also the contribution of Chinese architectural culture to human civilization to make it have both force and decorative effect.

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         (5)建筑分娩管制的严实性。在全书36卷中，用13卷的篇幅来叙述功限(工作定额)和料例(材料花费定额和质地圭表)，足见施工管制的进军性。在计较工作定额时，率先按四季白日的瑕瑜分为中工(春、秋)、长工(夏)和散工(冬)三种时段，工值以中工为准，长、散工各增或减10%，而军工、雇工还有不同的定额;其次，对每一工种的不同构件(或部位)，按等级、大小和质地要求，如运载距离遐迩、水流的顺流或逆流、所加工木柴的软硬等，分辩轨则了工值的计较设施。料例部分各种材料的花费都有防范而具体的定额，施行起来十分浅薄。

        可见，《营造圭表》等于那时的建筑法例。有了它，非论是对群体建筑的布局野心和单体建筑及构件的比例、尺寸简直定，以及编制各工种的用工谋划、工程总造价，照旧编制各工种之间先后司法、互联系系(相当于现时的施工组织野心和进程谋划)和质地圭表都有法可依、有章可循，既便于建筑野心和施工告成进行，也便于随时质检和杀青验收。

    (5) Strictness of construction production management. In the book 36 volumes， with 13 volumes of space to describe the work limit (labor quota) and material examples (material consumption quota and quality standards)， it shows the importance of construction management. In the calculation of the labor quota， first of all， according to the length of the four seasons of the day is divided into three periods of time (spring， autumn)， long (summer) and short (winter)， the work value is subject to the medium， long， short work each increase or decrease 10%， and military， hired workers have different quotas; Next， to the different component of each kind of work (or place)， demand by grade， size and quality， if transport distance is far near， the downstream of current or countercurrent， the soft and hard of lumber that processes， set the calculation method of work value respectively. The consumption of all kinds of materials has a detailed and specific quota， which is very convenient to implement.

      It can be seen that the 'Architecture Method' was the building code at that time. With it， not to the group building layout design and proportion of monomer architecture and components， the determination of size， and prepare the recruitment plan， project total cost of each type of work or prepare the order， the relationship between each job (equivalent to present construction organization design and schedule) and quality standards are laws， rule-based， It is not only convenient for building design and construction to proceed smoothly but also convenient for quality inspection and completion acceptance at any time.

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       第一类:殿阁。包括殿宇、楼阁、殿阁挟屋、殿门、城门楼台、亭榭等。这类建筑是宫廷、官府、古刹中最魁伟的房屋，要求魄力宏伟，富丽堂皇。

       第二类:厅堂。包括堂、厅、门楼等，等级低于殿阁，但仍是进军建筑物。

       第三类:余屋。即上述二类之外的次要房屋，包括殿阁和官府的廊屋、常行散屋、营房等。其中廊屋为与主屋相当，质地圭表随主屋而可有潦倒。其余几种，规格较低，作念法相应简约。

     The provision of building grade， according to the level of quality classification， is conducive to the difference in treatment， control of materials， control of expenditure， especially in the construction of a large amount of circumstances， more need this classification. Although the 'Architecture Method' does not explicitly list the architectural classification， it can be seen from the contents of each volume that there are actually three types of official buildings:

     The first category: the palace. Including halls， pavilions， halls with houses， gates， gates， pavilions and so on. This kind of building is the palace， the official office， the temple in the most solemn house， the request verve grandiose， magnificent.

The second type: hall. Including hall， hall， gate tower， etc.， the grade is lower than the palace， but it is still an important building.

     The third category: residences. That is， the secondary houses outside the above two categories， including the palace and the gallery house of the government， regular scattered houses， barracks and so on. Among them， the gallery house is matched with the main house， and the quality standard can be high or low along with the main house. Other kinds， the specification is lower， the practice is correspondingly simple.

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        这三类房屋在用料大小、构造仿上、建筑姿色上都有诀别:

        用料方面，殿阁最大，厅堂次之，余屋最小。《圭表》轨则房屋圭表以'材'为圭表，'材'有八等，把柄房屋大小、品级潦倒而遴荐适当的'材'，其中殿阁类由一等至八等，均可罗致，厅堂类就不可用一、二等材，余屋虽未轨则，无疑级别更低关于归并构件，三类房屋的材用料也有不同的轨则，举例柱径:殿阁用二材二栔至三材;厅堂用二材一栔;余屋为一材一栔至二材。梁的断面高度，以四椽袱和五椽袱为例:殿阁梁高二材二栔;厅堂不朝上二材一栔;余屋准此加减。抟的直径:殿阁一材一栔或二材;厅堂一材三分，或一材一栔;余屋一材加一、二分。这样就使这三类建筑的用料有了昭彰诀别。

    These three types of houses are different in the size of materials， structural imitation and architectural style:

      Material， the largest hall hall， the smallest room. 'Architecture Method' regulation building scale on the basis of 'material' and 'material' eight， etc.， according to the housing size， order of merit and use the appropriate 'material，' including DianGe by superior to eight etc， all can choose， hall class will not be able to use one， second-class， over housing is not provided， there is no doubt that lower level for the same component， three kinds of material of the building materials also have different provisions， For example， column diameter: Temple with two materials two 栔 to three materials; Hall with two materials a 栔; The remaining house is one timber one 栔 to two timber. Cross-section height of beam， to four rafter beam and five rafter beam for example: Diange beam high ercai 2 栔; Hall not more than two materials a 栔; The remaining rooms can be added or subtracted accordingly. The diameter of the kneading: one of the pavilion one 栔 or two materials; Hall a material three points， or a material 栔; One wood plus one， two. In this way， the materials used in these three types of buildings have obvious differences.

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       在构造上，殿阁的木架作念法和厅堂不同，殿内常用平棋和藻井把房屋的结构和里面空间分为潦倒两部分:平棋以下要求宏丽壮不雅，柱列整王人，柱高一律，内柱及内额上置内槽斗拱以乘天花，殿内专修华好意思;平棋以上因被守秘，无需稳定好意思不雅，但求坚牢即可，是以遴荐'草架'作念法，抟、袱不必精细加工，枋木矮柱不错粗心援手，以求梁架雄厚。若夫厅堂，一般毋庸平棋藻井，内柱皆随屋顶举势升高，主外侧短梁(乳袱、三椽袱等)插入内柱柱身，使木架的全体性得回加强，斗拱较纰漏，频繁只用斗口跳、四铺作，但也用至五铺作、六铺作家。为了好意思化室内露明梁架，梁、柱、抟、枋等交代处用拱、斗、驼峰等作覆盖。关，余屋，书中并无专论，仅从稀罕叙述中推测有两种情况:殿阁的廊屋，为了合营主殿，规格较高，可置鸱尾，用斗拱;一般余屋如官府廊屋，常行散屋、仓库营房等，则用柱梁作、单斗只替和把头绞项作等作念法。

      In the structure， the wooden approach and hall hall， hall commonly used in the structure of the building and the interior space is divided into two parts: the following Pingqi magnificent requirements， column neat， column high uniform， the column and the forehead of the inner groove dougong to take the smallpox， the temple dedicated to the colorful; Because the game was covered above， there was no need to pay attention to beauty， but it was enough to be firm. Therefore， the 'straw frame' was used to make beams stable without careful processing and tiewood short columns could be supported at will. In general， in a hall， there is no use of flat board caisson. The inner columns are all raised along with the lifting of the roof. The short beam (creme beam， three rafter beam， etc.) of the main outer side is inserted into the inner column and column body to strengthen the integrity of the wooden frame. In order to beautify indoor exposed beam frame， beam， column， tuan， tiefang and other junction with arch， dou， hump for decoration. Guan and Yu Wu are not discussed in the book， but only anecdotal accounts conjecture that there were two situations. In the porch rooms of the palatial hall， in order to coordinate with the main hall， they were of relatively high specification and made of vultures' tail; General houses such as government gallery house， often scattered houses， warehouses， barracks， etc.， are made of columns and beams， single bucket only for and head twisted as a practice.

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       在建筑姿色方面，殿阁多用四阿殿与九脊殿屋顶面阔达十一间，如有副阶则成重檐，斗拱出跳多至八铺作。屋面用瓦尺寸大，可用琉璃瓦与青绲瓦，正脊垒瓦可达37层。厅堂屋顶一般只用'厦两端造'和'出际'(又称'屋废'，即悬山顶)，屋面或用筒瓦、或用板瓦作盖(如板瓦作盖则檐口用重唇板瓦和垂尖花头板瓦)，正脊用兽而毋庸鸱尾。常行屋舍姿色未详。

       In terms of architectural style， DianGe multi-purpose four A Dian and nine ridge Dian roof wide up to 11， if there is a secondary level into double eaves， dougong jump out more than eight shop. The roof tile can be large in size， glazed tile and blue tile， and the roof tile can reach 37 layers. The hall roof is generally only 'built at both ends of the mansions' and 'out of the '(also known as' house waste '， that is， hanging on the top of the mountain)， the roof or with tube tile， or with tile as the cover (such as tile as the cover with heavy lip tile and vertical pointed flower head tile)， the ridge with beasts rather than vultures tail. The style of the common house is unknown.

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      The main hall of Baoguo Temple in Ningbo， Zhejiang Province is a wooden frame building built in the early Northern Song Dynasty. Its four inner columns were made by piecing together， and three of them are eight-peeled columns made of eight pieces of wood. This is not only the earliest known example of a splintered column in China， but also an isolated example of a splintered column in the Song Dynasty. In this temple after the completion of more than 90 years of the emergence of the 'Architecture Method' also contains the column method， although the method of blending is different， but the same is to use small materials into large parts to solve the difficulties with materials. Not long ago we temple tower of the reconstruction design to suzhou， I once went to examine the five dynasties dynasty to the period of a few stone tower and by building， contact the down south of jiangsu baoying unearthed wooden homes and zhenjiang ganlu temple tower first， second， feel the five dynasties to the northern song dynasty in jiangnan area between buildings and 'Architecture Method' (hereinafter referred to as the 'Construction method of building') approach is very close， especially large wood， Several stone pagodas of brackets， columns， Fang， eaves， etc.， can almost be confirmed with 'Architecture Method'， the corner of the warping is also gentle， and the Ming and Qing Dynasties south of the 'tender peak' is very different. Therefore， it reminds us of Yu Hao， a famous architect in Bianjing in the early years of the Northern Song Dynasty. After he went to Beijing from Hangzhou， he built the famous 11-story wooden pagoda of Kaibao Temple in Tokyo in the second year of Duangong (989)， which is 29 years after the stone pagoda of Lingyin Temple was built. The Book of Wood written by him was regarded as a model of construction and became popular in the world. Is Li Jie 'Architecture Method' before the publication of the authoritative architectural works. Therefore， it is not surprising that due to the activities of Yu Hao and the passing down of the wooden classics， the architectural practices of eastern Zhejiang had some influence in the capital.

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        从《圭表》的内容来锻真金不怕火，除了前述拼柱法除外，还不错在书中找到一些作念法在江南很流行而在朔方则很出奇到，举例竹材的无为使用、'串'在木架中的进军作用，上昂的应用等。

      《圭表》竹作轨制叙述了万般竹材用法:竹笆可代替望板;窗子潦倒的隔墙、山墙尖、拱眼壁等可用竹笆墙(称为'心柱编竹造'，'隔截编说念'，这种墙在江西、安徽的明代建筑上仍被使用);殿阁厅堂的土坯墙每隔三皮土坯铺一层竹筋，称为'攀竹'用以加强墙体;竹子辟蔑编网，罩在殿阁檐下防鸟雀栖息于斗拱间，称为'护殿檐雀眼网'，这是其后用金属丝网罩斗拱的前例;用染色竹篾编成红、黄图案和龙凤形态的竹席铺在殿堂大地上，称为'大地棋文覃';也可用素色竹篾编成形态竹席作遮阳板，称为'障日';在壁画的柴泥基础底细里，还要压上一层篾作加固层;施工时的脚手架(称为'鹰架')和各种临时性凉棚，也多用竹子搭成。这些情况标明竹材在汴京用得相当无为，即使在宫廷中，也不比江南失态。竹子盛产于中国南边，很早就用作糊口工具和建筑材料，北宋咸平二年王禹在湖北所建黄岗竹楼即是驰名的例子。汴京宫廷建筑大量使用竹材，使之带有浓厚的南边建筑色调。

     According to the content of Architecture Method， in addition to the method of column splashing mentioned above， we can also find some methods popular in Jiangnan but rarely seen in North China， such as the wide use of bamboo， the important role of 'string' in wooden frame， and the application of Shangang.

    The bamboo system Construction method of building describes the use of various bamboo materials: bamboo wogi can replace the watchboard; The partition walls， gable points and arched eye walls above and below the Windows can be made of bamboo wattles (known as 'heart-column braided bamboo' or 'cut-off braided road')， which are still used in the Ming Dynasty buildings in Jiangxi and Anhui. The adobe wall of the hall is laid with a layer of bamboo bars every three skins of adobe， which is called 'climbing bamboo' to strengthen the wall; Bamboo nets were made to cover the eaves of the palace to prevent birds from roosting among the dougong， which was called the 'bird eye nets for protecting the eaves of the palace'. This was the precedent of covering dougong with metal mesh later. With dyed bamboo strips woven into red， yellow patterns and dragon and phoenix patterns of bamboo mat spread on the floor of the hall， known as 'ground chess Wen Qin '; It can also be woven into a fancy bamboo mat with plain bamboo strips as a sunshade， which is called 'barrier day'. In the wood mud bottom of the fresco， but also pressed on a layer of strips as a reinforcement layer; The scaffolding (called 'eagle frame ') and various temporary awning during construction are also made of bamboo. These circumstances show that bamboo was widely used in Bianjing. Even in the imperial court， it was not inferior to that in the south of the Yangtze River. Bamboo is abundant in southern China and has long been used as living utensils and building materials. A famous example is the Huanggang Bamboo House built by Wang Yu in Hubei Province in the second year of Xianping in the Northern Song Dynasty. Bamboo was widely used in the architecture of the imperial court in Bianjing， which gave it a strong southern architectural color.

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        '串'这一构件在《圭表》厅堂等屋的大木作里用得好多，主要起斟酌柱子和梁架的作用，这和江南常见的'串斗式'木架中的'串枋'和'斗枋'的作用是沟通的。举例，连气儿前后两内柱的称'顺袱串'(与梁的成见一致);连气儿控制两内柱的称'顺身串'(与檩条成见一致);斟酌脊下蜀柱的称'顺脊串';相当于由额位置承受副阶椽子的称'承椽串';窗子潦倒横贯两柱间的称'上串'、'腰串'、'下串'。这些串和阑额、由额、襻间、地袱等构成一个互异水平推力(风力、地震力等)的援手体系，使木构架具有雅致的抗风、抗震才能，若以此和串斗式木构架比较，不丢脸出其间的一样之处。大量的出土明器证明东汉时广东一带已盛行串斗式建筑，四川出土的东汉画像砖所示建筑图案中也有腰串加心柱作念法，和《圭表》很接近。于今江西、湖南、四川等的农村，仍遴荐串斗构架建造房屋，二千年间前因后果，阐述了它的存在价值。

      'Chuan' is widely used in the large wooden structures of the 'Architecture Method' hall and other houses. It mainly plays the role of connecting columns and beams， which is the same with the 'Chuan Fang' and 'Chuan Fang' of the 'Chuan Fang' wooden frames commonly used in the south of the Yangtze River. For example， strings running through the front and back of the beams are called 'Shun string '(in line with the direction of the beams). Through the left and right of the two inner columns called 'along the body string '(with the direction of the purlin); Contact the ridge under the Shu column called 'along the ridge string '; Equipped with the position of the forehead to bear the secondary rafters called 'bearing rafter string '; Up and down the window runs between the two columns called 'upper string'， 'waist string' and 'lower string'. These straps， together with the straps， the loops and the ground， constitute a support system to resist horizontal thrust (wind force， earthquake force， etc.)， which makes the wood frame have good wind resistance and earthquake resistance ability. If you compare this with the straps and buckets wood frame， it is not difficult to see the similarities between them. A large number of unearthed artefact vessels prove that the cluster-and-bucket architecture was popular in Guangdong during the Eastern Han Dynasty. In the architectural patterns of the Eastern Han Dynasty's picture bricks unearthed in Sichuan， there is also the practice of cluster-and-center column in the waist， which is very similar to that in Construction method of building. Up to now， the bucket frame is still used to build houses in the countryside of Jiangxi， Hunan， Sichuan， etc.， which has been in the same line for two thousand years， indicating its existence value.

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      《圭表》卷四飞昂条说:'造昂之制有二:一曰下昂，...二曰上昂'。然而行为斗拱上进军构件的这两大昂类，唯有在江南才能全部看到，而在朔方这样多唐、宋、辽、金以至元代建筑中，却只见下昂而未见上昂(河南登封少林寺初祖庵补间铺作不才昂后尾下有一斜料，形如上昂，但行为附加的覆盖物，不具上昂的作用，故不可视为着实的上昂)。

       'Architecture Method' volume four fly angliao said :' the making of angliao has two systems: one is the next angliao，... 'On the second day.' But as an important component of the two big stone on the class， only in jiangnan can all see that in the north so much tang， song， liao， jin and yuan dynasty architecture， only to see Leon and did not see Leon (at the beginning of the shaolin temple in dengfeng， henan ZuAn curation shop as a diagonal material under the back next aung， form as above， but as additional decorations， not on the role， Therefore， it can not be regarded as true Shangang).

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        宋代上昂遗物，苏州一地即有两处:其一，巧妙不雅三清殿内槽斗拱两侧;其二，北寺塔第三层塔心门说念顶上小斗八藻井斗拱。这两处上昂时期略晚于《圭表》，都是南宋前期之物。上昂遗规还可见于江南明代建筑。有趣有趣的是:朔方唐、宋、辽、金建筑上虽然毋庸昂，但到明代，北京宫殿、曲阜孔庙等处官式建筑的外檐斗拱后尾，却仿上昂体式，斜刻两条平行线，并仿昂头姿色刻作六分头，仿契姿色刻作菊花头。这种上昂遗意，直到清乾隆以后才统共消失，而六分头、菊花头则恒久保留着，一直延续到清末。这枋上昂之风来自哪里?是否有两种可能:一是华夏一带《圭表》上昂作法的传统，到元代为了省事，简化为斜画两条平行线，在晋南芮城永乐宫纯阳殿与重阳殿上即有这种例子，以后这种作念法又传到北京;二是明成祖永乐十八年，幸驾北京，江南的工匠把上昂的作念法带到了朔方，发展成上述仿上昂的姿色。此外，《圭表》上昂轨制中所述'连珠斗'在朔方未见实例，苏州虎丘云岩寺塔第三层内槽斗拱上用了这种斗，是早于《圭表》百余年的遗物。

     The relics of Shangang in Song Dynasty are found in two places in Suzhou. First， there are two sides of the brackets in the Sanqingdian， a mysterious view of the temple. Second， the North Temple Pagoda on the top of the third layer tower heart doorway small dou eight caisson dougong. These two Shangang period is a little later than Architecture Method， are the early Southern Song Dynasty. Shangang heritage rules can also be seen in Jiangnan Ming Dynasty architecture. It is interesting that although angang was not used in the buildings of the Northern Tang， Song， Liao and Jin dynasties， to the Ming Dynasty， the rear ends of the outer brackets of the official buildings in Beijing Palace and Confucius Temple in Qufu were imitated in the form of shangang by slanting two parallel lines， and carved into six fentou in the style of angtou and chrysanthemum head in the style of qi. It was not until the Qianlong period of the Qing Dynasty that this kind of Shangang left meaning completely disappeared， while Liu Fen Tou and Chrysanthemum Tou had been retained until the end of the Qing Dynasty. Where does this wind come from? Whether there are two possibilities: one is the traditional 'Architecture Method' in the central plains， in order to save trouble to the Yuan Dynasty， simplified to oblique painting two parallel lines， in the south of the Ruicheng Yongle Palace Chunyang Palace and Chongyang Palace there are such examples， later this practice spread to Beijing; Second， when the capital was moved to Beijing in the 18th year of Yongle， Chengzuo of the Ming Dynasty， the craftsmen in the south of the Yangtze River brought the Shang Ang practice to the north and developed the above-mentioned style of Shang Ang imitation. In addition， the 'Lianzhu Dou' mentioned in the Shangang System of Architecture Method has never been seen in the north. This kind of Dou was used on the brackets in the third floor of the Yunyan Temple Pagoda in Suzhou， which is a relic more than 100 years earlier than that in Architecture Method.

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      《圭表》彩画作中有八白刷饰的作念法，是一种比较纰漏的色调覆盖，在江南五代至北宋的建筑物上用的很开阔，如杭州灵隐寺石塔、苏州虎丘塔、宁波保国寺大殿、镇江甘雨寺铁塔等阑额上都隐出七朱八白的图案，可见《圭表》问世前这里照旧很流行，而在朔方虽在大同云冈石窟第五、第九窟等石刻佛殿阑额上曾有此类图案，但唐宋辽金的建筑上未见此式。

      There are eight white 'Architecture Method' for the painting brush act the role ofing， is a kind of simple color decoration， the top of a building in jiangnan five dynasties to the northern song dynasty is very common， such as stone pagoda lingyin temple in hangzhou， suzhou huqiu tower， protect the ningbo temple hall， zhenjiang ganlu temple tower， such as aperture are hidden out on his forehead seven zhu eight white pattern， visible 'Architecture Method' before the already very popular here， In the north， although in the fifth and ninth grottoes of Yungang Grottoes in Datong， there had been such a pattern on the forehead of the stone temple， but the buildings of Tang， Song， Liao and Jin did not see this pattern.

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       再举斗拱上的两个构件为例:其一是令拱，《圭表》轨则令拱长于瓜子拱，在江南苏州、杭州一带的北宋建筑的令拱，正合《圭表》轨则，而朔方唐辽宋建筑的令拱时时与瓜子拱同长，以至短于瓜子拱，与《圭表》不符:其二是《圭表》轨则令拱外不可出耍头，但这种作念法开阔见于南边而很出奇于朔方。(仅西安大雁寺塔石可佛殿斗拱等个别例子〕值得强调的是:河北、山西等辽、金建筑(包括宋皇佑四年所建的正定隆兴寺摩尼殿)盛行45度与60度的斜拱，但《圭表》对斜拱只字未提。

    Again for stone on the case of two components: the first is to arch， 'Architecture Method' regulation to arch is longer than seeds arch， construction of northern song dynasty in south suzhou， hangzhou area to arch， exact 'Architecture Method' regulation， and the northern tang liao song building made with melon seeds arch arch is often long， even shorter than seeds arch， inconsistent with the Architecture Method， the other is 'Architecture Method' stipulated that the arch is out of the play head， But this practice is more common in the south than in the north. (There are only a few examples， such as the dougong of the Tashhike Buddha Hall in Dayan Temple in Xi 'an.) What is worth emphasizing is that oblique arches of 45 degrees and 60 degrees were prevalent in Liao and Jin architectures in Hebei and Shanxi (including the Mani Hall of Zhengding Longxing Temple built in the fourth year of Emperor You of Song Dynasty)， but Architecture Method never mentioned oblique arches.

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        上述情况标明《圭表》和南边建筑有着较密切的关系。而和冀晋一带建筑关系较提倡。天然《圭表》与江南建筑的沟通之处很难说是全部受江南建筑的影响的末端，但从那时历史条目分析，这种影响的客不雅条目是存在的，因为:

        第一，唐末与五代的战乱使华夏与朔方遭到了很大的阻止，江南一带相对自若，南唐、吴越、前蜀等地区经济文化都有一定程度的发展，建筑上也有某些立异，如砖木搀杂结构楼阁式塔在江南地区的兴起等于一例，这种塔即舒适了释教崇信礼拜和登高遥看浏览的要求，又提升了防火防腐防蛀性能，那时这一地区的建筑技巧水平也比较高，喻皓入京主理要紧工程等于一个证明。到北宋后期，仍保持这种高水平，是以苏轼在《灵璧张氏庭院记》中说:'华堂夏屋有吴蜀之巧'。阐述苏州成都两地建筑以工巧有名于时，居寰球前方。

        第二，北宋东京位于汴河上游，其地原是唐代汴州。唐时江淮地区已是朝廷经济开始所倚，京师物质供应主要通过汴河取之于江南，汴州位于京师于江淮间的水陆要冲，唐代已很茂密，北宋定都于此以后，江南物质通过汴河连气儿不停运到京师。经济上的紧密斟酌例必带来文化、技巧方面的交流，因此，江南与汴京之间的技巧交流亦然势所例必的。这种交流所酿成的共同性也等于促进绍兴十五年平江知府王唤在苏州重刊《圭表》的原因之一。而此次重刊又加强了《圭表》对当地建筑的影响，是以直到明代，苏州、徽州、赣东北等地仍保留这梭柱、月梁、木(木质)、版壁绝交等宋代旧法。

    The above situation shows that Architecture Method has a close relationship with southern architecture. And the Hebei and Shanxi area construction relationship is more distant. Of course， the similarities between Architecture Method and Jiangnan architecture can hardly be attributed to the total influence of Jiangnan architecture. However， based on the analysis of historical conditions at that time， the objective conditions for such influence exist， because:

     First， the late tang and five dynasties fighting have done great damage to the central plains and the north， jiangnan region is relatively stable， down south， wu yue， the former shu region culture has a certain degree of economic development， also has some innovation on the building， such as brick hybrid structure in the rise of the jiangnan region is an example in the tower， the tower is satisfied and believed in Buddhism week high overlook browse request， It also improved the performance of fire prevention， corrosion prevention and moth-prevention. At that time， the level of construction technology in this area was also relatively high. Yu Hao presided over a major project in Beijing was a proof. In the late Northern Song Dynasty， this kind of high level was still maintained. Therefore， Su Shi said in 'Zhang's Courtyard in Lingbi'， 'Huatang Xia House has the cleverness of Wu Shu'. It shows that the buildings in Suzhou and Chengdu are famous for their dexterity， ranking among the top in China.

       Second， Tokyo in the Northern Song Dynasty was located in the upper reaches of the Bianhe River， which was originally Bianzhou in the Tang Dynasty. In the Tang Dynasty， the Jianghuai area was the economic source of the imperial court. The capital supplies were mainly obtained from the south of the Yangtze River through the Bianzhou River. Bianzhou was located at the land and water crossroads between the capital and the Yangtse River. The close economic connection will inevitably bring about the cultural and technological exchanges. Therefore， the technological exchanges between Jiangnan and Bianjing are inevitable. The commonality formed by this kind of exchange is one of the reasons why Wang Hua， the magistrate of Pingjiang in Shaoxing， republished French in Suzhou in the 15th year. This reissue strengthened the influence of Architecture Method on local architecture， so until the Ming Dynasty， Suzhou， Huizhou， northeastern Jiangxi and other places still retained the old methods of the Song Dynasty， such as the pike， moon beam， wood (wood)， plate wall partition.

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       《圭表》的内容是李诫蚁集汴京那时履行工程中相传沿用灵验的作念法，和工匠们防范商量之后编成的，加之李诫本东说念主在编书之前已在'将作监'责任了八年，曾以将作监丞的身份负责五王府等要紧工程，有较丰富的工程管制训导，为编写此书创造了雅致的主不雅条目。因此，如果以这本书和六百余年后清雍正年间所编的《工程作念司法例》比拟，非论从野心、估算工料、图样推崇等各方面来臆测，《圭表》都比《则例》高超，不仅体例较好，便于天真应用，而且内容也较丰富，论说精准，号称是中国古代最优秀的建筑文章，是了解宋代建筑的一把钥匙。

     Lee commandment collection is the content of the 'Architecture Method' bian city legend used effectively in practical engineering practice at the time， after detailed research and craftsmen woven， together with lee commandment I before bookmaking I have worked in 'will be the prison' for eight years， had to be prison cheng capacity to take charge of major projects， such as five palace， has the rich project management experience， created a good subjective conditions for writing this book. So if in this book and composed by more than six hundred years after the qing yongzheng years compared to the engineering practice， cases， no matter from the design， the estimate quantity， pattern and so on various aspects to measure performance， 'Architecture Method' than 'the case'， not only style is good， it is convenient to be used in flexible， and the content is richer， precisely， is the most outstanding architectural works in ancient China， It is a key to understanding the architecture of the Song Dynasty.

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       但本书的目的是为了限定官式建筑的用料与用工，以节制政府的财政开支，因此书的体例和内容近乎建筑范例，全书虽分轨制、功限、料例三大部分，但所谓轨制，主要内容是各种建筑部件的尺寸轨则，对建筑布局、里面布置、体量形象等则很少触及。对建筑部件的论说看来亦然有所弃取的，昭彰的例子是阑干，《圭表》小木轨制只收了勾阑二种:重台钩阑和单钩阑;而从宋画上不错看到，除了上述勾阑之外，至少还有两种阑干:一种是卧棂阑干;另一种是坐槛阑干。前者在酒楼、桥梁上用得好多，造型简洁大方，省工省料，是一种历史久远的传统作念法，汉画像石、画像砖所镌楼阁、桥梁上颇多此种阑干;后者多用于室外平台，造型更为简洁，仅仅在蜀柱上安放坐槛，转角处或立望柱。大约由于这两种阑干不够华好意思，不对皇家建筑的要求，是以不予收录，否则在将作监负责工程多年的李诫，不至于连京师常见的阑干姿色都不知说念。就这一例，不错看出《圭表》内容以官式建筑的高等类为主，对低档类作念法，即使是当常常见的品种，也时时略而不谈，或仅仅一笔带过，如《圭表》大木作中有一种称为'柱梁作'的作念法，只列了个名词，未作任何解释，细目不知，推想是一种毋庸斗拱而用柱、梁径直连接的木构架，官府、朝廷的次要房屋和附庸建筑以及库房、散屋、营房等遴荐之，可能近乎清式的'小式'建筑。另一种大木作念法称为'单斗只替'，书中也未作任何解释，但从所用工限的若干，不错知说念这是一种比最纰漏的斗拱'把头绞项作'和'斗口跳'还要纰漏的作念法，推想是在柱头栌斗上加一条替木来承托梁和抟。这两种初级大木作念法虽在次要房屋中可能是开阔使用的，但《圭表》也仅仅一笔带过。可见本书的侧要点是很明确的。

       But the purpose of this book is to control the state of construction materials and labor， the government's fiscal spending to restraint， so almost building code style and contents of the book， the book is a points system， power limit， cases of three parts， but the so-called system， the main content is the size of the various building components， the architectural layout， internal layout， dimension image， etc are rarely involved. The exposition of building components seems to be somewhat selective， an obvious example is the appendix， 'Architecture Method' small wooden system only received two kinds of diaphragm: heavy hook diaphragm and single hook diaphragm; As can be seen from the Song Dynasty paintings， in addition to the above diaphragm， there are at least two kinds of appendices: one is the recumbent mullion appendices; The other is sitting on the floor. The former is used on restaurant， bridge a lot， the modelling is concise and easy， province labor saves material， it is the traditional practice with a long history， the pavilion of building that place engrave of brick of Chinese stone， picture， bridge is quite on much this kind of appendix; The latter is more used for outdoor platforms， the shape is more concise， just in the Shu pillar placed sill， corner or stand at the column. Probably because these two kinds of appendix is not beautiful enough， not the requirements of the royal architecture， so not included， otherwise will be in charge of the project for many years Li Jie， not even the capital common appendix style do not know. In this case， we can see that the Architecture Method content is given priority to with the official building high-grade class， to the low class， even when the common varieties， also often slightly and not talk about， or just a blur， as one of 'Architecture Method' for the big wood called 'column beam as' approach， only a noun， without explanation， details I don't know， It is supposed to be a kind of wooden frame with direct combination of columns and beams without brackets， and it may be used in the secondary houses and ancillary buildings of the government and the imperial court， as well as warehouses， scattered houses and barracks， etc.， which may be nearly the 'small type' architecture of Qing Dynasty. Another big wood practice is called 'single bucket only for'， the book also did not make any explanation， but from the labor limit how much， you can know that this is a kind of simple than the most simple dougong 'head choke' and 'doukou jump' but also a simple practice， it is presumed to be in the stigma sugria on a replacement for wood to bear the joist and kneading. Although these two lowly wooden practices may be common in lesser houses， 'Architecture Method' is only a passing mention. The focus of the book is clear.

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        在叙述一个工种时，也时时只收录部分作念法，有些作念法在什物中不错看到。但《圭表》却不载;有的则需把书中各卷前后对照，互相补充，才能得回较为完整的了解，昭彰的例子是石作雕镌轨制，《圭表》卷三石作轨制说:'雕镌轨制有四等:一曰剔地起突，二曰压地隐起，三曰减地平(金及)，四曰素平'。但卷二十八诸作等地中又说:'石作，镌刻混作，剔地起突及压地隐起，或平(金及)华(混作谓螭头或钩阑之类)，右为上等;柱碇、素覆盆、大地、碑身......右为中等'。这里比石作雕镌轨制又多了一种'混作'。混作等于圆雕，卷十二雕作轨制(按:即雕木作)中有阐述。一面贴'地'的圆雕则可称之为'半混'。此外，还有两种雕镂有什物而石作雕镌轨制未录:一种是'实雕';另一种姑名之曰'平(金及)'。这两种都是当场雕出斑纹，不斩去'地'，'实雕'是借用卷十二木雕轨制的称号，最近苏州市发掘瑞光寺塔基时，暴露副阶叠涩作(即须弥座)束腰上的石雕图案，即是'实雕'一例。因实雕不斩去地，用工省而成效佳，是以后世诓骗极广。

      In the description of a job， but also often included only part of the practice， some of the practice can be seen in real objects. But 'Architecture Method' does not; The obvious example is the stone carving system. 'Architecture Method' volume three stone carving system says :' the carving system has four grades: one is to pick the ground to rise， two is to press the ground to hide， three is to reduce the ground (gold and)， four is to plain '. But the volume of twenty-eight works and other places said :' stone work， engraved mixed work， pick up the rise and pressure hidden， or flat (gold and) China (mixed work is called chi head or hook stop)， right is superior; Pillars， plain basin， ground， stele...... The right is medium.' Here is a more 'mixed' than the stone carving system. Mixed is round carving， volume 12 carving system (according to: that is， carved wood) is explained. On one side， the round carving with the word 'ground' can be called 'semi-mixed'. In addition， there are two kinds of carving in kind and the stone carving system is not recorded: one is 'real carving '; The other kind is called 'Ping (Jin Ji)'. These two are carved on the spot out the pattern， do not cut off the 'ground'， 'real carving' is to borrow the name of volume 12 wood carving system， the recent excavation of the Ruiguang Temple in Suzhou， revealed the secondary steps of the folded stone (that is， Xumizuo) on the waist， is 'real carving' example. Because the actual carving does not cut to the ground， the province and the effect is good， so the later use of very wide.

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        至于'平(金及)'这个称号，是从'减地平(金及)'移用过来的，两者的诀别仅在于去不去地。平(金及)是阴刻线条斑纹图案，驰名的西安大雁塔门楣石刻佛殿图等于平(金及)刻法，唐、宋、元、明许多碑身正侧面斑纹，墓志盖左近斑纹等等，常用平(金及)法镌刻。'减地平(金及)'是在上述平(金及)斑纹的闲隙处，淡淡斩去一层'地'，一般斩深不朝上一毫米。平(金及)刻法较之隐起斑纹纰漏，但对石面平整和光洁的要求很高，否则阴刻线条不够昭彰，但其减地部分则不要求平整，以至有意斩出匀布的点和线，以加粗其质感，使之与平(金及)斑纹产生对比。总括起来，石雕的品类履行上有八种，即:1、混作---圆雕;2、半混---圆雕，仅备三面，另一面贴地;3、剔地起突--高浮雕，去地;4、压地隐起-低浮雕去地，深2-3毫米以上;5、减地平(金及)--线刻，去地甚少，在一毫米以下;6、实雕---高或低浮雕，不去地;7、平(金及)--线刻，不去地;8、素平---无斑纹。

      As for the name Ping (Jinhe)， the name is transferred from 'Mindiping (Jinhe)，' the only difference between the two lies in whether to go to the land. Flat (gold) is a pattern with lines carved in the shadow. The famous Buddhist hall drawing of the Great Wild Goose Pagoda in Xi 'an is engraved in the flat (gold) method. The front and side patterns of many inscriptions and the surrounding patterns of epitaph covers are commonly used in the Tang， Song， Yuan and Ming Dynasties. Reducing the ground level (Jinhe)' is in the above flat (Jinhe) pattern gap， shallow cut a layer of 'ground'， generally cut the depth of not more than one millimeter. The flat (jinhe) engraving method is simpler than the hidden pattern， but the requirements for the smooth and smooth stone surface are very high， otherwise the lines are not obvious， but the reduced part of the ground does not require the smooth， even deliberately cut out the points and lines of uniform cloth， in order to coarse its texture， so that it has a contrast with the flat (jinhe) pattern. To sum up， there are actually eight categories of stone carving， namely :1， mixed - round carving; 2， semi-mixed -- round carving， only three sides， the other side stick to the ground; 3. Pick the ground to rise -- high relief， to the ground; 4， pressure hidden - low relief to the ground， more than 2-3 mm deep; 5， reduce the flat (gold and)- line engraved， to the ground is very little， in a millimeter or less; 6， real carving -- high or low relief， do not go to; Flat (gold and)- line engraved， don't go to the ground; Plain flat -- no pattern.

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       石作雕镌轨制所录四种雕法，可能在那时具有代表性，是以收入《圭表》行为靠工估算的圭表。在建筑色调方面，对木构架部分《圭表》有彩画轨制作了防范叙述，屋面色调则由瓦的品种来定:用履行'素白瓦'者灰色;用渗碳的'青绲瓦'者玄色;用琉璃瓦者多作绿色。但书中对墙面脸色未作论说，只可把柄卷十三泥作轨制'用泥'所列墙壁抹面材料的合营比和操作设施来推断，那时官式建筑表里墙面的脸色可能有下列四种:

       1、浅土红  用'红灰'抹面，其合营比为:石灰15斤+土朱5斤+赤土11斤8两(用于殿阁);石灰17斤+土朱3斤+赤土11斤8两(用于非殿阁，色调较淡);

       2、浅灰  用'青灰'抹面，其合营比为:石灰1份+软石炭1份;或石灰10斤+粗墨1斤(可用墨煤11两、胶7钱代替)。

       3、浅土黄  用'黄灰'抹面，其合营比为:石灰3斤+黄土1斤。

       4、白色带浅黄点  用'破灰'抹面，其合营比为:石1斤+白蔑土4斤8两+麦麸(麦壳〕0.9斤。

      各色灰泥抹面干厚一分三厘，相当与贴面层，施工设施是在未干时收压多遍，使名义产生光辉。这种抹面显著比名义刷色法长久。

   The four carving methods recorded in the stone carving system may be representative at that time， so they are included in 'Architecture Method' as the standard for estimating work. In the aspect of architectural color， the paper describes in detail the color painting system of 'Architecture Method' in the part of wooden frame. The roof color is determined by the variety of tiles: grey tiles with natural color 'plain white tiles'; To go black with 'blue pipe' as carburized; With glazed tiles for green. However， the color of walls is not clarified in the book， and it can only be inferred from the mix ratio and operation method of wall plaster materials listed in the mud system 'using mud' in Volume XIII. At that time， there may be four kinds of color of the inner and outer walls of official buildings:

     1， the light earth red with 'red ash' plastering， its mix ratio is: lime 15 kg + soil Zhu 5 kg + red soil 11 kg 8 two (for the palace); Lime 17 jin + soil Zhu 3 jin + red soil 11 jin 8 two (used for non-palace， the tone is lighter);

     2， light ash with 'livid' plastering， its mix ratio is: 1 lime + 1 soft charcoal; Or lime 10 catties + coarse ink 1 catties (available ink coal 11 two， glue 7 money instead).

     3， shallow yellow with 'yellow ash' plastering， its mix ratio is: lime 3 kg + loess 1 kg.

     4， white with light yellow point with 'broken ash' plaster， its mix ratio is: stone 1 jin + white soil 4 jin 8 two + wheat bran (wheat husk) 0.9 jin.

     The dry thickness of all kinds of plaster plaster is one minute three percent， which is equivalent to the veneer layer. The construction method is to close the pressure several times when it is not dry， so that the surface produces luster. This kind of plaster is obviously more durable than the surface brush.

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        从建筑野心角度来商量，在《圭表》诚然找不到总体布置方面的内容，即使单体建筑，如果想回应一座北宋官式建筑，时时也感到书中所提供的数据不及，以剖面上的高度而言书中只给了屋顶抬高、折屋之法，以及斗拱、柱础、(木质)、台基的算法，而莫得柱高;平面上的进深是有轨则的，但各间面阔则未具体论说，仅在卷四总铺作顺序中提到三种情况:

       第一种:各间面阔超越('每间之广，丈尺皆同')。

       第二种:明间面阔大，次间小('假如心间用一丈五尺，则次间用一丈之类')。

       第三种:各间面阔不等('或间广不匀')。

其中第一种含义明确，第二种不完整，除明、次间外未尽头他，第三种婉曲不解，不知如何'不匀'。天然，尺寸不作具体轨则也有平允，可给野心者以较大的天真性，便于变通应用。

      To study from the perspective of architectural design， in 'Architecture Method' is to find the overall arrangement， even if the individual buildings， if you want to restore a official buildings of the northern song dynasty， also often feel insufficient data provided in the book， in terms of the height of the section in the book only held up to the roof， law of the house， and development and application of stone， column (wood)， the algorithm of stylobate， without high column; The depth on the plane is prescribed， but the width of each surface is not specified， only in the general order of volume four mentioned three situations:

      The first kind: the width of each room is equal (' the width of each room is the same ').

     The second kind: Ming broad， small (' if the heart with a zhang five feet， then between the use of a zhang and so on ').

       The third kind: the width of each surface is not uniform (' or ').

Among them， the first kind of meaning is clear， the second kind is incomplete， except for clear and secondary， and the third kind is vague， I do not know how to 'uneven'. Of course， the size does not make specific provisions also have an advantage， can give the designer with greater flexibility， facilitate flexible application.

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        如果咱们进一步想回应象黄鹤楼和滕王阁图中那样体量复杂和屋顶丰富各种的建筑物，那么遭遇的问题更要朝上《圭表》所提供的内容了。

举出以上例子，并非苛求与《圭表》，要求著者编写一部包罗万象的建筑百科全书。既然编写此书的木目的是为了关防工料，例必珍贵用料尺寸、用工定额，也例必要纲领宫廷筑最有代表性的作念法行为变造用材的准则。问题在于咱们今天意志《圭表》时必须悲不自胜地给予评价，而不可以为《圭表》十全十好意思教学相长的，如果这样就会堕入单方面性。

    If we go further and try to restore buildings with complex volumes and diverse roofs， such as the Yellow Crane Tower and the Tengwang Pavilion， then we will encounter more problems than Architecture Method offers.

    To cite these examples， it is not too much to ask the author to compile an all-encompassing encyclopedia of architecture. Since the purpose of writing this book is to prevent materials， it is bound to focus on the size of materials and the quota of labor， and it is also bound to select the most representative practices of palace architecture as the criteria for changing materials. The problem is that when we understand 'Architecture Method' today， we must give proper evaluation， and cannot think that 'Architecture Method' is perfect and all-embracing， if so， it will fall into one-sidedness.

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       宋代崇宁二年钦定李诫重修《营造圭表》，崇宁四年发行于开封府。后世称为崇宁刊本。绍兴十五年秦桧妻弟平江府(今苏州)提举王唤，重刊《营造圭表》。后世的各种手本版块，全部开始于绍兴本。营造圭表之得以传世，王唤功不可没。平江军府本后世称为绍兴刊本。南宋绍定间平江府本第二次重刊本，称为绍定本。

      Song Dynasty Chongning two years Li Jie rebuilt the 'Architecture Method'， Chongning published in four years in Kaifeng Fu. Later known as the Chongning edition. In the fifteenth year of his life in Shaoxing， Qin Hui's brother-in-law Pingjiangfu (today's Suzhou) recommended Wang Hua to republish the book Architecture Method. Later editions of various codex， all from the Shaoxing. To build the French to be handed down， the king called contributions. Pingjiang military mansion this later known as the Shaoxing edition. Southern Song Dynasty Shaoding between Pingjiang House this second reprint this， known as Shaoding this.

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      超越感谢您的爱护，比较心爱儒释说念医学艺术玄学，喜好商量科学除外那些看不到的斟酌，更多优质古玩艺术风水旧竹帛下载尽在PDF艺术社官网哦www.pdf-art.com 但愿有契机不错沿路交流与探讨。

     Thank you very much for your attention， I prefer Confucianism， Buddhism and Taoism medical art metaphysics， and I like to study the links that can not be seen outside of science. More high-quality antiques， art and feng shui ancient books can be downloaded in PDF art club official website oh www.pdf-art.com. I hope to have the opportunity to communicate and discuss with you.

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