英语 文档

Architecture of China

中国建筑

Although the ancient Chinese never considered architecture a fine art, in China as in the West it has been the mother of the fine arts. It was through the medium of architectural decoration that painting and sculpture matured and gained recognition as independent arts.

虽然中国古代没有考虑建筑艺术，在中国和西方一直是艺术之母。它是通过作为建筑装饰，绘画和雕塑的成熟，被认作是独立的艺术。

Technique and Forms. The architecture of China is an indigenous system of construction which was conceived in the dawn of Chinese civilization and has been developing ever since. Its characteristic form is a timber skeleton or framework standing on a masonry platform and covered by a pitched roof with overhanging eaves. The spaces between the posts and lintels of the framework may be filled in with curtain walls whose sole function is to separate one portion of the building from another, or the interior from the exterior. The walls of Chinese building, unlike those of the conventional European building, are free from the weight of the upper floors and the roof, and may be installed or omitted as required. By adjusting the proportion of the open and walled- in spaces, the architect

may admit or exclude just the amount of light and air appropriate to any purpose and to any climate. This high degree of adaptability has enabled Chinese architecture to follow Chinese civilization wherever it has spread—to Korea and Japan in the east, to Sinkiang in the west, to Indochina in the south, and to the Siberian border in the north.

技术与形式。中国建筑是建筑是孕育中华文明的曙光自主系统已经发展自。其特点是木骨架或框架，站在一个砖石平台和覆盖的坡屋顶和飞檐。柱子和梁的框架之间的空间可以填充幕墙的唯一功能是单独的一部分，从另一个建筑，或内部与外部。中国的建筑物的墙壁，不像那些传统的欧式建筑，不受上层地板和屋顶的重量，并可以安装或略的要求。通过调整比例和围墙的开放空间，建筑师可以承认或排除光和空气适合任何目的和任何气候量。这种高度的适应性使中国建筑随着中华文明无论在东传到朝鲜和日本，在西部的新疆，在南印度支那，和西伯利亚北部边境。

As the Chinese system of construction evolved and matured , rules and the orders of classical European architecture were developed to govern the proportion of the different members of the building .In buildings of a monumental character the order is enriched by tou- kung, sets of brackets on top of the columns supporting the beams within and roof of eaves without. Each set consists of tiers of outstretching arms called Kung,

cushioned with trapezoidal blocks called tou. The tou- kung are functional members of the structure, carrying the beams and permitting the deep overhang of the eaves. As they evolved, they assumed different shapes and proportions. In earlier periods they were simple and large in proportion to the size of the building; later they became smaller and complicated. Hence they serve as a convenient index to the date of construction.

作为建设发展成熟的汉字系统，规则和欧洲古典建筑的命令来控制建筑物的各部分的比例。在纪念性的建筑是由以栱丰富，套架顶部的支撑梁柱和屋顶内檐无。每个组由外伸的武器称为西贡层，梯形的垫块称为头。斗栱是结构的功能构件，承载梁，使屋檐深悬。它们的进化，它们具有不同的形状和比例。在更早的时期他们在建筑物的大小比例简单大；后来他们变得越来越复杂。因此，他们作为施工日期方便指数。

The planning problem of the Chinese architect is not that of partitioning a single building, since the framing system makes the interior partitions more screens, but of the placing the various buildings of which a Chinese house is composed. These are usually grouped around courtyards, and a house may consist of an indefinite number of such courtyard. The principal buildings usually oriented toward the south, so that a maximum amount of sunlight can be admitted in winter, while