From the contents of French Style, we can find some practices in the book, such as the widespread use of bamboo, the important role of "string" in the wooden frame, and the application of Shang Ang.
The French bamboo production system describes the various uses of bamboo: bamboo baskets can replace surface boards; The partition wall, gable point and arch wall above and below the window can use bamboo basketry wall (called "bamboo core column" and "road section", which is still used in Ming Dynasty buildings in Jiangxi and Anhui); The adobe wall of the pavilion hall is paved with a layer of bamboo strips every three skins, which is called "climbing bamboo" to strengthen the wall; Weaving a net with bamboo to prevent birds from inhabiting the arch is called "bird's eye net for protecting the eaves of the temple", which is the precedent of covering the arch with barbed wire later; The floor of the hall is covered with bamboo mats woven with red, yellow and dragon and phoenix patterns, which is called "ground chess"; You can also use plain bamboo strips to weave fancy bamboo mats as sun visors, which is called "obstacle day"; In the wooden mud foundation of the mural, a layer of bamboo is also pressed as a reinforcement layer; Scaffolds (called "scaffolding") and various temporary awnings during construction are also made of bamboo. These conditions show that bamboo is widely used in Bianjing, even in the imperial court, it is no less than Jiangnan. Bamboo is rich in resources in southern China, and has long been used as living utensils and building materials. Huanggang Bamboo House built in Yu Wang, Hubei Province in the second year of Xianping in the Northern Song Dynasty is a famous example. Bamboo is widely used in Bianjing Palace building, which makes it have a strong southern architectural color.
"String" is widely used in large-scale wooden structures such as French halls, and mainly plays the role of connecting columns and beam frames, which is the same as the "string square" and "bucket square" in the common "string bucket" wooden frames in Jiangnan. For example, those that run through the front and rear inner columns (in the same direction as the cross beam) are called "parallel chords"; The chords that run through the left and right inner columns are called "chords" (consistent with the purlin direction); Even the Shu column under the spine is called "string along the spine"; It is equivalent to the name of "Chengxian" who inherits the rafters from the forehead; Windows running up and down between two columns are called "upper chord", "waist chord" and "lower chord". These series form a supporting system with diaphragm, forehead, hoop and ground cover to resist horizontal thrust (wind force, earthquake force, etc.). ), so that the wooden frame has good wind-resistant and earthquake-resistant performance. If this is compared with the series of bucket wooden frames, it is not difficult to see the similarities between them. A large number of unearthed funerary wares prove that in the Eastern Han Dynasty, cross-bucket architecture prevailed in Guangdong, and the architectural patterns of the Eastern Han Dynasty portrait bricks unearthed in Sichuan also had the practice of waist string and core column, which was very close to the French style. So far, in rural areas such as Jiangxi, Hunan and Sichuan. The house is still built with a bucket frame, which has been in the same strain for two thousand years, showing its existence value.
Fei Ang, the fourth volume of the Law, said: "There are two systems to build Ang: one is to lower Ang and the other is to raise Ang." However, as an important part of the bucket arch, these two kinds of Ang can only be seen in the south of the Yangtze River, but in so many buildings in the Tang, Song, Liao, Jin and Yuan dynasties in the north, I can only see that Xiaang is not seen in Shangang (the repair shop of the first ancestral temple of Shaolin Temple in Dengfeng, Henan Province, there are oblique materials under the back of Xiaang, which looks like Shangang, but as an additional decoration, it does not have the function of Shangang, so it cannot be regarded as a real Shangang).
Suzhou has two relics of the Song Dynasty: one is the mysterious temples on both sides of the bucket arch of Sanqing Hall; Secondly, there is a small bucket and eight algae wells on the top of the entrance on the third floor of the North Temple Tower. The Shang-Ang period in these two places was slightly later than that in France, and both were in the early Southern Song Dynasty. Shang Ang's legacy rules can also be found in Ming Dynasty buildings in the south of the Yangtze River. Interestingly, although there was no need to arch in Bei Tang, Song, Liao and Jin Dynasties, in the Ming Dynasty, the eaves of official buildings such as Beijing Palace and Qufu Confucius Temple were carved in the form of upward arch, with two parallel lines obliquely carved, and carved into six parts in the style of upward head, and carved into chrysanthemum heads in the style of deed. This lofty legacy did not disappear completely until after the Qing Dynasty, while Liu Fen and Juhuatou remained until the end of the Qing Dynasty. Where does this lofty wind come from? Are there two possibilities: First, the tradition of "French style" in the Central Plains was simplified into oblique paintings of two parallel lines in the Yuan Dynasty to save trouble, such as the Chunyang Hall and Chongyang Hall in Yongle Palace in Ruicheng, southwest of the mountain, which was later spread to Beijing; Second, in the 18th year of Yongle in Ming Taizu, the capital was moved to Beijing, and Jiangnan craftsmen brought the practice of Shang 'ang to the north and developed it into the above imitation of Shang 'ang. In addition, the French Shang 'ang system did not mention the example of "Julian Dou", but this kind of Dou was used on the arch of the third floor of Yunyan Temple Tower in Huqiu, Suzhou, which was a relic 100 years earlier than French.
French color painting is a simple color decoration, which was widely used in buildings from the Five Dynasties to the Northern Song Dynasty, such as Lingyin Temple Stone Pagoda in Hangzhou, Tiger Hill in Suzhou, National Security Hall in Ningbo, Kanluoji Pagoda in Zhenjiang, etc. It can be seen that before the appearance of Fa, it was very popular here, but in the north, it was in the fifth and ninth caves of Yungang Grottoes in Datong.
Take the two components on the bucket arch as an example: one is Gong Ling, which is longer than the melon arch according to French law; the Gong Ling in Suzhou, Hangzhou and Northern Song Dynasties in the south of the Yangtze River conforms to French law, while the Gong Ling in Liao and Song Dynasties in Bei Tang is often as long as or even shorter than the melon arch, which is inconsistent with French law; The other is to prohibit playing tricks outside the archway. (Just to name a few examples, such as the stone arch of the pagoda of Dayan Temple in Xi 'an. It is worth emphasizing that buildings in Liao and Jin Dynasties, such as Hebei, Shanxi and other places (including the Mani Palace in Zhengding, longxing temple, built in Song Dynasty), were popular with inclined arches of 45 degrees and 60 degrees, while French did not mention inclined arches at all.
The above situation shows that French style is closely related to southern architecture. And the architectural relationship with Hebei and Shanxi is relatively distant. Of course, the similarity between "French" and Jiangnan architecture can hardly be said to be the result of all the influences of Jiangnan architecture, but from the analysis of historical conditions at that time, the objective conditions of this influence exist because:
First, the wars of the late Tang Dynasty and the Five Dynasties caused great damage to the Central Plains and the North, and the Jiangnan area was relatively stable. The economy and culture of Nantang, wuyue, Qianshu and other areas have developed to a certain extent, and the architecture has also been innovated. For example, the rise of the pavilion tower with brick-wood mixed structure in Jiangnan area is an example. This tower not only meets the requirements of Buddhism for pilgrimage and climbing, but also improves 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. By the late Northern Song Dynasty, this high level was still maintained, so Su Shi said in Lingbi Zhangyuan: "Huatang Summer House has the ingenuity of Wu Shu." It shows that the buildings in Suzhou and Chengdu are famous for their ingenuity and are among the best in the country.
Second, Tokyo was located in the upper reaches of Bianhe River in the Northern Song Dynasty and Bianzhou in the Tang Dynasty. During the Tang Dynasty, the Jianghuai area was the source of the imperial economy, and the materials of the capital were mainly taken from Jiangnan through the Bianhe River. Bianzhou, located at the intersection of the Yangtze River and Huaihe River, was very prosperous in the Tang Dynasty. After the capital was established in the Northern Song Dynasty, materials from the south of the Yangtze River were continuously transported to the capital through the Bianhe River. Close economic ties will inevitably lead to cultural and technical exchanges. Therefore, technical exchanges between Jiangnan and Bianjing are also inevitable. The * * * homosexuality formed by this kind of communication is one of the reasons that prompted Wang Huan, the magistrate at Pingjiang, Shaoxing, to reprint French in Suzhou in the fifteenth year. This resurgence strengthened the influence of France on local buildings, so until the Ming Dynasty, Suzhou, Huizhou, Northeast Jiangxi and other places still retained the old methods of the Song Dynasty, such as shuttle columns, moon beams, wood (wood) boards, partitions and so on.