致海伦Architecture of China
怎么建立共享文档中国建筑
Although the ancient Chine 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.
那里好玩
戴高帽子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学术交流英语. The architecture of China is an indigenous system of construction which was conceived in the dawn of Chine 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 who sole function is to parate one portion of the building from another, or the interior from the exterior. The wa
lls of Chine building, unlike tho 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 purpo and to any climate. This high degree of adaptability has enabled Chine architecture to follow Chine 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 Chine 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, ts of brackets on top of the columns supporting the beams within and roof of eaves without. Each t 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 rve 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 Chine 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 Chine hou is compod. The are usually grouped around courtyards, and a hou 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 the summer sun is cut off by the overhanging eaves. Apart from the variations required by special topographical conditions, the same general principles apply to all domestic, official, and religious architecture.
脸色晦暗
厉害近义词对中国建筑师的规划问题，分配一个单一的建筑，由于框架结构使室内分区更多的屏幕，但放置各种建筑，中国的房子是由。这些通常是围绕庭院，和房子可以由这样的庭院不定数。主建筑物通常面向南方，使阳光可以最大限度进入冬季，而夏天的太阳是由飞檐的切断。除了特殊的地形条件的变化，相同的一般原则适用于所有国内，官员，和宗教建筑。
Historical Development. The oldest architectural remains in China are some tombs of the Handynasty. Both the burial chamber and the ch,小肚子胀气ueh, or gate piers, include translatio
ns into stone of timber construction, showing a highly accomplished carpenter’s art rendered by an equally masterful touch of the sculptor’s chil. The important role played by the toukung is en even in that early period.
历史发展。在中国最古老的建筑仍然是汉代一些坟墓。无论是墓室和CH，用户出口处理程序，或墩，包括翻译成木建筑石材，呈现出高度熟练的木工艺术由雕塑家凿一个同样熟练的触摸渲染。通过斗栱扮演了重要的角色，甚至在早期出现。
No timber structure built during the long interval up to the middle of the 8th century A. D. has as yet been found standing in China. Yet glimps of the outward appearance of such structure may be gathered from the details of construction in some of the cave temples and from the paintings on their walls. In the cave of Yunkang, near Tatung, Shansi, constructed about 452494 A. D., and in tho of Hsiangtang Shan, on the border of Honan and Hopeh provinces, and Tienlung Shan, near Yanku (Taiyuan), Shansi, which were built about 550618 A. D., the facades and interiors are treated architecturally, carved from the rock cliffs to emulate the contemporary timber structures. On the tympan
um of the west portal of the Tzuen Si pagoda (701704A. D.), in Sian (Changan), Shensi, is an engraving showing in accurate detail a Buddhist temple hall. The frescoes on the walls of the 6th to 11th century caves at Tunhwang, Kansu, are paradi scenes with elaborate architectural backgrounds. The relics are graphic records of the architecture of a period that has left us on standing specimens, Here, too, we notice the important of the toukung, who evolution may be clearly traced.
