童寯先生相关论文 二
童寯先生相关论文 二同样出处不详）
第二篇 Foreign Influence in Chinese Architecture
To the
Hellenic World China was known as early as the fourth century B.C., but simply
as the land celebrated for sericulture. The Chinese people, on the other hand,
did not even bother to inquire who consumed their silk, which later in imperial
Rome was worth its weight in
gold.
早在公元前四世纪希腊就知道中国是养蚕的国家。而中国人却根本不在乎丝绸卖给谁。后来罗马帝国时代这丝绸可是价值连城。
Gibbon,
in The Decline and Fall of the Roman Empire, deplored that the art of printing
failed to reach Europe with the importation of silk. However, long before Europe
received the blessing of printing, Greek influence had already firmly
established itself, though indirectly, in Chinese art.Edward Gibbon,
在他的书中提到，他十分惋惜印刷术并没有同丝绸一并传入欧洲。然而，早在欧洲知道印刷术之前，希腊就已经对中国艺术产生了影响。
Official communication between the Roman and Chinese Empires, according
to Chinese records, took place in A.D. 166, but neither one seemed to have made
any impression whatsoever on the other through the contact. This does not mean
that China was entirely free from foreign influence at that time, for a century
earlier the Han Emperor Mingti (A.D. 58-75), inspired by Buddhism, had
dispatched delegates to India, and immediately afterwards Hindu monks came to
the capital, Loyang. Here the first Buddhist temple, Pai Ma Sze (White Horse
Temple), was built. The importance of this temple lies more in nomenclature than
style. The building, though a Buddhist shrine, was not a reproduction of Hindu
architecture. Meanwhile, the word “Sze,” which had hitherto meant a governmental
department, was now employed also to designate a Buddhist temple. This usage
became gradually an accepted one, with the result that today it is the exclusive
term for all the monastic Buddhist temples in
China.
罗马和中国的正式往来，据中国资料考证，是在公元166年，但互相都没注意到对方。[东汉延熹九年（166年）的大秦国王安敦向东汉遣使奉献]这并不意味着那时候中国就完全闭关锁国了。一个世纪前，印度和尚来到东汉首都洛阳，汉明帝刘庄的马上就派人去印度。白马寺就建在了洛阳。这个庙宇的重要性更多的在于它的称谓而不是形式。虽然是佛教殿堂，可并不是印度建筑的再造。主要是“寺”这个字，迄今都是官府衙门的意思，现在成了佛教建筑的称谓。这种说法慢慢被人接受，以至于现在各大小庙都叫“寺”了。
The development of a certain coloured material, peculiar to Chinese
architecture, also began in the Han Dynasty. This glittering and translucent
material, liu li---a term derived from the Sanskrit “vaidurya” ---created a new
craze and was much treasured by the Chinese in the second century B.C. It was
imported through the southwest into China, and first mentioned in His Ching Tsa
Chi ( Miscellaneous Records of the Western Capital) as building material, in the
term of a glazed screen, which, more concealing than transparent, much delighted
an imperial concubine. This material was developed five hundred years later into
the glazed tile which became indispensable in roofing the palace buildings in
imperial
style.
对中国建筑很重要的一种特定颜色的材料的发展也是在汉朝。这种闪光透明的材料叫琉璃，是从梵语“vaidurya”而来。这种材料的运用对中国其后的一个世纪的影响都相当巨大。它是从中国西南引进的。西京杂记有所记录。[记有长安昭阳殿的窗扉用绿琉璃建造，以达通光效果，此绿琉璃为窗玻璃]
500年之后这种材料发展为琉璃瓦是皇家建筑不可或缺的屋顶材料。
The stone tablets in Wu Liang T’zu, a
family shrine, executed in the second century A.D., give some valuable
information in bas-relief regarding Chinese architecture in the Han Dynasty. An
instance is the playful figure on the second storey of a building, balancing on
his hands a portion of the roof. Strangely enough the supporting is also done by
the head, very similar to the Caryatid in Greek architecture. The difference is
that fulfilling the duty of a slave, in shame, sorrow, and servitude. It might
be far-fetched to suggest that the Chinese relief was inspired by the Hellenic
legend, but the resemblance is indeed striking.
公元2世纪时候的嘉祥武梁祠后壁画像为我们提供了一些有价值的关于中国汉代建筑的信息。比如第二层的一个人物，手举屋檐，最奇怪的是也是用头支撑。非常像希腊[卫城Erechtheion外廊的]支撑柱。唯一的区别是他是奴隶。
不妨我们就说中国的浮雕是受希腊神话影响的好了。但其中异同很是惊人阿！
The guardian of the Chinese temple
gate, the stone lion, made its appearance in the Han Dynasty. A most remarkable
example now stands in front of the tomb of Kao Yi, in Szechuan, executed about
A.D. 209. Our particular interest is not so much concerned with whether the
animal is a lion, as with the strong similarity it bears to the Assyrian winged
bull. The fact that the latter was also used to flank the Assyrian palace portal
makes the resemblance all the more extraordinary.
中国寺庙大门的守护神，石狮，是在汉朝出现的。
最著名的当属四川雅安的高颐墓阙前的石狮了。我们并不关心他是狮子阿还是古代亚述国的门神[叫Assyrian winged
bull]实际上，后者也是保护亚述宫殿入口的。
The year A.D. 366 witnessed the beginning of the
rock-cut Cave of a Thousand Buddhas at Tunhuang, and marked the commencement in
China of a period of more than two centuries of active cave-cutting, which
thoroughly displayed the intensity of religious fervour. Other well-known caves
followed, at Yun Kang, A.D. 409; Lung Men, A.D. 494; and T’ien Lung Shan, A.D.
575. Lesser caves are numerous, and the rock-cutting activity did not entirely
cease till the end of Yuan Dynasty (A.D. 1279-1368). In these caves one
discovers the development of sculpture from the Greco-Indian-Gandhara tradition
to the pure T’ang Dynasty style. At Yun Kang is to be found the polygonal column
with an Ionic capital. There are also such architectural ornaments as the
acanthus, honey suckle, garland, and “egg and dart.” All these evidences point
to the wholesale influx of Hellenistic influence through India. The Indian
characteristic is the strongest at T’ien Lung Shan. Quite likely Hindu craftsmen
played an important part in its
construction.
公元336年，敦煌莫高窟（千佛洞）的石刻标志着中国近两个世纪开凿洞穴宣传宗教的开端。其他一些著名的石刻洞穴如，公元409年的云岗石窟；公元494年的龙门石窟还有公元575年的天龙山石窟。
小些的石窟更是数不胜数。直到元朝还有石刻陆续出现。人们可以发现这些石窟里的雕塑是从希腊印度风格到唐风演进的。云岗石窟发现了爱奥尼式的柱头。还有的一些装饰像莨苕叶，忍冬,
花环, 还有蛋刺饰。所有这些都说明了通过印度对我国建筑的希腊影响。天龙山的石窟的印度特征最为明显，估计当时印度的工匠一定参与了建造。
During the “Six Dynasties” (A.D. 220-589) a conspicuous tomb ornament is
the stone pillar, standing side by side with the stone lion. In many cases the
main part of the shaft is fluted, in exactly the same style as the Greek Doric
column. The fact that this type of ornament exists mainly to the south of the
Yangtze might prove the growing popularity of another channel through which
Western influence came to China---the sea
route.
六朝时期，很明显的墓葬装饰就是神道石柱，和石狮并排。许多的柱子都想希腊的多立克柱式。实际上这种装饰只在长江南部出现，说明了另外一条外国影响的途径---海运。
Although the picture of a pagoda, known in India as the stupa, was said
to be painted on the fresco at Pai Ma Sze in the Han Dynasty, it is doubtful
whether a pagoda was actually built at this time. Pagoda construction was
recorded in the middle of the third century A.D., but existing ancient examples
have yet to be found in the various rock-cut caves. One of the earliest pagodas,
and the grandest, is described in Loyang Chialan Chi. This pagoda of Yung Ning
Sze, built in A.D. 516, was nine storeys high and of wooden construction. The
fact that a structure was built to the somewhat exaggerated height of 900 feet
and was accomplished with timber, is most significant. The Hindu stupa,
invariably erected with masonry, was now transformed by the Chinese
architectural genius into an entirely different system of construction. The
Chinese pagoda thus became as organic as, and akin to, the Chinese palace and
temple.
虽然白马寺壁画上有塔（印度stupa，西方一直沿用葡萄牙人发明的pagoda）的图像，可这并不能说明塔就是在汉朝建的。直到公元3世纪才有建塔的记录。但是各种石窟里又发现了古塔的例子。其中杨衒之《洛阳伽蓝记》记录了很早也很宏伟的一个塔。这就是永宁寺塔建于北魏熙平元年永宁寺的塔，九层木构。900多尺的木构真了不起。
印度的Stupa 都是砖做，被中国的能工巧匠变成了完全不同的结构。这样中国塔就很和中国的寺庙相和谐了。
We see all kinds of
Chinese pagodas today, and it is difficult to classify them. Well known is the
Great-Goose Pagoda in Sian, built of brick about A.D. 625, but with few Chinese
features. Sometimes the core of the pagoda is constructed of masonry, sheathed
with a wooden fa?ade purely Chinese in character. Most of the pagodas built in
masonry have also the Chinese roofing, balcony, and portal, with nothing foreign
about
them.
我们现在见过中国各种各样的塔，很难给他们分类。最著名的是西安大雁塔，建于公元625年，可是没有太多中国特色。有的塔砖心中国样子的木表皮。大多数的塔都是砖做加个中国的顶，露台还有入口完全没有外国的感觉。
In the T’ang Dynasty (618-906) the capital Ch’angan became a melting pot
of many nationalities. Arabs, Jews, but mainly Persians, composed the foreign
community of the metropolis, and it is important to note that although hitherto
India had supplied all the inspiration to Chinese art and religion, new forces
from Central Asia now came to affect the mode of living in China. Among other
things, the polo game, originated in Persia, became popular in China.
“Air-conditioning”, an innovation then as now, was installed in the palace of
the Emperor Hsuan Tsung (A.D. 712-765). The apparatus, it appears, was designed
on the principle of circulation of cold water, and its operation was so
successful that, during an audience, although a minister was overcome with
shivering, teeth-chattering, and gastric disorder, the sovereign, evidently made
of no common clay, thoroughly enjoyed the freezing atmosphere. A few wealthy
people in the Capital also availed themselves of this modern convenience, and
their homes were constantly enriched with other foreign
novelties.
唐朝的长安简直就是一个各国人的大熔炉。阿拉伯人，犹太人还有更主要的波斯人成为城市的主体。虽然印度给了中国的艺术宗教以巨大的影响，我们不要忽略中亚的新型国家对中国的生活方式的改变。这其中的起源于泼斯的马球运动在中国开始流行。唐玄宗（公元712-756，估计印刷的时候写错了）的宫殿里就有和现在相似的“空调”系统。这套装备是依靠冷水循环系统，相当好用，大臣上朝，冷得浑身哆嗦，牙齿打假，胃痛，可是玄宗却很是享受这清冷的环境。[童先生说唐玄宗明显不是粘土做的。。。哈哈]
长安一些富户也有用这套系统的，他们不断购入外国的新鲜玩意儿。[这是唐玄宗的哪个宫殿阿？这空调什么样？]
Ch’angan now assumed
a cosmopolitan character. Parsees, Manicheans, Mohammedans and Nestorians rubbed
shoulders with one another, and worshipped in their respective temples. As
foreign craftsmen undoubtedly played their part in the construction of these
buildings, new foreign architectural elements were inevitably introduced. A
Persian monk, Chien Chen, even journeyed from China to Japan to build a temple
there--- the now well-known T’ang Chao Ti Sze (Toshodaiji, A.D. 759). This
monument is important as it is typical of T’ang Dynasty architecture. A salient
feature is the entasis of the column, one of the many Greek architectural
refinements which the Persians were possibly instrumental in bring to the Far
East.
长安具有了大都市的特征。印度拜火教徒，摩尼教徒，伊斯兰教徒还有基督教徒同在一城，各自在自己的庙宇膜拜。随着外国工匠在这些建筑的施工，新的外国的建筑元素被不可避免的介绍到了中国。[现在北京也这意思哈]一个波斯的和尚[？不是扬州人吗？]
唐代高僧鉴真，从中国到日本建了著名的唐招提寺。这个建筑十分重要它是典型的唐代建筑。一个显著的特征就是卷杀，希腊装饰之一，很有可能波斯人想要介绍给东方。
The carved stone base seen in monumental Chinese architecture,
technically called Hsu Mi Tso, owes its origin to a Greco-Indian motif, which
resembles the classical pedestal with its dado stunted. It first appeared in the
rock-cut caves, but was not adopted as the base of a building until the “Six
Dynasties.” The Sung Dynasty (A.D. 960-1278) standardized its design, which is
still followed to a great extent today. The base of the Japanese temple assumes
a much simpler form, and this shows that T’ang Dynasty architecture, Japan’s
source of inspiration, was still free from this
elaboration.
中国建筑中的石刻基座称为须弥座，源于希腊印度须弥山，好像经典的上面有小挡板的台座。石窟中首现，可是直到六朝才被采用。六朝时期时的设计规范化而且至今沿用。日本庙宇的台基形式简单，这可看出唐朝的建筑还没受太大影响。
Although
the development of the arch in Chinese architecture seemed much later than in
the ancient Babylonian, it does not necessarily mean that China owed this
structural achievement to a foreign source. It could have been invented in China
quite independently. Vault construction is but the prolongation of the arch, and
is freely used to span Chinese bridges, and sometimes to ceil the temple. A
vaulted temple, usually of the “barrel” type, is called Wuliang Tien (meaning
“Beamless Temple” ). The transition from the square compartment to the domed
ceiling, so superbly accomplished with “pendentives” in Classic architecture,
was only crudely “patched up” by the Chinese with
corbels.
虽然中国的拱结构的发展好像没有巴比伦早，可是这并不能说中国就是从外国学来的。和有可能是中国人自己发明的。拱顶建造也就是拱的延伸。通常是用来造中国的桥的。有时做庙宇的天花。无梁殿[防火建筑哈]就是典型，顶欲坠而不落。四四方方的顶到拱顶的转变就这么让中国人碓起来了。
Similarly, the Chinese P’ai lou, supposed by many to have been derived
from the Indian Toran, although it is generally free any Hindu detail, probably
originated in China in very ancient times. It is either erected in wood or
stone, and its width varies from one to five spans. The only Indian element that
is sometimes found in the stone P’ai lou serves as a tomb
entrance.
中国的牌楼有人说是源于印度的“Toran”壁挂，其实是源于中国古代。是木制或者石制，一到五跨。墓的入口的牌楼有的时候有印度的元素。
During
the Sung Dynasty, communication between China and the outside world was
principally by sea. Canton became the chief trading port, famed for its mosques
and Mohammedan sepulchers. The foreign residences grouped around a pagoda, not
unlike the medieval town in Europe with the cathedral as its
center.
宋朝中国与外国的交流主要通过海。广州成了主要的港口，因为清真寺还有穆哈默德的圣物而出名。外国人都住在塔的周围。有点像欧洲中世纪围着天主教堂的镇子。
The
partitioning of a city into districts, with a view to separating different
foreign communities, was achieved in Hangchow toward the end of the Yuan
Dynasty, by the erection of high walls. The Arabian quarter, we are told, was
particularly noted for its magnificent streets and a fine mosque. The mosque was
raised high above the ground with its door inhospitably bolted. The contemporary
mosque in Hangchow is still a clever combination of Chinese and Arabian
architecture, its sanctuary being domed under a tiled
temple-roof.
元末，杭州率先建了高墙分割不同外国人社区为不同的区域。阿拉伯人那片，尤其以他们的街道和清真寺出名。这个清真寺高高在上大门紧闭。现在杭州的清真寺更像一个中国和阿拉伯的组合，拱顶上盖了瓦顶。
Zayton (now Ch’uanchow ) was also fast becoming an important city of
international trade in the Sung Dynasty. It served as the center of activity for
the merchants from Ceylon, which fact explains the existence of certain
Ceylonese influences in local architecture. A striking examples is to be found
in Kai’Yuan Sze, which has two winged Caryatids and two Hindu stone pillars
richly carved, all in the main temple building. Possibly these innovations were
introduced during the restoration carried out after the twelfth
century.Zayton
现在叫泉州，宋朝的时候也是很快就变成了国际贸易城市。它作为斯里兰卡[锡兰]商人活动的中心，很好的证实了斯里兰卡对当地建筑的影响。最著名的例子就是开元寺。里面的[大雄宝殿]有两个翅膀的女柱头还有印度的石柱[上有婆罗门教的湿婆神像]。可能是12世纪介绍来的。
The nomadic Mongols, whose invasion culminated in the founding of the
Yuan Dynasty, did nothing to influence China architecturally. Even that great
international salesman, Marco Polo, failed to improve with the “Stone of Venice”
the canal city of Yangchow, which it was the Khan’s pleasure to choose him to
govern.
游牧民族蒙古的入侵并建立元朝并没有对中国的建筑有多大影响。即便是国际倒爷马可波罗也没能对扬州有什么贡献。白白让可汗选中他了。
During
the Ming Dynasty (A.D. 1368-1644) began the ever increasing traffic on the high
seas between Europe and Asia, first made a reality by the Portuguese in 1498.
Soon the Portuguese reached China, and in 1557 occupied Macao. There the first
Christian church in China, the cathedral of San Paulo, was built at the end of
the sixteenth century, and real European buildings, of the Spanish-Baroque
variety, began to spring up in the colony. It is recorded in Ao Men Chi Lueh
that the building s in Macao were three storeys high, and had walls as thick as
four to five feet. The thick wall, it should be noted, is a structural necessity
in “bearing-wall” construction, characteristic of classic European architecture.
This is a sharp contrast with the thin “curtain wall” in the light-framed
Chinese construction. The document referred to also describes casement windows
in masonry openings, a feature seldom employed in the Chinese building which is
usually penetrated in the whole fa?ade. It goes on to note the existence of
basements and numerous sidedoors, necessitated by complex
partitioning.
1498年由葡萄牙人带头，明朝时欧亚海上交流频繁。1557葡萄牙占领我国澳门。第一个基督教教堂圣保罗教堂在16世纪末修建起来，以后欧洲的西班牙巴洛克式建筑风靡殖民区。澳门记略[(清)印光任,(清)张汝霖著]中记载，澳门的房子高3层，墙厚4，5尺，是经典欧洲建筑中的承重墙。
这和中国建筑的[非承重]墙很不一样。记略中还说窗扉是石质这和中国的很不同。记略还提到了地下室和侧门还有复杂的隔墙。
Matteo Ricci
(1552-1610), the Italian Jesuit, erected the first Catholic cathedral in Peking
in 1601. The building was vaulted and illuminated with clerestory-windows. It
had its fa?ade on what in Chinese architecture was the side wall, a departure
most incomprehensible to Oriental
geomancers.
耶稣会士利马窦1601年在北京建了一个天主教堂。[哪一个？]这个教堂有穹顶天窗。立面开在侧墙，这让风水先生很是不解。
Canton
grew more and more important with the increase of shipping. The wealth and power
of the celebrated “Thirteen Hongs” were already becoming proverbial in the early
Manchu Dynasty. These hongs or commercial houses, “looked the same as European
painting,” wrote the eye-witness, Shen Fu, in his Fu Sheng Liu Chi. The French,
English, Danish and Dutch business buildings were constructed in the manner as
their respective owners knew how, and the city flared with a heterogenous
mixture of styles not previously known in China. Foreign buildings in Canton
served as models for fashion-mongers in other cities. For the first time,
European design was adapted to garden buildings in Yangchow, during the reign of
Emperor Chien Lung (1736-1796). One example was to be found in Ching Hsiang
Yuan, and another in Chu Yan. However, it must not for a moment be supposed that
these garden buildings were anything like either the Medici or Le Notre. The
Chinese builders in those days were far too imaginative to “crib cold.” They
borrowed mainly the idea of European planning and embellishment, which were
harmoniously fused into the surrounding
whole.
广州随着海运的增多而地位逐渐变高。通商口岸“十三行”在清初已十分出名。沈复在《浮生六记》里面就说这些行，货行“看上去就和欧洲画一模一样。”法，英，丹麦，荷兰等国的商馆各自有各自的风格，广州就像是一个各类风格建筑的混合。广州也成了各地商人模仿的对象。乾隆时期欧洲的设计也史无前例的带进了扬州。例如Ching
Hsiang Yuan[？]和Chu Yan[？] 然而这些园林建筑并不像Medici或Le Notre.
中国的工匠并不生搬硬套而是充满了想象力。他们主要吸取了欧洲的规划和装饰，使之融合到中国的环境之中。
We have a
different story in connection with Ch’ang Ch’un Yuan, a portion of the Old
Summer Palace in Peking. Here, Italian Baroque architecture, complete to the
last detail of wavy scroll, was executed for imperial pleasure. It was the
privilege of the crowned heads to be inconsistent; for, although the Emperor
Ch’ien Lung insisted that the Jesuit painters under his patronage should paint
strictly in the Chinese style, in the matter of architecture he desired just the
opposite. This stupidity on the part of the Manchu ruler was responsible for a
number of garden buildings in the European style, with fountains, parterres, and
even a maze--- all to be wantonly destroyed later by the French-British forces
in 1860. Since this architectural group was on forbidden ground and enjoyed but
a brief existence, it was prevented from ever being popularly
imitated.
颐和园中的畅春园，为了帝王的消遣，这里竟然建了一个意大利巴洛克风格的建筑，[wavy
scroll是什么？，这是说的哪个建筑？]虽然乾隆让基督教士画中国的风格，可是建筑他却要西洋的。迂腐的清朝皇帝还建了一些欧洲风格的园子，有喷泉，有花圃，甚至还有迷宫---1860年都让英法联军给烧了。这组建筑就结束了短暂的生命，这也让它免得被模仿。
The
“foreign building” or Yang lou, as Yuan Mei (1716-1797) called it in one of his
poems on Canton, ceased to be a curiosity and became a familiar sight after the
“treaty ports” had been thrown open to foreigners. Gradually foreign architects
came to plan and supervise foreign-owned buildings in these ports, while the
Chinese craftsmen served merely as builders and laborers. Large Chinese cities,
Shanghai particularly, present a riotous spectacle of architectural styles of
all nations and all periods--- a phenomenon that greatly confuses the observer
today.
袁枚在他的一篇写广州的诗中提到的洋楼，在海关条约以后变得并不陌生。洋建筑师逐渐来华设计监督外国人的房子，而中国的工匠主要出卖体力。中国的大城市，像上海出现了大量的各式各样的建筑---现在的学者很难理解。
From India and the West, China has received much architecturally but
given little. Even the great Buddhist Hsuan Chuang (circa 605-665), who traveled
in India for sixteen years, made not a single contribution to Hindu
architecture, but was on the contrary quite mindful of bringing back to China,
among other things, the design for Great-Goose Pagoda. Architecture in China,
with the exception of influencing certain parts of Korean and Japanese
buildings, underwent rather a wholesale transplantation. Sir William Chambers
was the first European architect charmed by the Chinese building-art, only to be
discouraged by Samuel Johnson. Chinese architecture, in spite of Chambers’
enthusiasm and the efforts of the French Jesuits, besides freeing the rigid
English gardens to some extent, merely succeeded in creating a mild stir in the
realm of furniture design, with the appearance of the Chippendale and
Chinoiserie in eighteenth-century Europe. The superficial observer is invariably
captivated by the Chinese architectural ornaments, but blind to the great
principle of construction which alone gives them meaning. The Chinese builder
never sacrificed the structural for any decoration, however attractive. In all
the great epochs of Chinese architecture, the spirit remained distinctly
Chinese, no matter how much foreign influence it had
assimilated.
无论是印度还是西方，中国都从中吸收了很多但是并没有传播自己的建筑到别的国家。甚至著名的玄奘大师，去印度16年，没有对印度的建筑做什么贡献倒是很有想法的给中国带回来不少好东西，比如大雁塔。中国的建筑除了影响了韩国日本以外，基本上遭受了一次大规模的引进。Sir
William
Chambers是第一个对中国建筑艺术感兴趣的欧洲建筑师。中国的建筑除了Chambers的热情，法国传教士的努力推广；还有帮了英国园林活跃了一些之外，主要就是对西方的家具设计提供了一些新鲜空气。比如十八世纪法国的具有中国艺术风格的物品，还有齐本格尔家具。一般人只是对中国的建筑装饰很感兴趣，并没有注意到是中国建筑具有意义的构造原理。中国的工匠从来没有牺牲结构而进行装饰，尽管结构已经很美。在中国建筑的任何历史时期，无论有多少外来影响，其精华依然尚存。
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