What are the styles, characteristics and inheritance of Chaozhou folk houses in Chaozhou?

Chaoshan folk houses were infiltrated by Central Plains culture in the early stage, and influenced by Bamin Jiangxi culture, Jiangnan culture and Guangfu culture in the later stage. In addition, the natural, economic and cultural characteristics of the area where it is located also make it come down in one continuous line with the architectural culture of China. It is also different from the dignified and bright residential buildings in the central plains and the north; It is also different from the elegance and purity of Jiangnan residential buildings, and gradually forms its own residential style. Lightness and transparency is one of the important characteristics of Chaoshan folk houses.

The so-called light, first, the monomer is small, generally not as large as the houses in the Central Plains and Jiangnan areas; Second, the visual effect of the appearance is not as majestic as that of the Central Plains, nor as elegant as that of Jiangnan. No matter the curve of the roof, the elevation of the cornice, the layout of the facade and the drawing of colors, as long as we make a comparison, we can feel the characteristics of Chaozhou folk houses. Taking color as an example, the northern part of China likes thick colors, resplendent and magnificent flowers, which look elegant; Jiangnan likes to use plain colors and black, which is pure and harmonious with the water environment. However, the color of Chaozhou folk houses is rather gray, and emphasis is placed on strengthening decoration in key parts such as roofs, beams, walls and eaves, and these decorative components are often related to the practical functions of building components. In Chaozhou folk houses, there are usually gray granite or gray surfaces to tie feet, shell gray walls and gray tile roofs. Only the roofs, gables and gates are decorated with bright and pleasing gray plastic, porcelain inlays, colored paintings, wood carvings and stone carvings. At the junction of eaves and roofs, black edges are often applied, and colored (some are black) rolling grass, hanging fish and kuiwen are painted to make the outline eye-catching and enrich the facade in strong sunlight.

The so-called permeability means that the whole building pays attention to ventilation, which is conducive to the moisture removal and moth prevention of building materials and the extension of life. Pay more attention to the natural climate conditions of Chaozhou, which is located in the subtropical zone, so that the living activities are comfortable and cool. Chaoshan folk houses pay attention to the overall environmental design to achieve indoor cooling effect, forming a building environment suitable for human habitation, which is warm in winter and cool in summer. In order to let the air circulate, the front is low and the back is high, and the alley is straight, which is convenient for entering the room by car. This so-called "exposure" strengthens the transparent flow and abundant sunshine in the room. In the case of developing large-scale combined residential buildings, the horizontal and vertical parts are separated by fire lanes, screens and fans. They are ventilation, fire prevention, convenient transportation and separation of forms. That is, the door covers, dry doors, flash doors, Bo Gu and other space partition components used in walls, brick window grilles, halls and doorways all use different materials to facilitate air convection, so that the traditional techniques such as stone carving and wood carving can come in handy. Most of the wooden structures are exposed from top to bottom, so that all building components are ventilated and breathable, and the wood is exposed as much as possible to prevent termites and rot. Most of the courtyards are open halls with doors and windows facing the sky. Most people's patios are equipped with flower beds, pools, flowers and trees, lotus pots, evergreen all the year round, quiet and elegant, which is more conducive to regulating indoor temperature. All these vividly reflect the transparent characteristics of Chaozhou folk houses. Chaozhou folk houses attach importance to decoration. Zhou Zhi once mentioned the so-called "flying birds" and "carving beams and painting buildings", all praising the gorgeous decoration of Chaozhou folk houses. Especially since the Ming and Qing Dynasties, Chaoshan folk houses have entered a mature stage, and the architectural decoration techniques have formed certain characteristics.

One is the harmonious combination of practicality and artistry; In the most conspicuous parts related to the building structure, especially the roof, such as the ridge, the head of the wall, the corner of different walls, the closing of details, etc. Through decorative techniques, it is not monotonous but more stereoscopic. Chaozhou is a rainy area, which requires high leakage prevention of roof joints, and the roof joints are relatively large. The most prominent roof is decorated with gray plastic, porcelain inlay and colorful paintings, which is not afraid of sun and rain and lasts as long as new. A large area of the external wall is inlaid with stone carvings and wall headdresses, which avoids monotonous right angles and enriches the facade. Large and medium-sized ancestral halls mostly adopt the combined structure of hanging beams through buckets, and most of them are open from top to bottom. At the same time, the replacement of beams, walls, foreheads, stigmas and sparrows has been carefully carved, so that these visible parts give people a beautiful feeling. In order to prevent moisture, flood and termites, Chaozhou dwellings generally adopt stone pillar foundations, which are obviously higher than those in the north. Therefore, the pillar foundations are carved into complex geometric shapes and shapes, and there are almost 100 kinds of decorative patterns, so good lighting, ventilation and adoption are generally pursued at home. Chaoshan folk houses attach great importance to the facade decoration, paying attention to the exquisite decoration of stone pillars, roofs, door frames, plaques, couplets, eaves, drums, stone lions and even pavilions and flagpoles in front of the door, making the facade of the building feel luxurious. For the important parts of the room, such as beams, sparrows and even shrines, the essence of decoration is concentrated, making it dazzling. General beams and columns are called "five internal organs" in Chaoshan, which shows their important position in architecture.

Secondly, there are a wide range of decorative themes. The decorative themes of Chaoshan folk houses can almost be said to include traditional folk themes, such as historical stories, myths, fishing, farming reading, drama themes, auspicious patterns, insects, fish, birds and beasts, pavilions, landscapes, and even poems and paintings of celebrities. At the same time, they are good at expressing local characteristics, Lingnan Guo Jia and other local themes, and some western models appeared in the later period.

Third, the decorative techniques are colorful, and many people think I use them. The most prominent are stone carving, wood carving, gray plastic, porcelain inlay, stained glass and painting.

Fourthly, the concept of Excellence, colorful decorative techniques and contents make Chaoshan artists show their abilities and inject competitive mechanism, which makes the decoration of Chaozhou folk houses become more and more exquisite and complicated after the end of Ming Dynasty.

Wuxing gable

Gables, also known as "rubbing horns" in Chaoshan area, are a special part of local houses. It combines the five elements theory and forms the five elements gables with local characteristics, namely, gold, wood, water, fire and earth. The shapes of these five forms are named according to the theory of mountain shape in Kanyu: golden shape is round and wide, wood shape is round and straight, water shape is flat and makes waves, fire shape is sharp and wide, and soil shape is flat and beautiful. The choice of these gables is decided by Mr. Feng Shui according to the environment. For example, the surrounding mountains are mostly fire-shaped, so the mountain wall adopts "water type", which means "combining fire and water". Generally speaking, the use of "fire gable" is taboo in folk houses, but it is generally used in ancestral temples and temples to represent family prosperity. In addition, according to the five basic forms, other forms will be derived, such as "large water type". The practice of the mountain wall is divided into three lines, three bellies, and floating Chu, that is, Chu flowers. The line refers to the mold line, the narrow line is the line and the wide line is the board line. The part separated between the board lines is called "belly", also called "board belly". "Belly" can be divided into "flower and bird belly", "landscape belly" and "character belly" according to different themes. The bottom of the wall has become a "belly", and the pattern below the belly is even a "Chu flower".

At present, only Lai Peidian, the ancestral woodcarving workshop of the Jin family located in Longshang Village, Jiedong District, Guangdong Province, can complete both traditional and beautiful ancient buildings and houses in Chaoshan area.

Originated from the ancestral woodcarving art workshop of Tea Day in the early years of Xianfeng in Qing Dynasty, it has been around 160 years, and it has been turbulent for several times without interruption. When you come to the tea field, you are nicknamed Sanyang, namely Haiyang (Chaoan), Chaoyang and Jieyang. It can be seen that its skills are superb, and its existing works include wood carving of Guan Shengdijun Temple in Dongshan Island, Fujian Province. Great-grandfather Lai's handed down works are unknown. Grandpa Lai Yuan's handed down works include the woodcarving of Dacheng Sanfang Temple in Feng Tang Town (now being rebuilt, and the woodcarving work is undertaken by Lai Peiyun, the founder of the ancestral woodcarving art workshop). Father Lai's famous works include the Tianhou Palace in Shantou Mountain, the woodcarving in Tianhou Palace in Pengzhou, and the Temple of Guanye Palace in Jieyang Fort. The cultural relics protection units of wood carving works completed by Lai Peidian include Guantang Song Temple (Chenjiaci), Pengzhou Wengwanda Mansion, Pengzhou Chenghuang Temple, Oushijia Temple (Blue Brick Temple), Chaozhou Qinglong Ancient Temple and Nanchun Road Ancestral Temple. There are also woodcarving projects such as Liu Cishi's ancestral home in Singapore's Phosphorus Creek, Xiu De Mountain Pond in Singapore, Zhonghong Mountain Pond and Taihua Temple in Longshang Village, Jiedong District, Guangdong Province. Exquisite craftsmanship and high praise.

Lai Peidian grew up in an ancestral woodcarving family. He was deeply moved by the woodcarving atmosphere handed down from home, and gradually developed a love for woodcarving. Quietly, I study with my father, Reisen River. With the persistent pursuit of wood carving art and my father's careful teaching, I study hard and study hard. Finally, many things happen, and he will soon master all kinds of skills from choosing and making wood carvings. In the course of 36 years' work, with the help of my father and my colleagues in Wuhua, I have created some woodcarving works and achieved certain results.

Over the past 30 years, I have studied every process meticulously and kept improving. Soon, I will be able to master the craft and skills of Chaozhou gold lacquer wood carving art, such as polishing and blank making. Later, he was very interested in woodcarving design. Since 1985, I have been engaged in the study of Master He's woodcarving pattern design in Shantou. A number of woodcarvings can be designed with Chaozhou gold lacquer, which not only embodies the characteristics of Chaozhou gold lacquer's multi-layer hollowing out, but also facilitates the feeding and transportation of knives. Dense and durable woodcarving works of art. In the process of design, we should absorb the essence of predecessors, integrate our own ideas, gradually improve our level and form our own style. It has been well received by peers.

1995, among the woodcarving works completed, there are Guantang Song Temple (Chenjiaci), Pengzhou Wengwanda Mansion, Pengzhou City God Temple, Oushijia Temple (Blue Brick Temple), Chaozhou Qinglong Ancient Temple, Nanchun Road Ancestral Hall, etc. There are also wood carving projects such as Liuci Shi Kefa's ancestral home in Linxi, Longshang Village, Jiedong District, Jieyang City, Xiu De Shantang [5], Zhonghong Shantang and Taihua Temple, which have all been well evaluated. In particular, the woodcarving works of Taihua Temple in Longshang Village, Jiedong District, which were designed and created by him, are extremely exquisite in craftsmanship and have been widely praised by all walks of life. Mr. Li Zhuoqi, director of the Chenjiaci Museum in Guangzhou (judge of national arts and crafts masters), was only amazed at the photos of the ancestral temple.

Mei Zhu, a woodcarving hanging screen, won the China Arts and Crafts Creative Award at the China (Shenzhen) International Cultural Industry Expo, and "Seven Children Returning to Korea" and "Happy" won the Gold Award and the Silver Award at the Guangdong (Chaozhou) Arts and Crafts Exhibition respectively. The hollowed-out shrimp and crab basket also won the gold medal in this exhibition, and the creation of "Official, Agriculture, Industry, Commerce, Fishing, Split, Plowing and Reading" won the gold medal in the 16th China (National) Arts and Crafts Expo. In April, 20 14, he was hired as a member of the woodcarving Committee of Guangdong Arts and Crafts Association, and in February, 20 14, he was named as a city arts and crafts artist. April 20 15 was awarded the Master of Arts and Crafts.