本期编辑/上海雅舍辛乙堂
Yashe Studio
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在我国古建筑历史上，彩画是不可或缺的一部分。古建筑彩画，在柱、梁、枋等处绘制图案花纹，是极富特色的建筑装饰。本期，我们就一起来了解古建筑彩画的起源及发展。
In the history of ancient architecture in China, color painting is an indispensable part. The ancient architectural color painting, which draws patterns on columns, beams and beams, is a very distinctive architectural decoration.
In this issue, we will learn about the origin and development of ancient architectural color painting.
在夏朝就有了“日、月、星辰、群山、龙、华虫、宗彝、藻、火、粉米、黼、黻”十二章纹样，并以五色绘制，以区分贵贱等级——“楹，天子丹，诸侯黝，大夫苍，士黈”。
In the Xia Dynasty, there were twelve chapter patterns of "sun, moon, stars, mountains, dragon, Huachong, Zongyi, algae, fire, pink rice, Yi and Yi", and they were drawn in five colors to distinguish the rank of noble and humble - "Ying, Tianzi Dan, vassal, doctor, scholar".
此时建筑装饰还处于萌芽状态，还没有形成独立的建筑装饰类型，彩画、雕刻、绘画还杂糅不分，其中由于张挂织物和金属包镶所产生的装饰构图，在后来的装饰中产生了巨大影响。
At this time, the architectural decoration was still in its infancy, and no independent architectural decoration type had been formed. The color painting, sculpture and painting were mixed together. The decorative composition produced by the hanging fabric and metal cladding had a great impact on the subsequent decoration.
春秋时期有了彩画的雏形，从考古实证来看，秦汉时期西蜀成都已经出现种类繁多的精美漆器，对大漆运用的推测应该可以推及木构建筑的承重结构、上漆技术当不成问题，故有“山节藻棁”和“设色施章”之说。
In the spring and Autumn period, there was a rudiment of color painting. From the archaeological evidence, there were many kinds of exquisite lacquer ware in Chengdu, Western Shu during the Qin and Han Dynasties.
The speculation on the use of large lacquer should be extended to the load-bearing structure of wooden buildings, and the painting technology should not be a problem. Therefore, it is said that "the mountain is cut off and the color is applied".
魏晋南北朝时期佛教迅速发展，彩画在装饰纹样上出现了卷草、莲花、火焰、飞天等图案，宝珠和曲水万字也占据一定装饰地位，二方连续、四方连续两种式样均已有，这也影响了后期隋唐彩画风格的发展。
During the Wei, Jin and Northern and Southern Dynasties, Buddhism developed rapidly, and patterns such as curling grass, lotus, flame and flying sky appeared on the decorative patterns of color paintings.
The precious beads and Qushui Wanzi also occupied a certain decorative position. There were two types of continuous two sides and continuous four sides, which also affected the development of color painting styles in the late Sui and Tang Dynasties.
盛唐是我国彩绘艺术发展的一个重要阶段。《营造法式》“彩画作”总结了隋、唐、五代以来流行在全国各地的不同工艺及作法，规范了按工艺程度、图纹用意及材料划分若干等级，按等级的不同施于不同类型的建筑上。
The prosperous Tang Dynasty is an important stage in the development of Chinese painting art. The "color painting works" in the "construction method" summarizes the different techniques and practices that have been popular throughout the country since the Sui, Tang and Five Dynasties.
Standardizes the classification of several levels according to the degree of technology, the intention of the pattern and the materials, and applies them to different types of buildings according to the different levels.
《营造法式》规范了六种基本做法：五彩遍装、碾玉装、青绿叠晕棱间装、解绿结华装、丹粉刷饰和杂间装。图案大多以红色作底，青、绿、朱、白、黑五色攒退，色彩鲜艳，以暖色为主，图案线条刚劲有力，图案纹样多以花草为主，布局没有三廷之分，总体效果疏朗大气。
The construction method has standardized six basic practices: multicolored decoration, milled jade decoration, green and green overlapping edge decoration, green and green Jiehua decoration, Dan painting decoration and miscellaneous decoration.
Most of the patterns are based on red, and the five colors of green, green, red, white and black are accumulated and faded. The colors are bright, and the warm colors are the main ones. The lines of the patterns are strong and powerful.
The patterns are mainly flowers and grasses, and the layout is not divided into three courts. The overall effect is sparse and atmospheric.
宋代的建筑形式比唐代规模更宏大，彩绘的表现手法也更为丰富。其特点是用墨更讲究笔法的流畅飘逸、线条的刚劲挺拔，花纹图案也变得活泼多样。在操作技法上，宋代以线条轮廊和图案造型为主、以退晕技法为辅、以青绿为主色、以红黄为陪衬，风格清淡雅致。
The architectural form of the Song Dynasty is larger than that of the Tang Dynasty, and the expression methods of color painting are more abundant. It is characterized by more emphasis on the smooth and elegant brushwork, strong and straight lines, and lively patterns.
In terms of operation techniques, the Song Dynasty mainly focuses on line corridors and pattern modeling, supplemented by halo removal techniques, mainly green and green, and set off by red and yellow. The style is light and elegant.
由于宋代禁止民间私设金炉溶金，所以彩绘中很少用金饰，这也成为宋代彩绘的一大特色。元朝时画工们在额枋彩画上创造出了一种新的旋子纹样。旋子纹为一圆形而富有旋转动感的花卉装饰图案。以后旋子纹也成了明清两代彩画中一种很重要的纹样。
Since the Song Dynasty prohibited the private setting of gold furnaces to melt gold, gold ornaments were rarely used in color painting, which also became a major feature of color painting in the Song Dynasty.
In the Yuan Dynasty, painters created a new kind of spiral pattern on the color paintings of the architrave. The spiral pattern is a round and dynamic flower decorative pattern. After that, the spiral pattern also became a very important pattern in the color paintings of the Ming and Qing Dynasties.
元立国不到百年且战乱不止，现今留存的彩绘很少，只有山西永乐宫、洪洞广胜寺等几处实物。但分析研究这些仅存的实物可以得知，元代彩绘对我们建筑装饰的发展仍有一定的贡献。
The Yuan Dynasty was founded less than a hundred years ago and the war was not stopped. There are few color paintings left today, only a few physical objects such as Shanxi Yongle Palace and Hongdong Guangsheng temple. However, the analysis and study of these remaining objects shows that the Yuan Dynasty color painting still has a certain contribution to the development of our architectural decoration.
元代彩绘主要是以青绿为主调、同时辅以黑白线作各部图案的轮廊线，使作品更加明晰典雅。元代还首创了在建筑物的枋心添加泥塑图案这一新的技法。北京雍和宫北出土有元代亭子彩画。
In the Yuan Dynasty, the color painting was mainly based on green and green, supplemented by black-and-white lines as the corridor lines of various patterns, making the works more clear and elegant.
The Yuan Dynasty also pioneered the new technique of adding clay sculpture patterns to the Fangxin of buildings. There are painted pavilions of the Yuan Dynasty unearthed in the north of the Yonghe palace in Beijing.
元代的建筑在北京留下的不多，现在认定北京元土城遗址公园为元代土墙。北京城的城墙里一度存有元大都内的彩画，但是其等级不高，无金，没有暖色，只有蓝色和绿色。现在都不复存在了。
There are not many buildings of the Yuan Dynasty left in Beijing. Now, Beijing yuantucheng ruins park is recognized as a wall of the Yuan Dynasty. In the city wall of Beijing, there were color paintings in the Yuan Dynasty, but the level was not high, there was no gold, no warm color, only blue and green. They are no longer there.
明清的彩画与各历史时期的彩画相比，实物保存较全面。明清时期建筑彩画的制作手法已经完善：衬底衬色技术、罩染技术、堆粉贴金技术、调色全色术、叠晕技术等等，都有所发展和提高。
Compared with the color paintings of various historical periods, the color paintings of the Ming and Qing Dynasties are more comprehensive.
During the Ming and Qing Dynasties, the production techniques of architectural color paintings have been improved: the substrate lining technology, the cover dyeing technology, the powder stacking and gold pasting technology, the color matching full-color technology, and the superimposed halo technology have all been developed and improved.
明清时期的彩画还有一个突出之处，就是产生了以青绿两色为主的冷色调，这使得建筑装饰的色彩和造型更趋向优雅耐看。
Another outstanding feature of the color paintings in the Ming and Qing Dynasties is that they produced cool colors based on green and green, which makes the color and shape of architectural decoration more elegant and durable.
明代木构彩画以梁、檩、额枋等柱头以上部分为重点，斗拱上的彩饰只作单色平涂或单色退晕为主，这与宋代相比，显得较为“轻描淡写”。旋子彩画在用色上很少用红色，尤其慎用金色，最多为“点金”，给人以冷艳高雅而沉静之感。
The wood structure color paintings in the Ming Dynasty focused on the parts above the column heads, such as beams, purlins and architraves. The color decorations on the arches were mainly made of monochrome flat painting or monochrome fading.
Compared with the Song Dynasty, it seems to be "understated". In the color of xuanzi color painting, red is rarely used, especially gold is used with caution, and the most is "gold", giving people a cold, elegant and quiet feeling.
清代彩画，除了继承了过去的传统，在取材和制作方法上还有了新的变化，使传统的建筑彩画得到一定的提高和发展。此时期，制作更加规范、等级更加严密，吸收了满族、蒙古族和西方的一些装饰特点，装饰手法与纹饰纹样十分丰富，使之突破了明代旋子彩画的窠臼，形成了具有清代风格的“清式彩画”。
In addition to inheriting the tradition of the past, the color paintings of the Qing Dynasty also had new changes in the materials and production methods, which improved and developed the traditional architectural color paintings to a certain extent.
At this time, the production was more standardized and the level was more strict. It absorbed some decorative characteristics of Manchu, Mongolian and western. The decorative techniques and patterns were very rich, which broke through the pattern of xuanzi color painting in the Ming Dynasty and formed a "Qing style color painting" with the style of the Qing Dynasty.
清式彩画的色彩基调以青绿色的冷色调为主，用红的范围比明代多了。康乾年间，彩画的用金量骤增，故宫的太和殿、奉先殿使用金箔面积占50～100%左右。
The color tone of Qing style color paintings is mainly cyan and cold, and the range of red is more than that of Ming Dynasty. During the reign of Emperor Kangxi and Emperor Qianlong, the amount of gold used for color painting increased sharply. The area of gold foil used in Taihe hall and Fengxian Hall of the Palace Museum accounted for about 50-100%.
制作工艺上，清式彩画在继承明代的基础上，结合沥粉、贴金、扫青绿等手法来加强装饰效果。到了清代，彩绘发展已高度成熟，官式彩绘可分为五类，即：和玺类、旋子类、吉祥草类、苏式类和海墁类，每科画种又分多种作法。
In terms of production technology, the Qing style color painting, based on the inheritance of the Ming Dynasty, combined with the techniques of pitch powder, gilding and sweeping green to strengthen the decorative effect.
By the Qing Dynasty (1616 - 1911), the development of color painting had been highly mature. The official style color painting could be divided into five categories, namely, Hexi, xuanzi, auspicious grass, Su style and Haiman. Each category of painting was divided into a variety of methods.
清式彩画在材料品种使用上有了更多的突破，除了传统的石色之外，绘制异兽、包袱、白活所必须用的植物色也大量使用，更突出的是为使彩绘配合建筑等级之需，昂贵的金色也广泛施用，使得高等级建筑显得金碧辉煌、光彩夺目。
The Qing style color painting has made more breakthroughs in the use of material varieties. In addition to the traditional stone color, a large number of plant colors necessary for drawing exotic animals, bags and white life are also used.
More importantly, in order to make the color painting meet the needs of the architectural grade, the expensive gold is also widely used, making the high-grade buildings appear brilliant and dazzling.
清代建筑彩画无论是规模、品种、色彩、工艺等都有长足的进步，达到彩画史的最高峰。有人可能会好奇，为何建筑物上非得要有彩画呢，难道仅仅是为了好看？
The architectural color painting in Qing Dynasty has made great progress in scale, variety, color and technology, reaching the highest peak in the history of color painting. Some people may wonder why it is necessary to have color paintings on buildings. Is it just for the sake of looking good?
其实涂饰面层对木结构防腐防蛀的作用，而纹样则源于生产生活中编织、金工等活动。古代彩绘有宗教的图腾和权力的象征，以及后来更多的关于吉祥和趣味的追求。对于“秩序感”和“美感”的要求，纯粹的“艺术意志”的萌发。
In fact, the coating surface layer plays an important role in anti-corrosion and moth prevention of wood structures, and the pattern originates from weaving, metalworking and other activities in production and life.
In ancient times, there were religious totems and symbols of power, and later more auspicious and interesting pursuits. For the requirements of "sense of order" and "aesthetic feeling", pure "artistic will" germinates.
中国的建筑彩画，随着时代的发展，而趋向多元化和个性化，它从不同方面向人们展示并强化了，建筑艺术的表现力和感染力。
With the development of the times, Chinese architectural color painting tends to be diversified and personalized. It shows and strengthens the expressiveness and appeal of architectural art from different aspects.
