《营造法式》四题议

A discussion on the four topics in Yingzao Fashi

本文以《营造法式》中的上、下昂有无固定的斜率为切入点,探讨了上、下昂的功用及斜率问题。论证了《营造法式》中下昂没有固定斜率,“旋点法”与“平移法”的错误,是没有理解下昂的功用,将昂与交互枓一同联动。上昂是为了解决铺设天花时,内槽高于外槽矛盾的。《营造法式》是以调节靴楔、骑枓栱,来调整内槽中平棊方的高度,上昂作为调节时的传导构件,斜率也相应发生变化。宋代不存在专门从事建筑设计的建筑师,宫廷画师不可能下移为建筑师,界画也不可能通往建筑制图。《营造法式》中大木结构图,虽然已具备经验形态的现代制图知识,但却有减有增,是那个时代最恰当的表达方式,凝聚了唐宋以来营造的经验与智慧。其提供的是一种活得方法,它的目标是造出来。图纸中仅有其造出来的所需的数据,无意如昂的斜率一类无关数据。

This paper discusses the function and slope of upper and lower Ang in “ Yingzao Fashi ”. It demonstrates that there is no fixed slope of ang in Yingzao Fashi a,nd that the mistakes of “turning point method” and “translation method” are not understanding the function of Ang,and that Ang and Jiaohudou are connected together.Shangang is to use when solving laid smallpox,inside groove prep above outside groove contradiction.Yingzao Fashi uses adjusting Xuexie and Qidougong to adjust the height of Pingqifang in the inner groove. Shangang acts as a conducting component during adjustment,and its slope changes accordingly.There were no architects specializing in architectural design in the Song Dynasty,and it was impossible for court painters to be relegated to architects.Jiehua do not lead to architectural drawings. Although the wooden structure drawing of “ Yingzao Fashi ” has possessed the knowledge of modern drawing experience patterns,it has decreased and increased. It is the most appropriate expression of that era,embodies the experience and wisdom created since the Tang and Song dynasties. It provides a flexible approach,and its goal is building. There are only the required data in the drawing,no irrelevant data such as Ang slope.