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      《营造法式》是宋代李诫创作的建筑学著作，是李诫在两浙工匠喻皓《木经》的基础上编成的。是北宋官方颁布的一部建筑设计、施工的规范书。是中国古代最完整的建筑技术书籍，标志着中国古代建筑已经发展到了较高阶段。更多优质古玩艺术风水古书籍下载尽在PDF艺术社官网哦 www.pdf-art.com 希望有机会可以一起交流与探讨。---资料详实，文末有福利---古籍收藏上万本，持续更新中。

    Architecture Method is an architectural work created by Li Jie in the Song Dynasty. It was compiled by Li Jie on the basis of the Wood Classic written by Yu Hao, a craftsman in Zhejiang and Zhejiang provinces. Is the Northern Song Dynasty official issued a building design, construction of the standard book. It is the most complete book on architectural technology in ancient China, which marks that ancient Chinese architecture has reached a higher stage. More high quality antiques art feng shui ancient books download all in PDF art club official website oh www.pdf-art.com hope to have the opportunity to communicate and discuss together. -- Detailed and accurate information, with benefits at the end of the paper -- Collected tens of thousands of ancient books, constantly updated.

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     《营造法式》是宋将作监李诫奉敕编修的。北宋建国以后百余年间，大兴土木，宫殿、衙署、庙宇、园囿的建造此起彼伏，造型豪华精美，负责工程的大小官吏贪污成风，致使国库无法应付浩大的开支。因而，建筑的各种设计标准、规范和有关材料、施工定额、指标急待制定，以明确房屋建筑的等级制度、建筑的艺术形式及严格的料例功限以杜防贪污盗窃被提到议事日程。哲宗元佑六年(1091年)，将作监第一次编成《营造法式》，由皇帝下诏颁行，此书史曰《元佑法式》。

      'Architecture Method' is the Song Dynasty will be a supervisor Li Jie ordered reorders. For more than a hundred years after the founding of the Northern Song Dynasty, the construction of palaces, government offices, temples, gardens and parks went on one after another in a luxurious and exquisite style. The corrupt officials, both large and small, were in charge of the projects, which made the state Treasury unable to cope with the huge expenditure. Therefore, the various design standards, norms and related materials, construction quotas, indicators urgently need to be formulated, in order to clarify the hierarchy of housing construction, architectural art form and strict material example work limit to prevent corruption and theft was mentioned on the agenda. Zhe zong yuan you six years (1091), will be the first time to supervise the compilation of 'Architecture Method', issued by the emperor under the decree, the history of the book said 'yuan you method'.

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       因该书缺乏用材制度，工料太宽，不能防止工程中的各种弊端，所以北宋绍圣四年(1097年)又诏李诫重新编修。李诫以他个人10余年来修建工程之丰富经验为基础，参阅大量文献和旧有的规章制度，收集工匠讲述的各工种操作规程、技术要领及各种建筑物构件的形制、加工方法，终于编成流传至今的这本《营造法式》，于崇宁二年(1103年)刊行全国。

        In the fourth year of Shaosheng of the Song Dynasty (1097) in the north of the Song Dynasty, Li Jie ordered him to compile the work again because the work lacked material system and the materials were too wide to prevent various defects in the project. Lee commandment to his rich experience of more than 10 years to build engineering as the foundation, refer to a large number of literature and the old rules and regulations, collect the craftsman about each type of work procedures, technical essentials, and shape of building components, processing methods, finally into the 'building' and popular, from two years (1103) the national publication.

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        全书34卷，357篇，3555条。是当时建筑设计与施工经验的集合与总结，并对后世产生深远影响。原书《元佑法式》于元佑六年(1091年)编成，但因为没有规定模数制，也就是'材'的用法，而不能对构建比例、用料做出严格的规定，建筑设计、施工仍具有很大的随意性。李诫奉命重新编著，终成此书。全书共计34卷分为5个部分:释名、诸作制度、功限、料例和图样，前面还有'看样'和目录各1卷。看样主要是说明各种以前的固定数据和做法规定及做法来由，如屋顶曲线的做法。

     The book consists of 34 volumes, 357 chapters and 3,555 articles. It is the collection and summary of the architectural design and construction experience at that time, and has a far-reaching impact on the later generations. The original book 'Yuan You Method' in Yuan You six years (1091) into, but because there is no provision for modular system, that is, the use of 'material', and can not build the proportion, materials to make strict provisions, architectural design, construction still has a great arbitrariness. Li Jie was ordered to re-compile the book, the end of the book. There are 34 volumes in the book, which are divided into five parts: explanation, system of works, work limit, sample and drawing. In front of the book, there is one volume each of 'sample observation' and a table of contents. See appearance basically is to explain all sorts of fixed data before and practice regulation and practice reason, be like the practice of housetop curve.

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        第1、2卷是《总释》和《总例》，对文中所出现的种建筑物及构件的名称、条例、术语做一个规范的诠释。指出所用词汇在各个不同时期的确切叫法，以及在本书中所用名称，统一语汇。

第3卷:壕寨制度、石作制度。

第4、5卷:大木作制度

第6至第11卷小木作制度

第12卷雕作制度、旋作制度、锯作制度、竹作制度

第13卷:瓦作制度、泥作制度

第14卷:彩画作制度

第15卷:砖作、窑作制度等13个工种的制度，并说明如何按照建筑物的等级来选用材料，确定各种构件之间的比例、位置、相互关系。大木作和小木作共占8卷，其中大木作首先规定了'材'的用法。大木作的比例和尺寸，均以'材'作为基本模数。

第16-25卷规定各工种在各种制度下的构件劳动定额和计算方法。· 第26-28卷规定各工种的用料的定额，和所应达到的质量。

第29-34卷规定各工种、做法的平面图、断面图、构件详图及各种雕饰与彩画图案。

'看样'和目录各1卷

    The first and second volumes are the General Explanation and General Regulations, which give a standard interpretation of the names, regulations and terms of the kinds of buildings and components that appear in the text. Indicate the exact names of the words used at different times, as well as the names used in this book, and unify the vocabulary.

Volume 3: the system of moat village and stone works.

Vol. 4 and 5: Dagu System

Volumes 6 to 11 The Small Wood System

Volume 12 carving system, spinning system, saw system, bamboo system

Volume 13: Tile system, mud system

Volume 14: Colour painting system

Volume 15: the system of 13 types of work, such as brick making system and kiln making system, and explains how to choose materials according to the grade of the building, and determine the proportion, position and mutual relationship between various components. Dagusaku and Dagusaku account for 8 volumes, of which Dagusaku first defines the usage of 'wood'. In the proportion and size of large wooden work, 'wood' is taken as the basic module.

Volume 16-25 stipulates the component labor quota and calculation method for each type of work under various systems. · Volume 26-28 specifies the quota of materials for each type of work and the quality to be achieved.

Volume 29-34 stipulates the plan, section plan, detail drawing of components and various carving and color painting patterns of various types of work and practices.

The 'sample' and the table of contents each have 1 volume

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（以材作为建筑度量衡的标准）'材'在高度上分15'分'，而10分规定为材的厚度。斗栱的两层栱之间的高度定为6'分'，也称为'栔'，大木做的一切构件均以'材'、'栔'、'分'来确定。这种做法早在唐初和佛光寺、南禅寺中运用，只是在文字中明确记录，这是第一次。到清雍正十二年(1734)年清工部被颁布的《清工部工程做法则例》的斗口制代替。

（灵活）各种制度虽都有严格规定，但并没有限制建筑的群组布局和尺度控制。可根据具体项目情况，在规定的条例下，可'随宜加减'。

（ 传统做法延续）如侧脚、升起的规定，使得整个构架向内倾斜，增加构架的稳定性。

（装饰与结构的统一）对结构构件的详细规定，并没有因此而放弃装饰手法的表现。将装饰做在结构中，不单独设置装饰构件。相比清朝时期的一些纯装饰构件，更具有结构和理性。

（严格施工管理）全书34卷，用13卷来说明各种用料用途，如此确定劳动定额，及运输、加工等所耗时间，对于编造预算，施工组织都有严格规定。

      The 'timber' is divided into 15' points 'in height and 10' points 'in thickness. The height between the two sets of brackets is set at 6' points ', which is also called '栔'. All the components made of big wood are determined by 'wood', 'frame' and 'points'. This practice was used as early as the early Tang Dynasty and in Foguang Temple and Nanzen Temple, but it was only clearly recorded in writing. This was the first time. In the twelfth year of the reign of Emperor Yongzheng of the Qing Dynasty (1734), the Ministry of Qing Engineering was replaced by the 'Rules for Engineering Practices of the Ministry of Qing Engineering'.

       (Flexibility) Although the various regulations are strict, they do not limit the group layout and scale control of the building. Depending on the circumstances of the particular project, 'additions or subtractions as appropriate' may be added or subtracted under the prescribed regulations.

     (the continuation of traditional practices) such as side feet, raising provisions, make the whole framework to incline inwards, increase the stability of the framework.

    (the unity of decoration and structure) the detailed provisions of structural components, and therefore did not give up the expression of decorative techniques. Do the decoration in the structure, do not set up a separate decorative components. Compared with some pure decorative components in the Qing Dynasty, they are more structural and rational.

      (Strict construction management) 34 volumes of the book, with 13 volumes to explain the use of various materials, so determine the labor quota, and transportation, processing and other time consumption, for making budgets, construction organizations have strict regulations.

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      《营造法式》在北宋刊行的最现实的意义是严格的工料限定。该书是王安石执政期间制订的各种财政、经济的有关条例之一，以杜绝腐败的贪污现象。因此书中以大量篇幅叙述工限和料例。例如对计算劳动定额，首先按四季日的长短分中工(春、秋)、长工(夏)和短工(冬)。工值以中工为准，长短工各减和增10%，军工和雇工亦有不同定额。其次，对每一工种的构件，按照等级、大小和质量要求--如运输远近距离，水流的顺流或逆流，加工的木材的软硬等，都规定了工值的计算方法。料例部分对于各种材料的消耗都有详尽而具体的定额。这些规定为编造预算和施工组织订出严格的标准，既便于生产，也便于检查，有效地杜绝了土木工程中贪污盗窃之现象。

     The most realistic significance of the publication of Architecture Method in the northern song dynasty is the strict limitation of materials. The book is one of a variety of financial and economic regulations enacted during Wang Anshi's administration to stamp out corruption. Therefore, a large amount of space in the book to describe the work limit and material examples. For example, to calculate the labor quota, first according to the length of the four seasons of the day divided into medium (spring, autumn), long (summer) and short (winter). The wage is subject to the medium wage, and the wage is reduced and increased by 10% for the long and short wage. Next, to the component of each kind of work, demand according to grade, size and quality -- be like transport far and near distance, of current downstream or countercurrent, of the lumber that processes soft and hard, the calculation method that prescribed work value. The material sample section has detailed and specific quotas for the consumption of various materials. These regulations set strict standards for fabricating budgets and construction organizations, which are convenient for production and inspection, and effectively put an end to corruption and theft in civil engineering.

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      《营造法式》的现代意义在于它揭示了北宋统治者的宫殿、寺庙、官署、府第等木构建筑所使用的方法，使我们能在实物遗存较少的情况下，对当时的建筑有非常详细的了解，填补了中国古代建筑发展过程中的重要环节。通过书中的记述，我们还知道现存建筑所不曾保留的、今已不使用的一些建筑设备和装饰，如檐下铺竹网防鸟雀，室内陆面铺编织的花纹竹席，椽头用雕刻纹样的圆盘，梁栿用雕刻花纹的木板包裹等。

      The modern significance of the book is that it reveals the methods used in the wooden structures of the palaces, temples, offices and palaces of the rulers of the Northern Song Dynasty. It enables us to have a very detailed understanding of the architecture of that time with few physical relics, and fills in an important link in the development of ancient Chinese architecture. Through this account, we also learn about some of the architectural equipment and decorations that the existing buildings did not retain and are no longer in use, such as a bamboo net under the eaves to guard against birds, woven woven bamboo MATS for the interior floors, sculpted discs for the rafters, and wrap-around wood panels for the fu beam.

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《营造法式》的崇宁二年刊行本已失传，南宋绍兴十五年(1145年)曾重刊，但亦未传世。南宋后期平江府曾重刊，但仅留残本且经元代修补，常用的版本有1919年朱启钤先生在南京江南图书馆(今南京图书馆)发现的丁氏抄本《营造法式》(后称'丁本')，完整无缺，据以缩小影印，是为石印小本，次年由商务印书馆按原大本影印，是为石印大本。

1925年陶湘以丁本与《四库全书》文渊、文溯、文津各本校勘后，按宋残叶版式和大小刻版印行，是为陶本。后由商务印书馆据陶本缩小影印成《万有文库》本，1954年重印为普及本。

    The second edition of Architecture Method was lost in Chongning, and it was republished in the 15th year (1145) of Shaoxing in the Southern Song Dynasty, but it has not been handed down. In the late southern song dynasty at pingkiang mansion was heavy, but leaving 12 and repaired by the yuan dynasty, commonly used version has 1919 Mr Zhu Qi Qian in the library of nanjing jiangnan dings codex (now nanjing library) found 'building' (hereafter 'ding'), intact, narrow photocopying, which is for lithographic small, the following year by the commercial press according to the original copy of Big Ben is a lithographic Big Ben.

       In 1925, after the collation of the Ding edition and the Sikuquanshu by Wenyuan, Wenshu and Wenjin, Tao Xiang printed it according to the layout and size of the Song residual leaves, which was the Tao edition. Later, the Commercial Press reduced the size of the pottery edition and photocopied it into the Library of All Books, which was reprinted as a popular edition in 1954.

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       从《营造法式》一书的主要内容，我们可以看到它有以下几个特点:

       (1)模数思想的制定和运用。大木作制度规定'材'的高度分为十五'分'，而以十'分'为其厚。斗栱的两层之间的高度定为6'分'称为'栔'。大木作的一切构件几乎全部用'材'、'栔'、'分'来确定的。这是模数制在我国建筑业最早的运用，并且作为一种法规被确定在《营造法式》这部巨著中。

        (2)设计的灵活性。《营造法式》第3卷~第15卷中的'各作制度'，即各工种的操作规程虽然都有相应的做法规定，但并未对群体建筑的布局和单体建筑的平面尺寸等有所限制;恰恰相反，《营造法式》内'各作制度'的条文后面都附有'随宜加减'的小注，以此告诉设计人员可根据每个个体设计在各作制度的总原则下，对建筑单体和构件的比例、尺寸可以按照实际情况来确定，以充分发挥设计者的创造性。

   From the main content of the book, we can see that it has the following characteristics:

   (1) Formulation and application of modular thought. The large wooden system stipulates that the height of the wood is divided into fifteen fen and ten fen as its thickness. The height between the two sets of brackets is set at 6' points ', called '栔'. Almost all components made of large wood are determined by 'wood', '栔' and 'points'. This is the earliest application of modular system in China's construction industry, and as a kind of law was determined in the great book 'Zhonghua French'.

    (2) Flexibility of design. The 'system of each work' in Volume 3 to Volume 15 of 'Architecture Method' means that although the operating rules of each work type have corresponding regulations, there are no restrictions on the layout of group buildings and the plane size of single buildings. On the contrary, '' each system within the building are attached at the end of' with the appropriate to add and subtract 'usu. in two lines, in order to tell designers can design according to each individual in each system, under the general principles of the single building and component ratio, size can be according to the actual situation to determine, to give full play to the creativity of the designer.

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       (3)技术和经验的总结。为了施工时方便，'总例'中列举了圆、方、六棱、八棱等形体的径、周长和斜长的比例数字，以便施工时工匠们掌握。如:按传统的木构架结构规定，凡是立柱都有'侧脚'(即柱础)，柱头向内微倾约1%，同时廊柱的边柱(四角柱)有'升起'，就是柱的高度从中柱向两端逐渐加高。这样，使整个建筑木构架产生向内倾斜的倾向，客观上增加了建筑物的稳定性，也为屋顶部分四角的飞檐创造条件。在横梁与立柱交接处用斗栱支托，既美观又可减少梁端剪力，只是复杂的斗栱结构的卯榫'绞割'往往会减少每个构件断面的1/3~1/2，是个重要缺点，但在《营造法式》中对此规定了较合理的'绞割'比例和位置。

         (4)装饰与结构的统一。《营造法式》对石作、砖作、小木作、彩画等都有详细的说明和图样，明显地体现出宋代建筑在艺术形象和雕刻装饰等加工工艺方面比唐朝建筑更精致、更全面。柱梁、斗栱等木构件，在规定它们的结构尺寸和构造方法的同时，也规定了它们的艺术加工方法，如梁、柱、斗栱、椽头等构件的轮廓和曲线，就是用'卷杀'的方法(就是按比例、分段作圆弧曲线的方法)进行制作的，利用结构构件本身，只是稍作适当的艺术加工，使它兼有受力和装饰效果，这是我国古代木构架建筑的特征之一，也是中国建筑文化对人类文明的贡献。

     (3) Summary of technology and experience. For the convenience of construction, the 'general examples' list the proportions of diameter, perimeter and slanting length of round, square, hexagonal and octagonal shapes, so that the craftsmen can master them during construction. For example, according to the traditional wooden frame structure, all the columns have 'side feet '(column base), the column head is slightly tilted inward about 1%, and the side columns of the gallery columns (quadriangular columns) have' rising ', that is, the height of the column is gradually increased from the middle column to the two ends. In this way, the whole wooden frame of the building has a tendency to incline inward, which objectively increases the stability of the building and creates conditions for the cornices of the four corners of the roof. Using bracket set at the junction of beam and column is not only beautiful but also can reduce the shear force at the end of beam. However, the tenon and tenon of complex bracket set structure usually reduces the section of each component by 1/3 to 1/2, which is an important shortcoming. However, in 'Architecture Method', a more reasonable proportion and position of 'bracket set' is set.

      (4) Unity of decoration and structure. There are detailed descriptions and patterns of stone works, brick works, small wood works and color paintings in the book, which obviously reflects that the buildings of the Song Dynasty are more delicate and comprehensive than those of the Tang Dynasty in terms of artistic image, carving and decoration and other processing techniques. Column beam, a pipe Gong wooden parts, such as the regulation of their structure dimension and construction method at the same time, also specifies their art processing methods, such as beam, column, dou Gong, rafter contours and curves of first class components, is to use the 'volume kill' method (that is, in proportion as circular arc curve method) to make, use structure component itself, just a little proper art processing, It is one of the characteristics of ancient Chinese wooden frame architecture and also the contribution of Chinese architectural culture to human civilization to make it have both force and decorative effect.

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         (5)建筑生产管理的严密性。在全书36卷中，用13卷的篇幅来叙述功限(劳动定额)和料例(材料消耗定额和质量标准)，足见施工管理的重要性。在计算劳动定额时，首先按四季白天的长短分为中工(春、秋)、长工(夏)和短工(冬)三种时段，工值以中工为准，长、短工各增或减10%，而军工、雇工还有不同的定额;其次，对每一工种的不同构件(或部位)，按等级、大小和质量要求，如运输距离远近、水流的顺流或逆流、所加工木材的软硬等，分别规定了工值的计算方法。料例部分各种材料的消耗都有详细而具体的定额，执行起来十分方便。

        可见，《营造法式》就是当时的建筑法规。有了它，无论是对群体建筑的布局设计和单体建筑及构件的比例、尺寸的确定，以及编制各工种的用工计划、工程总造价，还是编制各工种之间先后顺序、相互关系(相当于现在的施工组织设计和进度计划)和质量标准都有法可依、有章可循，既便于建筑设计和施工顺利进行，也便于随时质检和竣工验收。

    (5) Strictness of construction production management. In the book 36 volumes, with 13 volumes of space to describe the work limit (labor quota) and material examples (material consumption quota and quality standards), it shows the importance of construction management. In the calculation of the labor quota, first of all, according to the length of the four seasons of the day is divided into three periods of time (spring, autumn), long (summer) and short (winter), the work value is subject to the medium, long, short work each increase or decrease 10%, and military, hired workers have different quotas; Next, to the different component of each kind of work (or place), demand by grade, size and quality, if transport distance is far near, the downstream of current or countercurrent, the soft and hard of lumber that processes, set the calculation method of work value respectively. The consumption of all kinds of materials has a detailed and specific quota, which is very convenient to implement.

      It can be seen that the 'Architecture Method' was the building code at that time. With it, not to the group building layout design and proportion of monomer architecture and components, the determination of size, and prepare the recruitment plan, project total cost of each type of work or prepare the order, the relationship between each job (equivalent to present construction organization design and schedule) and quality standards are laws, rule-based, It is not only convenient for building design and construction to proceed smoothly but also convenient for quality inspection and completion acceptance at any time.

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      规定建筑等级，按质量高低进行分类，有利于区别对待，控制工料，节制开支，特别在建筑量较大的情况下，更需要这种分类。《法式》中虽未明确列出建筑分类，但从各卷所述内容可以看出实际上官式建筑有三类:

       第一类:殿阁。包括殿宇、楼阁、殿阁挟屋、殿门、城门楼台、亭榭等。这类建筑是宫廷、官府、庙宇中最隆重的房屋，要求气魄宏伟，富丽堂皇。

       第二类:厅堂。包括堂、厅、门楼等，等级低于殿阁，但仍是重要建筑物。

       第三类:余屋。即上述二类之外的次要房屋，包括殿阁和官府的廊屋、常行散屋、营房等。其中廊屋为与主屋相配，质量标准随主屋而可有高低。其余几种，规格较低，做法相应从简。

     The provision of building grade, according to the level of quality classification, is conducive to the difference in treatment, control of materials, control of expenditure, especially in the construction of a large amount of circumstances, more need this classification. Although the 'Architecture Method' does not explicitly list the architectural classification, it can be seen from the contents of each volume that there are actually three types of official buildings:

     The first category: the palace. Including halls, pavilions, halls with houses, gates, gates, pavilions and so on. This kind of building is the palace, the official office, the temple in the most solemn house, the request verve grandiose, magnificent.

The second type: hall. Including hall, hall, gate tower, etc., the grade is lower than the palace, but it is still an important building.

     The third category: residences. That is, the secondary houses outside the above two categories, including the palace and the gallery house of the government, regular scattered houses, barracks and so on. Among them, the gallery house is matched with the main house, and the quality standard can be high or low along with the main house. Other kinds, the specification is lower, the practice is correspondingly simple.

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        这三类房屋在用料大小、构造仿上、建筑式样上都有差别:

        用料方面，殿阁最大，厅堂次之，余屋最小。《法式》规定房屋尺度以'材'为标准，'材'有八等，根据房屋大小、等第高低而采用适当的'材'，其中殿阁类由一等至八等，均可选用，厅堂类就不能用一、二等材，余屋虽未规定，无疑级别更低对于同一构件，三类房屋的材用料也有不同的规定，例如柱径:殿阁用二材二栔至三材;厅堂用二材一栔;余屋为一材一栔至二材。梁的断面高度，以四椽袱和五椽袱为例:殿阁梁高二材二栔;厅堂不超过二材一栔;余屋准此加减。抟的直径:殿阁一材一栔或二材;厅堂一材三分，或一材一栔;余屋一材加一、二分。这样就使这三类建筑的用料有了明显差别。

    These three types of houses are different in the size of materials, structural imitation and architectural style:

      Material, the largest hall hall, the smallest room. 'Architecture Method' regulation building scale on the basis of 'material' and 'material' eight, etc., according to the housing size, order of merit and use the appropriate 'material,' including DianGe by superior to eight etc, all can choose, hall class will not be able to use one, second-class, over housing is not provided, there is no doubt that lower level for the same component, three kinds of material of the building materials also have different provisions, For example, column diameter: Temple with two materials two 栔 to three materials; Hall with two materials a 栔; The remaining house is one timber one 栔 to two timber. Cross-section height of beam, to four rafter beam and five rafter beam for example: Diange beam high ercai 2 栔; Hall not more than two materials a 栔; The remaining rooms can be added or subtracted accordingly. The diameter of the kneading: one of the pavilion one 栔 or two materials; Hall a material three points, or a material 栔; One wood plus one, two. In this way, the materials used in these three types of buildings have obvious differences.

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       在构造上，殿阁的木架做法和厅堂不同，殿内常用平棋和藻井把房屋的结构和内部空间分为上下两部分:平棋以下要求宏丽壮观，柱列整齐，柱高一律，内柱及内额上置内槽斗拱以乘天花，殿内专修华美;平棋以上因被遮蔽，无需讲究美观，但求坚牢即可，所以采用'草架'做法，抟、袱不必细致加工，枋木矮柱可以随意支撑，以求梁架稳固。至若厅堂，一般不用平棋藻井，内柱皆随屋顶举势升高，主外侧短梁(乳袱、三椽袱等)插入内柱柱身，使木架的整体性得到加强，斗拱较简单，通常只用斗口跳、四铺作，但也用至五铺作、六铺作者。为了美化室内露明梁架，梁、柱、抟、枋等交接处用拱、斗、驼峰等作装饰。关，余屋，书中并无专论，仅从零星叙述中推测有两种情况:殿阁的廊屋，为了配合主殿，规格较高，可置鸱尾，用斗拱;一般余屋如官府廊屋，常行散屋、仓库营房等，则用柱梁作、单斗只替和把头绞项作等做法。

      In the structure, the wooden approach and hall hall, hall commonly used in the structure of the building and the interior space is divided into two parts: the following Pingqi magnificent requirements, column neat, column high uniform, the column and the forehead of the inner groove dougong to take the smallpox, the temple dedicated to the colorful; Because the game was covered above, there was no need to pay attention to beauty, but it was enough to be firm. Therefore, the 'straw frame' was used to make beams stable without careful processing and tiewood short columns could be supported at will. In general, in a hall, there is no use of flat board caisson. The inner columns are all raised along with the lifting of the roof. The short beam (creme beam, three rafter beam, etc.) of the main outer side is inserted into the inner column and column body to strengthen the integrity of the wooden frame. In order to beautify indoor exposed beam frame, beam, column, tuan, tiefang and other junction with arch, dou, hump for decoration. Guan and Yu Wu are not discussed in the book, but only anecdotal accounts conjecture that there were two situations. In the porch rooms of the palatial hall, in order to coordinate with the main hall, they were of relatively high specification and made of vultures' tail; General houses such as government gallery house, often scattered houses, warehouses, barracks, etc., are made of columns and beams, single bucket only for and head twisted as a practice.

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       在建筑式样方面，殿阁多用四阿殿与九脊殿屋顶面阔达十一间，如有副阶则成重檐，斗拱出跳多至八铺作。屋面用瓦尺寸大，可用琉璃瓦与青绲瓦，正脊垒瓦可达37层。厅堂屋顶一般只用'厦两头造'和'出际'(又称'屋废'，即悬山顶)，屋面或用筒瓦、或用板瓦作盖(如板瓦作盖则檐口用重唇板瓦和垂尖花头板瓦)，正脊用兽而不用鸱尾。常行屋舍式样未详。

       In terms of architectural style, DianGe multi-purpose four A Dian and nine ridge Dian roof wide up to 11, if there is a secondary level into double eaves, dougong jump out more than eight shop. The roof tile can be large in size, glazed tile and blue tile, and the roof tile can reach 37 layers. The hall roof is generally only 'built at both ends of the mansions' and 'out of the '(also known as' house waste ', that is, hanging on the top of the mountain), the roof or with tube tile, or with tile as the cover (such as tile as the cover with heavy lip tile and vertical pointed flower head tile), the ridge with beasts rather than vultures tail. The style of the common house is unknown.

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        浙江宁波保国寺大殿是北宋前期所建的一座木架建筑，他的四根内柱是用拼合法制成的，其中三根是由八根木料拼成的八瓣形柱子。这不仅是国内已知的最早拼合柱实例，也是宋代拼合柱实物的孤例。而在此殿建成后九十余年问世的《营造法式》中也载有拼柱法，虽然拼合方法不同，但同是用小料拼成大部件以解决用料的困难。不久前我们为了苏州瑞光寺塔的复原设计，曾去考察了五代末年至宋初的几座石塔和经幢，联系江苏宝应出土的南唐木屋和镇江甘露寺铁塔第一、二层来考虑，感到五代至北宋间江南一带的建筑和《营造法式》(以下简称《法式》)的做法很接近，尤其是大木作，几座石塔的斗拱、柱、枋、檐部等，几乎都可和《法式》相印证，屋角起翘也平缓，和明清时期江南的'嫩戗发戗'迥然不同。因而使我们联想到北宋初年曾在汴京名噪一时的建筑大师俞皓，他从杭州去京师后，于端拱二年(989年)也就是灵隐寺石塔建成后29年，在东京建成了著名的开宝寺十一层木塔，他著的《木经》则被奉为营造典范而流行于世，是李诫《法式》问世前的权威性建筑著作。所以说由于俞皓的活动和《木经》的传世而使浙东建筑做法在京师产生一定影响，那也是不足为奇的。

      The main hall of Baoguo Temple in Ningbo, Zhejiang Province is a wooden frame building built in the early Northern Song Dynasty. Its four inner columns were made by piecing together, and three of them are eight-peeled columns made of eight pieces of wood. This is not only the earliest known example of a splintered column in China, but also an isolated example of a splintered column in the Song Dynasty. In this temple after the completion of more than 90 years of the emergence of the 'Architecture Method' also contains the column method, although the method of blending is different, but the same is to use small materials into large parts to solve the difficulties with materials. Not long ago we temple tower of the reconstruction design to suzhou, I once went to examine the five dynasties dynasty to the period of a few stone tower and by building, contact the down south of jiangsu baoying unearthed wooden homes and zhenjiang ganlu temple tower first, second, feel the five dynasties to the northern song dynasty in jiangnan area between buildings and 'Architecture Method' (hereinafter referred to as the 'Construction method of building') approach is very close, especially large wood, Several stone pagodas of brackets, columns, Fang, eaves, etc., can almost be confirmed with 'Architecture Method', the corner of the warping is also gentle, and the Ming and Qing Dynasties south of the 'tender peak' is very different. Therefore, it reminds us of Yu Hao, a famous architect in Bianjing in the early years of the Northern Song Dynasty. After he went to Beijing from Hangzhou, he built the famous 11-story wooden pagoda of Kaibao Temple in Tokyo in the second year of Duangong (989), which is 29 years after the stone pagoda of Lingyin Temple was built. The Book of Wood written by him was regarded as a model of construction and became popular in the world. Is Li Jie 'Architecture Method' before the publication of the authoritative architectural works. Therefore, it is not surprising that due to the activities of Yu Hao and the passing down of the wooden classics, the architectural practices of eastern Zhejiang had some influence in the capital.

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        从《法式》的内容来考察，除了前述拼柱法以外，还可以在书中找到一些做法在江南很流行而在北方则很少见到，例如竹材的广泛使用、'串'在木架中的重要作用，上昂的应用等。

      《法式》竹作制度叙述了种种竹材用法:竹笆可代替望板;窗子上下的隔墙、山墙尖、拱眼壁等可用竹笆墙(称为'心柱编竹造'，'隔截编道'，这种墙在江西、安徽的明代建筑上仍被使用);殿阁厅堂的土坯墙每隔三皮土坯铺一层竹筋，称为'攀竹'用以加强墙体;竹子辟蔑编网，罩在殿阁檐下防鸟雀栖息于斗拱间，称为'护殿檐雀眼网'，这是后来用金属丝网罩斗拱的先例;用染色竹篾编成红、黄图案和龙凤花样的竹席铺在殿堂地面上，称为'地面棋文覃';也可用素色竹篾编成花式竹席作遮阳板，称为'障日';在壁画的柴泥底子里，还要压上一层篾作加固层;施工时的脚手架(称为'鹰架')和各种临时性凉棚，也多用竹子搭成。这些情况表明竹材在汴京用得相当广泛，即使在宫廷中，也不比江南逊色。竹子盛产于中国南方，很早就用作生活器具和建筑材料，北宋咸平二年王禹在湖北所建黄岗竹楼即是著名的例子。汴京宫廷建筑大量使用竹材，使之带有浓厚的南方建筑色彩。

     According to the content of Architecture Method, in addition to the method of column splashing mentioned above, we can also find some methods popular in Jiangnan but rarely seen in North China, such as the wide use of bamboo, the important role of 'string' in wooden frame, and the application of Shangang.

    The bamboo system Construction method of building describes the use of various bamboo materials: bamboo wogi can replace the watchboard; The partition walls, gable points and arched eye walls above and below the Windows can be made of bamboo wattles (known as 'heart-column braided bamboo' or 'cut-off braided road'), which are still used in the Ming Dynasty buildings in Jiangxi and Anhui. The adobe wall of the hall is laid with a layer of bamboo bars every three skins of adobe, which is called 'climbing bamboo' to strengthen the wall; Bamboo nets were made to cover the eaves of the palace to prevent birds from roosting among the dougong, which was called the 'bird eye nets for protecting the eaves of the palace'. This was the precedent of covering dougong with metal mesh later. With dyed bamboo strips woven into red, yellow patterns and dragon and phoenix patterns of bamboo mat spread on the floor of the hall, known as 'ground chess Wen Qin '; It can also be woven into a fancy bamboo mat with plain bamboo strips as a sunshade, which is called 'barrier day'. In the wood mud bottom of the fresco, but also pressed on a layer of strips as a reinforcement layer; The scaffolding (called 'eagle frame ') and various temporary awning during construction are also made of bamboo. These circumstances show that bamboo was widely used in Bianjing. Even in the imperial court, it was not inferior to that in the south of the Yangtze River. Bamboo is abundant in southern China and has long been used as living utensils and building materials. A famous example is the Huanggang Bamboo House built by Wang Yu in Hubei Province in the second year of Xianping in the Northern Song Dynasty. Bamboo was widely used in the architecture of the imperial court in Bianjing, which gave it a strong southern architectural color.

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        '串'这一构件在《法式》厅堂等屋的大木作里用得很多，主要起联系柱子和梁架的作用，这和江南常见的'串斗式'木架中的'串枋'和'斗枋'的作用是相同的。例如，贯穿前后两内柱的称'顺袱串'(与梁的方向一致);贯穿左右两内柱的称'顺身串'(与檩条方向一致);联系脊下蜀柱的称'顺脊串';相当于由额位置承受副阶椽子的称'承椽串';窗子上下横贯两柱间的称'上串'、'腰串'、'下串'。这些串和阑额、由额、襻间、地袱等组成一个抵抗水平推力(风力、地震力等)的支撑体系，使木构架具有良好的抗风、抗震能力，若以此和串斗式木构架比较，不难看出其间的相似之处。大量的出土明器证明东汉时广东一带已盛行串斗式建筑，四川出土的东汉画像砖所示建筑图案中也有腰串加心柱做法，和《法式》很接近。至今江西、湖南、四川等的农村，仍采用串斗构架建造房屋，二千年间一脉相承，说明了它的存在价值。

      'Chuan' is widely used in the large wooden structures of the 'Architecture Method' hall and other houses. It mainly plays the role of connecting columns and beams, which is the same with the 'Chuan Fang' and 'Chuan Fang' of the 'Chuan Fang' wooden frames commonly used in the south of the Yangtze River. For example, strings running through the front and back of the beams are called 'Shun string '(in line with the direction of the beams). Through the left and right of the two inner columns called 'along the body string '(with the direction of the purlin); Contact the ridge under the Shu column called 'along the ridge string '; Equipped with the position of the forehead to bear the secondary rafters called 'bearing rafter string '; Up and down the window runs between the two columns called 'upper string', 'waist string' and 'lower string'. These straps, together with the straps, the loops and the ground, constitute a support system to resist horizontal thrust (wind force, earthquake force, etc.), which makes the wood frame have good wind resistance and earthquake resistance ability. If you compare this with the straps and buckets wood frame, it is not difficult to see the similarities between them. A large number of unearthed artefact vessels prove that the cluster-and-bucket architecture was popular in Guangdong during the Eastern Han Dynasty. In the architectural patterns of the Eastern Han Dynasty's picture bricks unearthed in Sichuan, there is also the practice of cluster-and-center column in the waist, which is very similar to that in Construction method of building. Up to now, the bucket frame is still used to build houses in the countryside of Jiangxi, Hunan, Sichuan, etc., which has been in the same line for two thousand years, indicating its existence value.

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      《法式》卷四飞昂条说:'造昂之制有二:一曰下昂，...二曰上昂'。可是作为斗拱上重要构件的这两大昂类，只有在江南才能全部看到，而在北方这么多唐、宋、辽、金以至元代建筑中，却只见下昂而未见上昂(河南登封少林寺初祖庵补间铺作在下昂后尾下有一斜料，形如上昂，但作为附加的装饰物，不具上昂的作用，故不能视为真正的上昂)。

       'Architecture Method' volume four fly angliao said :' the making of angliao has two systems: one is the next angliao,... 'On the second day.' But as an important component of the two big stone on the class, only in jiangnan can all see that in the north so much tang, song, liao, jin and yuan dynasty architecture, only to see Leon and did not see Leon (at the beginning of the shaolin temple in dengfeng, henan ZuAn curation shop as a diagonal material under the back next aung, form as above, but as additional decorations, not on the role, Therefore, it can not be regarded as true Shangang).

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        宋代上昂遗物，苏州一地即有两处:其一，玄妙观三清殿内槽斗拱两侧;其二，北寺塔第三层塔心门道顶上小斗八藻井斗拱。这两处上昂时期略晚于《法式》，都是南宋前期之物。上昂遗规还可见于江南明代建筑。有趣的是:北方唐、宋、辽、金建筑上虽然不用昂，但到明代，北京宫殿、曲阜孔庙等处官式建筑的外檐斗拱后尾，却仿上昂形式，斜刻两条平行线，并仿昂头式样刻作六分头，仿契式样刻作菊花头。这种上昂遗意，直到清乾隆以后才完全消失，而六分头、菊花头则始终保留着，一直延续到清末。这枋上昂之风来自何处?是否有两种可能:一是中原一带《法式》上昂作法的传统，到元代为了省事，简化为斜画两条平行线，在晋南芮城永乐宫纯阳殿与重阳殿上即有这种例子，以后这种做法又传到北京;二是明成祖永乐十八年，迁都北京，江南的工匠把上昂的做法带到了北方，发展成上述仿上昂的式样。此外，《法式》上昂制度中所述'连珠斗'在北方未见实例，苏州虎丘云岩寺塔第三层内槽斗拱上用了这种斗，是早于《法式》百余年的遗物。

     The relics of Shangang in Song Dynasty are found in two places in Suzhou. First, there are two sides of the brackets in the Sanqingdian, a mysterious view of the temple. Second, the North Temple Pagoda on the top of the third layer tower heart doorway small dou eight caisson dougong. These two Shangang period is a little later than Architecture Method, are the early Southern Song Dynasty. Shangang heritage rules can also be seen in Jiangnan Ming Dynasty architecture. It is interesting that although angang was not used in the buildings of the Northern Tang, Song, Liao and Jin dynasties, to the Ming Dynasty, the rear ends of the outer brackets of the official buildings in Beijing Palace and Confucius Temple in Qufu were imitated in the form of shangang by slanting two parallel lines, and carved into six fentou in the style of angtou and chrysanthemum head in the style of qi. It was not until the Qianlong period of the Qing Dynasty that this kind of Shangang left meaning completely disappeared, while Liu Fen Tou and Chrysanthemum Tou had been retained until the end of the Qing Dynasty. Where does this wind come from? Whether there are two possibilities: one is the traditional 'Architecture Method' in the central plains, in order to save trouble to the Yuan Dynasty, simplified to oblique painting two parallel lines, in the south of the Ruicheng Yongle Palace Chunyang Palace and Chongyang Palace there are such examples, later this practice spread to Beijing; Second, when the capital was moved to Beijing in the 18th year of Yongle, Chengzuo of the Ming Dynasty, the craftsmen in the south of the Yangtze River brought the Shang Ang practice to the north and developed the above-mentioned style of Shang Ang imitation. In addition, the 'Lianzhu Dou' mentioned in the Shangang System of Architecture Method has never been seen in the north. This kind of Dou was used on the brackets in the third floor of the Yunyan Temple Pagoda in Suzhou, which is a relic more than 100 years earlier than that in Architecture Method.

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      《法式》彩画作中有八白刷饰的做法，是一种比较简单的色彩装饰，在江南五代至北宋的建筑物上用的很普遍，如杭州灵隐寺石塔、苏州虎丘塔、宁波保国寺大殿、镇江甘露寺铁塔等阑额上都隐出七朱八白的图案，可见《法式》问世前这里已经很流行，而在北方虽在大同云冈石窟第五、第九窟等石刻佛殿阑额上曾有此类图案，但唐宋辽金的建筑上未见此式。

      There are eight white 'Architecture Method' for the painting brush act the role ofing, is a kind of simple color decoration, the top of a building in jiangnan five dynasties to the northern song dynasty is very common, such as stone pagoda lingyin temple in hangzhou, suzhou huqiu tower, protect the ningbo temple hall, zhenjiang ganlu temple tower, such as aperture are hidden out on his forehead seven zhu eight white pattern, visible 'Architecture Method' before the already very popular here, In the north, although in the fifth and ninth grottoes of Yungang Grottoes in Datong, there had been such a pattern on the forehead of the stone temple, but the buildings of Tang, Song, Liao and Jin did not see this pattern.

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       再举斗拱上的两个构件为例:其一是令拱，《法式》规定令拱长于瓜子拱，在江南苏州、杭州一带的北宋建筑的令拱，正合《法式》规定，而北方唐辽宋建筑的令拱往往与瓜子拱同长，甚至短于瓜子拱，与《法式》不符:其二是《法式》规定令拱外不可出耍头，但这种做法普遍见于南方而很少见于北方。(仅西安大雁寺塔石可佛殿斗拱等个别例子〕值得强调的是:河北、山西等辽、金建筑(包括宋皇佑四年所建的正定隆兴寺摩尼殿)盛行45度与60度的斜拱，但《法式》对斜拱只字未提。

    Again for stone on the case of two components: the first is to arch, 'Architecture Method' regulation to arch is longer than seeds arch, construction of northern song dynasty in south suzhou, hangzhou area to arch, exact 'Architecture Method' regulation, and the northern tang liao song building made with melon seeds arch arch is often long, even shorter than seeds arch, inconsistent with the Architecture Method, the other is 'Architecture Method' stipulated that the arch is out of the play head, But this practice is more common in the south than in the north. (There are only a few examples, such as the dougong of the Tashhike Buddha Hall in Dayan Temple in Xi 'an.) What is worth emphasizing is that oblique arches of 45 degrees and 60 degrees were prevalent in Liao and Jin architectures in Hebei and Shanxi (including the Mani Hall of Zhengding Longxing Temple built in the fourth year of Emperor You of Song Dynasty), but Architecture Method never mentioned oblique arches.

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        上述情况表明《法式》和南方建筑有着较密切的关系。而和冀晋一带建筑关系较疏远。当然《法式》与江南建筑的相同之处很难说是全部受江南建筑的影响的结果，但从当时历史条件分析，这种影响的客观条件是存在的，因为:

        第一，唐末与五代的战乱使中原与北方遭到了很大的破坏，江南一带相对稳定，南唐、吴越、前蜀等地区经济文化都有一定程度的发展，建筑上也有某些创新，如砖木混合结构楼阁式塔在江南地区的兴起就是一例，这种塔即满足了佛教崇信礼拜和登高远眺浏览的要求，又提高了防火防腐防蛀性能，当时这一地区的建筑技术水平也比较高，喻皓入京主持重大工程就是一个证明。到北宋后期，仍保持这种高水平，所以苏轼在《灵璧张氏庭院记》中说:'华堂夏屋有吴蜀之巧'。说明苏州成都两地建筑以工巧闻名于时，居全国前列。

        第二，北宋东京位于汴河上游，其地原是唐代汴州。唐时江淮地区已是朝廷经济来源所倚，京师物资供应主要通过汴河取之于江南，汴州位于京师于江淮间的水陆要冲，唐代已很繁荣，北宋建都于此以后，江南物资通过汴河源源不断运到京师。经济上的紧密联系必然带来文化、技术方面的交流，因此，江南与汴京之间的技术交流也是势所必然的。这种交流所形成的共同性也就是促进绍兴十五年平江知府王唤在苏州重刊《法式》的原因之一。而这次重刊又加强了《法式》对当地建筑的影响，所以直到明代，苏州、徽州、赣东北等地仍保留这梭柱、月梁、木(木质)、版壁隔断等宋代旧法。

    The above situation shows that Architecture Method has a close relationship with southern architecture. And the Hebei and Shanxi area construction relationship is more distant. Of course, the similarities between Architecture Method and Jiangnan architecture can hardly be attributed to the total influence of Jiangnan architecture. However, based on the analysis of historical conditions at that time, the objective conditions for such influence exist, because:

     First, the late tang and five dynasties fighting have done great damage to the central plains and the north, jiangnan region is relatively stable, down south, wu yue, the former shu region culture has a certain degree of economic development, also has some innovation on the building, such as brick hybrid structure in the rise of the jiangnan region is an example in the tower, the tower is satisfied and believed in Buddhism week high overlook browse request, It also improved the performance of fire prevention, corrosion prevention and moth-prevention. At that time, the level of construction technology in this area was also relatively high. Yu Hao presided over a major project in Beijing was a proof. In the late Northern Song Dynasty, this kind of high level was still maintained. Therefore, Su Shi said in 'Zhang's Courtyard in Lingbi', 'Huatang Xia House has the cleverness of Wu Shu'. It shows that the buildings in Suzhou and Chengdu are famous for their dexterity, ranking among the top in China.

       Second, Tokyo in the Northern Song Dynasty was located in the upper reaches of the Bianhe River, which was originally Bianzhou in the Tang Dynasty. In the Tang Dynasty, the Jianghuai area was the economic source of the imperial court. The capital supplies were mainly obtained from the south of the Yangtze River through the Bianzhou River. Bianzhou was located at the land and water crossroads between the capital and the Yangtse River. The close economic connection will inevitably bring about the cultural and technological exchanges. Therefore, the technological exchanges between Jiangnan and Bianjing are inevitable. The commonality formed by this kind of exchange is one of the reasons why Wang Hua, the magistrate of Pingjiang in Shaoxing, republished French in Suzhou in the 15th year. This reissue strengthened the influence of Architecture Method on local architecture, so until the Ming Dynasty, Suzhou, Huizhou, northeastern Jiangxi and other places still retained the old methods of the Song Dynasty, such as the pike, moon beam, wood (wood), plate wall partition.

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       《法式》的内容是李诫收集汴京当时实际工程中相传沿用有效的做法，和工匠们详细研究之后编成的，加之李诫本人在编书之前已在'将作监'工作了八年，曾以将作监丞的身份负责五王府等重大工程，有较丰富的工程管理经验，为编写此书创造了良好的主观条件。因此，如果以这本书和六百余年后清雍正年间所编的《工程做法则例》相比，无论从设计、估算工料、图样表现等各方面来衡量，《法式》都比《则例》高明，不仅体例较好，便于灵活应用，而且内容也较丰富，阐述精确，堪称是中国古代最优秀的建筑著作，是了解宋代建筑的一把钥匙。

     Lee commandment collection is the content of the 'Architecture Method' bian city legend used effectively in practical engineering practice at the time, after detailed research and craftsmen woven, together with lee commandment I before bookmaking I have worked in 'will be the prison' for eight years, had to be prison cheng capacity to take charge of major projects, such as five palace, has the rich project management experience, created a good subjective conditions for writing this book. So if in this book and composed by more than six hundred years after the qing yongzheng years compared to the engineering practice, cases, no matter from the design, the estimate quantity, pattern and so on various aspects to measure performance, 'Architecture Method' than 'the case', not only style is good, it is convenient to be used in flexible, and the content is richer, precisely, is the most outstanding architectural works in ancient China, It is a key to understanding the architecture of the Song Dynasty.

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       但本书的目的是为了控制官式建筑的用料与用工，以节制政府的财政开支，因此书的体例和内容近乎建筑规范，全书虽分制度、功限、料例三大部分，但所谓制度，主要内容是各种建筑部件的尺寸规定，对建筑布局、内部布置、体量形象等则很少涉及。对建筑部件的阐述看来也是有所取舍的，明显的例子是阑干，《法式》小木制度只收了勾阑二种:重台钩阑和单钩阑;而从宋画上可以看到，除了上述勾阑之外，至少还有两种阑干:一种是卧棂阑干;另一种是坐槛阑干。前者在酒楼、桥梁上用得很多，造型简洁大方，省工省料，是一种历史久远的传统做法，汉画像石、画像砖所镌楼阁、桥梁上颇多此种阑干;后者多用于室外平台，造型更为简洁，只是在蜀柱上安放坐槛，转角处或立望柱。大概由于这两种阑干不够华美，不合皇家建筑的要求，所以不予收录，不然在将作监负责工程多年的李诫，不至于连京师常见的阑干式样都不知道。就这一例，可以看出《法式》内容以官式建筑的高档类为主，对低档类做法，即使是当时常见的品种，也往往略而不谈，或只是一笔带过，如《法式》大木作中有一种称为'柱梁作'的做法，只列了个名词，未作任何解释，详情不知，推想是一种不用斗拱而用柱、梁直接结合的木构架，官府、朝廷的次要房屋和附属建筑以及库房、散屋、营房等采用之，可能近乎清式的'小式'建筑。另一种大木做法称为'单斗只替'，书中也未作任何解释，但从所用工限的多少，可以知道这是一种比最简单的斗拱'把头绞项作'和'斗口跳'还要简单的做法，推想是在柱头栌斗上加一条替木来承托梁和抟。这两种低级大木做法虽在次要房屋中可能是普遍使用的，但《法式》也只是一笔带过。可见本书的侧重点是很明确的。

       But the purpose of this book is to control the state of construction materials and labor, the government's fiscal spending to restraint, so almost building code style and contents of the book, the book is a points system, power limit, cases of three parts, but the so-called system, the main content is the size of the various building components, the architectural layout, internal layout, dimension image, etc are rarely involved. The exposition of building components seems to be somewhat selective, an obvious example is the appendix, 'Architecture Method' small wooden system only received two kinds of diaphragm: heavy hook diaphragm and single hook diaphragm; As can be seen from the Song Dynasty paintings, in addition to the above diaphragm, there are at least two kinds of appendices: one is the recumbent mullion appendices; The other is sitting on the floor. The former is used on restaurant, bridge a lot, the modelling is concise and easy, province labor saves material, it is the traditional practice with a long history, the pavilion of building that place engrave of brick of Chinese stone, picture, bridge is quite on much this kind of appendix; The latter is more used for outdoor platforms, the shape is more concise, just in the Shu pillar placed sill, corner or stand at the column. Probably because these two kinds of appendix is not beautiful enough, not the requirements of the royal architecture, so not included, otherwise will be in charge of the project for many years Li Jie, not even the capital common appendix style do not know. In this case, we can see that the Architecture Method content is given priority to with the official building high-grade class, to the low class, even when the common varieties, also often slightly and not talk about, or just a blur, as one of 'Architecture Method' for the big wood called 'column beam as' approach, only a noun, without explanation, details I don't know, It is supposed to be a kind of wooden frame with direct combination of columns and beams without brackets, and it may be used in the secondary houses and ancillary buildings of the government and the imperial court, as well as warehouses, scattered houses and barracks, etc., which may be nearly the 'small type' architecture of Qing Dynasty. Another big wood practice is called 'single bucket only for', the book also did not make any explanation, but from the labor limit how much, you can know that this is a kind of simple than the most simple dougong 'head choke' and 'doukou jump' but also a simple practice, it is presumed to be in the stigma sugria on a replacement for wood to bear the joist and kneading. Although these two lowly wooden practices may be common in lesser houses, 'Architecture Method' is only a passing mention. The focus of the book is clear.

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        在叙述一个工种时，也往往只收录部分做法，有些做法在实物中可以看到。但《法式》却不载;有的则需把书中各卷前后对照，相互补充，才能得到较为完整的了解，明显的例子是石作雕镌制度，《法式》卷三石作制度说:'雕镌制度有四等:一曰剔地起突，二曰压地隐起，三曰减地平(金及)，四曰素平'。但卷二十八诸作等地中又说:'石作，镌刻混作，剔地起突及压地隐起，或平(金及)华(混作谓螭头或钩阑之类)，右为上等;柱碇、素覆盆、地面、碑身......右为中等'。这里比石作雕镌制度又多了一种'混作'。混作就是圆雕，卷十二雕作制度(按:即雕木作)中有说明。一面贴'地'的圆雕则可称之为'半混'。此外，还有两种雕刻有实物而石作雕镌制度未录:一种是'实雕';另一种姑名之曰'平(金及)'。这两种都是就地雕出花纹，不斩去'地'，'实雕'是借用卷十二木雕制度的名称，最近苏州市发掘瑞光寺塔基时，露出副阶叠涩作(即须弥座)束腰上的石雕图案，即是'实雕'一例。因实雕不斩去地，用工省而收效佳，所以后世运用极广。

      In the description of a job, but also often included only part of the practice, some of the practice can be seen in real objects. But 'Architecture Method' does not; The obvious example is the stone carving system. 'Architecture Method' volume three stone carving system says :' the carving system has four grades: one is to pick the ground to rise, two is to press the ground to hide, three is to reduce the ground (gold and), four is to plain '. But the volume of twenty-eight works and other places said :' stone work, engraved mixed work, pick up the rise and pressure hidden, or flat (gold and) China (mixed work is called chi head or hook stop), right is superior; Pillars, plain basin, ground, stele...... The right is medium.' Here is a more 'mixed' than the stone carving system. Mixed is round carving, volume 12 carving system (according to: that is, carved wood) is explained. On one side, the round carving with the word 'ground' can be called 'semi-mixed'. In addition, there are two kinds of carving in kind and the stone carving system is not recorded: one is 'real carving '; The other kind is called 'Ping (Jin Ji)'. These two are carved on the spot out the pattern, do not cut off the 'ground', 'real carving' is to borrow the name of volume 12 wood carving system, the recent excavation of the Ruiguang Temple in Suzhou, revealed the secondary steps of the folded stone (that is, Xumizuo) on the waist, is 'real carving' example. Because the actual carving does not cut to the ground, the province and the effect is good, so the later use of very wide.

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        至于'平(金及)'这个名称，是从'减地平(金及)'移用过来的，两者的差别仅在于去不去地。平(金及)是阴刻线条花纹图案，著名的西安大雁塔门楣石刻佛殿图就是平(金及)刻法，唐、宋、元、明许多碑身正侧面花纹，墓志盖周边花纹等等，常用平(金及)法镌刻。'减地平(金及)'是在上述平(金及)花纹的空隙处，浅浅斩去一层'地'，一般斩深不超过一毫米。平(金及)刻法较之隐起花纹简单，但对石面平整和光洁的要求很高，否则阴刻线条不够明显，但其减地部分则不要求平整，甚至故意斩出匀布的点和线，以加粗其质感，使之与平(金及)花纹产生对比。总括起来，石雕的品类实际上有八种，即:1、混作---圆雕;2、半混---圆雕，仅备三面，另一面贴地;3、剔地起突--高浮雕，去地;4、压地隐起-低浮雕去地，深2-3毫米以上;5、减地平(金及)--线刻，去地甚少，在一毫米以下;6、实雕---高或低浮雕，不去地;7、平(金及)--线刻，不去地;8、素平---无花纹。

      As for the name Ping (Jinhe), the name is transferred from 'Mindiping (Jinhe),' the only difference between the two lies in whether to go to the land. Flat (gold) is a pattern with lines carved in the shadow. The famous Buddhist hall drawing of the Great Wild Goose Pagoda in Xi 'an is engraved in the flat (gold) method. The front and side patterns of many inscriptions and the surrounding patterns of epitaph covers are commonly used in the Tang, Song, Yuan and Ming Dynasties. Reducing the ground level (Jinhe)' is in the above flat (Jinhe) pattern gap, shallow cut a layer of 'ground', generally cut the depth of not more than one millimeter. The flat (jinhe) engraving method is simpler than the hidden pattern, but the requirements for the smooth and smooth stone surface are very high, otherwise the lines are not obvious, but the reduced part of the ground does not require the smooth, even deliberately cut out the points and lines of uniform cloth, in order to coarse its texture, so that it has a contrast with the flat (jinhe) pattern. To sum up, there are actually eight categories of stone carving, namely :1, mixed - round carving; 2, semi-mixed -- round carving, only three sides, the other side stick to the ground; 3. Pick the ground to rise -- high relief, to the ground; 4, pressure hidden - low relief to the ground, more than 2-3 mm deep; 5, reduce the flat (gold and)- line engraved, to the ground is very little, in a millimeter or less; 6, real carving -- high or low relief, do not go to; Flat (gold and)- line engraved, don't go to the ground; Plain flat -- no pattern.

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       石作雕镌制度所录四种雕法，可能在当时具有代表性，所以收入《法式》作为靠工估算的标准。在建筑色彩方面，对木构架部分《法式》有彩画制度作了详细叙述，屋面色彩则由瓦的品种来定:用本色'素白瓦'者灰色;用渗碳的'青绲瓦'者黑色;用琉璃瓦者多作绿色。但书中对墙面颜色未作阐明，只能根据卷十三泥作制度'用泥'所列墙壁抹面材料的配合比和操作方法来推断，当时官式建筑内外墙面的颜色可能有下列四种:

       1、浅土红  用'红灰'抹面，其配合比为:石灰15斤+土朱5斤+赤土11斤8两(用于殿阁);石灰17斤+土朱3斤+赤土11斤8两(用于非殿阁，色调较淡);

       2、浅灰  用'青灰'抹面，其配合比为:石灰1份+软石炭1份;或石灰10斤+粗墨1斤(可用墨煤11两、胶7钱代替)。

       3、浅土黄  用'黄灰'抹面，其配合比为:石灰3斤+黄土1斤。

       4、白色带浅黄点  用'破灰'抹面，其配合比为:石1斤+白蔑土4斤8两+麦麸(麦壳〕0.9斤。

      各色灰泥抹面干厚一分三厘，相当与贴面层，施工方法是在未干时收压多遍，使表面产生光泽。这种抹面显然比表面刷色法耐久。

   The four carving methods recorded in the stone carving system may be representative at that time, so they are included in 'Architecture Method' as the standard for estimating work. In the aspect of architectural color, the paper describes in detail the color painting system of 'Architecture Method' in the part of wooden frame. The roof color is determined by the variety of tiles: grey tiles with natural color 'plain white tiles'; To go black with 'blue pipe' as carburized; With glazed tiles for green. However, the color of walls is not clarified in the book, and it can only be inferred from the mix ratio and operation method of wall plaster materials listed in the mud system 'using mud' in Volume XIII. At that time, there may be four kinds of color of the inner and outer walls of official buildings:

     1, the light earth red with 'red ash' plastering, its mix ratio is: lime 15 kg + soil Zhu 5 kg + red soil 11 kg 8 two (for the palace); Lime 17 jin + soil Zhu 3 jin + red soil 11 jin 8 two (used for non-palace, the tone is lighter);

     2, light ash with 'livid' plastering, its mix ratio is: 1 lime + 1 soft charcoal; Or lime 10 catties + coarse ink 1 catties (available ink coal 11 two, glue 7 money instead).

     3, shallow yellow with 'yellow ash' plastering, its mix ratio is: lime 3 kg + loess 1 kg.

     4, white with light yellow point with 'broken ash' plaster, its mix ratio is: stone 1 jin + white soil 4 jin 8 two + wheat bran (wheat husk) 0.9 jin.

     The dry thickness of all kinds of plaster plaster is one minute three percent, which is equivalent to the veneer layer. The construction method is to close the pressure several times when it is not dry, so that the surface produces luster. This kind of plaster is obviously more durable than the surface brush.

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        从建筑设计角度来研究，在《法式》固然找不到总体布置方面的内容，即使单体建筑，如果想恢复一座北宋官式建筑，往往也感到书中所提供的数据不足，以剖面上的高度而言书中只给了屋顶举高、折屋之法，以及斗拱、柱础、(木质)、台基的算法，而没有柱高;平面上的进深是有规定的，但各间面阔则未具体阐明，仅在卷四总铺作次序中提到三种情况:

       第一种:各间面阔相等('每间之广，丈尺皆同')。

       第二种:明间面阔大，次间小('假如心间用一丈五尺，则次间用一丈之类')。

       第三种:各间面阔不等('或间广不匀')。

其中第一种含义明确，第二种不完整，除明、次间外未及其他，第三种含糊不明，不知如何'不匀'。当然，尺寸不作具体规定也有好处，可给设计者以较大的灵活性，便于变通应用。

      To study from the perspective of architectural design, in 'Architecture Method' is to find the overall arrangement, even if the individual buildings, if you want to restore a official buildings of the northern song dynasty, also often feel insufficient data provided in the book, in terms of the height of the section in the book only held up to the roof, law of the house, and development and application of stone, column (wood), the algorithm of stylobate, without high column; The depth on the plane is prescribed, but the width of each surface is not specified, only in the general order of volume four mentioned three situations:

      The first kind: the width of each room is equal (' the width of each room is the same ').

     The second kind: Ming broad, small (' if the heart with a zhang five feet, then between the use of a zhang and so on ').

       The third kind: the width of each surface is not uniform (' or ').

Among them, the first kind of meaning is clear, the second kind is incomplete, except for clear and secondary, and the third kind is vague, I do not know how to 'uneven'. Of course, the size does not make specific provisions also have an advantage, can give the designer with greater flexibility, facilitate flexible application.

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        如果我们进一步想恢复象黄鹤楼和滕王阁图中那样体量复杂和屋顶丰富多样的建筑物，那么遇到的问题更要超过《法式》所提供的内容了。

举出以上例子，并非苛求与《法式》，要求著者编写一部包罗万象的建筑百科全书。既然编写此书的木目的是为了关防工料，势必着重用料尺寸、用工定额，也必然要选录宫廷筑最有代表性的做法作为变造用材的准则。问题在于我们今天认识《法式》时必须恰如其分地给以评价，而不能认为《法式》十全十美无所不包的，如果这样就会陷入片面性。

    If we go further and try to restore buildings with complex volumes and diverse roofs, such as the Yellow Crane Tower and the Tengwang Pavilion, then we will encounter more problems than Architecture Method offers.

    To cite these examples, it is not too much to ask the author to compile an all-encompassing encyclopedia of architecture. Since the purpose of writing this book is to prevent materials, it is bound to focus on the size of materials and the quota of labor, and it is also bound to select the most representative practices of palace architecture as the criteria for changing materials. The problem is that when we understand 'Architecture Method' today, we must give proper evaluation, and cannot think that 'Architecture Method' is perfect and all-embracing, if so, it will fall into one-sidedness.

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       宋代崇宁二年钦定李诫重修《营造法式》，崇宁四年刊行于开封府。后世称为崇宁刊本。绍兴十五年秦桧妻弟平江府(今苏州)提举王唤，重刊《营造法式》。后世的各种抄本版本，全部来源于绍兴本。营造法式之得以传世，王唤功不可没。平江军府本后世称为绍兴刊本。南宋绍定间平江府本第二次重刊本，称为绍定本。

      Song Dynasty Chongning two years Li Jie rebuilt the 'Architecture Method', Chongning published in four years in Kaifeng Fu. Later known as the Chongning edition. In the fifteenth year of his life in Shaoxing, Qin Hui's brother-in-law Pingjiangfu (today's Suzhou) recommended Wang Hua to republish the book Architecture Method. Later editions of various codex, all from the Shaoxing. To build the French to be handed down, the king called contributions. Pingjiang military mansion this later known as the Shaoxing edition. Southern Song Dynasty Shaoding between Pingjiang House this second reprint this, known as Shaoding this.

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      非常感谢您的关注，比较喜欢儒释道医学艺术玄学，喜好研究科学以外那些看不到的联系，更多优质古玩艺术风水古书籍下载尽在PDF艺术社官网哦www.pdf-art.com 希望有机会可以一起交流与探讨。

     Thank you very much for your attention, I prefer Confucianism, Buddhism and Taoism medical art metaphysics, and I like to study the links that can not be seen outside of science. More high-quality antiques, art and feng shui ancient books can be downloaded in PDF art club official website oh www.pdf-art.com. I hope to have the opportunity to communicate and discuss with you.

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