本期編輯/上海雅舍辛乙堂Yashe Studio ——————————— 門窗對于古人不僅有分隔空間、裝飾、通風(fēng)采光的用途，更是承載著豐富的文化底蘊。明清時期中國的社會經(jīng)濟、文化得到了迅速發(fā)展，這使得手工藝也高度發(fā)達，造就了令人贊嘆的門窗文化。 Doors and windows are not only used to separate space, decoration, ventilation and lighting for the ancients, but also carry rich cultural heritage. During the Ming and Qing Dynasties, China's social economy and culture developed rapidly, which made handicrafts highly developed and created an amazing door and window culture. 古代門窗的圖形 橫豎紋：一般由相同粗細的棱條排列而成，簡潔大方疏密有致，顯著出一種疏朗而優(yōu)雅的美，常見的有：井字紋、方格紋、冰裂紋等。 Horizontal and vertical lines: generally, they are arranged by ribs of the same thickness. They are simple, generous and dense, showing a clear and elegant beauty. The common ones are: zigzag pattern, square pattern, ice crack, etc.
幾何紋：是由相同規(guī)格的圖案，拼接成幾何圖的四方連續(xù)圖形，常見的有：人字紋、龜背紋、萬字紋、金錢紋、柿蒂紋等。 Geometric pattern: it is a square continuous pattern composed of patterns of the same specification and spliced into a geometric figure. The common patterns are herringbone pattern, turtle back pattern, Wanzi pattern, money pattern, persimmon stem pattern, etc. Crutch pattern: it is a kind of crutch pattern made of lattice wood strips. It looks both hard and soft. The corners of the crutch pattern have a right angle shape and an arc shape.
古代門窗結(jié)構(gòu)與工藝 古代門窗各個部件的作用不一而同，但都各有所重。格心是古代門窗最重要的部分，面積最大，設(shè)有欞格、網(wǎng)格或花格，方便透光和裝飾；裙板位處隔扇的下部，不通透，工整細致，可防風(fēng)擋雨；抹頭是古代門窗不可缺少的橫向構(gòu)件，可防止開榫或變形；絳環(huán)板，宋代又稱腰華板，可作彩畫或雕飾，是門窗的又一裝飾重點。 The functions of various components of ancient doors and windows were different, but they were different. The lattice center is the most important part of ancient doors and windows, with the largest area. It is equipped with lattice, grid or lattice to facilitate light transmission and decoration; The skirt is located at the lower part of the partition, which is impermeable, neat and meticulous, and can prevent wind and rain. Trowel is an indispensable cross member of ancient doors and windows, which can prevent tenon or deformation; Tapering plate, also known as Yaohua plate in the Song Dynasty, can be used for color painting or carving. It is another decorative focus of doors and windows.
古代門窗在制作過程中用到的工藝有攢斗、攢插、雕鏤等。攢斗：明清家具工藝術(shù)語。“攢”指把縱橫的短材用卯榫按合成紋樣，“斗”指鎪鏤的小料簇合構(gòu)成花紋，攢與斗有時結(jié)合使用，故將這種裝飾加工的手法簡稱為“攢斗”。常見采用攢斗工藝的如架格的欄桿，各種圍子，中牌子等。 The techniques used in the production of ancient doors and windows include zandou, zanpin and carving. Zandou: a technical term of furniture in Ming and Qing Dynasties. "Zan" refers to the combination of vertical and horizontal short materials with mortise and tenon, and "dou" refers to the clustering of small materials to form a pattern. Zan and Dou are sometimes used together, so this decorative processing technique is referred to as "Zan Dou". It is common to use the bucket technology, such as grilled railings, various fences, and medium brands.
攢插：攢插與攢斗工藝相同之處也是以小攢大，所不同的是它的榫卯結(jié)構(gòu)不完全是在木件的盡頭，它在有的部件中部鑿出榫眼，與另外部件榫眼相接，而攢斗是沒有榫眼的。 Zan insertion: Zan insertion is similar to Zan Dou in that it is small and large. The difference is that its tenon and mortise structure is not completely at the end of the wooden part. It chisels mortise holes in the middle of some parts and connects with the mortise holes of other parts, while Zan Dou has no mortise holes. 攢插工藝的單體一般比攢斗要長一些，尺寸不一，因而形式復(fù)雜多變，圖案構(gòu)成也更加多樣，攢插工藝看似復(fù)雜，但施工時相對容易克服攢斗工藝的兩個難點，在整體拼合時易于不斷修正。 The single body of the accumulation and insertion process is generally longer than that of the accumulation bucket, with different sizes, so the form is complex and changeable, and the pattern composition is more diverse. The accumulation and insertion process seems complex, but it is relatively easy to overcome the two difficulties of the accumulation bucket process during construction, and it is easy to constantly correct during the overall assembly. 攢插的咬合部位比攢斗靈活，而且相互有所制約，所以攢插格心的牢固性大大優(yōu)于攢斗方式。攢插工藝的靈活性也使其圖案設(shè)計隨心所欲，冰裂紋這樣不規(guī)則的圖案就是攢插工藝的典型代表。 The occlusal position of Zan insertion is more flexible than that of Zan Dou, and there are mutual constraints. Therefore, the firmness of Zan insertion grid is much better than that of Zan Dou. The flexibility of the assembling and inserting process also makes its pattern design arbitrary. Irregular patterns such as ice cracks are typical representatives of the assembling and inserting process.
雕鏤：雕鏤工藝以整材為基礎(chǔ)，以減法施工。首先是由鋸鎪空不需之處，露出空間，再雕鑿，將事先設(shè)計圖案逐步完成。雕鏤工藝的長處是自由表現(xiàn)紋飾和圖案，尤其是傳統(tǒng)文化中的人物故事，以及動物、植物、建筑、器物等等，均可任意表現(xiàn)，因而它大大富了門窗的文化內(nèi)涵。 Carving: the carving process is based on the whole material and constructed by subtraction. The first step is to cut out the unnecessary space by sawing, and then carve out the space to gradually complete the pre designed pattern. The advantage of the carving process is that it can freely express the patterns and patterns, especially the characters and stories in the traditional culture, as well as the animals, plants, buildings, utensils and so on. Therefore, it greatly enriches the cultural connotation of doors and windows.
中國古代門窗如此美輪美奐，源于工藝傳承，更源于工匠精神。工匠精神就是手工藝人對自己從事的工作的專注與熱情，他們制作時帶有責(zé)任，不斷完善精益求精，不浮躁不將就，直至一件精美的作品誕生。 The beauty of the doors and windows in ancient China stems not only from the inheritance of craftsmanship, but also from the spirit of craftsmen. Artisan spirit refers to the concentration and enthusiasm of artisans for their work. They are responsible for making, constantly improving and improving, and not being impetuous, until a beautiful work is born. 木雕的門窗，也許一扇花窗就花掉了木雕師一個月或者更長時間去完成，但是這被時間以及情感沁潤的門窗，帶給人溫暖的情懷，給乏味的生活帶來了絲絲情調(diào)。木雕師花心思，費時間的，精心為我們打造著一個玲瓏別致的家，我們更要精心打造自己想要的生活。 Wood carved doors and windows may take a wood carver a month or more to complete a flower window, but these doors and windows, which are soaked by time and emotion, bring warm feelings to people and bring a touch of emotion to the boring life. Wood carvers spend time and effort to build a exquisite and unique home for us, and we need to carefully build the life we want.
