交互枓隔跳归平现象与唐辽殿阁中的下昂组织方法述要  

A Preliminary Summary of the Ang Element’s Arrangement of Tang and Liao Dynasties: Taking the Phenomenon of the Jiaohudou Component’s Periodic Horizontalization as Clue

作　　者：喻梦哲[1] 惠盛健 YU Mengzhe;HUI Shengjian

机构地区：[1]西安建筑科技大学建筑学院 [2]山东同圆设计集团股份有限公司

出　　处：《建筑师》2022年第5期73-79,共7页The Architect

基　　金：国家自然科学基金项目“宋元界画中建筑形象的识读机制与样式谱系研究”(52078401)资助。

摘　　要：下昂的放置逻辑直接决定着整朵铺作的安装方式,与之关联的栱方对齐原则、榫卯加工思路与勾股比例算法均深刻影响着营造过程的诸多环节,故而研判实例中昂制的差异化表现,正是甄别其所属技术谱系的关键锁钥。通过比照唐辽遗构与敦煌壁画,围绕井干交叠纯粹与否(即铺作的自律性)和跳头交互枓归平与否(即横、斜构件的优先级)两条指标展开考察,分析了唐、辽、宋匠门间的技术边界与衍化关系。The oblique angle of the Ang element directly affects the organization of the tou-kong system, thus the relevant part, such as the alignment of Gong and Fang element, the tenon and mortise work process principle, the Angle algorithm, are all crucial to discriminate the regional, period and genealogical differences of massive cases.This article focus on the intercomparison of wooden structures constructed in Tang and Liao dynasties, as well as the architectural images left over in the Dunhuang frescoes, analyzes the border and the evolution trait between different craftsman’s traditions, which relies on two significant indexes listed below: Firstly, wether the stacked artifact of tou-kong components are in perfect alignment or not. Secondly, wether the Jiaohudou element located on the axes and the terminal of a group of tou-kong are horizontal or not.

关 键 词：建构逻辑 下昂斜率设计方法 壁画建筑形象 技术边界 

分 类 号：TU-092.1[建筑科学—建筑理论] TU-092.7