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Speaking of "screen"

Chen Congzhou

"Screen" is generally called "screen", which is a very poetic term. I remember enjoying the cool air with my family in the courtyard when I was a child. My mother always recited the Tang Dynasty poem "Silver candles paint the screen in the cold autumn light, and small fans flutter against the fireflies②". The scene is really ecstatic. Later, every time I read the beautiful lines about the screen in poems and saw the screens in ancient paintings, I couldn't help but yearn for them. Because I studied ancient architecture and came into contact with something that seems to be separated but not separate and plays a mysterious role in space, I felt that it was really subtle. Our ancestors were good at writing articles on the screen that combine function and beauty. The key lies in the word "smart". No wonder foreigners still claim it to this day.

Screens can separate indoors and outdoors. In the past, in the courtyard or patio ①, in order to prevent the living room from being directly seen from outside the door, a screen must be placed with books and paintings on it, which not only served as a separation, but also as an artistic decoration and as a shield from the wind. However, the space is still circulating and is now called “flow space”. When I was a child, when guests came to the hall, I would hide behind the screen and watch. In the old society, men and women were different, and they could not meet each other, so they had to use screens. Indoor screens are common in ancient paintings, and they play the same role as curtains. In ancient royal courts, screens were more commonly used.

In the past, women's rooms generally had screens, which could buffer the line of sight. In "The Peony Pavilion" ② "You Yuan" there is a sentence "Jinping people think that this time is cheap", using Jinping people to refer to the girls in the boudoir. According to the construction materials of the screen and the ornateness of its decoration, it is divided into gold screen, silver screen, brocade screen, painted screen, stone screen, wooden screen, bamboo screen, etc. Therefore, there is a difference in art between elegance and vulgarity, and it also reflects the different users. economic and cultural level.

Screens also come in different sizes. It can be placed anywhere from palaces, halls, courtyards, patios, to studies, and boudoirs. Because the occasions are different, it is natural to adapt to local conditions, and the size is up to the person. Recently, I have also noticed that screens are commonly used in many restaurants and hotels, but they never evoke my poetic feeling. The reason seems to be that the shape is not light enough, the colors are vulgar, and the painting lacks poetry. This is because manufacturers and users do not realize the role that screens should play in architectural beauty and only use them as movable door panels. In fact, the setting of the screen must be appropriate in terms of proportion to the whole, placement and function, the fold of the curved screen, and the distance of the line of sight②.

The screen is really attractive. "Leaning on the screen" or "hugging your knees and looking at the screen mountain" are enough to give you some leisure, but it cannot play a role in cultural recreation at the beginning. Smart architects and furniture makers, with your wisdom, you will definitely be able to create creations that surpass those of your predecessors. If so, then my writing this short article will not be in vain.

This article introduces the practical and artistic decorative functions of screens. The author’s focus is to express some of his own opinions on the use and installation of screens, hoping to arouse the interest of architects, furniture designers and even users. Note, in the hope that the screen will be put to better use today.

The first paragraph is an introduction, which not only expresses the author's feelings for the screen, but also points out the characteristics of the screen: "it seems to be separated but not separated, and plays a mysterious role in space" and "the combination of function and beauty" . The article begins by saying, "We generally call 'screen' a 'screen,' which is a very poetic term." The word "poetic" refers to the author's beautiful feeling and impression of the screen. This kind of feeling and impression originally came from ancient poetry and painting, which was more perceptual; then it came from the research work on the screen, adding a rational element.

Paragraphs 2 to 3 introduce the role of placing screens indoors and outdoors. The text introduces in more detail the various benefits of placing a screen in a yard or patio: ① Avoid looking directly into the hall from outside the door; ② There are books and paintings on the screen, which is an artistic embellishment; ③ It can block the wind; ④ The space remains It's fluid. Regarding the placement of screens indoors, the article only says that "it plays the same role as the curtain." The following article also says that in the past, there were screens in women's rooms, "which can buffer the line of sight." In fact, it is not difficult for us to realize that when placed indoors and outdoors The screens will be different in materials and styles, but their functions should be similar.

Subsequently, the article started with the built-in screen in the women's room, and then divided the screens into different categories according to their construction materials and the ornateness of their decorations.

Paragraph 4 talks about how to play the role that screens should play in architectural beauty, we need to pay attention to many aspects: the size of the screen should be adapted to local conditions, its shape, color and painting on it cannot be careless, and its setting It must be proportionate to the whole, and its placement and function, the fold of the curved screen, the distance of the line of sight, etc. must be appropriate, etc.

The last paragraph once again emphasizes that screens are very attractive, and fervently hopes that architects and furniture designers can innovate in the use of screens.

Exercise instructions

1. Read the text and answer the following questions.

1. What knowledge does the author introduce about "screen"?

2． What is the author’s feeling towards “screen”?

The purpose of setting this topic is to familiarize students with the text, acquire some traditional cultural knowledge, and be emotionally influenced.

1. The author introduces this knowledge about screens: the functions of placing screens outdoors and indoors, both practical and artistic; the types of screens classified from the perspective of the ornateness of building materials and decoration; issues that should be paid attention to when setting up screens .

2． Due to the influence and influence of ancient poems and paintings, the author has developed a love and yearning for screens since he was a child. Later, during actual contact and research work, he gained a deeper understanding of screens, and "felt that they were really subtle". The author's affection for the screen deepened. The author's admiration for the screen is revealed in many places throughout the text.

2. There are many quotes from ancient poems in the text. What do you think are the benefits of this? Look up information to get a rough idea of ??what these verses mean.

The purpose of setting this topic is to make students pay attention to the characteristics of the writing of this article and arouse their interest in ancient poetry.

The text quotes ancient poems in many places, giving the whole text a strong poetic flavor and charm, which is commensurate with the screen, a traditional Chinese appliance, which is the introduction object of this article.

Teaching Suggestions

This article is a relatively relaxed and casual expository essay. Regarding screens, the author does not use some professional terms to introduce screens in detail from the perspective of a professional worker so that readers can obtain a more comprehensive knowledge of screens, but mainly introduces the functions of screens and how to use them from the perspective of appreciators. When teaching, do not aim to impart knowledge about screens. Pictures can be supplemented to enable students to establish an intuitive impression of the screen.

Relevant information

1. Introduction to the author

Resume:

Born on November 27, 1918 in Hangzhou, Zhejiang Province.

1938-1942 He studied at the Department of Literature of Zhijiang University and received a bachelor's degree in literature.

From 1942 to 1949, he served as a teacher of Chinese language, history, education history, and biology in senior middle schools and normal schools in Hangzhou, Shanghai, and other places.

In 1950, he served as associate professor at Suzhou Fine Arts College and taught at St. John's University.

In 1951, he taught in the Department of Architecture of Zhijiang University and concurrently served as associate professor of Sunan Industrial College.

In 1952, he taught in the Department of Architecture of Tongji University and planned to establish an architectural history teaching and research section.

In 1955, he served as the leader and associate professor of the architectural history teaching and research group of Tongji University.

In 1978, he served as professor of the Department of Architecture of Tongji University.

In 1985, he was hired as a consultant by the American I.M. Pei Architectural Design Office.

In 1989, he was appointed as a consultant for Taiwan's "Gardening" quarterly magazine, and was awarded the title of overseas honorary member of the Japanese Garden Society.

Main works:

1. "Xu Zhimo Chronicle" (first edition in 1949), reprinted by Shanghai Ancient Books Publishing House, 1989.

2. "Atlas of the History of Chinese Architecture", published by the Textbook Department of Tongji University, 1953.

3. "Leaking Window", published by Tongji University Textbook Department, 1953.

4. "Collection of Window Repairs", published by the Textbook Department of Tongji University, 1954.

5. "Selected Brick Carvings of Jiangsu and Zhejiang", Beijing Chaohua Publishing House, 1956.

6. "Suzhou Gardens", published by the Textbook Department of Tongji University, 1956.

7. "Garden Talk", Shanghai Culture Publishing House, 1980.

8. "Book Belt Collection", Huacheng Publishing House, 1982.

9. "Yangzhou Gardens", Shanghai Science and Technology Press, 1983.

10. "Speaking of the Garden", published by the Textbook Department of Tongji University, 1985.

11. "Shaoxing Stone Bridge", Shanghai Science and Technology Press, 1986.

12. "China's Famous Gardens", The Commercial Press (Hong Kong) Co., Ltd., 1990.

13. "Human Words on the Edge of the Book", The Commercial Press (Hong Kong) Co., Ltd., 1991.

2. Ancient Screens (Wang Laiyin)

Screens have always been one of the main indoor appliances in my country. one. In ancient times, it was called "(yǐ)", also written as "Yi", which is a screen placed between households. "Cihai" contains "黼(fǔ)", "axe" and "axeyi", all of which have the same meaning, referring to the screen used by ancient emperors. It was named because of the axe-shaped pattern on it.

Most of the ancient buildings in my country are in the form of courtyards with civil structures, which are not as strict as modern reinforced concrete houses. In order to keep out the wind, the ancients began to make furniture such as screens. In addition to blocking the wind, screens are also exquisite movable partitions in buildings. Some screens are placed behind beds to lean on or hang objects. There is this passage in the "Screen Inscription" written by Li You of the Later Han Dynasty: "If you leave it, you will hide it; if you use it, you will set it up. It must be upright and upright, and it must be honest in place. The evil winds in Yongyan are resisted by fog and dew. Provide the top to cover the bottom, and there will be no loss. "It's very common." It correctly describes the characteristics and functions of the screen. On the throne in the middle of the Hall of Supreme Harmony (commonly known as the Golden Palace) in the Forbidden City, there is a large gold chair carved with dragons and dragons, and a gold screen carved with dragons and gold is placed behind the chair. This kind of display can not only keep out the wind, but also add to the solemn and solemn atmosphere of the throne. Because screens are often placed in prominent locations indoors, people have put a lot of effort into beautifying and decorating the screens themselves, so they have gradually developed into one of my country's traditional famous handicrafts with practical value.

Screens can be divided into inserted screens and surrounding screens. Most of the inserted screens are single-leaf, while the surrounding screens are composed of multiple leaves, ranging from two to as many as twelve. They can be folded at will, wide or narrow, and are easy to use. To make a screen, wooden boards are generally used, or wood is used as the skeleton, covered with silk fabric as the screen surface, and other materials such as stone, pottery, or metal are used as the pillar base. The screens are decorated with various paintings or inlaid with pictures of different themes, and there are also plain screens. The screens used by emperors and nobles were made of particularly precious materials, with fine workmanship and colorful and dazzling pictures. According to historical records, in the royal court of the Western Han Dynasty, bright and colorful mica screens, glazed screens and mixed jade tortoise-shell screens were used. "Taiping Guangji·Luxury·Zhao Feiyan" states that when she became emperor in the Western Han Dynasty, Queen Zhao Feiyan was famous for her extravagant spending. On one occasion, her ministers presented thirty-five kinds of tributes to her, including mica screens and glazed screens. In later generations, enamel screens, ivory screens, etc. also appeared. These screens were extremely valuable and were mostly luxuries reserved exclusively for the ruling class. Therefore, "The Theory of Salt and Iron: Insufficiency of Powder" says, "One cup uses the power of a hundred people, and one screen uses the efforts of ten thousand people."

Although the use of screens has a history of thousands of years in our country, very few physical objects remain. The screen unearthed from Han Tomb No. 1 in Mawangdui, Changsha, Hunan Province in 1972 can be said to be the earliest and most complete physical screen in my country. This is a painted lacquered screen with a wooden base, rectangular shape, and a height of 62 cm. The screen is 72 cm long, 58 cm wide and 2.5 cm thick. There are two supporting feet under the screen.

The screen is painted, with one side of the red paint ground covered with light green oil paint, a round jade with a grain pattern painted in the center, and a geometric square pattern painted around it. The edges are painted black and painted with rhombus patterns. The other side is painted black with cloud patterns and dragon patterns painted in red, green and gray oil paints. But I saw a dragon flying in the sky, with its head raised and its mouth raised, soaring into the clouds and clearing the mist. Its body was light and vigorous, and its image was magical and vivid, full of imagination and artistic charm. The green dragon body has red scales and claws, and the diamond-shaped pattern on the edge is vermilion. The color is eye-catching and bright, and the painting skills are superb. The strokes are free and neat, combining hard and soft, unrestrained and powerful.

Many bamboo slips were unearthed from Mawangdui Han Tomb No. 1, among which the 217th bamboo slip records: "Wu Wucai (color) painting and (screen) wind, five feet long and three feet high." The dimensions recorded in the brief text may be the dimensions of common practical screens at that time. 5 feet in the Han Dynasty is about 1.2 meters in the current metric system. However, the unearthed painted screen does not match the size described in the brief text, and is smaller in area.

184 pieces of colorful lacquerware were unearthed from Mawangdui Han Tomb No. 1***. As far as the texture of the fetal bones is concerned, there are only two types: wood, bamboo and sandwich. The fetal bones of this screen have been identified as wood, and the work is relatively rough. It may be an artifact that simulates the actual objects used by the deceased, and was specially prepared for burial.

According to expert appraisal, the age of Han Tomb No. 1 in Mawangdui is after the fifth year of Emperor Wen of the Han Dynasty (175 BC) and before the fifth year of the Central Yuan Dynasty (145 BC) of Emperor Jing of the Han Dynasty. The deceased may be the wife of the second or third generation (dài) Hou, or the wife of the first generation Hou. Therefore, this painted lacquer screen has a history of more than 2,100 years. Its first complete unearthed provides rare physical information for the study of the history of screens in my country.

Are there actual screens unearthed earlier than the Western Han Dynasty? Some scholars now believe that the gold and silver tiger deer-eating bronze pedestal, gold and silver rhinoceros bronze pedestal, and gold and silver buffalo bronze pedestal unearthed from the tomb of King Zhongshan during the Warring States Period in Pingshan County, Hebei Province in recent years may be the pillar base of a screen. There are hooves on the bases of the vessels. The tiger-eating deer vessel has a double cradle, and the rhinoceros and buffalo vessels have one cradle each. There are four bases among the three bases, and there are still wooden tenons on the bases. Unfortunately, the shape and size of the screen could not be seen when it was unearthed. It may be the column foundation of a screen. Of course, this remains to be further verified.

Compared with the lacquer screen unearthed from Mawangdui Han Tomb No. 1, imitating Ming ware much later, there is a painted wooden screen frame unearthed from the Eastern Han Dynasty Tomb in Hantanpo, Wuwei, Gansu, and the Luoyang Jian in Henan. A small ceramic screen unearthed from the Han Dynasty Tomb in Hedong, Xiqili.

Speaking of ancient practical screens, we must recommend a lacquer screen unearthed in 1966 from the tomb of Sima Jinlong in Shijiazhai, Datong, Shanxi. This is a work made before the eighth year of Taihe (484) in the late Wei Dynasty of the Southern and Northern Dynasties. Most of it has been destroyed, but the remaining five panels are still relatively complete. The board is about 80 centimeters high, and there are four small pillar bases carved from light gray fine sandstone, each 16.5 centimeters high. If restored, it may be a four-foot screen. Its shape is different from the insert screen unearthed from Mawangdui Han Tomb No. 1, but a screen that can be used by one person and placed at the head of the bed.

Behind the throne of every palace in the Forbidden City, there are almost screens, such as "red sandalwood inlaid with boxwood and carved cloud and dragon screens", "Qianlong ivory carved landscape figures dyed screens", "carved dragons and painted gold screens", etc. It is an extremely precious handicraft from the Qing Dynasty. The patterns on the screen are even more ingenious and beautiful, including embossed cloud and dragon patterns, inlaid and embroidered flowers and birds, landscapes, figures and other patterns. They are exquisite works of ancient Chinese screens and reflect the high level of Chinese handicrafts.

(Selected from "Literary and Historical Knowledge" Issue 6, 1983)