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本期编辑/开鸿顺 有人的地方就有建筑。建筑，是一个充满美学的地方，在远古时期，由于地面过于潮湿，而且经常有猛兽出没，所以我们的祖先出于安全考虑。 Where there are people, there are buildings. Architecture is a place full of aesthetics. In ancient times, because the ground was too wet and there were often beasts, our ancestors took safety into consideration. 最终将住所选择在了树上，后来住所慢慢地从树上转移到了地上，一开始人类不知道如何改造自然，所以干脆就用原始的山洞作为居所。 Finally, the residence was selected in the tree. Later, the residence was slowly transferred from the tree to the ground. At first, people did not know how to transform nature, so they simply used the original cave as the residence.
后来，生产力进一步发展，人类开始对自然界的山洞进行改造改造，渐渐地变成了半地上本地下的这种样式。 Later, with the further development of the productive forces, human beings began to transform the caves in nature, gradually becoming the pattern of half ground up and local down. 后来建筑的样式又经过了多种改良，但是由于战争的缘故，所以建筑的样式在某种程度上并不能做到后朝知道前朝的事情。 Later, the architectural style was improved. However, due to the war, the architectural style could not do what the later dynasties knew about the previous dynasties to some extent.
再加上建筑在古代，并不怎么受到重视，基本上都是口耳相传没有系统的研究著作，所以后朝对前朝的建筑知之甚少。 In addition, architecture was not paid much attention to in ancient times. It was basically handed down by word of mouth without systematic research works, so the later dynasties knew little about the architecture of the previous dynasties. 而不同的朝代建筑也有不同的材料，一开始人类以陶土作为建筑材料，虽然那个时候科技发展极为落后，但是人类的工艺却有一些是现代的技术手不能做到的。 Different dynasties also had different materials for buildings. At the beginning, people used clay as building materials. Although the development of science and technology at that time was extremely backward, there were some techniques that modern technologists could not do. 比如秦始皇兵马俑了陶俑的一些制作方式，到现在还是一个谜，后来材料又经历了从木质时代到石料时代在清朝倒是有不少像素建筑学的专门著作，但是。这个时间上还是比较近，所以研究价值上相对要打一个折扣。 For example, some production methods of the Terra Cotta Warriors of the Qin Shihuang are still a mystery. Later, the materials went through the wood age to the stone age. In the Qing Dynasty, there were many special works on pixel architecture. This time is relatively recent, so the research value should be discounted.
《营造法式》的出现营造法式这本书，他的作者是北宋折衷徽宗时期的建筑学家李戒，这个人是一个非常出色的人，他主持修建了宋朝的很多皇宫以及多种建筑，所以他的手稿是非常具有价值的。 The author of the book "Creating French Style" is Li Jie, an architect in the period of compromise Huizong in the Northern Song Dynasty. He is a very outstanding person. He presided over the construction of many imperial palaces and various buildings in the Song Dynasty, so his manuscript is very valuable. 后来这本书被编撰成了永乐大典的一部分后，最后他们毁于战火，所以很多人都认为，这本书已经不存在了，但是在现代营造法式的手稿居然又一次被发现了。 Later, this book was compiled as a part of the Yongle Grand Ceremony, and they were finally destroyed by the war. So many people think that this book no longer exists, but the manuscripts of the modern construction method have been found again. 当时梁思成的朋友梁启超在发现这本书搞以后，马上就把它寄给了梁思成。梁思成激动不已这本书的发现无异于对于瓷器学家来说，发现了活着的汝窑瓷器，但是当梁思成打开这本书的时候，却被兜头浇了一盆冷水。 Liang Qichao, a friend of Liang Sicheng at that time, immediately sent the book to Liang Sicheng after he found it. Liang Sicheng was so excited about the discovery of this book that it was no different from the discovery of living Ru porcelain for a porcelain scientist. But when Liang Sicheng opened this book, he was doused with cold water.
因为这本书上的东西他分开来看都能看得懂，每个字都认识，偏偏组合在一起之后，他根本就不知道他们在说什么。这也许和工匠之间的传授方式有关系。 Because he can understand everything in this book when he looks at it separately, and he knows every word. But when they are combined, he doesn't know what they are talking about. This may have something to do with the way craftsmen teach each other. 因为怕别人偷学了自己赖以为生的手艺，所以工匠一般都是师傅教徒弟，而且对徒弟的选择很严格，所以一般后朝对前朝的东西都不懂，虽然有很多明清时期的建书书籍，但是这些书籍。 Because they are afraid that others will learn the skills they depend on secretly, craftsmen are generally taught by their masters, and they are very strict about the choice of their disciples. Therefore, the later dynasties generally do not know anything about the previous dynasties. 根本和北宋时期的书不是一回事，但是好不容易神书再现梁思成又怎么舍得放弃，所以他和他的夫人著名的才女林徽因，当场就决定要回国，专门来破解这本书。 It is not the same thing as the book in the Northern Song Dynasty, but how could Liang Sicheng give up after the reappearance of the divine book? So he and his wife Lin Huiyin, a famous talented woman, decided to go back to China on the spot to crack the book.
梁思成回国以后，加入一个叫做中国营造学社的组织，这是一个专门研究建筑学的组织，当时梁思成的职务是法式部的主任，也就是说，他其他的都不管，就专门管这本书。 After his return to China, Liang Sicheng joined an organization called China Construction Society, which was an organization specializing in architecture. At that time, Liang Sicheng was the director of the French Style Department, that is to say, he didn't care about anything else, but was in charge of the book. 破解这本书的艰辛历程虽然说梁思成看不懂这本书的具体内容，但是这本书当中记载的某些建筑却保存至今而且是真实存在的，所以梁思成就开始考察那些和北宋时期时间差不多的建筑。 Although Liang Sicheng did not understand the specific content of this book, some buildings recorded in this book have been preserved and are real. Therefore, Liang Sicheng began to investigate those buildings with the same time as the Northern Song Dynasty. 通过对于这些建筑的研究开始倒推一些专有名词的意思。就这样，梁思成知道了所有专有名词的意思。并且，根据这些专有名词最大程度地反映了宋朝及相同时期的建筑原貌。 Through the study of these buildings, the meaning of some proper nouns is backward deduced. In this way, Liang Sicheng knew the meaning of all proper nouns. Moreover, according to these terms, the original appearance of the buildings in the Song Dynasty and the same period is reflected to the greatest extent.
这些建筑虽然都是木质结构，而且不防火，但是他们还是非常厉害的可以说，他们除了不防火，基本上什么都放这些物质结构在某种程度上，用来承重的是那些房梁而不是墙壁，而这些房梁的承重程度非常的高，有些寺庙甚至可以经历地震而不加损毁，梁思成。 Although these buildings are all wooden structures, and they are not fireproof, they are very powerful. They basically put all these material structures aside from fireproofing. To some extent, the beams are used to bear the weight instead of the walls, and the bearing degree of these beams is very high. Some temples can even experience earthquakes without damage. Liang Sicheng. 通过对营造法式这本书的破译，极大程度地反应出了宋朝这个王朝的风貌。 Through the decipherment of the book of creating French style, the style and features of the Song Dynasty are reflected to a great extent. 所以说，梁思成翻译的《营造法式》这本书在某种程度上，等于是重现了建筑的风貌，而且在某种程度上，这本书算是一种绝版，只有在书籍和相关资料充足的情况下，我们才能够进一步的进行研究，否则一切研究都成为了无源之木无本之水。 Therefore, to some extent, Liang Sicheng's translation of "Zao Zao French Style" is equivalent to a reproduction of the architectural style, and to some extent, this book is out of print. Only when there are enough books and relevant materials can we further study, otherwise all research will become a tree without a source. 这样的话会对研究造成很大的麻烦，梁思成翻译营造法式这件事不仅在国内建筑界引起了轩然大波更是在国外被同僚赞不绝口。 Such words will cause great trouble to the research. Liang Sicheng's translation of French style has not only caused a great stir in the domestic construction industry, but also been praised by colleagues abroad.
因为这种级别的质量完全可以说是意外之喜，也就是因为这本书梁思成和营造法式，同时市民感受古代的那些美丽的书籍建筑也同时被这个世界知道并且了解。 Because the quality of this level can be said to be an unexpected joy, that is, because this book is thought to be and built in French style. At the same time, citizens feel that the beautiful books and buildings in ancient times are also known and understood by the world. 在梁思成破解营造法式这本书的时候，他考察了许多古代建筑。这种古代建筑在某种程度上对于梁思成本人也是一种提升，因为读万卷书行万里路的梁思成。 When Liang Sicheng cracked the book of creating French style, he inspected many ancient buildings. To some extent, this ancient architecture is also an improvement for Liang Sicheng himself, because Liang Sicheng, who reads thousands of books and travels thousands of miles. 他考察相关建筑的时候大多数看的都是木质建筑，这些建筑大部分都有成千上万个结构构成，最大限度地用图形还原相关建筑。 When he inspected the related buildings, most of them were wooden buildings. Most of these buildings were composed of thousands of structures, which could restore the related buildings with graphics to the greatest extent. 梁思成与助手每次都用将近两个礼拜才能够做出相关的图形，就是在这样的严谨之下，梁思成完成了一部关于中国古代建筑的图形历史，于是乎，梁思成就因为对营造法式的研究，也极大程度的丰富了属于自己的研究。 Liang Sicheng and his assistants spent nearly two weeks each time to make relevant figures. It was precisely under such preciseness that Liang Sicheng completed a graphic history of ancient Chinese architecture. Therefore, Liang Sicheng greatly enriched his own research because of his research on construction methods.
梁思成是享誉世界的建筑学大师，这其中不仅仅是因为他渊博的知识，还有一个重要的原因，就是你怕不怕麻烦具有非常出色的解决问题的能力，研究和我们日常的事情不一样，如果我们日常对某件事感到厌烦。 Liang Sicheng is a world-renowned master of architecture, not only because of his profound knowledge, but also because you are afraid of trouble and have excellent ability to solve problems. Research is different from our daily things. If we are bored with something everyday. 我们或许可以选择不再做这件事，但是研究就是枯燥又无味的，我们要随时做好可能竹篮打水一场空的准备，因为研究本身并不一定是成功的极有可能处于失败的边缘。 We may choose not to do this anymore, but research is boring and tasteless. We should always be prepared for the possibility that research will be futile, because research itself is not necessarily successful and is likely to be on the verge of failure. 然后大量的时间就这样被浪费了。但是梁思成坚信自己的坚持一定是有理由的，所以奇迹发生了营造法式，能够再次被人发现，本来就是一种奇迹，因为这本书本身已经被确认会一直账户，但是后来又重新成功被人发现，梁思成认为这是一次绝佳的机会。 Then a lot of time is wasted. However, Liang Sicheng firmly believes that his persistence must be justified, so it is a miracle that a miracle has occurred and can be found again. Because the book itself has been confirmed that it will remain an account, but it was found again later. Liang Sicheng thinks this is a great opportunity.
他们将有机会保存，并且亲眼看到北宋时期的建筑学究竟是什么样子的这本书的翻译不亚于对国外孤本的翻译，中国是一个奇妙的国家，因为这个国家本身拥有着辉煌灿烂的文明。他大概是唯一一个古代与现代文化差异，如此巨大的国家。 They will have the opportunity to preserve and see with their own eyes what architecture was like in the Northern Song Dynasty. The translation of this book is no less than the translation of foreign books. China is a wonderful country because it has a brilliant civilization... 甚至古代书籍的必须要通过翻译才能够让人懂得，所以这件事。一等于是给现在的建筑界一个机会，让他们能够更进一步地直接发起北宋建筑学的种种风貌。 Even ancient books can only be understood through translation, so this matter. One is to give the current architectural circles a chance to further directly launch the architectural styles of the Northern Song Dynasty. |
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