Due to the different historical development stages, Naxi folk houses can be divided into seven development stages: woju, cave dwelling, shack (wind grid) mud building, well-dried wood shack, civil structure tile house and brick-concrete structure. From the content, it can be divided into ancient town dwellings represented by Old Town of Lijiang, rural dwellings represented by dam areas, wooden houses represented by mountainous areas, and mother-house dwellings represented by Yongning Nairi people. Mostly wooden houses and huts. After the founding of the People's Republic of China, especially after the reform and opening up.
In Dongba Sutra, there are records of dwelling houses, caves and shacks, which are consistent with the origin of human architecture. Until now, some remote places of Naxi nationality still retain their ancient way of life. For example, there is a hedge building in Zuosonali, Sichuan, which is surrounded by clods, supplemented by wooden frames, covered with boards or grass, and set up a fire pond in the middle. (See photo) It can be seen from the writing shapes of the ancient hieroglyphs "Fang" and "Wu" of the Naxi nationality that after the Naxi nationality entered the stage of writing society, they bid farewell to their original homes and built different houses one after another, such as "board houses" (g'33dMi3 1) and "grass houses" (Z') made of wooden boards. These houses are named after their different coverings, but their architectural structure may be wooden rooms. Naxi people call Mulang House "si55li3 1dMi3 1", which means pear wooden house. This kind of well-dry building is a traditional building of Naxi nationality. It is recorded in Volume I of Lijiang Official Records of Guangxu in Qing Dynasty: "There are barbarians living in it, which are erected vertically and horizontally with logs. The building is ten feet high, that is, rafters are added, covered with slate, and beds are placed on all sides of the room, and the middle porch furnace is flush with the beds, and iron is used. This is a wooden coffin, on the stove. "
This wooden shack is about 3-4 meters high, generally a bungalow, surrounded by wooden rafters, and there are sewing cuts at both ends between each rafter; The foundation is required to be higher than the horizontal plane 1-2 feet; The upper cover is mainly made of oak chips or hemp stalks, and stones are pressed on it. There are mainly three rooms, and the kitchen is 5- 10 square meter wider than closed rooms and houses. Generally divided into two rooms, the middle room accounts for two thirds, which is an important place for cooking, resting and sleeping. The fireplace is just behind the corner, about 2-3 feet high and 2 meters square. The fire pit in the middle is not extinguished at four o'clock, which shows that its family has been prosperous for many years. Surrounded by seats, a part-time bed, directly above it is the commonly known "Gege Road" (meaning the main seat), which is usually sat by the host or distinguished guest at home. There is a shrine on the wall, which is a place to burn incense and worship ancestors. This is where the grain is stored. There is a mother pillar in the house, which is a holy place for a family, and there is a basket hanging on it, which is the residence of the family god "Su". Weddings, funerals and weddings should all be sacrificed to vegetarian gods.
Mulangfang is the main building in the mountain village in Naxi area before the reform and opening up, mainly with less investment, which can be made from local materials, especially in the period of good ecological vegetation. Most villagers are generally three-room wooden houses, where people and animals live together. Now basically every family has a building, and the remaining wooden houses are no longer inhabited, mainly for livestock or sundries. Up to now, there are still many wooden houses in Naxi Mountain area.
China architecture rose in the Ming and Qing Dynasties, and Old Town of Lijiang took shape in the early Ming Dynasty. The large-scale buildings of the shogunate with "the beauty of the palace is king" have become outstanding representatives of local architecture. The surrounding area centered on the ancient city is gradually transitioning to the tile-roofed house with civil structure. By the end of Qing Dynasty, the architectural styles of China, such as three squares, one wall, one courtyard and two quadrangles, were more popular in rural areas. At the same time, various temples, Taoist temples and shrines also spread all over towns and villages, which has also become a major landscape of Naxi architecture. However, until the early 1950s, Naxi society still coexisted in various forms, and even different social forms existed between different regions of the same ethnic group. The architecture in Naxi area still presents different characteristics.
Second, Lijiang Naxi folk houses
The residential buildings of Naxi nationality in Lijiang are mainly civil structures, generally two-story bungalows with a height of about 6-7.5 meters. The layout forms include three squares and one zhaobi, one entrance to two houses, two squares and two corners, quadrangles, etc., among which three squares and one zhaobi are the main ones. Some families with financial difficulties have built "two rooms" and "one room", which will be gradually expanded after the economy improves. Three squares and one zhaobi, that is, one square in the main room, two squares in the left and right wing rooms, and the zhaobi opposite the main room, form a three-in-one courtyard. Generally speaking, three squares have two floors. The main square facing east and the wing square facing south live downstairs, and the upstairs is used as a warehouse. The square facing north is used as the stable downstairs, and the forage is stored upstairs. The patio is not only for living, but also for drying millet or processing grain, so the patio in rural areas is slightly larger and the ground is relatively flat, so no masonry is laid. In addition, the most striking feature of the Naxi folk houses in Lijiang is that there are spacious mansions (that is, verandahs) in front of each house. Lijiang Naxi folk houses are criss-crossed in shape combination and wheel corridor modeling. The facade is mostly stone, plastered on the wall, bricked in the corner, covered with blue tiles, with harmonious colors and simple appearance. In order to protect the board from rain, most of the eaves extend outward, and skirts are put on both ends of the beam exposed from the gables, which not only protects the beam, but also enhances the artistic effect of the whole building, and is locally called "hanging fish" board.
In the Naxi folk houses in Lijiang, the wall only plays the role of peripheral protection and does not bear the load. The requirement for the wall is that "the wall can't be built to the top, and the wall should be turned out", because since the wall is not load-bearing, there is no need to build to the top.
The Naxi people in Lijiang live next to the Bai people, and their folk customs are obviously influenced by the Bai people. But there are also differences, such as large-scale and regular Bai folk houses in Dali, with volcanic walls; The Naxi folk houses in Lijiang are mostly small courtyards, with no sealed volcanic walls and big eaves, which are light and flexible. Compared with Bai folk houses, Naxi folk houses are simple and free because of their overhanging roofs and simple decorations.
Lijiang Naxi folk houses can be divided into three parts: Old Town of Lijiang, rural areas in dam area and mountainous areas. Compared with the concentrated, quaint and exquisite residential features of the ancient city, the rural residential buildings in Lijiang dam area are scattered, random and simple. In addition to the residential function, there are also the functional characteristics of serving productive labor, so the courtyard is spacious, with grain shelves, granaries, scattered piles, livestock pens, forage houses and so on. In recent years, wooden houses have gradually merged with the dam area. The wooden house has become a corral or kitchen, and the main houses are mainly brick houses. The original kitchen functions such as family discussion, sacrifice, meeting guests and sleeping have gradually disappeared.
Third, Old Town of Lijiang.
Old Town of Lijiang is famous at home and abroad because 1997 is listed as a world cultural heritage. It is also the first historical and cultural city in China to be listed as a world cultural heritage. Old Town of Lijiang includes Dayan Ancient Town, Shuhe Ancient Town and Baisha Ancient Town, with Dayan Town as the main body. The development of Old Town of Lijiang moved from north to south in different historical periods, from the initial Baisha to the Shuhe River in the middle reaches, and finally settled in the position of Dayan Town in the Yuan Dynasty. Up to now, we can see that the architectural styles and patterns of Dayan, Shuhe and Baisha are consistent, all of which are surrounded by mountains and waters, with families hanging on trees and flowing water; Street layout, centered on Sifang Street, diverges and develops around, and residential houses are mixed with government agencies; Streets follow the water, and houses follow the water. There is no traditional central axis architecture in China and different architectural styles of officials and people. What it advocates is eclecticism, self-integration, and unintentional insertion, which truly realizes the ideal pursuit of harmonious coexistence between man and nature. Old Town of Lijiang has its own cultural characteristics due to different regions: the cultural characteristics of Dayan Town are mainly the multi-culture formed by the integration of Han nationality and indigenous Naxi nationality; Shuhe ancient town is based on the ancient tea-horse road culture, and there are still cobbler villages and Tibetan villages. In ancient times, people in Shuhe said that "an awl breaks the sky"; Baisha is famous for its original Naxi culture. There are many cultural landscapes in the territory, such as Dabaoji Palace, Baisha Mural, Sansheng Palace of Beiyue Temple (Sanduoge), Wenchang Palace, Liuli Hall, Jingang Hall, Dading Pavilion, Guo Fu Temple, Yufeng Temple and Yuzhu Qingtian. Now it has added Dongba Wanshen Garden, Dongba Kingdom, Blue Moon Valley and Yushui Shanzhai. The three ancient towns form a complete Old Town of Lijiang harmoniously, which condenses the different historical development stages of Naxi nationality from nomadism, farming, commerce and industry, and is also the history of the integration, development and creation of different national cultures.
Although the ancient city is ancient, it is a living ancient city, which is reflected in three aspects: first, flowing water, flowing clouds, crossing streets and alleys, flowing all over the city and benefiting the whole people; Second, the living culture. Naxi people have lived here all their lives, stubbornly preserved their ancient culture in the long and vicissitudes of history, and successfully achieved a win-win situation in cultural integration without losing their unique cultural traditions in the process of integration with Han people: the peaceful integration of Han culture and Naxi culture has made Naxi culture more profound, dense and clear; Three. Living building: The buildings in the ancient city stand on the mountain, with upturned cornices and ups and downs, which are spectacular and poetic. But for the local people who live here with nearly 20,000 people, these houses are more meaningful because of their practical functions. How many winters and summers have these dwellings ushered in, how many spring and autumn years have they read, and they have entered their years with vicissitudes of life, still sheltering them, allowing their ordinary lives to continue, and they themselves are integrated with the ancient city.
The soul of the ancient city is water, which is related to rivers, wells and bridges. The water comes from the Black Dragon Pool, which is more than one kilometer above, and is divided into three rivers: east, west and middle at the entrance of the ancient city. Three rivers are divided into several rivers in the city, forming a veined river. This well is named "Three Eye Well", which means that a well is divided into three ports, which are connected and divided into drinking water, vegetable washing water and vegetable washing water in turn. Where there is a river, there must be a bridge. The ancient city is a densely populated place. Bridges naturally become a landscape: there are 354 different types of bridges in the ancient city, such as covered bridges (wind and rain bridges), stone arch bridges, stone slab bridges and wooden bridges, with an average of 93 bridges per square kilometer!
Winding paths, small bridges, flowing water, people, stone slabs and deep alleys are combined to form a perfect artistic conception of "winding paths leading to a secluded place, quiet and elegant". When outsiders entered, Tao Tao thought he was in the ancient town of Jiangnan with apricot blossoms and spring rain. Unexpectedly, he suddenly looked up, and the jade dragon was shining and magnificent. Dongba painting, seven-star sheepskin, Naxi ancient music, hieroglyphics, Naxi Nai and other national cultural elements came one after another, which constituted the magical charm of Old Town of Lijiang.
First, Yongning's residential buildings
The residential buildings of Yongning people are mainly traditional wooden houses, and the layout is mostly three squares, one zhaobi and quadrangles. Siheyuan is divided into main room, main hall (west wing), east wing and gatehouse. The main house is the center of the family's main activities, so it is wider than ordinary houses, generally ten meters long. There are male columns and female columns in the main room, and the female column is the largest, which reflects the Japanese people's respect for motherhood. This is a place where men and women hold bar mitzvahs; There is a fire pit in the middle of the right wall. A fire pit is a place for discussion, eating, sleeping and offering sacrifices to gods. The fire in the fire pit can't be extinguished, can't cross the fire pit, can't spit in the fire pit, and can't say unhealthy words. There is a stove under the left wall, which is generally used as a cooking stove for chef Chen Fang and guests. There is a shrine with statues, offerings and vases on it. Above the fireplace, there is a statue of the kitchen god, in front of which there is a pot village stone bowl where Chen Fang sacrificed. There is an inner room behind the main house, which is used to store food and is also the living room for the elderly. The room is the west wing, and the Lama lives upstairs, where the Buddha statue is worshipped and firewood is stored below. Some families with many people will also live, mostly single men or guests. Adult women live in the east wing and concierge upstairs, and livestock are kept downstairs.
On the right side of the fireplace is the theme, and on the left is the guest seat, which can't be confused. Generally, the right side is female and the left side is male. Seats are for the elderly. Younger generations should take the initiative to make way for the elderly. Please give up your seat. Once you sit down, you can't just walk around, which will be considered as disrespect for your host. Children live with the elderly, and adult men have no fixed rooms at home.
Yongning believes that a person's birth, death and growth are all completed in the house. Since a person was born in this family, she (he) has become the object of God's blessing and a member of this family, enjoying the warmth and joy of the family since childhood, and adults should also bear the corresponding family and social responsibilities and obligations. Therefore, it is meaningful to hold the adult ceremony in the mother's house. After the death of the Nari people, the family will make a small coffin similar to a wooden box for the deceased to enjoy in the underworld.
Thirdly, the folk custom of building new houses by Naxi people in Lijiang.
There is a folk saying that Naxi is second to independence, which means that Naxi people mainly build houses. The Naxi people in Lijiang should hold a grand ceremony to build a new house, which not only has the traditional cultural characteristics of the nation, but also has the influence of foreign culture. Here is a brief introduction to the process of the ceremony:
1, Mu Anshen, Pine God
Mu Anshen: The first thing to do is mu Anshen. I saw a small log at the end of the middle beam, and the book said "log is good"; Then make a small wooden horse and sacrifice it next to the ancestral tablet and put it on the stove. This is to soothe the nerves.
Send wood gods: The night before the erection, the host presided over the ceremony of sending wood gods. The wooden god is enshrined in front of the ancestral tablet, offering sacrifices, rice, wine, tea, sugar and so on. In addition, a big wooden horse, a bunch of torches and a triangular red flag should be prepared. After the ceremony, the torch is lit, and the owner carries a wooden idol. Others carry their own sacrifices, walk out of the gate and send the wooden god to a place where they can't see the new house. Pedestrians should take the initiative to avoid those who can't say hello. The direction of sending the wood god is determined by the person who measures the date (Niwalsi). As soon as the messenger arrives at the designated place, he must put down his things and leave. He can't talk or look back. At the same time, the other two masters who stayed at home will hold a ceremony to drive the wooden god to the ruins of the new house. Next to the roof truss that has been interspersed, it is time for the wooden god to leave and return to his home. Then insert a stick of incense at the edge of each stone pillar, and knock on each pillar a few times at the same time. "Wood God rises, wood God goes ..."
Step 2 build a new house
The host will set off firecrackers at the door or in the new house early in the morning. When we build a new house in Yin Shi, all the young and middle-aged laborers in the village will take part. At noon, just on the beam.
3. Spot beam
The main beam is placed on two wooden horse stands, with Tai Chi Eight Diagrams in the middle (some are painted on cloth and then nailed), and a pig's head, a rooster, a bowl of clear water (with a silver or two as a reward) and candied fruit are placed on the table in front; Carpenter's tools should also be put: five-foot pole, Mo Dou, tenon board, drawing sign. Tie six feet of red cloth to the five-foot pole and a towel to the tenon board.
Master and master have to change clothes to light the beam. The master should wash his hands with clear water first, and then lick the chicken feet with vinegar soup. After all ears, give the chicken to the owner and give it three bows to show your gratitude. After the host took the chicken, he bowed to the main beam and then began to recite the tune of building a new house:
Prince Deng, Prince Deng, got a chicken from his master. What kind of chicken is a chicken? Chicken is a phoenix in the sky, wearing a golden crown hat, colorful clothes and shoes. I am a disciple of Lu Ban, and Lu Ban asked me to take some raw food (pinch a cock's comb to make some blood). The post on the left is a post, and future generations will be champions; On the right front is the front eaves column, which is rich in food for generations; I ordered four pillars, one career point on the faucet, rich and glorious; At two o'clock on the dragon's tail, it is very prosperous; At three o'clock in the middle of the night, I wish my master's children and grandchildren prosperity (others also agree: children and grandchildren prosper! );
Click on the beam tool, a little bit on the five-foot pole, the amount is not suitable for you; Three o'clock in the tenon plate doesn't agree with you; Four o'clock, on the drawing label, do you agree or disagree?
4. climb the beam of the new house
After finishing the beam, the master came to the ladder in the middle room with a small axe in his hand, knocked on the ladder three times with the axe, and then sang:
What kind of ladder is it? Ladders are the best ladders in heaven. Today, when I met the ecliptic, Master Lu Ban told me to go to heaven. You don't shake your right foot or your left foot. (After climbing the stairs) I went up one after another, and I went up one after another. As soon as I go to heaven, there will be a bridge in heaven; What is a bridge? This bridge is the Golden Dragon Bridge. Today is ecliptic day. I am Lu Ban's apprentice. Lu Ban told me to cross the Golden Dragon Bridge. You don't shake your right foot or swing your left foot. (The master stands on the overpass, and the people below pass the offerings in turn and put them on the overpass; The host put down a rope from the chair.
Stranger: What is a rope?
Master: The rope is the clue of the Dragon King Silk in the East China Sea. The silk thread should be tied to the golden dragon beam, with the faucet on the left and the dragon tail on the right. Easy! Long Weiqi! Get up together! Swing to heaven! (After the new beam is in the right position, the master sets off firecrackers)
Master: Bai Jinlong, Bai Jinlong, you are the king of trees on the mountain. Today, when you met the ecliptic, your master put you in the middle. I am a disciple of Lu Ban, and Master Lu Ban asked me to ask three questions. Asking about the prosperity of the faucet (knocking at the door); Second, ask Longwei to have money (knock); Among the three questions, I wish the master great wealth and great wealth! (Everyone in the next room will shout: He-! )
Host: There is a golden dragon flag on the left and a phoenix flag on the right (there is a small red flag on the left and right); What is wine? The wine is Heqing glutinous rice wine (Jingsa); What is water? The water is Lijiang Jiulong water (sprinkling water); What is money? Money is Daoguang Jiaqing money. (throwing money)
What is rice? Rice is a coarse cereal, and the immortal emperor cannot do without it. (Throw steamed bread and sing in the direction of throwing) Break oriental wood; Second, break the fire in the south; Third, breaking the Western Jin Dynasty; Fourth, cut off the north water; Break four sides, break five sides, and break five centers. The master knelt at the bottom of the beam and received glory, but not glory. The host has a pair of noodles (thrown to the host, with jewels inside); I have a book in front of me, and everyone will laugh when they read it.
Then other carpenters threw several large plates of steamed bread around, and there was jubilation everywhere.
Post couplets after the new house is built. Couplets are sent by relatives and friends, and the names of relatives are on the books.
Couplets are generally written like this: the vertical column welcomes the ecliptic day, and the upper beam is welcoming the purple star. The horizontal approval is: Ji Zhao
Fourthly, the architectural function of Naxi folk houses.
1, rest and recuperation
This is also the biggest function of the house. The main room is the center of family activities, as well as rest, talking about things and entertainment. The middle of the main house downstairs is called the hall, which is where the host sleeps. Naxi couples live in two places, and the hostess sleeps next to the main room. Generally, girls sleep with their mothers and boys sleep with their fathers; Children sleep separately when they grow up, and the wing is also used as a bedroom. Gu Peter, who came to Lijiang in his forties, has an interesting description of sexual avoidance of Naxi couples in his book The Forgotten Kingdom: "It is almost a rule for a husband to sleep in a room (reception room). During the day, his bed was padded as a resting place. Unlike Chinese mainland and other countries, Lijiang has no double bed, so couples don't want to sleep together all night. If the neighbors find them sleeping together, they will lose face in the village. Even quilts are always made into single quilts, and there are never double quilts. This restriction does not apply to friends. Boyfriends who want to spend the night always sleep with their owners, and two or three sleep in a bed. "
Some families put ancestral tablets directly above the hall, while others put them upstairs. Upstairs is mainly for storing food and household items. Enclose the house, close the livestock downstairs and put forage upstairs. The activity center of the family is the kitchen, centered on the fireplace. The family cooks, eats, chats and discusses all around the fireplace, and even the TV is put in the kitchen. There is a stove opposite the fireplace, which is mostly cooked by pigs. Driven by the government, most farmers in the village have now built firewood-saving stoves. In the past, it was impossible to build a building. When a family has only one wooden room, the kitchen is also a dedicated bedroom, and a statue is directly above it. This bed is for the "housekeeper", so it is usually for the elderly or the owner. Please sit here when the guests come.
2. Production services
That is, to meet the needs of agriculture and animal husbandry production. Grain is placed on the upper floor of the main building, forage is piled up on the upper floor of the wing, and the livestock pen is downstairs. Large livestock and small livestock are generally mixed together, such as pigs and horses. The courtyard is mainly used for drying grain and raising chickens and pigs. And other things. The eaves are full of firewood, all cut back from the mountains. Some people have to walk more than ten kilometers back and forth. Winter is the season to find firewood in a year, and it can take up to ten years to make a fire at the bottom, which can also witness the hard work of Naxi women. There is also a grain drying rack in the yard. Generally, the grain drying rack has three columns, and each column has a hole through which rafters pass, which is specially used for drying grain. There is a pile of loose hair behind the house.
3. Religious Sacrifice Ceremony
Naxi folk houses are divided into secular space and sacred space, and the sacred space is related to religious sacrificial activities. Festivals such as Spring Festival, Tomb-Sweeping Day, Torch Festival, Treasure Burning Festival and Mid-Autumn Festival are also folk festivals for ancestor worship, and these sacrificial activities are generally held at home. At the same time, marriage, funeral, bar mitzvah and other customs and etiquette are inseparable from housing facilities. Above the main room or fireplace, there is a shrine all the year round. When holding a sacrificial ceremony, burn incense, bow down and pray here.
Five, the characteristics of Naxi architectural folklore
1, history and culture
Every nation has its own unique culture, and architecture is an important part of its culture, which embodies its aesthetic concept, social concept and regionality. Therefore, different nationalities have different choices about the location and form of the building, the orientation of the room and the layout inside the room. "Beauty in the palace means king", and the location of the wooden toast yamen faces west to east, which mainly belongs to the "wood" in the five elements and is influenced by wood. People are more concerned about whether to go to the sun and shelter from the wind. Sometimes, the host's family is unlucky and thinks it is unlucky at home, so he asks the fortune teller to calculate and change the direction of the gate again in order to avoid disaster and seek happiness. Naxi ancestors used to take the mother as the big one, so the denominator of the house is the room for men and the room for mothers. Yongning's mother's room has a high threshold and a short crossbar at the top. When people enter the room, they should bow their heads to show their respect for the hostess. There is also a saying that ghosts can't bend over, so they can't go into the back room. In the main house or mother house, ancestors, kitchen gods, vegetarian gods and other gods are enshrined. They all have fixed positions and cannot be confused with each other. Sometimes, villagers call a family by their place of residence. For example, those who live by the water are called Shuimoumou, those who live under the village road are called Lumoumou, and those who live by the water mill are called Shuimoumou, or simply omit the home behind them and call it by the land name directly, so that the environmental place name becomes the house name, and then the surname. This is intrinsically related to the naming tradition of Naxi nationality.
2. Multicultural integration
The cultures of all ethnic groups have a process of mutual integration and influence. This kind of integration and influence is manifested in many aspects of culture and also in architectural art. The residential buildings of Naxi nationality have absorbed the architectural features of Han, Bai and Tibetan. For example, in the residential buildings in ancient cities, most of them are mainly wooden frames, and the building materials are mainly wood; Take the bucket arch as the key and measurement unit of the structure; On the external contour, there are tall abutments and various roof styles, such as Yidian, Xieshan, Hanging Mountain, Valley Top, Pyramid Roof, Single Slope, Cross Ridge, T-Ridge, Arched Roof, Helmet Top, Dome, etc. , and all kinds of complex shapes composed of these roofs, with various curves such as ridges, eaves and angles, which are soft and magnificent; In the organization of the courtyard, in addition to the main hall, the ancillary buildings are mostly equipped with compartments, rooms, corridors, anterooms, walls and so on. And symmetrically arranged along the central axis; Application of architectural colors. All these obviously draw lessons from the architectural art of the Han nationality. The influence of Bai nationality on Naxi architecture is mainly manifested in doors, windows, walls and decorative paintings. The architectural styles and styles of buildings full of buildings in Lijiang area have inherited the traditional Tibetan architectural styles. The influence of Tibetans is more prominent in Yongning area, for example, there is a prayer altar in the mother house, which is set off by Tibetan traditional decoration; Every village has a pile of mani piles and so on.
3. Aesthetic art
From the overall characteristics, Naxi architecture pays attention to the balance and symmetry of layout, and the nature and change of transition and connection. First of all, the structure of the house, the structure of the house pays attention to the balance and symmetry of upstairs and downstairs, front and back, left and right. The number of rooms in Naxi folk houses is odd, rarely even, so it is steady and generous to take the middle as the axis and the two sides as the balance point. This symmetrical balance is also reflected in the layout of the village, with rivers, roads or two middle walls as the central axis and living opposite each other. Of course, this balance is relative. For example, the house opposite to the river or road changes with the change of the river and road, and the house built changes with the landscape. There are also ups and downs between the main room, the wing and the wall, but this transition highlights nature, hierarchy and aesthetics.
5. Reflections on the folk customs of Naxi people's houses.
The nationality shown by architecture is rooted in regionality, and our research on these ethnic buildings should also be combined with ethnic areas and regional anthropological research.
The necessity of combining "ethnic architecture" with "ethnic areas" lies in that things are always changing, and so are nationalities and buildings, especially the development of economy, the change of life and the improvement of humanities and science and technology, which will inevitably affect the development of ethnic architecture, and the above factors are directly related to the development of areas. If we can actively grasp the above factors, it is possible to control the development of national architecture in the ever-changing historical phenomenon, that is, to be good at recognizing its basic creative laws, settlement cultural characteristics, and the primitive and simple beauty of the combination of architecture and nature, so as to maintain its fine tradition, create new regional architectural culture and explore new development paths in the new period.
Based on their own living environment and humanistic quality, the ancestors of Naxi nationality created a residential architectural culture that conforms to their own characteristics and environmental characteristics. However, under the current wave of globalization, Naxi folk houses are also facing many crises. Especially in the suburbs and rural areas, the old houses that have lasted for hundreds of years are gradually becoming "backward" and "outdated". Most of those with economic strength have undergone a makeover, all of which are reinforced concrete, imitating western architecture in form. Sometimes, according to the government's requirement of "dressing and wearing a hat", a row of tile roofs are placed on the side of the roof facing the street. On the whole, the classical architectural style gradually faded out, and the completely westernized houses gradually replaced the original old houses.
The Naxi folk houses are colorful, including traditional national buildings, modern new folk houses and new folk houses combining local culture with foreign culture. But whether in China, foreign countries or ethnic groups, we can see the inheritance and development of ethnic primitive architecture, and the origin of human life can be found in its depths. It is native and full of local flavor, which embodies the unique life concept of a specific nation and a specific region. Eclectic, free and lively, integrated with the natural environment. It comes from people's lives and advocates practicality and functionality. Lijiang is carrying out a vigorous architectural retro movement. Under the slogan of "building another ancient city", "cultural street" and "commodity street" are surging, and the former reinforced concrete structure buildings are "covered with hats", with eaves tiles hanging outside and modern and fashionable decoration inside. These fake antique buildings look alike, but the immortals are out of their wits. History and culture can't be accelerated, it is formed by precipitation and sublimation in the long historical vicissitudes, and it is formed by the interaction between nationality and geography. The combination of national residential buildings and folk customs has become a space and place for various folk cultural activities, and also constitutes a part of folk customs environment. Any innovation and development can not be divorced from historical situation and cultural tradition, which is an axiom repeatedly proved by history.