《诗》的时代,是“陶复陶穴”与“寢庙绎绎”并存的时代,在等级制度的宝塔尖上,集中了那一时代的最高智慧,就建筑来说,便已奠定了此后数千年中国建筑的品格,或曰基本格局与精神。而住宅原是人群居处之所托,上自政治、宗教、学术、风俗,下逮衣服、车马、器用,无不与之息息相关、互为因果。礼所谓进退揖让、应对周旋之节,也尽依赖于门、庭、堂、室之“舞台”。曰“中国宫室及其内部格局是一部无字的人伦宣言”,固很恰切,那么也可以说,《诗》中所反映的宫室建筑,正纪录了舞台上曾经有过的喜怒与哀乐、宣言中曾经有过的生命与激情。 The era of “poetic” is the era in which the “Tao Fu Tao” and “the interpretation of the temples” coexist. On the pagoda tip of the hierarchy, the supreme wisdom of that era was concentrated, and in terms of architecture, it was laid After thousands of years of Chinese construction character, or saying the basic pattern and spirit. The residence was originally the place where the people resided. Since politics, religion, academics, customs, clothes, vehicles, and equipment were all related to each other, they were mutually causal. The so-called advance and retreat of Li ceremony, the deal with the deal, but also do rely on the door, court, hall, room of the “stage.” It is also true that the palace palaces in China and their internal structure are a Word of Mannual Declaration of Manhwa, so it can be said that the palace buildings reflected in the poem are recording the mood and mood Sorrow and sorrow, the life and passion that once existed in the declaration.