【简译】传统日本住宅

2022-09-17 15:24 作者:神尾智代 0人读过 | 我要投稿

The traditional house of ancient and medieval Japan (1185-1606 CE) is one of the most distinctive contributions that country has made to world architecture. While the rich and powerful might have lived in castles and villas, and the poor lived in rustic country houses or cramped suburban quarters, a large number of medieval Japanese in-between lived in what became the quintessential Japanese home. Features which continue to be popular today include rice-paper walls, sliding doors and foldable screens, a floor of tatami mats and futon beds, and a minimalist approach to interior decor.

日本古代与中世纪（公元1185-1606年）的传统住宅，对世界建筑作出了最独特的贡献之一。虽然富人和有权势的人可能住在城堡与别墅里，而穷人住在质朴的乡间别墅或狭窄的郊区小屋，但大量介于两者之间的中世纪日本人则住在今天成为典型的日本传统住宅中。今天继续流行的样式包括：米纸墙、推拉门和可折叠屏风、榻榻米和蒲团床的地板，以及遵循极简主义的室内装饰。

日本建筑的形式

Most buildings in Japan, both long ago and today, need to resist annual typhoons and occasional tsunami and earthquakes. On top of that, the summers can be very hot, the winters cold, and there is an annual season of heavy rain. The ancient and medieval Japanese found a simple solution to these difficulties: do not build to last. Rather than resisting the environment, houses were, therefore, built to follow its whims and, if the worst happened, they were designed to be easily rebuilt again. This approach also means that very few old buildings have survived in Japan today, but the architectural style and tricks certainly have.

无论是过去还是今天，日本的大多数建筑都需要抵御每年登陆的台风和偶尔的海啸与地震。除此之外，夏天很热，冬天很冷，而且每年都有一个大雨季。古代与中世纪的日本人为了解决这些困难，找到了一个简单的解决方案：不要为了长久居住而建造。因此，房屋的建造不是为了抵抗环境，而是为了顺应环境的变化，如果发生最坏的情况，人们很容易再次重建。这种方法也意味着，今天在日本很少有古老的建筑幸存下来，但建筑风格和技巧肯定保留下来。

Japan had a very stratified class system and architecture was one of many ways authorities used to maintain the status quo and reinforce the idea that everyone has their correct station in life. There were specific sumptuary laws which prohibited commoners owning houses of the style favoured by samurai, for example. The samurai class were much impressed with the Zen-influenced architecture of Buddhist temples, and they imitated the austerity and minimalism of this in their own homes. These trends would eventually filter down into the homes of other classes. One area the lower classes did match their superiors was in their sparse furnishings, but this was usually due to a lack of means rather than aesthetics.

日本有阶级制度，建筑是当局用来维持现状和加强不同等级的人正确生活地位的想法的方法之一。例如，有一些具体的军需法，禁止平民拥有武士喜欢的风格的房屋。武士阶层对佛教寺庙中受禅宗影响的建筑印象深刻，他们在自己的家中也模仿这种简约的风格。这些趋势最终会渗透到其他阶层的家中。下层阶级与上层阶级相匹配的一个方面是他们稀少的家具，但这通常是由于缺乏获取渠道而不是美学。

外饰

Prior to the modern era, Japanese domestic housing (minka) could be divided into the following four categories:

farmhouses (noka)

fishermen's houses (gyoka)

mountain houses (sanka)

urban houses (machiya)

在现代社会到来之前，日本的家庭住房（Minka）可以分为以下四类：

农舍 (noka)

渔民的房子（gyoka）。

山地住宅（Sanka）。

城市房屋（Machiya）。

While all of the above had regional variations depending on local climate and the availability of materials, some common features may be identified. Those homes in rural areas, for example, were typically one-storey, built of wood, and raised off the ground by posts. They had a floor of hardened earth (doma) where cooking was done and had another area with a raised wooden floor for sleeping. Urban houses were smaller than the other categories because of the general lack of space in cities, but this problem was solved by building upwards and so many machiya had two floors. It was quite common for urban houses to be attached to each other and for toilets and a water source to be shared between neighbours. Many city houses were also the proprietor's business premises - a small workshop or shop. Windows were protected by sliding wooden panels (amado) which acted as shutters. A roof was made weatherproof by having a gable and then covering it with thatch, tiles or bark shingles. Roofs had overhanging eaves and the main entrance had its own covering (genkan).

虽然上述建筑都因当地气候和材料的可获得性而存在地区差异，但我们可以发现一些共同的特点。例如，农村地区的房屋通常是单层的，用木头建造，用柱子抬高离地。他们有一个做饭用的硬土地板（doma），还有一个睡觉用的加高木地板的区域。城市房屋比其他类别的房屋要小，因为城市普遍缺乏空间，但这个问题通过向上建筑得到了解决，因此许多町屋有两层。城市房屋彼此相连，邻居之间共享厕所和水源的情况很常见。许多城市房屋也是房主的商业场，他们会在临街处开小作坊或商店。窗户由滑动的木板（amado）保护，作为百叶窗使用。屋顶上有一个屋檐，然后用茅草、瓦片或树皮瓦片覆盖，从而达到防风雨的目的。屋顶有悬挑的屋檐，主入口有自己的遮盖物（genkan）。

The architectural style of finer domestic houses became known as shinden-zukuri in the medieval period and an important part of it was the blending of home and garden. The garden was designed to be viewed from various points in the house by moving back sliding windows and walls. The garden itself was typically landscaped and might contain trees, flowering shrubs, groups of special grasses, areas of moss, artificial hills, water features, and a rock garden, although it was not necessarily a large space as all of these features could be miniaturised. Larger gardens often had their own rustic tea house (sukiya), a dedicated space for the Japanese Tea Ceremony. Initially, the shinden-zukuri style was only enjoyed by the samurai class.

在中世纪时期，较好的家庭住宅的建筑风格被称为"寝殿造"，其中一个重要部分是家庭与花园的融合。通过向后移动推拉窗和墙壁，人们可以从房子的不同位置看到花园。花园本身是典型的景观设计，包含树木、开花灌木、特殊草群、苔藓区域、人造山丘、水景和岩石，它不一定是大空间，因为所有这些都可以被小型化。较大的花园通常有自己的茶馆（sukiya），一个专门用于日本茶道的空间。最初，寝殿造风格只被武士阶层所喜爱。

内饰

The sitting room (zashiki) was first seen in the homes of samurai who, as members of the upper class, were required to give audiences to their vassals and officials. For the same reason, one area of the room's floor may be slightly raised (jodan-no-ma). The idea then spread to the homes of commoners in the late medieval period. There might be a built-in desk (tsukeshoin) facing the wall in this room, another hangover from the samurai's house.

起居室（zashiki）最早出现在武士家里，他们作为上层阶级的成员，需要向他们的臣子或官员进行演讲。出于同样的原因，房间地板的一个区域可能会稍微升高（jodan-no-ma）。这个想法后来在中世纪晚期传播到了平民的家里。在这个房间里，可能会有一个面向墙壁的内置书桌（tsukeshoin），这是武士家的另一个特征。

Interior paper-covered sliding doors (fusuma) were made by pasting paper (or even sometimes silk) onto a delicate wood-lattice frame. Doors were closed or opened to play with the size of rooms and windows were often designed in the same way. Above both, one might have a transom or ramma, which was a carved wooden rectangle which provided more light and air to the room. Internal space could be further divided using freestanding paper screens (shoji) which could be of the folding type (byobu) or consist of a single panel (tsuitate). The paper used in screens was usually thinner and more translucent than that used in walls. More rustic houses might also have bamboo or reed blinds (sudare) over the windows.

室内用纸覆盖的推拉门（fusuma）是通过将纸（甚至有时是丝绸）粘贴在一个精致的木格子框架上制成的。门可以关闭或打开，以调节房间的空间大小，窗户也经常以同样的方式设计。在这两者的上方，可能会有一个横梁，这是一个雕刻的木制矩形，为房间提供更多的光线和空气。内部空间可以用独立的纸屏风（shoji）来进一步划分，这种屏风可以是折叠式的（byobu），也可以是单板的（tsuitate）。屏风用的纸通常比墙面用的纸更薄，更透亮。更加古朴的房屋可能还会在窗户上安装竹子或芦苇百叶窗（sudare）。

The wooden floor of a traditional Japanese house is covered with rectangular tatami mats which are made from straw but with a top layer of woven grass. Tatami date back to the Heian period (794-1185 CE) and both the thickness and the pattern of the weaving of tatami mats was an indicator of status in medieval Japan. Although not exactly standardised across Japan in terms of size, the number of tatami mats it was possible to lay out in a single room became a common way to measure floor space. The size of a single tatami in the medieval period was 85 cm x 1.73 m (2.8 x 5.7 ft). Heating was provided by portable charcoal braziers (hibachi) or a fixed central hearth and, in the medieval period, lighting was provided by either wooden torches or oil lamps.

传统日本房屋的木地板上铺着长方形的榻榻米，榻榻米由稻草制成，但上面有一层草编织而成。榻榻米的历史可以追溯到平安时代（公元794-1185年），在中世纪的日本，榻榻米的厚度和编织的图案都是地位的标志。虽然在尺寸方面日本没有完全标准化，但在一个房间里可以铺设的榻榻米数量成为衡量建筑面积的常用方法。在中世纪时期，单个榻榻米的尺寸为85厘米×1.73米（2.8×5.7英尺）。暖气由便携式炭火炉（hibachi）或固定的中央炉灶提供，在中世纪时期，照明由木制火把或油灯提供。

家具

Furniture was sparse in Japanese homes in the medieval period but might include floor cushions (zabuton), portable armrests, a low table (chabudai), small storage cabinets (kodana), hidden cupboards (shoji), and chests (tansu). These items were often made of unusual wood or bamboo and might be made more elaborate in design and decor using lacquer and gilding. Valuables such as a sword or jewellery were kept in chests, sometimes, according to the ancient Ainu tradition (Japan's indigenous population), in the north-east corner of the house where the guardian spirit of the house, Chiseikoro Kamui, was thought to dwell.

在中世纪，日本家庭的家具很少，但包括地垫（zabuton）、便携式椅子、矮桌（chabudai）、小储物柜（kodana）、暗柜（shoji）与箱子（tansu）。这些物品通常由不常见的木材或竹子制成，在设计和装饰上使用大漆和镀金来做得更精致。宝剑或珠宝等贵重物品被放在箱子里，根据古老的阿伊努人（日本的原住民）传统，有时会放在房子的东北角，人们认为房子的守护神Chiseikoro Kamui就住在那里。

Clothes were usually kept on stands or racks while bedding consisted of either a particularly thick tatami mat (or a pile of thin ones) or a futon, a thin mattress stuffed with cotton, wool or straw which could be easily folded up and kept in a cupboard or corner when not in use. For colder months, a wool or cotton quilt cover was used, a kakebuton. In summer, sleepers might use a mosquito net suspended from the ceiling, a device which has been used since antiquity in Japan.

衣服通常放在支架或架子上，而床上用品包括特别厚的榻榻米（或一堆薄的榻榻米）、被褥，一种塞满棉花、羊毛或稻草的薄床垫，不使用时可以轻松折叠起来放在橱柜或角落里。在较冷的月份，人们使用羊毛或棉被罩，即Kakebuton。在夏天，睡觉的人使用悬挂在天花板上的蚊帐，这种装置在古代日本就出现了。

装饰品

Many people hung artworks inside their homes, and these could take several forms. Hanging scrolls (kakemono or kakejiku) were made from either silk or paper and had a wooden pole at the bottom which served to weigh down the scroll flat against the wall and aid in rolling it up for storage. Scrolls, often hung in a purpose-built alcove (tokonoma) in the wall, showed either a painting or an example of fine calligraphy or a combination of both. In the case of paintings, these typically showed landscape scenes and were usually changed at the beginning of each of the four seasons so that they thematically matched the period in which they were viewed.

许多人在家里悬挂艺术品，这些艺术品有几种形式。挂轴（kakemono或kakejiku）由丝绸或纸张制成，底部有一根木杆，用来压住平放在墙上的画卷，并方便将其卷起来储存。卷轴通常挂在墙壁上专门建造的凹室（tokonoma）中，通常是一幅画或一个精美的书法范例，或两者的结合。如果是绘画，通常是风景画，并且在每个季节开始时进行更换，以便在主题上与时节相符。

Another way to show off one's artistic taste was to have paintings done on the paper sliding doors of the room, on the paper walls themselves or on free-standing screens. A cheaper way to decorate one's home was to buy woodblock prints. These were especially popular in towns and cities from the 17th century CE and typically showed urban scenes (especially related to leisure activities), famous scenic spots, and actors. Prints were pasted directly on to walls or screens. Finally, purely decorative ornaments were used sparingly in the home, but a fine example of porcelain or lacquerware might be displayed. Ornaments and sometimes an arrangement of flowers or an incense burner were placed on shelves which were typically a staggered pair (chigaidana).

另一种炫耀自己艺术品味的方式是在房间的纸滑门上、纸墙本身或独立的屏风上作画。装饰自己家的一个更便宜的方法是购买木版画。从公元17世纪开始，这些木版画在城镇特别流行，通常展示城市场景（特别是与休闲活动有关的）、著名的风景区和演员。版画被直接粘贴在墙上或屏幕上。纯粹的装饰品在家里很少，但可能会展示一个精美的瓷器或漆器。装饰品，有时是鲜花或香炉的摆设，有些家庭会放置在一对交错的架子上（chigaidana）。

Although there might be some valuable collector pieces in a Japanese house, they were not locked in any way, and a burglar need do no more than slide open a window screen or even the front door. For this reason, those who could afford to often employed a caretaker if they were absent for any length of time. Another consequence of this lack of security was that any unknown person approaching a house was treated with suspicion, hence the precaution of visitors calling out 'Excuse me' as they approached the door, a tradition which still continues today in modern Japan.

日本的房子里可能有一些有价值的收藏品，但它们没有锁，窃贼只需要滑开窗纱甚至前门就可以了。由于这个原因，那些家底丰厚的人如果长时间不在家，往往会雇用一个看守人。这种缺乏安全保障的另一个后果是，任何接近房屋的不明身份的人都会被怀疑，因此来访者在接近大门时要喊 "对不起"，这种传统在现代日本仍然延续。