Enlightenment of Huizhou folk houses on design Huizhou folk houses occupy a very important position in Huizhou culture. When Huizhou culture is mentioned, people will naturally think of high pier walls and blue butterfly tiles. Every village here is surrounded by mountains and rivers, with green eyes and mountains. However, there are few trees in this village. Even if there are, they are some ornamental shrubs or flowers. Old trees are often at the far intersections or foothills outside the village, which does not affect the sight of the village. From a distance, a white wall blocking the corner is outlined by small gray tiles, like a hearty ink painting and a high-profile artistic photo. People walking in the mountains, like walking in a painting, can enjoy charming paintings and intoxicating poems anytime and anywhere. Historical background Huizhou was called Xin 'an in ancient times, covering the southern part of Anhui Province with Huangshan as the center. There were six counties in ancient Huizhou: yi county, Shexian, Xiuning, Qimen, Jixi and Wuyuan (now under the jurisdiction of Jiangxi Province). Since the establishment of the Qin Dynasty more than 2,000 years ago, people living in this "natural park" have created a unique Huizhou-style residential architectural style with their own ingenuity, thanks to the long history and the humid monsoon climate in the north subtropical zone. On the land of ancient Huizhou, there are 7,000 ancient residential buildings in Ming and Qing Dynasties, and there are more than 100 ancient villages in Ming and Qing Dynasties. There are about fifteen kinds of ancient residential buildings in Huizhou, with various forms and varieties. Such as ancient cities, ancient villages and towns, shrines, temples, academies, gardens, stages, archways, passes, bridges, towers, pavilions, dams, # springs and villages. Huizhou has a long history and profound culture. Although Yamazaki has beautiful scenery, humid and warm climate and rich products, the land is limited, the density of villages is high, and the life of farmers is difficult. Ancient Huizhou was rich in wood, tea and silk. Therefore, life forces people to leave their homes, "seek food and clothing in all directions" and go outside to develop. Some people developed from dealing in wood, tea, silk and rice to dealing in salt, and soon became rich among the rich. When these Huizhou merchants became rich, they became a glorious party, so they built many buildings and expanded their manors. It is these famous Huizhou merchants who have created unique Huizhou folk houses. The first revelation to the design is that the building is magnificent, safe and practical.

The outstanding features of the architectural image are: white walls and blue tiles, pier gables, brick-carved gatehouses, door covers, wooden frames, wooden doors and windows. The inner ships are all wooden frames surrounded by high walls, which are ups and downs, patchwork and black and white, which increases the level and rhythm of space. There are no windows or small windows on the external wall. The square shape, the horse head wall falling into the water and the shape of a seal are the unique styles of Huizhou folk houses. Huizhou ancient dwellings are mostly surrounded by mountains and waters, which can shelter from the wind, facilitate firewood for cooking and heating, and give people a sense of beauty. The village is built by water, which can not only facilitate drinking and washing, but also irrigate farmland and beautify the environment. Gathering in the ancient village, the streets are relatively rough, the white gables are generous and tall, and the gray horse head wall has a unique shape. This structure saves land, is convenient for fire prevention, theft prevention, cooling and moisture prevention, and makes the house unique in a strict sense. The white walls and gray tiles of the house are very beautiful in the green mountains and green waters. The gathered courtyard can be ventilated and light-permeable, and the four waters return to the hall, which also adapts to the simple psychology that fat water does not flow outside the field. The second is the humanistic color and decorative beauty of the building.

Due to the special geographical location across the Yangtze River and Huaihe River, Huizhou ancient residential buildings are located in the intersection and fusion zone of the two major architectural styles, and are influenced by Chu culture, Wuyue culture, Huaihe culture, Jian 'an culture, Tongcheng culture and Huizhou merchants culture, forming their own unique architectural style, architectural pattern and architectural art. In Huizhou ancient residential buildings, the strict hierarchical system of Confucianism and the feudal moral concepts of different grades, different men and women, aging and orderly are also very obvious. Influenced by Confucianism, after they built a luxurious office, they combined Confucianism and merchants, promoted learning with officials and merchants, respected Confucianism, and took the road of learning and being an official. Therefore, when building houses, many Huizhou merchants build and expand gardens according to the levels stipulated by the government, which is the reason for the formation of Huizhou ancient dwellings. In Huizhou, the three carvings of wood, stone and brick are the most famous, and they are called "Huizhou Three Wonders", which can be seen by almost every household. Carvings on doorways, door covers and leaky windows are rarely the same in Hanoi. The windowsill, skirt, sash and diagonal brace are all exquisite. There is a family in Xidi village. Twenty-four filial piety pictures are engraved on the twelve doors of the patio, which are very fine. Although the feudal ethics is relatively strong, it is of great cultural research value. Third, the garden-like artistic conception of architectural environment design.

The orientation of the village is "facing the yin and yang, observing the feelings of its mountains and rivers", so as to achieve the goal of "harmony between man and nature". Villages are mostly built by mountains and rivers, and they enter the village by mountains and rivers, blending with mountains and rivers. Houses often face streets and alleys. Tall trees are widely planted at the entrance of the village, with pavilions and waterside pavilions, winding streams, criss-crossing fields and excellent environment. The whole village gives people a sense of tranquility, elegance and simplicity. It also provides an example for the design of modern architecture integrating into the natural environment. Architecture is a symbol of social civilization in a historical period, a microcosm of social life at that time, and shows the human settlement culture in Huizhou at that time. In the ups and downs of hundreds of years, Huizhou people have used their lives and blood to reserve a valuable treasure house of folk art for future generations in the face of surging historical changes, wars and the destruction of natural and man-made disasters, which is also of great reference significance to modern architectural design. Through the analysis of Huizhou residential buildings and traditional sculptures, it is proposed to create a new design image based on the application of traditional Huizhou graphic art, so as to reflect the unity of traditional art and modern design in cultural value and fully display the local traditional cultural heritage.

Keywords: Huizhou folk culture visual elements graphic symbols

The core of design is to express cultural characteristics, without which the value of design will be lost. At present, many of our design works lack their own cultural characteristics because they imitate western modern design too much. At the academic seminar of the National Art Exhibition and Design Exhibition held in Shanghai in 2004, many experts thought that in the past 10 years, China's modern design presented the world with a "western" face, especially lacking "China element", and modern, beautiful, practical and "China element" was the excellent design that China should have. Therefore, we should make full use of the rich design languages in our national culture.

First, the enlightenment of Huizhou folk culture

Due to the differences in natural environment, economy, culture and nationality in different regions, most residential buildings in China have their own unique architectural decoration style. The spatial layout, structure and style of residential interior design in different regions are different, and reflect different regional cultural characteristics. Huizhou folk house culture is an important part of China traditional folk house culture. Huizhou culture flourished in Ming and Qing Dynasties, with distinctive local characteristics and rich connotations. It has formed a unique genre and style in many fields and has an important position. Huizhou dwellings are mostly two-story quadrangle buildings with narrow living space, in which the design of patio plays an important role. The patio is designed to let people in the house get in touch with the sky. "Orderly aging, harmony between man and nature" is the architectural concept of most residential buildings in China, especially in layout, structure and scale, which embodies Confucian ethics and cosmology. Yin-yang gossip and geomantic omen theory reflect the richness of traditional culture from one side. It is the development trend of modern design art to combine local traditional art with modern design, which will greatly enrich the connotation of modern design and fully display the inside information of Huizhou local traditional culture.

Second, the symmetrical layout of folk culture

Huizhou residential buildings have a strong and beautiful sense of rhythm, especially the white wall and black tile horse-headed wall, which are layered, strewn at random, with short lines and clear outlines of Huizhou residential buildings. The individual characteristics of Huizhou folk houses are formed under the specific natural environment and cultural conditions, and the complex and exquisite internal structure is in sharp contrast with the simple and bright external form. Huizhou folk houses are deep. The entrance is vestibule, the middle is patio, and the back is hall. The hall and the back hall are separated by a middle door. There is a two-bedroom hall in the back hall, and there is a wall behind the hall. The patio is built against the wall with wings on both sides. This is the first entrance. The structure of the second entrance is still a ridge divided into two halls, two days before and after the well, with partition, four rooms and two halls. The third entrance, the fourth entrance or more entrances in the future have the same structure, one enters the house and the other enters the house, forming the pattern of the house. There is a small courtyard or garden in the front hall or hall side of the residence, decorated with flower beds and pools, planted with flowers and trees, and placed with bonsai. The powder wall is decorated with brick carvings and stone windows, or with feldspar tables, benches and decorative sketches. Huizhou folk houses are mostly surrounded by mountains and rivers, which integrate architecture, landscape, flowers and trees with their environment, reflecting the organic function of architecture. The symmetrical beauty of architecture reflects the China people's moderate outlook on life, while the structure of the living room reflects the ritual system of China traditional culture. The style, technological characteristics and construction methods of Huizhou residential buildings have extremely distinct regional characteristics, which reflect the geomantic consciousness and decorative aesthetic concept of Huizhou people. Therefore, whether it is the natural environment chosen by people or artificial landscape flowers and trees, they are always isomorphic with architecture, sculpture and decoration, and jointly build a cultural space full of artistic flavor.

Third, the elements of Huizhou folk culture

There are few windows on the exterior wall of Huizhou architecture, and the lighting and ventilation depend entirely on the patio. Setting up a patio also has the auspicious meaning of "money does not flow out" The "patio" of three rooms is located in front of the hall, and the "patio" of four rooms is located in the hall. This design makes the room full of light and air circulation. On a sunny day, the sun pours from the patio to the front of the hall, which is called "sprinkling gold"; When the rain falls, it is called "silver flow"; When the roof on all sides inclines to the patio and rainwater flows into the front of the hall on all sides, it is also called "four waters return to the hall". China people think that "water" means "wealth", and the design of patio is to follow the custom of "rich water doesn't flow from outsiders", which means "financial resources are rolling in from all directions".

The interior design concept of Anhui Hall of the Great Hall of the People, presided over by Beijing designer Ma, revolves around "Four waters belong to Mingtang, and the return of water is grand", which implies a virtuous circle, the dialectical unity of cohesion and extroversion, and creates a unique atmosphere that looks like one. Around the hall, the S-shaped porch beam reflector lamp on the eaves is designed in an abstract way, which naturally shows Huizhou folk culture and becomes a new artistic symbol, concise and lively, which fully embodies the local characteristics of Anhui, and the decorative design style conforms to the characteristics of Huizhou folk culture. It can be seen that designers have a profound understanding of the origin of Huizhou-style residential buildings and have made innovations in inheritance, instead of simply collecting and sorting out information or simply copying or misappropriating Huizhou-style traditional graphics. On the basis of truly understanding Huizhou culture, they consciously refine, process, abstract, deform, simplify and recombine historical or local words, gradually excavate and transform traditional graphics, and summarize and sort out the shapes and colors of traditional buildings. Four. Huizhou Sculpture and Decorative Elements

Huizhou sculpture is mainly used for decoration of houses, ancestral temples, temples, gardens and classical furniture. Brick carving is widely used in Huizhou gatehouse, door cover, lintel, eaves and roof, and is an important part of Huizhou architectural art since Ming and Qing Dynasties. Stone carving is mainly used for the decoration of columns, door walls, archways and tombs. Temple architecture belongs to the art of relief and round carving; Wood carving is mainly used in the interior of residential buildings, usually used for hand-cranked beams, beam braces, eaves, floor railings, window sashes, railings and so on. This is a unique architectural feature, beautifully carved.

Huizhou wood carvings are mainly reliefs, semi-circular carvings and general carvings, which are used for the decoration of buildings and indoor appliances, and have a strong flavor of local life, such as screens, windowsills, columns, beds, tables and chairs, and daily desks. Huizhou woodcarving has a wide range of themes, mostly character stories, local customs, landscape trees, tin couplets and various auspicious patterns, which are both beautiful and practical. Wood carvings in furniture are mostly used for beds and wardrobes, mainly high-grade wood. The surface of wood carving is decorated with red paint and gold foil, which is vivid and vivid, reflecting the relationship between architecture, life, culture and tradition. Compared with other architectural decoration methods, architectural woodcarving pays more attention to the decorative effect of the facade. It belongs to people's daily life, and its theme selection and expression tend to be secular and life-oriented, with a strong sense of life.

Case 1: The indoor design of Wuhu Liuhe Village Teahouse hosted by Anhui designer Yang Lin uses a large number of Huizhou woodcarving as the symbol element of indoor components, which makes people feel the charm of traditional Huizhou culture in the process of tea tasting and has strong local cultural characteristics. On the one hand, wood carving has the function of decorating and beautifying buildings, on the other hand, it has the meaning of meaning, symbol and prayer, and expresses the content of non-physical images with intuitive images. Its artistic features and aesthetic connotation are rooted in traditional culture and aesthetic habits. In modern interior design, some wood carvings are used as decoration alone, while others are used as part of the overall design. No matter from ancient times to modern times, from form to meaning, wood carving has profound cultural and spiritual values. As a decoration in the indoor environment, it adds a personalized artistic atmosphere to the indoor space.

Case 2: The interior design of a hotel in Hangzhou by Chen Yaoguang, a designer from Zhejiang Province, makes full use of the market customs around the mountain, such as horse-headed wall, blue and white porcelain, wooden windows of residential houses, bamboo flute in the south of the Yangtze River, paddle in the West Lake, and other elements with folk customs, such as "Li", "Agriculture", "Lane" and "Fang", in an effort to preserve and express some urban features of Hangzhou. In design, there are no traditional buildings, such as bucket arches, hanging buildings and carved beams and painted buildings, but they exude oriental charm. The front of the landscape shows red square seals and calligraphy, and the walls with the themes of "Fu", "Lu", "Shou" and "Xi" are used as decorative symbols. Traditional content and modern arrangement and combination fully reflect the designer's cultural heritage.

Creative ideas rarely come out of thin air. American creative engineer Osborne once said: "Almost all inventions are produced through reorganization or improvement." The aesthetician Langer also pointed out that all forms and techniques in artistic design and creation are developed in the "processing" of prototypes. Art design should find the relationship between creative elements and culture, find the combination of local cultural connotation and its own personality through field visits, and form its own design style. Most excellent design works have simple external forms and profound cultural connotations, which are summarized and refined in the form of development and extension to grasp the essential characteristics of the object. The application of traditional art in modern design reflects people's nostalgia and becomes an important part of interior design.

References:

① Ma: Four Waters Returning to the Ming Hall, Interior Design and Decoration, July 2000. /② Chen: History of Modern Art Design in China, Hunan Science and Technology Press, Changsha, 2002. /③ Liang Xu: "The idea of' harmony between man and nature' and modern interior design", interior design, 1999.2. /④ Chen Yaoguang: Chinese Style, Jiangnan Love, Interior Design and Decoration, September 2000. /⑤ China Art and Design Alliance