Since the Wei and Jin Dynasties, people have paid more attention to mountains and rivers, and they are willing to live in the mountains and live an ideal life of leisure and paradise. The word "places of interest" also came into being at this time. According to Northern History? Han Chuan said, "If the imperial court wants to be in your place, it will tell people with harsh words and stern looks:' The disabled can drink alcohol, and the knife and pen officials are famous places, so why not put old paper?' "

It can be seen from the written materials that the residence at that time was not only a courtyard form, but also a courtyard form began to be refined, mainly to decorate and enjoy the taste of nature (this may be the bud of private gardens).

Bao Zhao (4 14 ~ 466) wrote plum blossoms and described the landscape of the atrium yard: "There are many miscellaneous trees in the atrium, mostly plum blossoms. Why are you alone? I think it can be a flower in frost and a reality in dew. "

By the Sui, Tang and Five Dynasties, there were more houses described in literature and literature. Just one example: Li Shangyin's "Worship the House in the First Month";

Close the lock and cover it with moss, and the corridor and deep pavilion are idle here. The atmosphere of prophecy is dizzy in the moonlight, but it still shows itself. The bat blows the curtain and turns, and the mouse guesses through the window net. I don't want to sing "Stay Out at Night".

Although this is a mourning poem, it describes the beautiful scenery of the building, but it is as beautiful as a garden building.

In painting, such as "You Chuntu" painted by Jin Dynasty painter Zhan Ziqian, the house is set in a beautiful landscape environment; Wang Weiyou, a great painter and poet in the Tang Dynasty, described the ideological realm of this living environment in Snow Stream Map. Later, most of the themes and themes of China landscape paintings were the idea of living environment.

Pursuing companionship with nature, we can also talk about Tao Yuanming, the most typical Eastern Jin Dynasty. His representative works "Peach Blossom Garden" and "Poetry of Returning Home" are well known. Reading these works seems to have an ideal "considerable, tourable and livable" living environment. This state is still admired by people:

Building a house is human, and there are no horses and chariots. What can you do? The heart is far from being self-centered. Picking chrysanthemums under the east fence, you can see Nanshan leisurely. The mountains are getting better and better, and the birds are back. That makes sense. I forgot what I wanted to say. ("drinking")

Few people do as the Romans do. Their nature is to love nature. I sneaked into the official career network and have been away from the game for more than ten years. Birds in cages are often attached to the forests of the past, and fish in ponds yearn for the abyss of the past. I want to open up wasteland in Minamino and keep my humility to the fields. The house is surrounded by about ten acres of land, thatched cottages. Willow trees cover the eaves, and peach trees cover Li Lieman in front of the hospital. The neighboring village of the neighboring village is faintly visible, and there is smoke in the village. Several dogs barked in the alley, and the mulberry tree was barked by a rooster. There is no dust at home, and there is leisure in the virtual room. Trapped in a cage without freedom for a long time, I finally returned to the forest today. ("Returning to the Country House")

These poems all show that he sees through the world of mortals and is willing to build an ideal utopian living environment. In the Tang Dynasty, Wang Wei, Meng Haoran and others also showed this spirit.

We can only see the forms of residential buildings in Wei, Jin, Southern and Northern Dynasties in some paintings. But if we want to confirm a more reliable image of the residential form at that time, we must also look for the paintings painted at that time.

In the Sui, Tang and Five Dynasties, there was no real house. According to Liu Dunzhen's History of Ancient Architecture in China, "The nobles described in the literature at that time could only get some circumstantial evidence from Dunhuang murals and other paintings. The gates of some noble houses are in the form of aconite gates. There are two main houses in the room connected by corridors with straight windows to form quadrangles, but there are also houses that are not completely symmetrical, but the courtyards formed by corridors are still the same. "

Whether it is urban residence, rural residence, bureaucratic mansion or folk house, the architectural structure form is unified, and the spatial layout form is also unified. Until modern times, the form of folk houses remained the same, which can be said to be unchanged for more than 3 thousand years. This is the architectural expression of China's cultural introversion.