A Study on the Facade Decorative  in Kulangsu

A Study on the Facade Decorative in Kulangsu | Research Square window.SnipcartSettings = { analytics: { enabled: false } }; (function() { var accessVector = localStorage.getItem('access_vector') || ''; window.dataLayer = window.dataLayer || []; if (accessVector) { window.dataLayer.push({ user: { profile: { profileInfo: { snid: accessVector } } } }); } })(); (function(w,d,s,l,i){w[l]=w[l]||[];w[l].push({'gtm.start':new Date().getTime(),event:'gtm.js'});var f=d.getElementsByTagName(s)[0],j=d.createElement(s),dl=l!='dataLayer'?'&l='+l:'';j.async=true;j.src='https://www.googletagmanager.com/gtm.js?id='+i+dl;f.parentNode.insertBefore(j,f);})(window,document,'script','dataLayer','GTM-K279D39R'); Browse Preprints In Review Journals COVID-19 Preprints AJE Video Bytes Research Tools Research Promotion AJE Professional Editing AJE Rubriq About Preprint Platform In Review Editorial Policies Our Team Advisory Board Help Center Sign In Submit a Preprint Cite Share Download PDF Research Article A Study on the Facade Decorative in Kulangsu 谢恩 胡, Yufan Liu This is a preprint; it has not been peer reviewed by a journal. https://doi.org/ 10.21203/rs.3.rs-2770814/v1 This work is licensed under a CC BY 4.0 License Status: Posted Version 1 posted You are reading this latest preprint version Abstract The architectural decoration of Kulangsu is complex and magnificent, including the characteristics and styles of classicism, eclecticism, traditional style of southern Fujian, and decorative style of Amoy. It is a treasure house of architectural decoration patterns. At the same time, the development of Kulangsu architecture is the same as the internationalization of modern architecture. Therefore, many modern style gatehouse decoration appeared in the buildings of Kulangsu. Based on the outline of the gate building, the way of arching and the significance of decorative patterns, this paper traces its origin and analyzes its geometry. The geometric relationship in the decoration of the gate house on Kulangsu Island is sorted out, and the gate house style and the gate house mountain flower style are specifically and systematically classified. It is hoped that the relationship between overseas Chinese, local residents and colonists in Southeast Asia can be explained by tracing the origin of architectural decoration. pediment Decoration kulangsu Islet Composition Figures Figure 1 Figure 2 Figure 3 Figure 4 Figure 5 Figure 6 Figure 7 Figure 8 Figure 9 Figure 10 Figure 11 Figure 12 Figure 13 Figure 14 Figure 15 Figure 16 Figure 17 Figure 18 Figure 19 Figure 20 Figure 21 Figure 22 Figure 23 Figure 24 Figure 25 Figure 26 Introduction :kulangsu Island Gatehouse Architecture As an early Chinese concession, Kulangsu Island was heavily influenced by Western culture in its architecture, particularly in its gatehouse architecture, which was influenced by the colonial invasion and expansion in the first half of the 19th century. In the early 20th century, a large number of foreign buildings were built on Kulangsu Island by overseas Chinese from Southeast Asia after they returned to China. The majority of these buildings were built in an eclectic style, i.e., a mixture of Western decorative elements and traditional Chinese decorative elements. Because of this, the architectural style of the gatehouse on Kulangsu Island began to appear diverse and pluralistic, showing the result of the intermingling of Eastern and Western cultures during the first half of the 19th century and the early 20th century. At present, research on the decoration of Kulangsu's architectural gatehouses focuses on the basic features of gatehouses, the relationship between pattern decoration and architectural structure. Shi Lin explores the architecture of the gatehouse under the cultural intermingling, and proposes a model of integration between East and West [2] . Qian Yi, on the other hand, focuses on the elements of architectural style and proposes the "Amoy decorative style" [3] . However, at present, most of the researchers focus on building façade decoration and the mutual integration of building decoration, but rarely analyze the architectural decoration in terms of tracing, architectural style tracing, and gatehouse architecture tracing. This paper takes the retrospective analysis as the basis to deeply interpret the origin and meaning of decoration, the categories and proportions of gatehouse architecture. In-depth analysis of how Eastern and Western architectural decorations intermingled and evolved on the gatehouse architecture. 2 Shi Lin. A study on the decorative patterns of modern architecture in Amoy[D]. Jiangnan University, 2020. 3 Qian Yi. From colonial verandah style to "Amoy decorative style"-the evolution of modern verandah architecture on Gulangyu Island[J]. Journal of Architecture, 2011(S1):108-111. 1 Gatehouse Architectural Style And Composition Ratio The earliest gatehouse architecture dates back to ancient Egyptian times, when hinged wooden panels were placed on the opposite side of the door by means of ropes. In relatively early India, the gatehouse building is mostly made of stone, and usually and saloon door open the same way. The Greeks and Romans used stone, concrete, and sandstone in the construction of their gatehouse buildings. The outline of the doorway of Kulangsu gatehouse architecture is related to the architectural style. This time, the doorway of Kulangsu architecture is classified according to the outline of the hole, and is organized and analyzed retrospectively. The doorway outlines are classified into six basic styles based on their basic forms: domed, segmental, square, Tudor, domed shawl, and Ogee. Their development and dissemination are traced in a general way, and corresponding cases are found on the gatehouse architecture of Kulangsu Island. The paper also analyzes the outline proportions of the six common styles of gatehouses and dismantles their outlines and rising arches in geometric composition. From the basic principles of geometric composition, the starting arches are disassembled and sorted out in detail, with R as the basic standard for step-by-step sorting and organizing. 1.1 circular gatehouse building The domed portcullis originated from the domed arch and was first used in Mesopotamia, Greece, Persia and ancient Italy along the Mediterranean coast. The earliest use was for underground tunnels and drainage systems, supported and reinforced by the gravity of the domed arch type. The Romans learned how to use arches from the Etruscans. Romans in the 3rd century B.C. discovered how to use domed arches to construct bridges, fords and buildings. The domed arch allowed for the rapid formation and expansion of the Roman Empire's infrastructure and became a fundamental motif of Western architecture, creating a new building system throughout Europe. The basic structure and proportions of the cupola are very simple. The distance from the opening of the doorway is the diameter, the midpoint is the center of the circle, and R is the radius of the arc drawn to form a complete semicircle. Generally, the arches of the semicircle are covered with gables and mountain flower decoration to form a complete doorway. (Figure 1) The style of dome-shaped gatehouse is not common in Kulangsu architecture, more or less possessing smaller gatehouses in more or less cases. Most of its gatehouses are based on water-brushed stone and mirage ash work, often in the form of plain surfaces. The architectural language of some gatehouses is mixed, and there will be many architectural features where many styles coexist. The domed arch style is simpler and therefore often accompanies the segmental style. Ogee style and tent style appear together. Among the gatehouse buildings on Kulangsu Island, No. 35 Fujian Road and No. 457 Nei Chu Ao Road (Figure 2) use this style of arch. 1.2 Segmental gatehouse building Segmented gatehouse architecture is a type of gatehouse architecture with an inner arc of less than 180 degrees. The segmental arch is one of the strongest arches because it is able to resist thrust by its own gravity. Each segmental arch must have an upper gable arc greater than or equal to one-eighth the width of the doorway [4] . The segmental arc of the upper gable to less than one-eighth of the span width must have an additional permanent support or frame under the doorway to prevent collapse. The structural composition of the segmental doorway has two forms, 1) the size of the doorway opening as the diameter (2R), where the point is the center of the circle to its reverse arc intersected by a vertical line down the point of the circle, connecting the intersection with the other side of the end point to get √2R radius. With √2R as the radius of both sides of the doorway endpoints as the beginning and end of the arc, to get the first segmental arch. 2) the size of the doorway opening as the diameter (2R), take half of its 1/2R as the radius, the midpoint as the center of the circle to draw a quarter of the arc below to get the new center of the circle. The new center of the circle and the door opening a section of the endpoint line to get the radius R, and do arc intersection with the two sides of the endpoint, and thus get a new arc.The above is the determination of the proportional relationship between the two segmented doorways (Figure 3). The ancient Romans were the first to use segmental arches. The closed St. Martin's Bridge built in 25 B.C. in the Aosta Valley, Italy. The first large span segmental arch bridge was the Anji Bridge in Hebei Province, China. Segmental arches were most commonly used in the 20th century in residential buildings with doorways, fireplaces and windows, and in the Kulangsu Island doorway buildings No. 62 Fuzhou Road, No. 121 Fujian Road In Kulangsu Island, gatehouse styles such as No. 62 Fuzhou Road and No. 121 Fujian Road all used segmental arching gatehouses. This type of arch accounts for more than 30% of the buildings on Kulangsu Island. 1.3 Tudor Gatehouse Architecture The Tudor arch, also known as the four-center arch and the Persian arch, is a style of doorway with a lower starting arch, a wider opening, and a pointed roof. Its structure is achieved by depicting two arcs of the 1/2R, which draws a quarter arc upward from the 1/4 point of the doorway as a round point. With the end of the small arc and 1/4 circle center as the two endpoints to draw an extension line to three-quarters out as the origin, R as the radius of the arc downward to intersect with the extension line to form the second circle center. To this point as the center of the circle quarter arc end point for the other side of the starting point to draw the arc, forming a four-center arch for a single side. Repeat the appeal operation on the other side to form a complete four-center arch. This type of arch is more efficient and decorative when used in doorways. It is also used in wall decoration where the outline of the arches and window openings form part of the surface decoration. This type of decoration was common in Persian architecture and was gradually introduced to England as the prototype of the Tudor style doorway. In English architecture the four central arches became flatter. Another variant, the ogee, was also formed, with the middle part of the arch being straight rather than curved. This type developed rapidly in the architecture of Queen Anna's time [5] . The Tudor style spread rapidly in England, and its rise and development occurred between 1485 and 1558, mainly in building entrances and windows. The style is a transposition of Renaissance decorative elements to the vertical Gothic style. The Tudor architectural style coincides chronologically with the first phase of Tudor rule, beginning with the accession of Henry VII in 1485 and the death of Elizabeth I in 1558. The appearance of the Tudor style used in the gatehouse architecture of Kulangsu Island is generally characterized by the use of wooden doors with rectangular squares; intricate carved decorations at the location of the hill walls; and gatehouse materials dominated by rouge brick, mirage ashlar, and water-brushed stone. Tudor-style gatehouses use a large amount of plaster to decorate the pediments, cornices and walls, often in direct imitation of Renaissance decorative motifs. This approach is used in the buildings of Kulangsu Island, such as No. 42 Nei Chuao Road, No. 44 Anhai Road, and the entrance gate of the Xiehe Hospital. (Figure 6) 1.4 Pointed trefoil gatehouse building The name trifolium, or cloverleaf, is derived from the Latin trifolium, which consists of three overlapping semicircles or leaf shapes. It is widely used in churches, gatehouses and Gothic architecture because of its trinity significance in Christian architecture. The trefoil doorway is common in Gothic and Renaissance architecture and is used for window and door decoration and mountain flower decoration. The trefoil arch was developed in Egypt around the 12th to 16th centuries, and the arch is also the main feature of the decorative doorway decoration in late Egyptian architecture [6] . The trefoil structure is formed by the overlapping of three circular arcs. With the opening of the doorway as the diameter (2R), a square with R as the side length is drawn on the left side and connected to its diagonal. With 3/2R as the radius to draw a one-sixth arc, the endpoint line and the square diagonal intersection with a point, the point for the small circle center O. Square side of the end point and 3/2R at the two vertices to draw a straight line L, the line as the axis of symmetry to get the small circle center O1. do the reverse extension of the straight line L, the length of R to get another circle center O2, O2 as the center of the circle R as the radius to draw 1/12 arc to get the three-leaf The structure of one side of the formula. The other side is outlined in reverse symmetry as described above (Figure 7). In Kulangsu gatehouse architecture, the trefoil-style gatehouse is less decorated and is mostly the overall structure of the building. It is often used in combination with square door arches and segmental door arches. The outer decoration of the material of the three-leaf gatehouse is mostly based on water-brushed stone and mirrored ash workmanship, and white stone carving and rouge brick stacking rarely appear. Kulangsu Island gatehouse buildings in the side door of Jingualou and No. 8 building of Naicuo Ao Road are from the use of this type of decoration. 1.5 Ogee gatehouse building Ogee style is also called willow leaf style, three-stage arc style, etc. Ogee style gatehouse architecture originated in India in the 3rd century BC. The entrance form of Buddhist caves in India is similar to it. This form is similar to the outer outline of the leaves of the Bodhi tree and to the prayer posture prevalent in India. But it may also be a purely aesthetically pure form of architectural expression. Orgian architecture appeared in Islamic architecture in the 1100s, then spread to Persian and Egyptian architecture, and emerged for use in late Gothic architecture from the 13th to the 14th centuries. In Gothic architecture, especially in the later Gothic style, they became the most visible and characteristic element, giving a sense of verticality. Ogee arches are usually used in arcades, windows, doorways, etc. In the Late Gothic style Ogee arches are mostly used in façade decoration. Its structure is composed of four segments of circular arc symmetrically, with the opening width of the doorway as 2R, the end point as the center of the circle 2R as the radius to draw a 45 degree arc. With the end of the arc end point and the center of the circle as two fixed points, draw its reverse extension line. In the extension line to go up 2R for the distance to draw a circular arc, the arc will intersect in the midline of the vertical line, forming an S-shaped curve. This S-shaped curve in the Kulangsu architectural doorway decoration has "convex" type and "concave" type two. Convex Auggie-style buildings are more common in Kulangsu's gatehouse decoration. In the late thirteenth century, the Auggie arch became a characteristic feature of English Gothic architecture, especially in the late fourteenth and fifteenth centuries, when it was a decorative element of the Gothic style. [7] (Figure 9). 1.6 Basket-handle gatehouse building The Carrycentric arch is also known as the tri-centric arch. It differs markedly from the double-centred (segmental) and four-centred (Tudor) arches in that it has no distinct S-curve or peak point. The latter is often found in the Gothic and Romantic periods, while the former was used in another style - colonial architecture - for its basic shape, which resembles the ellipse. The emergence of the basket arch was later, after the appearance of the four-centered arch in the Gothic period, due to the improvement of the skill of the builders and the secularization of people's aesthetics, the basket arch gradually came into view.Its basic structure is composed of three circular arcs. Taking the length of the doorway opening as the diameter 2R. From one side, draw one-sixth arc with 1/2R as radius. And the two starting points as the end point down to draw the reverse extension line, the length of R. Connect 1/2R and R as the radius, the end point of the extension line as the center of the circle to draw one-sixth of the arc. Repeat the above on the other side. This form of architecture usually appears adjusted according to the craftsmanship of the craftsman and the aesthetics of the house owner. Most of the materials used in the architecture of Kulangsu Island for the building of the Tikuan-style gatehouse are based on mirrored ash work and water-brushed stone work, and the type of rouge brick decoration is rarely found. 4 The "springing line" is the imaginary horizontal line drawn between the two points at which the arch's springer touches the impost. The "rise" is the distance from the springing line to the highest point of the "intrados" 5 Bloom,Jonathan M.(2017-05-15).Early Islamic Art and Architecture.Routledge. ISBN 9781351942584. 6 Papadopoulo, Alexandre (1979). Islam and Muslim Art. p. 242. ISBN 9780810906419. 7 Gosh, A. (1964). Indian Archaeology: A review 1961-62. New Delhi: Archaeological survey of India. pp. 50–52 2 Gatehouse Decoration Style 2.1 Southern Fujian Traditional Decoration Style The traditional gatehouse decoration of southern Fujian on Kulangsu Island is mainly red brick alley, which has a strong traditional architectural style of southern Fujian, and also records the traditional Chinese culture and aesthetic interest of the times. It is also a very precious historical trace of the traditional architecture of Kulangsu Island. Kulangsu traditional style gatehouse is mainly made of traditional brick and wood, with the use of water-brushed stone and mirage ash in local areas. The roof of the gatehouse is in the form of There are the traditional swallow-tailed ridge and horseback styles, and there are also doorways that combine Chinese and Western styles. In Kulangsu Island, there are typical Chinese style roofs, with a stack of rouge bricks underneath the roof. There is an archway made of red bricks underneath and red brick retaining walls on both sides. This style is used in the traditional Minnan architectural style in the gatehouses of the Siluo Dacuo complex, Huang's Small Clan, No. 62 Fuzhou Road, and No. 121 Fuzhou Road (Figure 13). 2.1.1 Red Brick Alley Decoration of Traditional Gatehouse in Southern Fujian There are many buildings using red brick and rouge brick for building facades in Kulangsu Island, but they are rarely found in gatehouse buildings. The architectural decoration of red bricks is usually found on the gable of the gatehouse. Usually there are two forms of masonry combinations, 1) a more prominent brick is used to support the eaves in the gable section, forming an obvious convex and concave change. Downward, there are usually 4-5 layers of rouge bricks arranged in a smooth manner and stacked with astringent treatment. In the last part of the arch, there are usually one or two rows of full-ding brick. 2) The eaves are supported by one or two layers of full-smooth rouge brick and stacked. The third row is made by rotating the brick horizontally by 45 degrees, pointing the sharp corners outward and extending 1/3 of the brick length forward. After that, two layers of full smooth bricks are used and stacked. The last layer is rotated horizontally by 45 degrees, with the sharp corners pointing outward and extending forward by 1/5 of the brick length (Figure 14). 2.2 Western retroism decoration style Most of the western retroism gatehouse decoration uses architectural materia and decorative elements under the influence of Renaissance, classicism, Gothic revival and other architectural trends, and is the practice of western classicism and eclecticism in domestic architecture. Gatehouse architecture in the Western Revivalist decorative style usually uses vintage mountain flowers, columns and capitals from various periods. Its outline and decorative proportions in the gatehouse are similar to the classical masters. Gatehouse buildings using this style rarely use rouge bricks as external decoration, mostly using mirrored ashlar work and water-brushed stone work, with stone carving at some key node locations. In terms of craftsmanship, most of the gatehouses in this style use a combination of three-dimensional round carving and high-relief carving style. This study traces the origin of the western retro-style gatehouse decoration on Kulangsu Island. The following decorative types are summarized. The mountain flower wall is usually triangular in shape. If supported by columns, the shamrock walls are placed on above the horizontal structure of the columns or beams. The sill wall may contain a drum chamber. The pediment wall is sometimes the top element of a porch. A symmetrical design with a central point is often used to add grandeur to an entryway. The drum chamber is a triangular area within the façade, usually decorated with a sculpture that can be a freestanding triangle. Inscriptions may be inscribed within the drum room, and texts such as family names and villa names typically appear in drum buildings. 2.2.1 Swan's neck pediment gatehouse decoration Swan's neck pediment is a kind of broken pediment with S-shaped curve, its shape is like two swans' necks facing each other, and a scroll-like style often appears at the end of the neck of the swans, and this style is often found in Colonial Revival style, Federal style, and Georgian Revival style. The swan-neck sill-wall basically gets rid of the original supporting function of the sill-wall, and its again defines the Baroque style and from the Neoclassical style of architecture. Most of the Swan Neck Hillflower type gatehouse decorations are used in combination with rose decorations, and square doorways and segmented doorways appear in the lower part of the Hillflower. In Kulangsu gatehouse architectural decoration this type mostly uses mixed materials of brick and wood, water-brushed stone materials and mirage ash materials. It appears at the doorway openings with small openings. In American colonial architecture, this classic architectural style still exists, and it is a classic detail that endures. On Kulangsu Island No. 17 Longtou Road, No. 11 Fuxing Road, and No. 19 Naicuoao Road (Figure 15) are decorated with swan neck mountain flowers. 2.2.2 Broken pediment doorway decoration Broken pediment is a triangular pediment with a gap or break at the top or bottom, usually filled with chalices, crosses or other ornaments, which is found in classical Greek and Roman architectural styles and their derivatives, including Colonial Revival, Georgian Revival, Neoclassical, Italian Revival, Fine Arts Classical and other styles. The "partitioned" mountain flower provides a certain visual interest and rhythm compared to the full mountain flower. In the Italian and Art Nouveau styles, this style usually omits additional decoration. It is simple in form and has classical characteristics. In Kulangsu Island, only the second floor entrance of the Bagua Building is found to be decorated with a very classical partition type of mountain flower(Figure 16). 2.2.3 Rounded Mountaintop and Dome Shawl Mountaintop Decoration Circular crenellated wall decoration is usually found in crenellated walls spanning porticos, doors and windows, and is generally found in Classical Greek and Roman architecture and derivatives, in Classical Revival, Federal, Neoclassical, and Renaissance styles. Its hillflower form comes from the evolution of round-arched architecture, and its use as decoration began in Roman architecture and continued until the Renaissance thing, gradually evolving into the swan-neck style later on. In Kulangsu building gate tower hillflower decoration, the round hillflower is usually made of rouge brick across, with additional stacks on both sides, while increasing the horizontal partition on both sides. The dome shawl-style mountain flower architecture is an evolution of the traditional round mountain flower. It first appeared in textile motifs in the 1100s AD, and gradually became a typical feature of the Gothic and Gothic The dome shawl style is an evolution of the traditional rounded sorrel. The dome and shawl style was introduced to Europe from the Middle East and came to Europe through the Venetian trade. It then became a characteristic of the Gothic architectural style, especially evident in the Gothic decorative elements of the late 14th and 15th centuries. It is more common in the gatehouse architecture of Kulangsu. Its shawl is usually immediately below the porch column. This makes the gatehouse form a kind of porch space, which visually increases the depth and enriches the light and shadow effect of the façade (Figure 17). 2.2.4 Typical mountain flower doorway decoration Archaic gable is a triangular decoration on the beams of buildings often used in the Greek and Roman periods and the Renaissance, supported by columns or pilasters. It originated from the Mycenaean era in the form of a lion's gate, and the Greek period temples were often decorated with sculpted archaic mountain flowers. In ancient Rome, the Renaissance and Restoration ideas, the typical wall was used as a non-weighed structure for windows, doors and doorways. They were often used to protect windows and prevent rainwater from pouring in, etc. As classical architecture spread to England during the Renaissance, the typical sill was no longer suitable for steep and sloping building roofs. As a result, the typical pediment was separated from the structure. The form of the shamrock wall depends on the main function of the roof, and the subsequent round shamrock decoration, broken partition shaped shamrock decoration, and swan neck shamrock decoration are variations of the archaic typical shamrock. The proportion of gatehouse buildings using ancient typical mountain flower decoration in the gatehouse buildings of Kulangsu Island is not much. Most of them are built by using water-brushed stone and mirage ash process, using a combination of relief decoration and round carving decoration. For example, the gatehouse buildings of No. 158 Naicuoao, No. 20 Fujian Road and No. 3 Fairway Road (Figure 18) all use ancient typical mountain flowers. 2.3 Gatehouse of Chinese and Western style When the overseas Chinese in the southeast coast returned to China and started to build houses on Kulangsu Island, a combination of Chinese and Western styles of gatehouses began to emerge. This style is the exploration of the Chinese under the influence of Western culture. It evolved in two directions: 1) using Western architectural style in the doorway shape and traditional Chinese patterns such as dragons and phoenixes in the mountain flower decoration patterns. This approach appears in overseas Chinese foreign building architecture, for example: Li Jia Zhuang Villa, No.3 Fairway and other gatehouse architecture shapes are based on western gatehouse forms, and Chinese patterns are used in the decoration. 2) Some buildings use traditional gatehouse forms in their shapes, such as double-slope roof, bucket arch, doorway opening forms, etc.; western traditional elements are used in some architectural details, such as column bases, column bodies, etc. For example, the gatehouse building of Jingualou (Figure 19). 2.4 Modern style and other styles Modern style originated from the International Congress of Modern Architecture (CIAM) after the Second World War. From 1928 to 1959, CIAM was an important platform for discussing architecture and urbanization. Modern architecture was influenced by the CIAM discussions as well as by the artistic styles and modern architectural thinking popular in Europe in the 1920s. Instead of the traditional three-part, symmetrical layout, Modern-style gatehouse architecture adopted segmented, broken and asymmetrical compositions. Instead of scrolling, laurel and rose motifs in the detailed decoration, geometric shapes such as rectangular arrangements, trapezoids, pentagrams and ribbons are used. The forms and decorations are distinctly different from other styles on the island. The use of materials generally uses water-brushed stone for exterior decoration (Figure 20). 3 Gatehouse Architectural Detail Decoration And Traceability 3.1 Stella decoration The decoration in this figure is mainly found on the top of mountain flowers, monuments and temple buildings, and the prototype of its form has come from the shape of Greek lilies and lotus flowers. As shown in Figure (Figure 21) its earliest record is in the Greek painted pottery vase, by the alternation of honeysuckle and Greek lily flowers, forming a kind of decorative pattern with like tension. Later this decorative pattern was gradually used in architectural decoration. In architectural decoration, it is likely to be derived from the pattern of two colors of bricks laid together. In a certain scale, it consists of the form of gold and silver flowers surrounded by an oval outline, or a pair of scrolls and gold and silver flowers combined together. In the Kulangsu Gatehouse decoration honeysuckle decoration generally appears on the top of the mountain flower, the honeysuckle leaves are fuller and the carving is vivid. Usually using water brush stone decorative materials, some gatehouse buildings will also be mixed with white stone, granite and other materials. The style of honeysuckle is found in No.52 Anhai Road and No.119 Fuzhou Road. 3.2 Cross decoration pattern The cross decoration is usually found at the top of the mountain flower wall. In the Norman period, it was a simple cross with equal arms. In the Gothic period the cross gradually changed to octagonal style and added many partitions, while a snowflake-like style appeared. The Baroque period retained the basic form of the cross decoration and attached many vine decorations around it, making it complex and complicated. These decorations were not the only forms used to present the characteristics of the period, but most architectural forms used them as the basic form with slight variations. The crosses in Kulangsu architecture are found on the tops of mountain flowers, often accompanied by complex vine decorations and additional bright colors (Figure 24). Most of its materials are made by the mirage technique, and are assembled on the mountain flowers after being made by workers in advance. 3.3 Chalice (Roman pot) decoration and its evolution decoration The decorative motifs based on the chalice are more common in the decoration of the mountain flowers on Kulangsu Island, and generally appear on the top of the columns on both sides of the mountain flowers. The chalice decoration originated from the worship of Christianity in the medieval period. The chalice is a symbol of immortality and life as a being of power in Christian doctrine. The origin of the chalice is that Joseph used the chalice to receive the blood of Jesus on the cross, and subsequently, the chalice decoration appeared in Western architectural art. [8] After the Middle Ages, the chalice decoration was mainly found on the cross section of the mountain flower and the top of the corridor columns on both sides. The evolution of chalice decoration also appeared in the decoration of the gatehouse of Kulangsu Island, with the appearance of traditional Chinese decorative elements and Southeast Asian decorative elements. For example, the decorative motifs such as golden gourds and lotus flowers, which are usually made of mirrored gray. The decorative style and details are directly related to the craftsmanship of the craftsmen and the aesthetics of the house owner. 8 Zhang Jia Yun, Zhang Ya Wei, Jui Wei Zhong. The Cultural Meaning of the Exterior Architectural Symbols of the Everbright Bank Building on the Bund in Shanghai[J]. Sichuan Building Materials,2012,38(03):36-37+39. 4 Conclusion As an early port area, Kulangsu Island brought in a large number of European, East Asian and Southeast Asian settlers, as well as a large number of architectural elements and decorative materials from Europe, Southeast Asia and other regions. The interaction between different decorative materials and architectural elements and cultures from different backgrounds has resulted in the formation of a unique "Amoy decorative style". The Kulangsu Gatehouse is decorated with traditional European composition proportions and architectural geometric analysis, using R as the basic modulus for cutting and quantifying the composition, which in turn reveals the Tic-tac-toe, Auggie, Trefoil, Tudor and multi-sectional arch styles and the determination of contour proportions. Among the types of shanhua, the Minnan style shanhua with very Chinese characteristics appeared on the gate tower shanhua of Kulangsu Island; the shanhua decoration dominated by Western retroism also appeared on the shanhua architecture of Kulangsu Island; the modern style with very contemporary characteristics occupied a place on Kulangsu Island because of the intermingling of cultures and development, and was also called the testing ground of modern architectural decoration. Most of the architectural decorations on Kulangsu Island are decorated with water-brushed stone and mirrored ash, and some of them are made of carmine bricks stacked on top of each other, which are distinctive of the times. Its architectural decoration represents the awareness of European colonization, Japanese invasion and Southeast Asian Chinese on architectural decoration in the early 20th century, demonstrating the direct exchange between different cultures and forming the practice . [9] From the preserved decoration, there is no exclusion in decoration between the Chinese, the local residents and the colonizers. The Kulangsu mountain flower decorative art epitomizes the decorative art of the East and West in the 20th century, forming a new "Amoy decorative style". The architectural decoration of Kulangsu Island was showcased in the internationalization of the world's architectural decoration from the end of the 19th century to the beginning of the 20th century, which tended to be eclectic. The Kulangsu mountain flower decoration is a vivid example of how foreign cultures collided, exchanged and then merged with local cultures and came to life. 9 Qian Yi, Wei Qing. Modernization and localization--the development of Kulangsu architecture[J]. Architectural History,2017(01):151-161. Abbreviations Kulangsu = Amoy Gulangyu Declarations Availability of data and materials The source of the images in the article was obtained through the author's field visit and research in 2021. Data sharing is not applicable to this article as no datasets were generated or analysed during the current study Competing interests The author has declared that no competing interests exist. Funding The author received no specific funding for this work. Authors' Contributions H u shen , and L iu Yufan designed the study, performed the research, analysed data, and wrote the paper. Acknowledgements Thank you to Professor Qian Yi of North China University of Technology for his valuable feedback on the paper, and to Professor Zhang Shuming of Huaqiao University for his assistance in the research References The "springing line" is the imaginary horizontal line drawn between the two points at which the arch's springer touches the impost. The "rise" is the distance from the springing line to the highest point of the "intrados" Bloom,Jonathan M. (2017-05-15). Early Islamic Art andArchitecture.Routledge. ISBN 9781351942584. Papadopoulo, Alexandre (1979). Islam and Muslim Art. p. 242. ISBN 9780810906419 Gosh, A. (1964). Indian Archaeology: A review 1961-62. New Delhi: Archaeological survey of India. pp. 50–52 Zhang Jia Yun, Zhang Ya Wei, Jui Wei Zhong. The Cultural Meaning of the Exterior Architectural Symbols of the Everbright Bank Building on the Bund in Shanghai[J]. Sichuan Building Materials,2012,38(03):36-37+39. Qian Yi, Wei Qing. Modernization and localization--the development of Kulangsu architecture[J]. Architectural History,2017(01):151-161. Shi Lin. A study on the decorative patterns of modern architecture in Amoy[D]. Jiangnan University,2020.DOI:10.27169/d.cnki.gwqgu.2020.000014. Wei Xingli. Analysis of Yunnan Dali Bai architectural decorative patterns--shanhua[J]. Art and Design,2011(03):75. Additional Declarations No competing interests reported. Supplementary Files Historyofarchitectureandornament.pdf Cite Share Download PDF Status: Posted Version 1 posted You are reading this latest preprint version Research Square lets you share your work early, gain feedback from the community, and start making changes to your manuscript prior to peer review in a journal. As a division of Research Square Company, we’re committed to making research communication faster, fairer, and more useful. We do this by developing innovative software and high quality services for the global research community. Our growing team is made up of researchers and industry professionals working together to solve the most critical problems facing scientific publishing. Also discoverable on Platform About Our Team In Review Editorial Policies Advisory Board Help Center Resources Author Services Accessibility API Access RSS feed Manage Cookie Preferences © Research Square 2026 | ISSN 2693-5015 (online) Privacy Policy Terms of Service Do Not Sell My Personal Information {"props":{"pageProps":{"initialData":{"identity":"rs-2770814","acceptedTermsAndConditions":true,"allowDirectSubmit":true,"archivedVersions":[],"articleType":"Research Article","associatedPublications":[],"authors":[{"id":190437507,"identity":"c0376cdb-85e5-48cd-8615-2ba370a16304","order_by":0,"name":"谢恩 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17:14:40","extension":"pdf","order_by":0,"title":"","display":"","copyAsset":false,"role":"manuscript-pdf","size":14554202,"visible":true,"origin":"","legend":"","description":"","filename":"manuscript.pdf","url":"https://assets-eu.researchsquare.com/files/rs-2770814/v1/b4f0941b-7128-4feb-b400-3af882636418.pdf"},{"id":35606995,"identity":"8400a939-04eb-4e63-8761-977af611fb65","added_by":"auto","created_at":"2023-04-11 19:07:32","extension":"pdf","order_by":3,"title":"","display":"","copyAsset":false,"role":"supplement","size":63914073,"visible":true,"origin":"","legend":"","description":"","filename":"Historyofarchitectureandornament.pdf","url":"https://assets-eu.researchsquare.com/files/rs-2770814/v1/6ce38e4b07f6e23fda26c91b.pdf"}],"financialInterests":"No competing interests reported.","formattedTitle":"A Study on the Facade Decorative in Kulangsu","fulltext":[{"header":"Introduction :kulangsu Island Gatehouse Architecture","content":"\u003cp\u003eAs an early Chinese concession, Kulangsu Island was heavily influenced by Western culture in its architecture, particularly in its gatehouse architecture, which was influenced by the colonial invasion and expansion in the first half of the 19th century. In the early 20th century, a large number of foreign buildings were built on Kulangsu Island by overseas Chinese from Southeast Asia after they returned to China. The majority of these buildings were built in an eclectic style, i.e., a mixture of Western decorative elements and traditional Chinese decorative elements. Because of this, the architectural style of the gatehouse on Kulangsu Island began to appear diverse and pluralistic, showing the result of the intermingling of Eastern and Western cultures during the first half of the 19th century and the early 20th century.\u003c/p\u003e\n\u003cp\u003eAt present, research on the decoration of Kulangsu\u0026apos;s architectural gatehouses focuses on the basic features of gatehouses, the relationship between pattern decoration and architectural structure. Shi Lin explores the architecture of the gatehouse under the cultural intermingling, and proposes a model of integration between East and West\u003csup\u003e[2]\u003c/sup\u003e. Qian Yi, on the other hand, focuses on the elements of architectural style and proposes the \u0026quot;Amoy decorative style\u0026quot;\u003csup\u003e[3]\u003c/sup\u003e. However, at present, most of the researchers focus on building fa\u0026ccedil;ade decoration and the mutual integration of building decoration, but rarely analyze the architectural decoration in terms of tracing, architectural style tracing, and gatehouse architecture tracing. This paper takes the retrospective analysis as the basis to deeply interpret the origin and meaning of decoration, the categories and proportions of gatehouse architecture. In-depth analysis of how Eastern and Western architectural decorations intermingled and evolved on the gatehouse architecture.\u003c/p\u003e\n\u003cdiv id=\"ftn1\"\u003e\n \u003cp\u003e\u003csup\u003e2\u003c/sup\u003eShi Lin. A study on the decorative patterns of modern architecture in Amoy[D]. Jiangnan University, 2020.\u0026nbsp;\u003c/p\u003e\n\u003c/div\u003e\n\u003cdiv id=\"ftn2\"\u003e\n \u003cp\u003e\u003csup\u003e3\u003c/sup\u003eQian Yi. From colonial verandah style to \u0026quot;Amoy decorative style\u0026quot;-the evolution of modern verandah architecture on Gulangyu Island[J]. Journal of Architecture, 2011(S1):108-111.\u003c/p\u003e\n\u003c/div\u003e"},{"header":"1 Gatehouse Architectural Style And Composition Ratio","content":"\u003cp\u003eThe earliest gatehouse architecture dates back to ancient Egyptian times, when hinged wooden panels were placed on the opposite side of the door by means of ropes. In relatively early India, the gatehouse building is mostly made of stone, and usually and saloon door open the same way. The Greeks and Romans used stone, concrete, and sandstone in the construction of their gatehouse buildings.\u003c/p\u003e\n\u003cp\u003eThe outline of the doorway of Kulangsu gatehouse architecture is related to the architectural style. This time, the doorway of Kulangsu architecture is classified according to the outline of the hole, and is organized and analyzed retrospectively. The doorway outlines are classified into six basic styles based on their basic forms: domed, segmental, square, Tudor, domed shawl, and Ogee. Their development and dissemination are traced in a general way, and corresponding cases are found on the gatehouse architecture of Kulangsu Island. The paper also analyzes the outline proportions of the six common styles of gatehouses and dismantles their outlines and rising arches in geometric composition. From the basic principles of geometric composition, the starting arches are disassembled and sorted out in detail, with R as the basic standard for step-by-step sorting and organizing.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003e1.1 circular gatehouse building\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eThe domed portcullis originated from the domed arch and was first used in Mesopotamia, Greece, Persia and ancient Italy along the Mediterranean coast. The earliest use was for underground tunnels and drainage systems, supported and reinforced by the gravity of the domed arch type. The Romans learned how to use arches from the Etruscans. Romans in the 3rd century B.C. discovered how to use domed arches to construct bridges, fords and buildings. The domed arch allowed for the rapid formation and expansion of the Roman Empire\u0026apos;s infrastructure and became a fundamental motif of Western architecture, creating a new building system throughout Europe.\u003c/p\u003e\n\u003cp\u003eThe basic structure and proportions of the cupola are very simple. The distance from the opening of the doorway is the diameter, the midpoint is the center of the circle, and R is the radius of the arc drawn to form a complete semicircle. Generally, the arches of the semicircle are covered with gables and mountain flower decoration to form a complete doorway. (Figure 1)\u003c/p\u003e\n\u003cp\u003eThe style of dome-shaped gatehouse is not common in Kulangsu architecture, more or less possessing smaller gatehouses in more or less cases. Most of its gatehouses are based on water-brushed stone and mirage ash work, often in the form of plain surfaces. The architectural language of some gatehouses is mixed, and there will be many architectural features where many styles coexist. The domed arch style is simpler and therefore often accompanies the segmental style. Ogee style and tent style appear together. Among the gatehouse buildings on Kulangsu Island, No. 35 Fujian Road and No. 457 Nei Chu Ao Road (Figure 2) use this style of arch.\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003e1.2 Segmental gatehouse building\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eSegmented gatehouse architecture is a type of gatehouse architecture with an inner arc of less than 180 degrees. The segmental arch is one of the strongest arches because it is able to resist thrust by its own gravity. Each segmental arch must have an upper gable arc greater than or equal to one-eighth the width of the doorway\u003csup\u003e[4]\u003c/sup\u003e. The segmental arc of the upper gable to less than one-eighth of the span width must have an additional permanent support or frame under the doorway to prevent collapse.\u003c/p\u003e\n\u003cp\u003eThe structural composition of the segmental doorway has two forms, 1) the size of the doorway opening as the diameter (2R), where the point is the center of the circle to its reverse arc intersected by a vertical line down the point of the circle, connecting the intersection with the other side of the end point to get \u0026radic;2R radius. With \u0026radic;2R as the radius of both sides of the doorway endpoints as the beginning and end of the arc, to get the first segmental arch. 2) the size of the doorway opening as the diameter (2R), take half of its 1/2R as the radius, the midpoint as the center of the circle to draw a quarter of the arc below to get the new center of the circle. The new center of the circle and the door opening a section of the endpoint line to get the radius R, and do arc intersection with the two sides of the endpoint, and thus get a new arc.The above is the determination of the proportional relationship between the two segmented doorways (Figure 3).\u003c/p\u003e\n\u003cp\u003eThe ancient Romans were the first to use segmental arches. The closed St. Martin\u0026apos;s Bridge built in 25 B.C. in the Aosta Valley, Italy. The first large span segmental arch bridge was the Anji Bridge in Hebei Province, China. Segmental arches were most commonly used in the 20th century in residential buildings with doorways, fireplaces and windows, and in the Kulangsu Island doorway buildings No. 62 Fuzhou Road, No. 121 Fujian Road\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eIn Kulangsu Island, gatehouse styles such as No. 62 Fuzhou Road and No. 121 Fujian Road all used segmental arching gatehouses. This type of arch accounts for more than 30% of the buildings on Kulangsu Island.\u003c/p\u003e\n\u003cdiv id=\"ftn1\"\u003e\n \u003cp\u003e\u003cstrong\u003e1.3 Tudor Gatehouse Architecture\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003eThe Tudor arch, also known as the four-center arch and the Persian arch, is a style of doorway with a lower starting arch, a wider opening, and a pointed roof. Its structure is achieved by depicting two arcs of the 1/2R, which draws a quarter arc upward from the 1/4 point of the doorway as a round point. With the end of the small arc and 1/4 circle center as the two endpoints to draw an extension line to three-quarters out as the origin, R as the radius of the arc downward to intersect with the extension line to form the second circle center. To this point as the center of the circle quarter arc end point for the other side of the starting point to draw the arc, forming a four-center arch for a single side. Repeat the appeal operation on the other side to form a complete four-center arch. This type of arch is more efficient and decorative when used in doorways. It is also used in wall decoration where the outline of the arches and window openings form part of the surface decoration. This type of decoration was common in Persian architecture and was gradually introduced to England as the prototype of the Tudor style doorway. In English architecture the four central arches became flatter. Another variant, the ogee, was also formed, with the middle part of the arch being straight rather than curved. This type developed rapidly in the architecture of Queen Anna\u0026apos;s time\u003csup\u003e\u0026nbsp;[5]\u003c/sup\u003e.\u003c/p\u003eThe Tudor style spread rapidly in England, and its rise and development occurred between 1485 and 1558, mainly in building entrances and windows. The style is a transposition of Renaissance decorative elements to the vertical Gothic style. The Tudor architectural style coincides chronologically with the first phase of Tudor rule, beginning with the accession of Henry VII in 1485 and the death of Elizabeth\u0026nbsp;\u003cbr\u003eI in 1558. The appearance of the Tudor style used in the gatehouse architecture of Kulangsu Island is generally characterized by the use of wooden doors with rectangular squares; intricate carved decorations at the location of the hill walls; and gatehouse materials dominated by rouge brick, mirage ashlar, and water-brushed stone. Tudor-style gatehouses use a large amount of plaster to decorate the pediments, cornices and walls, often in direct imitation of Renaissance decorative motifs. This approach is used in the buildings of Kulangsu Island, such as No. 42 Nei Chuao Road, No. 44 Anhai Road, and the entrance gate of the Xiehe Hospital. (Figure 6)\n\u003c/div\u003e\n\u003cp\u003e\u003cstrong\u003e1.4 Pointed trefoil gatehouse building\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eThe name trifolium, or cloverleaf, is derived from the Latin trifolium, which consists of three overlapping semicircles or leaf shapes. It is widely used in churches, gatehouses and Gothic architecture because of its trinity significance in Christian architecture. The trefoil doorway is common in Gothic and Renaissance architecture and is used for window and door decoration and mountain flower decoration. The trefoil arch was developed in Egypt around the 12th to 16th centuries, and the arch is also the main feature of the decorative doorway decoration in late Egyptian architecture\u003csup\u003e[6]\u003c/sup\u003e.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eThe trefoil structure is formed by the overlapping of three circular arcs. With the opening of the doorway as the diameter (2R), a square with R as the side length is drawn on the left side and connected to its diagonal. With 3/2R as the radius to draw a one-sixth arc, the endpoint line and the square diagonal intersection with a point, the point for the small circle center O. Square side of the end point and 3/2R at the two vertices to draw a straight line L, the line as the axis of symmetry to get the small circle center O1. do the reverse extension of the straight line L, the length of R to get another circle center O2, O2 as the center of the circle R as the radius to draw 1/12 arc to get the three-leaf The structure of one side of the formula. The other side is outlined in reverse symmetry as described above (Figure 7).\u003c/p\u003e\n\u003cp\u003eIn Kulangsu gatehouse architecture, the trefoil-style gatehouse is less decorated and is mostly the overall structure of the building. It is often used in combination with square door arches and segmental door arches. The outer decoration of the material of the three-leaf gatehouse is mostly based on water-brushed stone and mirrored ash workmanship, and white stone carving and rouge brick stacking rarely appear. Kulangsu Island gatehouse buildings in the side door of Jingualou and No. 8 building of Naicuo Ao Road are from the use of this type of decoration.\u003c/p\u003e\n\u003cdiv id=\"ftn1\"\u003e\n \u003cp\u003e\u003cstrong\u003e1.5 Ogee gatehouse building\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003eOgee style is also called willow leaf style, three-stage arc style, etc. Ogee style gatehouse architecture originated in India in the 3rd century BC. The entrance form of Buddhist caves in India is similar to it. This form is similar to the outer outline of the leaves of the Bodhi tree and to the prayer posture prevalent in India. But it may also be a purely aesthetically pure form of architectural expression. Orgian architecture appeared in Islamic architecture in the 1100s, then spread to Persian and Egyptian architecture, and emerged for use in late Gothic architecture from the 13th to the 14th centuries. In Gothic architecture, especially in the later Gothic style, they became the most visible and characteristic element, giving a sense of verticality. Ogee arches are usually used in arcades, windows, doorways, etc. In the Late Gothic style Ogee arches are mostly used in fa\u0026ccedil;ade decoration.\u003c/p\u003e\n \u003cp\u003eIts structure is composed of four segments of circular arc symmetrically, with the opening width of the doorway as 2R, the end point as the center of the circle 2R as the radius to draw a 45 degree arc. With the end of the arc end point and the center of the circle as two fixed points, draw its reverse extension line. In the extension line to go up 2R for the distance to draw a circular arc, the arc will intersect in the midline of the vertical line, forming an S-shaped curve. This S-shaped curve in the Kulangsu architectural doorway decoration has \u0026quot;convex\u0026quot; type and \u0026quot;concave\u0026quot; type two. Convex Auggie-style buildings are more common in Kulangsu\u0026apos;s gatehouse decoration. In the late thirteenth century, the Auggie arch became a characteristic feature of English Gothic architecture, especially in the late fourteenth and fifteenth centuries, when it was a decorative element of the Gothic style. \u003csup\u003e[7]\u003c/sup\u003e(Figure 9).\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003e1.6 Basket-handle gatehouse building\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003eThe Carrycentric arch is also known as the tri-centric arch. It differs markedly from the double-centred (segmental) and four-centred (Tudor) arches in that it has no distinct S-curve or peak point. The latter is often found in the Gothic and Romantic periods, while the former was used in another style - colonial architecture - for its basic shape, which resembles the ellipse. The emergence of the basket arch was later, after the appearance of the four-centered arch in the Gothic period, due to the improvement of the skill of the builders and the secularization of people\u0026apos;s aesthetics, the basket arch gradually came into view.Its basic structure is composed of three circular arcs. Taking the length of the doorway opening as the diameter 2R.\u003c/p\u003e\n \u003cp\u003eFrom one side, draw one-sixth arc with 1/2R as radius. And the two starting points as the end point down to draw the reverse extension line, the length of R. Connect 1/2R and R as the radius, the end point of the extension line as the center of the circle to draw one-sixth of the arc. Repeat the above on the other side. This form of architecture usually appears adjusted according to the craftsmanship of the craftsman and the aesthetics of the house owner. Most of the materials used in the architecture of Kulangsu Island for the building of the Tikuan-style gatehouse are based on mirrored ash work and water-brushed stone work, and the type of rouge brick decoration is rarely found.\u003csup\u003e\u003cbr\u003e4\u003c/sup\u003eThe \u0026quot;springing line\u0026quot; is the imaginary horizontal line drawn between the two points at which the arch\u0026apos;s springer touches the impost. The \u0026quot;rise\u0026quot; is the distance from the springing line to the highest point of the \u0026quot;intrados\u0026quot;\u003c/p\u003e\n \u003cdiv id=\"ftn1\"\u003e\n \u003cp\u003e\u003csup\u003e5\u003c/sup\u003eBloom,Jonathan M.(2017-05-15).Early Islamic Art and Architecture.Routledge. ISBN 9781351942584.\u003c/p\u003e\n \u003cp\u003e\u003csup\u003e6\u003c/sup\u003ePapadopoulo, Alexandre (1979). Islam and Muslim Art. p. 242. ISBN 9780810906419.\u003c/p\u003e\n \u003cp\u003e\u003csup\u003e7\u003c/sup\u003eGosh, A. (1964). Indian Archaeology: A review 1961-62. New Delhi: Archaeological survey of India. pp. 50\u0026ndash;52\u003c/p\u003e\n \u003c/div\u003e\n \u003cp\u003e\u003c/p\u003e\n\u003c/div\u003e"},{"header":"2 Gatehouse Decoration Style","content":"\u003cp\u003e\u003cstrong\u003e2.1 Southern Fujian Traditional Decoration Style\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eThe traditional gatehouse decoration of southern Fujian on Kulangsu Island is mainly red brick alley, which has a strong traditional architectural style of southern Fujian, and also records the traditional Chinese culture and aesthetic interest of the times. It is also a very precious historical trace of the traditional architecture of Kulangsu Island.\u003c/p\u003e\n\u003cp\u003eKulangsu traditional style gatehouse is mainly made of traditional brick and wood, with the use of water-brushed stone and mirage ash in local areas. The roof of the gatehouse is in the form of\u003c/p\u003e\n\u003cp\u003eThere are the traditional swallow-tailed ridge and horseback styles, and there are also doorways that combine Chinese and Western styles. In Kulangsu Island, there are typical\u003c/p\u003e\n\u003cp\u003eChinese style roofs, with a stack of rouge bricks underneath the roof. There is an archway made of red bricks underneath and red brick retaining walls on both sides. This style is used in the traditional Minnan architectural style in the gatehouses of the Siluo Dacuo complex, Huang\u0026apos;s Small Clan, No. 62 Fuzhou Road, and No. 121 Fuzhou Road (Figure 13).\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003e2.1.1 Red Brick Alley Decoration of Traditional Gatehouse in Southern Fujian\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eThere are many buildings using red brick and rouge brick for building facades in Kulangsu Island, but they are rarely found in gatehouse buildings. The architectural decoration of red bricks is usually found on the gable of the gatehouse. Usually there are two forms of masonry combinations, 1) a more prominent brick is used to support the eaves in the gable section, forming an obvious convex and concave change. Downward, there are usually 4-5 layers of rouge bricks arranged in a smooth manner and stacked with astringent treatment. In the last part of the arch, there are usually one or two rows of full-ding brick. 2) The eaves are supported by one or two layers of full-smooth rouge brick and stacked. The third row is made by rotating the brick horizontally by 45 degrees, pointing the sharp corners outward and extending 1/3 of the brick length forward. After that, two layers of full smooth bricks are used and stacked. The last layer is rotated horizontally by 45 degrees, with the sharp corners pointing outward and extending forward by 1/5 of the brick length (Figure 14).\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003e2.2 Western retroism decoration style\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eMost of the western retroism gatehouse decoration uses architectural materia and decorative elements under the influence of Renaissance, classicism, Gothic revival and other architectural trends, and is the practice of western classicism and eclecticism in domestic architecture. Gatehouse architecture in the Western Revivalist decorative style usually uses vintage mountain flowers, columns and capitals from various periods. Its outline and decorative proportions in the gatehouse are similar to the classical masters. Gatehouse buildings using this style rarely use rouge bricks as external decoration, mostly using mirrored ashlar work and water-brushed stone work, with stone carving at some key node locations. In terms of craftsmanship, most of the gatehouses in this style use a combination of three-dimensional round carving and high-relief carving style. This study traces the origin of the western retro-style gatehouse decoration on Kulangsu Island. The following decorative types are summarized.\u003c/p\u003e\n\u003cp\u003eThe mountain flower wall is usually triangular in shape. If supported by columns, the shamrock walls are placed on above the horizontal structure of the columns or beams. The sill wall may contain a drum chamber. The pediment wall is sometimes the top element of a porch. A symmetrical design with a central point is often used to add grandeur to an entryway. The drum chamber is a triangular area within the fa\u0026ccedil;ade, usually decorated with a sculpture that can be a freestanding triangle. Inscriptions may be inscribed within the drum room, and texts such as family names and villa names typically appear in drum buildings.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003e2.2.1 Swan\u0026apos;s neck pediment gatehouse decoration\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eSwan\u0026apos;s neck pediment is a kind of broken pediment with S-shaped curve, its shape is like two swans\u0026apos; necks facing each other, and a scroll-like style often appears at the end of the neck of the swans, and this style is often found in Colonial Revival style, Federal style, and Georgian Revival style. The swan-neck sill-wall basically gets rid of the original supporting function of the sill-wall, and its again defines the Baroque style and from the Neoclassical style of architecture. Most of the Swan Neck Hillflower type gatehouse decorations are used in combination with rose decorations, and square doorways and segmented doorways appear in the lower part of the Hillflower. In Kulangsu gatehouse architectural decoration this type mostly uses mixed materials of brick and wood, water-brushed stone materials and mirage ash materials. It appears at the doorway openings with small openings. In American colonial architecture, this classic architectural style still exists, and it is a classic detail that endures. On Kulangsu Island No. 17 Longtou Road, No. 11 Fuxing Road, and No. 19 Naicuoao Road (Figure 15) are decorated with swan neck mountain flowers.\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003e2.2.2 Broken pediment doorway decoration\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eBroken pediment is a triangular pediment with a gap or break at the top or bottom, usually filled with chalices, crosses or other ornaments, which is found in classical Greek and Roman architectural styles and their derivatives, including Colonial Revival, Georgian Revival, Neoclassical, Italian Revival, Fine Arts Classical and other styles. The \u0026quot;partitioned\u0026quot; mountain flower provides a certain visual interest and rhythm compared to the full mountain flower. In the Italian and Art Nouveau styles, this style usually omits additional decoration. It is simple in form and has classical characteristics. In Kulangsu Island, only the second floor entrance of the Bagua Building is found to be decorated with a very classical partition type of mountain flower(Figure 16).\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003e2.2.3 Rounded Mountaintop and Dome Shawl Mountaintop Decoration\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eCircular crenellated wall decoration is usually found in crenellated walls spanning porticos, doors and windows, and is generally found in Classical Greek and Roman architecture and derivatives, in Classical Revival, Federal, Neoclassical, and Renaissance styles. Its hillflower form comes from the evolution of round-arched architecture, and its use as decoration began in Roman architecture and continued until the Renaissance thing, gradually evolving into the swan-neck style later on. In Kulangsu building gate tower hillflower decoration, the round hillflower is usually made of rouge brick across, with additional stacks on both sides, while increasing the horizontal partition on both sides.\u003c/p\u003e\n\u003cp\u003eThe dome shawl-style mountain flower architecture is an evolution of the traditional round mountain flower. It first appeared in textile motifs in the 1100s AD, and gradually became a typical feature of the Gothic and Gothic\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eThe dome shawl style is an evolution of the traditional rounded sorrel. The dome and shawl style was introduced to Europe from the Middle East and came to Europe through the Venetian trade. It then became a characteristic of the Gothic architectural style, especially evident in the Gothic decorative elements of the late 14th and 15th centuries. It is more common in the gatehouse architecture of Kulangsu. Its shawl is usually immediately below the porch column. This makes the gatehouse form a kind of porch space, which visually increases the depth and enriches the light and shadow effect of the fa\u0026ccedil;ade (Figure 17).\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003e2.2.4 Typical mountain flower doorway decoration\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eArchaic gable is a triangular decoration on the beams of buildings often used in the Greek and Roman periods and the Renaissance, supported by columns or pilasters. It originated from the Mycenaean era in the form of a lion\u0026apos;s gate, and the Greek period temples were often decorated with sculpted archaic mountain flowers. In ancient Rome, the Renaissance and Restoration ideas, the typical wall was used as a non-weighed structure for windows, doors and doorways. They were often used to protect windows and prevent rainwater from pouring in, etc.\u003c/p\u003e\n\u003cp\u003eAs classical architecture spread to England during the Renaissance, the typical sill was no longer suitable for steep and sloping building roofs. As a result, the typical pediment was separated from the structure. The form of the shamrock wall depends on the main function of the roof, and the subsequent round shamrock decoration, broken partition shaped shamrock decoration, and swan neck shamrock decoration are variations of the archaic typical shamrock. The proportion of gatehouse buildings using ancient typical mountain flower decoration in the gatehouse buildings of Kulangsu Island is not much. Most of them are built by using water-brushed stone and mirage ash process, using a combination of relief decoration and round carving decoration. For example, the gatehouse buildings of No. 158 Naicuoao, No. 20 Fujian Road and No. 3 Fairway Road (Figure 18) all use ancient typical mountain flowers.\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003e2.3 Gatehouse of Chinese and Western style\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eWhen the overseas Chinese in the southeast coast returned to China and started to build houses on Kulangsu Island, a combination of Chinese and Western styles of gatehouses began to emerge. This style is the exploration of the Chinese under the influence of Western culture. It evolved in two directions: 1) using Western architectural style in the doorway shape and traditional Chinese patterns such as dragons and phoenixes in the mountain flower decoration patterns. This approach appears in overseas Chinese foreign building architecture, for example: Li Jia Zhuang Villa, No.3 Fairway and other gatehouse architecture shapes are based on western gatehouse forms, and Chinese patterns are used in the decoration. 2) Some buildings use traditional gatehouse forms in their shapes, such as double-slope roof, bucket arch, doorway opening forms, etc.; western traditional elements are used in some architectural details, such as column bases, column bodies, etc. For example, the gatehouse building of Jingualou (Figure 19).\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003e2.4 Modern style and other styles\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eModern style originated from the International Congress of Modern Architecture (CIAM) after the Second World War. From 1928 to 1959, CIAM was an important platform for discussing architecture and urbanization. Modern architecture was influenced by the CIAM discussions as well as by the artistic styles and modern architectural thinking popular in Europe in the 1920s. Instead of the traditional three-part, symmetrical layout, Modern-style gatehouse architecture adopted segmented, broken and asymmetrical compositions. Instead of scrolling, laurel and rose motifs in the detailed decoration, geometric shapes such as rectangular arrangements, trapezoids, pentagrams and ribbons are used. The forms and decorations are distinctly different from other styles on the island. The use of materials generally uses water-brushed stone for exterior decoration (Figure 20).\u003c/p\u003e"},{"header":"3 Gatehouse Architectural Detail Decoration And Traceability","content":"\u003cp\u003e\u003cstrong\u003e3.1 Stella decoration\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eThe decoration in this figure is mainly found on the top of mountain flowers, monuments and temple buildings, and the prototype of its form has come from the shape of Greek lilies and lotus flowers. As shown in Figure (Figure 21) its earliest record is in the Greek painted pottery vase, by the alternation of honeysuckle and Greek lily flowers, forming a kind of decorative pattern with like tension. Later this decorative pattern was gradually used in architectural decoration. In architectural decoration, it is likely to be derived from the pattern of two colors of bricks laid together. In a certain scale, it consists of the form of gold and silver flowers surrounded by an oval outline, or a pair of scrolls and gold and silver flowers combined together. In the Kulangsu Gatehouse decoration honeysuckle decoration generally appears on the top of the mountain flower, the honeysuckle leaves are fuller and the carving is vivid. Usually using water brush stone decorative materials, some gatehouse buildings will also be mixed with white stone, granite and other materials. The style of honeysuckle is found in No.52 Anhai Road and No.119 Fuzhou Road.\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003e3.2 Cross decoration pattern\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eThe cross decoration is usually found at the top of the mountain flower wall. In the Norman period, it was a simple cross with equal arms. In the Gothic period the cross gradually changed to octagonal style and added many partitions, while a snowflake-like style appeared. The Baroque period retained the basic form of the cross decoration and attached many vine decorations around it, making it complex and complicated. These decorations were not the only forms used to present the characteristics of the period, but most architectural forms used them as the basic form with slight variations. The crosses in Kulangsu architecture are found on the tops of mountain flowers, often accompanied by complex vine decorations and additional bright colors (Figure 24). Most of its materials are made by the mirage technique, and are assembled on the mountain flowers after being made by workers in advance.\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003e3.3 Chalice (Roman pot) decoration and its evolution decoration\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eThe decorative motifs based on the chalice are more common in the decoration of the mountain flowers on Kulangsu Island, and generally appear on the top of the columns on both sides of the mountain flowers. The chalice decoration originated from the worship of Christianity in the medieval period. The chalice is a symbol of immortality and life as a being of power in Christian doctrine. The origin of the chalice is that Joseph used the chalice to receive the blood of Jesus on the cross, and subsequently, the chalice decoration appeared in Western architectural art. \u003csup\u003e[8]\u003c/sup\u003eAfter the Middle Ages, the chalice decoration was mainly found on the cross section of the mountain flower and the top of the corridor columns on both sides. The evolution of chalice decoration also appeared in the decoration of the gatehouse of Kulangsu Island, with the appearance of traditional Chinese decorative elements and Southeast Asian decorative elements. For example, the decorative motifs such as golden gourds and lotus flowers, which are usually made of mirrored gray. The decorative style and details are directly related to the craftsmanship of the craftsmen and the aesthetics of the house owner.\u003c/p\u003e\n\u003cdiv id=\"ftn1\"\u003e\n \u003cp\u003e\u003csup\u003e8\u003c/sup\u003eZhang Jia Yun, Zhang Ya Wei, Jui Wei Zhong. The Cultural Meaning of the Exterior Architectural Symbols of the Everbright Bank Building on the Bund in Shanghai[J]. Sichuan Building Materials,2012,38(03):36-37+39.\u003c/p\u003e\n\u003c/div\u003e"},{"header":"4 Conclusion","content":"\u003cp\u003eAs an early port area, Kulangsu Island brought in a large number of European, East Asian and Southeast Asian settlers, as well as a large number of architectural elements and decorative materials from Europe, Southeast Asia and other regions. The interaction between different decorative materials and architectural elements and cultures from different backgrounds has resulted in the formation of a unique \"Amoy decorative style\". The Kulangsu Gatehouse is decorated with traditional European composition proportions and architectural geometric analysis, using R as the basic modulus for cutting and quantifying the composition, which in turn reveals the Tic-tac-toe, Auggie, Trefoil, Tudor and multi-sectional arch styles and the determination of contour proportions. Among the types of shanhua, the Minnan style shanhua with very Chinese characteristics appeared on the gate tower shanhua of Kulangsu Island; the shanhua decoration dominated by Western retroism also appeared on the shanhua architecture of Kulangsu Island; the modern style with very contemporary characteristics occupied a place on Kulangsu Island because of the intermingling of cultures and development, and was also called the testing ground of modern architectural decoration.\u003c/p\u003e\u003cp\u003eMost of the architectural decorations on Kulangsu Island are decorated with water-brushed stone and mirrored ash, and some of them are made of carmine bricks stacked on top of each other, which are distinctive of the times. Its architectural decoration represents the awareness of European colonization, Japanese invasion and Southeast Asian Chinese on architectural decoration in the early 20th century, demonstrating the direct exchange between different cultures and forming the practice .\u003csup\u003e[9]\u003c/sup\u003e From the preserved decoration, there is no exclusion in decoration between the Chinese, the local residents and the colonizers. The Kulangsu mountain flower decorative art epitomizes the decorative art of the East and West in the 20th century, forming a new \"Amoy decorative style\". The architectural decoration of Kulangsu Island was showcased in the internationalization of the world's architectural decoration from the end of the 19th century to the beginning of the 20th century, which tended to be eclectic. The Kulangsu mountain flower decoration is a vivid example of how foreign cultures collided, exchanged and then merged with local cultures and came to life.\u003c/p\u003e\u003cp\u003e\u003csup\u003e9\u003c/sup\u003eQian Yi, Wei Qing. Modernization and localization--the development of Kulangsu architecture[J]. Architectural History,2017(01):151-161.\u003c/p\u003e"},{"header":"Abbreviations","content":"\u003cp\u003e\u003cem\u003eKulangsu = Amoy Gulangyu\u003c/em\u003e\u003c/p\u003e"},{"header":"Declarations","content":"\u003cp\u003e\u003cstrong\u003eAvailability of data and materials\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003e\u003cem\u003eThe source of the images in the article was obtained through the author\u0026apos;s field visit and research in 2021.\u003c/em\u003e\u003cem\u003eData sharing is not applicable to this article as no datasets were generated or analysed during the current study\u003c/em\u003e\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eCompeting interests\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003e\u003cem\u003eThe author has declared that no competing interests exist.\u003c/em\u003e\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eFunding\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003e\u003cem\u003eThe author received no specific funding for this work.\u003c/em\u003e\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eAuthors\u0026apos; Contributions\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003e\u003cem\u003eH\u003c/em\u003e\u003cem\u003eu shen\u003c/em\u003e\u003cem\u003e, and L\u003c/em\u003e\u003cem\u003eiu Yufan\u003c/em\u003e\u003cem\u003e\u0026nbsp;designed the study, performed the research, analysed data, and wrote the paper.\u003c/em\u003e\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eAcknowledgements\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003e\u003cem\u003eThank you to Professor Qian Yi of North China University of Technology for his valuable feedback on the paper, and to Professor Zhang Shuming of Huaqiao University for his assistance in the research\u003c/em\u003e\u003c/p\u003e"},{"header":"References","content":"\u003col\u003e\n\u003cli\u003eThe \u0026quot;springing line\u0026quot; is the imaginary horizontal line drawn between the two points at which the arch\u0026apos;s springer touches the impost. The \u0026quot;rise\u0026quot; is the distance from the springing line to the highest point of the \u0026quot;intrados\u0026quot;\u003c/li\u003e\n\u003cli\u003eBloom,Jonathan M. (2017-05-15). Early Islamic Art andArchitecture.Routledge. ISBN 9781351942584.\u003c/li\u003e\n\u003cli\u003ePapadopoulo, Alexandre (1979). Islam and Muslim Art. p. 242. ISBN 9780810906419\u003c/li\u003e\n\u003cli\u003eGosh, A. (1964). Indian Archaeology: A review 1961-62. New Delhi: Archaeological survey of India. pp. 50\u0026ndash;52\u003c/li\u003e\n\u003cli\u003eZhang Jia Yun, Zhang Ya Wei, Jui Wei Zhong. The Cultural Meaning of the Exterior Architectural Symbols of the Everbright Bank Building on the Bund in Shanghai[J]. Sichuan Building Materials,2012,38(03):36-37+39.\u003c/li\u003e\n\u003cli\u003eQian Yi, Wei Qing. Modernization and localization--the development of Kulangsu architecture[J]. Architectural History,2017(01):151-161.\u003c/li\u003e\n\u003cli\u003eShi Lin. A study on the decorative patterns of modern architecture in Amoy[D]. Jiangnan University,2020.DOI:10.27169/d.cnki.gwqgu.2020.000014.\u003c/li\u003e\n\u003cli\u003eWei Xingli. Analysis of Yunnan Dali Bai architectural decorative patterns--shanhua[J]. Art and Design,2011(03):75.\u003c/li\u003e\n\u003c/ol\u003e"}],"fulltextSource":"","fullText":"","funders":[],"hasAdminPriorityOnWorkflow":false,"hasManuscriptDocX":true,"hasOptedInToPreprint":true,"hasPassedJournalQc":"","hasAnyPriority":false,"hideJournal":true,"highlight":"","institution":"","isAcceptedByJournal":false,"isAuthorSuppliedPdf":false,"isDeskRejected":"","isHiddenFromSearch":false,"isInQc":false,"isInWorkflow":false,"isPdf":false,"isPdfUpToDate":true,"isWithdrawnOrRetracted":false,"journal":{"display":true,"email":"[email protected]","identity":"researchsquare","isNatureJournal":false,"hasQc":true,"allowDirectSubmit":true,"externalIdentity":"","sideBox":"","snPcode":"","submissionUrl":"/submission","title":"Research Square","twitterHandle":"researchsquare","acdcEnabled":true,"dfaEnabled":false,"editorialSystem":"","reportingPortfolio":"","inReviewEnabled":false,"inReviewRevisionsEnabled":true},"keywords":"pediment, Decoration, kulangsu Islet, Composition","lastPublishedDoi":"10.21203/rs.3.rs-2770814/v1","lastPublishedDoiUrl":"https://doi.org/10.21203/rs.3.rs-2770814/v1","license":{"name":"CC BY 4.0","url":"https://creativecommons.org/licenses/by/4.0/"},"manuscriptAbstract":"\u003cp\u003eThe architectural decoration of Kulangsu is complex and magnificent, including the characteristics and styles of classicism, eclecticism, traditional style of southern Fujian, and decorative style of Amoy. It is a treasure house of architectural decoration patterns. At the same time, the development of Kulangsu architecture is the same as the internationalization of modern architecture. Therefore, many modern style gatehouse decoration appeared in the buildings of Kulangsu. Based on the outline of the gate building, the way of arching and the significance of decorative patterns, this paper traces its origin and analyzes its geometry. The geometric relationship in the decoration of the gate house on Kulangsu Island is sorted out, and the gate house style and the gate house mountain flower style are specifically and systematically classified. It is hoped that the relationship between overseas Chinese, local residents and colonists in Southeast Asia can be explained by tracing the origin of architectural decoration.\u003c/p\u003e","manuscriptTitle":"A Study on the Facade Decorative in Kulangsu","msid":"","msnumber":"","nonDraftVersions":[{"code":1,"date":"2023-04-11 19:07:24","doi":"10.21203/rs.3.rs-2770814/v1","editorialEvents":[{"type":"communityComments","content":0}],"status":"published","journal":{"display":true,"email":"[email protected]","identity":"researchsquare","isNatureJournal":false,"hasQc":true,"allowDirectSubmit":true,"externalIdentity":"","sideBox":"","snPcode":"","submissionUrl":"/submission","title":"Research Square","twitterHandle":"researchsquare","acdcEnabled":true,"dfaEnabled":false,"editorialSystem":"","reportingPortfolio":"","inReviewEnabled":false,"inReviewRevisionsEnabled":true}}],"origin":"","ownerIdentity":"73afdb95-a7f5-40e3-aa61-07645574488e","owner":[],"postedDate":"April 11th, 2023","published":true,"recentEditorialEvents":[],"rejectedJournal":[],"revision":"","amendment":"","status":"posted","subjectAreas":[],"tags":[],"updatedAt":"2023-04-16T17:14:24+00:00","versionOfRecord":[],"versionCreatedAt":"2023-04-11 19:07:24","video":"","vorDoi":"","vorDoiUrl":"","workflowStages":[]},"version":"v1","identity":"rs-2770814","journalConfig":"researchsquare"},"__N_SSP":true},"page":"/article/[identity]/[[...version]]","query":{"redirect":"/article/rs-2770814","identity":"rs-2770814","version":["v1"]},"buildId":"7rjqhiLT3MXkJMwkYKINL","isFallback":false,"isExperimentalCompile":false,"dynamicIds":[84888],"gssp":true,"scriptLoader":[]}