Lu Qingyi naturally has a way to avoid layers of obstacles.

She seemed to naturally know what kind of secrets would be in this ancient Chang'an City in the secret realm, but the target was a large manor-like location.

She slowly appeared within the courtyard wall, but she looked around.

It's very quiet, it's not just the sight that is blocked inside and outside here, but also the sound, at least Long Yifei's singing voice can't be transmitted into here, you know, as far as she knows, this is an arsenal.

The so-called arsenal is naturally the most important place in Chang'an in the Han Dynasty.

Here is Weiyang Palace in the west, Changle Palace in the east, and Mingguang Palace in the north, which can be said to be the core of Chang'an.

If you want to enter here, you must go through layers of obstacles and levels, but this is how Lu Qingyi entered.

This at least shows that she must have a similar magic weapon in her hand, and she can jump into here at once.

Moreover, it is also necessary to understand the internal layout of this arsenal, the general layout, and finally, to be able to so confidently transmit to the weak links of the arsenal.

Could it be that Lu Qingyi also has his own sources in the secret realm?

As we all know, the differences between Chinese and foreign civilizations are obvious, and the most obvious evidence of this difference is the huge difference in architecture, which is also the most direct manifestation of the difference between Chinese and foreign civilizations. This difference is mainly manifested in the building materials and architectural styles. People mainly have such a question, why ancient Chinese buildings are mainly wooden structures, while the buildings of several other ancient civilizations are mostly built of stone?

There is no shortage of stone in China, and there is no shortage of wood in China than in Europe, where the climate and geography are more suitable for the growth of trees. And the "technology decision theory" is also difficult to establish. The history of the use of stone materials in construction by the Chinese is not later than that of the Europeans, and the remains of megalithic buildings from the primitive era are an example. The stone tombs and tombs of the Han Dynasty, as well as the stone ques in front of the mausoleum, still remain. The Han Dynasty people have mastered the arch and dome technology and applied it to the tomb construction, and the Zhaozhou Great Stone Bridge built in the Sui Dynasty is far ahead in the world in terms of span and shape. The history of building walls out of stone is even longer, and the city of Nanjing, famous as the "Stone Town", already had stone walls during the Three Kingdoms period at the latest. The stone pagodas in Chinese history have attracted the attention of the world with their exquisite technology and superb skills. In fact, if you look at the beautifully carved stone pedestals, railings, tall Huabiao stone pillars, and white marble bridges in Chinese architecture, you can see that the Chinese are no less than any other country in the same period in terms of stone construction and stone carving technology. Obviously, it is not acceptable to say that the Chinese adopted wooden buildings because of their backward stone construction technology. The Chinese have both stone sources and stone construction technology, but they do not use them on houses for human use, but only on the graves of the deceased, mausoleums, or military installations and some ceremonial and decorative structures.

In my opinion, the attitude of the ancient Chinese towards stone structure buildings was either impossible or not. We can analyze why ancient Chinese architecture formed the mainstream of wooden structure from the perspective of cultural orientation, architectural purpose, and architectural conceptThe mainstream of ancient Chinese architecture is wood structure, while the mainstream of ancient European architecture is stone structure, and the difference between the two is very obvious. There are several possible reasons for this difference.

One is the purpose of the building. Since the West was mostly ruled by religion in ancient times, and the power of the state was also dependent on the church, Western architecture was naturally inseparable from religion and gods. The mainstream architecture of the ancient and medieval West was built for the gods. The deity or God is the supreme being, the building of God and God, to be eternal, magnificent, and have the power to intimidate man. Westerners tend to spend hundreds of years building a cathedral because it is otherworldly, not earthly, and the builders are not in a hurry to build it in a very short time. In ancient China, the power of dynasties was greater than anything else, and the power and status of religion were not comparable to the power of secular dynasties. Therefore, the mainstream architecture of ancient China was built for the people of the present world, such as the palace of the emperor, the government office and various residences of different levels, which is the mainstream part of Chinese architecture. There are also religious buildings in China, such as Buddhist temples, Taoist temples, ancestral temples, etc. However, the attitude of the Chinese towards Buddhist temples and Taoist temples, as well as the houses of mortals, is mainly to shelter the idols of gods and Buddhas, and does not seek the longevity of architecture and sculpture. Therefore, Western architecture, which pursues eternity and timelessness, adopts stone structures, while Chinese architecture, which focuses on the modern world, adopts wooden structures.

The second is cultural orientation. Westerners have a special love for stones. In ancient Greek mythology, the human beings who suffered the Great Flood were recreated from stone, and stone is the material that created human beings, so it is reasonable to use stone to build the most important buildings. The situation in China is different, the ancient Chinese emphasized the five elements of yin and yang. The five substances in the five elements, metal, wood, water, fire, and earth, correspond to the five directions (west, east, north, south, and center). Among them, the earth represents the center, represents the earth that carries all things and nurtures all things, therefore, the soil has a high status, and the wood in the five elements represents spring, is the east, and is a symbol of life and growth power. However, the five elements of "fire", "metal" and "water" are all considered unlucky. Obviously, among the five materials most admired by the Chinese represented in the five elements, only earth and wood are the most suitable for building houses for people to live in, so the basic material of ancient Chinese architecture is "earth", and people live in a space carried by "earth" and surrounded by wood.

Ancient Roman architects, as early as 2000, put forward the three principles of "solidity, practicality, and beauty" in architecture. The building must first be strong, solid and long are linked, and if you want to be strong and long-lasting, stone is the most appropriate building material. In addition, Westerners pay attention to the external beauty of architecture, that is, architecture should give people a pleasant feeling. Therefore, great attention is paid to the external shape of the building, but in Western culture, the quality of the internal space of the building is not discussed much. No matter how huge the building is and how gloomy the interior, as long as it is sturdy and durable, as long as it looks pleasant, it is good.

Chinese, on the other hand, the ancient Chinese did not seek to make the building strong and long-lasting, nor did it simply take the beauty of the building as a goal. Chinese pursue more the suitability of space and the harmony of yin and yang. Obviously, contrary to Westerners, who focus on the solidity and beauty of architectural entities, Chinese pay more attention to the carrying and embracing of space, and the harmony of yin and yang. The basic spatial ideal of the ancient Chinese was to live in a space where yin and yang are negative and yin and yang are combined. That is, the Chinese house is not for seeing, but for inhabiting. The best realm of residence is the harmony of yin and yang, which is from the architecture of the Ming and Qing Forbidden City in Beijing.

This is also a characteristic of houses in the Han and Tang dynasties.

In the West, there is a tradition of religion, and churches that are the space of the gods make people feel small through their grandeur, and the use of stone as a material can be preserved for a long time.

The use of wooden structures in China should have been stereotyped since the Shang Dynasty, and the characteristics of the merchants themselves determined that they preferred wooden structures. One is that the monarch of the Shang Dynasty was a high priest himself, but unlike the entire Western religious tradition, the Chinese priests did not have such a long-term vision. Yin Xu's oracle bone rhetoric is basically to ask the heavens about the situation within ten days, such as what the weather is like recently, where to go hunting, and so on and so on very real questions (the reality of the Chinese is really traditional), and it does not ask the ultimate question of where we came from and where we are going. So they don't think about the inheritance of the faith. Second, the Shang Dynasty had a very dense migration of the capital due to the succession to the throne and drought and floods, and it was naturally very inconvenient to use stone materials in the whole process of moving the capital, and it was a better choice to use wooden materials.

Visually, people can usually observe and appreciate the shape and beauty of buildings from three different distances: far, middle and near. Because Western architecture gives people the greatest and most opportunity to appreciate it from a medium distance, it is all about seeking the best effect at this time in the composition of the interior. Classical Chinese architecture did not pay enough attention to the visual effect of the middle distance, because few buildings fully showed themselves in the middle distance. However, great attention is paid to the effect of the vista, and after careful overall planning, it presents a graceful and soft outer contour line. Sometimes the breadth of the spectacle is incredibly far away. Built in the 16th century in the Ming Dynasty, the stone memorial arch of the Ming Tombs is the central axis facing the top of the main peak of Tianshou Mountain, 10 kilometers away, and is used as the starting point for the world's most extensive building complex. Jingshan Mountain in the center of Beijing and Wanshou Mountain in the Summer Palace are all small hills that have been artificially processed. The five pavilions on Jingshan Mountain and the Buddha Incense Pavilion on Wanshou Mountain are still intended to form a magnificent and majestic vista including natural scenery. Visually, the grandeur and grandeur of the layout of these buildings can only be appreciated from a distance, but when approached, they are unremarkable.

The two different design ideas and structural styles of China and the West have led Westerners to focus on expanding the scale of space in architecture, while the Chinese are mainly committed to expanding on the plane. For example, the Louvre Museum in Paris and the Forbidden City in Beijing, both of which have similar total floor areas, have similar total floor areas, but the Westerners' design intention is to complete a multi-storey building, while the Forbidden City is organized into a close-knit complex with a vast and far-reaching plan, and its base area is almost twice that of the Louvre.

Ancient Chinese building materials were mainly civil engineering, which has been inherited for thousands of years. In China's long historical development, the combination of civil and engineering gradually adapted to the self-sufficient agricultural socio-economic structure of China's feudal society, and fit the political consciousness, clan concept, cultural connotation and aesthetic psychology in the feudal period. In terms of the properties of wood itself, its elasticity, flexibility and mildness are incomparable to other materials. At the same time, both soil and wood can be used locally, and there is no need to consume a lot of manpower in the reserve, the construction period is short, and the scale and shape of the house can be flexibly controlled. In terms of aesthetics, the texture and color of this material are simple and natural, and it also satisfies the aesthetic taste of natural naivety advocated by traditional Chinese philosophy, and reflects the affinity and harmony between man and nature.

Traditional Chinese painting language pays attention to the "beauty of line", pays attention to the tactfulness, flow and rhythm of the line, and traditional Chinese architecture is also good at using line modeling and line to convey feelings, and the wooden beams and columns can just adapt to the artistic appeal of this "line". Therefore, both the outer contour of individual buildings and the skyline of group buildings in traditional Chinese architecture are similar to the hooking and depiction techniques in Chinese paintings. The geometric aesthetics and mathematical logic founded by Pythagoras and Euclid in ancient Greece, and the "beauty of order" advocated by Aristotle, have had a decisive impact on Western architectural civilization. Looking at the history of Western architecture, it is not difficult to find that the shape of Western architectural beauty is actually geometric shapes: the shape of the Parthenon in Athens is two squares, and from the dome of the Pantheon in ancient Rome to the ground, a sphere with a diameter of 43.3 meters can be inserted. This is not only the case in architectural modeling, but also deliberately created in landscaping, and even natural objects such as flowers and trees must be manually pruned and carved to present a neat and orderly geometric pattern. Westerners believe that the architecture of beauty is composed of clear geometric shapes, proportions and definite quantitative relations, so they often use the combination of logical geometric shapes and numbers to shape the formal beauty of the building, and the thick and hard texture of the stone can well shape the volume of the building.

First of all, the ancient Chinese did not pursue the eternity of the architecture of the living, but were more enthusiastic about building the tombs of the dead, and superstitious about the theory of reincarnation.

Timber architecture is characterized by modularity, the rhythm of unit repetition, and the variation of group combinations. Although the scale is limited, the variation is endless. In order to pursue architectural momentum, the ancient Chinese also thought of many tricks.

Under the long-term feudal system, Chinese architecture has formed a highly mature and complete system of etiquette system, with clear regulations on building types, sizes, surface widths, and depths. Ordinary people are not allowed to cross the rules. At the same time, China has always been a secular society, and the enthusiasm for building temples is far less than that of building churches. The temple in China was the first house of the officials of the Han Dynasty as a temple, that is, they donated their own homes to become temples.