1. Can I spray water on the leaves of a cross begonia?
Begonia leaves have a strong ability to multiply. Even if a leaf is cut into multiple pieces, they can still sprout new buds. Their reproductive prowess is even comparable to that of a plant that grows from leaves.
Begonias can be propagated from leaves; a single leaf can produce many seedlings. Using perlite is sufficient.
Of course, using begonia leaf cuttings requires certain techniques; it’s not as easy as simply burying them in soil and expecting them to root.
You’ll need to prepare a sharp blade, rooting powder, and some sterilized, loose, sandy soil.
Begonia leaf cuttings are best grown in granular soil that ensures good air permeability, drainage, and adequate water retention. Pure perlite or vermiculite is ideal for this purpose. This ensures the soil is free of pathogens and provides a favorable environment for the leaves to sprout new roots. Begonias can be propagated from leaves. A single leaf can produce many seedlings. Perlite is sufficient. First, select a healthy begonia plant, preferably one that is free of pests and diseases, healthy and has already flowered. Also, choose leaves from the right part of the plant. Avoid leaves that are too tender at the top or too old at the bottom. It’s best to choose thick, full leaves near the base. Begonia leaves can be cut along with the petiole, preferably with a sharp, sterilized blade. Half the petiole can be removed and the leaf laid flat on a layer of perlite and vermiculite. Begonias can be propagated from leaves. A single leaf can produce many seedlings. Perlite is sufficient. Alternatively, cut the leaf into several pieces, ensuring each leaflet has a significant number of veins. Begonias can be propagated from leaf cuttings because new buds sprout from the veins. Without these veins, new roots and sprouts will not form.
The cut leaves can be placed in a ventilated and shaded place for about 30 minutes to let the wound dry, and then spread them flat on the soil.
Begonias are propagated by leaves, and one leaf can be used to cultivate many seedlings. Perlite is sufficient.
The perlite and vermiculite should be sprayed with water to moisten them in advance. Choose a shallow pot with many drainage holes at the bottom. Then, spread the leaves on the perlite and place it in a well-ventilated and light-permeable place with a little scattered light in the morning, but avoid direct sunlight.
Begonias are propagated by leaves, and one leaf can be used to cultivate many seedlings. Perlite is sufficient.
Then, you can cover the box with a layer of film, poke a few small holes appropriately, or uncover it for two or three hours every day. While cultivating the begonia leaves, be sure to spray water regularly to keep the soil moist. In addition, maintain the air humidity and keep the environment properly ventilated. Begonias can be propagated using leaves; a single leaf can produce many seedlings. Perlite is sufficient. Maintain a temperature between 20 and 25 degrees Celsius. Do not apply fertilizer during the training period. After about two or three weeks, the seedlings will begin to sprout small buds. Growth will be slow, so be patient and carefully care for them, maintaining a suitable environment. Occasionally spray with fungicides to prevent fungal diseases that could cause new buds to rot. 2. Flowering Period of Iron Cross Begonia 1. Cutting Propagation Cutting propagation is a method that can be used for many begonia varieties. However, it is most suitable for relatively tall begonias with long stems, such as Bamboo Begonia and Silver Star Begonia. Begonia cuttings should be propagated at a temperature of around 20 degrees Celsius. If the temperature exceeds 25 degrees Celsius, the cuttings are more likely to rot.
For begonia cuttings, you need a well-draining medium. You can use vermiculite mixed with river sand or perlite, and then add some carbendazim powder as the medium. As long as the temperature and humidity are suitable, begonia cuttings will generally take root in about two weeks.
2. Seed Propagation
Seed propagation is more suitable for some small begonia varieties, such as four-season begonias and bulbous begonias. As long as the temperature is between 15 and 25 degrees Celsius, begonias can be propagated year-round in a greenhouse. However, spring and autumn are the most suitable sowing methods. If you sow begonias in early spring, they will bloom within a few months, allowing you to enjoy them for a long time. After sowing begonias, you don’t need to cover them with soil. You can cover the pot with plastic wrap to maintain soil moisture. You can poke small holes in the wrap with a toothpick to increase ventilation.
3. Leaf cutting propagation
Leaf cutting propagation is relatively difficult and is generally limited to certain varieties of foliage begonias, such as the Iron Cross Begonia and other begonias with fuzzy leaves. When using leaf cuttings for begonias, flower lovers should choose relatively strong leaves, then cut the main veins on the leaves with a knife and divide them into several parts. Lay the leaves flat or obliquely on a clean leaf cutting medium, bury the petioles in the sand, and press some sand or perlite on top. You can also use intact leaves to propagate foliage begonias.
For leaf cuttings of begonias, flower lovers should frequently spray water around the cuttings to maintain humidity. The temperature should be between 21 and 25 degrees. After about a month, the leaf cuttings of begonias can grow new seedlings. Leaf cuttings of begonias require a warm, humid and clean environment.
4. Propagation by division
Propagation by division is suitable for many varieties of begonias. Many begonias will naturally grow some small plants around the large plants. Flower lovers can separate the small plants around the begonias in spring and autumn, and they will grow into new large plants. Flower lovers of bulbous begonias can divide its tubers. When dividing, each tuber should retain 1 to 2 buds, and then apply wood ash or sulfur powder on the cut to prevent the tuber from rotting.
Except for some foliage begonias with slower growth rates, most begonias can bloom in the same year if the temperature and other maintenance conditions are suitable. Some of them have large amounts of flowers, such as four-season begonias.
3. Can I water the leaves of begonias?
As the saying goes: “Water is life, fertilizer is strength.” This fully illustrates the importance of water to flowers. However, watering methods vary depending on the season, and the amount of water should be adjusted according to the growing season.
In spring, from April to early June, the soil in the crabapple pot must be kept moist. Watering is indicated when the soil turns slightly white. Generally, watering is recommended every one or two days, but not too often. If the soil is too wet and doesn’t dry out for several days, it can easily cause stem rot. Alternatively, a small sprayer can be used to mist the leaves several times a day for better results.
With the arrival of summer, temperatures rise sharply, making it even more important to pay attention to the moisture and humidity of the crabapple. While most flowers and trees require more watering in summer than in spring, the opposite is true for crabapples. In the high temperatures of summer, growth is stunted, resulting in smaller and fewer flowers. Therefore, watering should be reduced in summer, allowing the soil to dry slightly. Watering once every one to two days is sufficient. It is important to frequently mist the ground or the leaves to increase humidity and help prevent heatstroke. In autumn, from September to October, the weather gradually cools, and the crabapple enters its growing season again. At this time, watering can be increased appropriately. Keeping the soil moist regularly will promote flowering. In winter, when temperatures drop, crabapples overwinter indoors from December to February. Growth is slow, and they almost enter a dormant state during the harsh winter. Watering should be reduced even further. It’s best to keep the soil slightly dry. Watering should be done only when the soil turns slightly white and feels firm when pinched. Therefore, crabapples have two watering requirements: more and less. In spring and autumn, their growth and flowering periods, more water is needed, and the soil should be slightly moist. In summer and winter, less water is needed, and the soil can be slightly drier. Winter watering is also important. Watering should be done in the morning or evening, especially during the winter. Watering during this time is less extreme than the temperature of the soil, which is beneficial for plant growth. The key principle for watering is: “Don’t water unless the ground is dry; water thoroughly when dry.” For crabapples, dry means the topsoil feels slightly firm when pinched with your fingers, while the soil beneath should be moist.
4. Cross Crabapple Paving
First, determine the area to be laid and the tile specifications. Then, calculate according to the following formula: Number of tile corners = (Area to be laid / Tile standard area) × 4. “Tile standard area” refers to the area of a single tile, and the “4” refers to the fact that each tile has four corners. Note that this is a theoretical value; actual laying should also take into account factors such as corners and gaps between tiles. 5. Cross Begonia Flower Patterns
Best Viewing Period: Late March to Early April
Location: Xinhe Village, Shizi Town, Langxi County
Xinhe Village, Shizi Town, has established a large-scale planting base for greening, planting cherry blossoms, crabapples, magnolias, camellias, osmanthus, and other flowers and seedlings in zones across nearly 10,000 mu of mountain land. Every spring, this area is a sea of flowers. Depending on the temperature, the cherry blossoms peak from late March to early April. The blooming period is short, lasting only seven days, with peak bloom occurring for only three. However, after seven days, the blossoms begin to fall like snow, creating a spectacular “cherry blossom rain,” blanketing the ground in a blanket of white blossoms. In 2018, Xinhe Village held its inaugural “Xinhe Cherry Blossom Festival,” attracting approximately 300,000 tourists, numerous photography enthusiasts, and prominent media outlets, catapulting Xinhe’s cherry blossoms to fame.
6. Cross-Paved Begonia Street
Begonia embroidery is a traditional Chinese embroidery technique with a millennium of history. Ancient records indicate that its original form was “hard-base embroidery,” involving embroidery on a hard-base silk satin. This technique later evolved into embroidery on softer silk. The crabapple blossom is a key motif in embroidery, symbolizing integrity and loyalty. Furthermore, this embroidery technique is characterized by rich colors and delicate lines. Begonia embroidery is a vital component of traditional Chinese culture, representing the magnificent art of Chinese weaving and embroidery. Begonia embroidery has a long history in China, having become a hobby of literati and scholars during the Ming Dynasty. Today, many embroiderers use it to create exquisite clothing and home textiles. 7. The Meaning of the Cross Begonia For growing crabapples, choose a mixture of sand, leaf mold, and peat moss. Watering should be moderate, depending on the temperature. The optimal condition is to keep the soil slightly moist. In summer, full sun exposure is not recommended, but prolonged shade is also undesirable. A normal amount of light is sufficient. Apply phosphorus and potassium fertilizers in autumn, well-rotted organic liquid fertilizer during the budding phase, and concentrated fertilizer during the peak growing season. 1. Soil Selection: Domesticated flowers have relatively high soil requirements, and the best soil for growing crabapples is one with a moderately fertile, loose texture, and good drainage. If you’re unsure, mix sand, leaf mold, and peat moss in a suitable ratio. Alternatively, you can purchase soil directly from a florist. 2. Watering: The amount of watering for crabapples should vary according to the temperature and season. In summer, water every one to two days, preferably in the evening or early morning. In spring and autumn, water every three to five days, at your own discretion. In winter, water every five to six days, preferably around noon.
3. Light: Excessive light can affect the flowering and foliage growth of crabapples, so we need to provide shade and shading in the summer. However, prolonged exposure to darkness can also cause crabapples to stop growing or even die, so a normal amount of light is necessary daily.
4. Fertilization: Fertilizing crabapples should be tailored to their growth cycle. In spring, when they sprout and grow, we need to apply well-rotted organic liquid fertilizer. During peak growth, we need to apply highly concentrated fertilizers. In autumn, when they are shedding their leaves, we need to apply phosphorus and potassium fertilizers.
5. Pruning: Pruning crabapples should be done between leaf fall and budding. During this period, we need to prune the branches and leaves that have withered and fallen. If there are branches that have grown too long, they should also be cut off. This will preserve enough nutrients for the next germination and flowering.
8. Can Begonias be propagated by leaf cuttings?
Begonias can be propagated by stem, rhizome, and leaf cuttings. First, you need to mix peat soil, pine needles, and perlite to prepare a potting soil suitable for propagation. Before leaf cuttings, you need to soak the petiole in rooting water. After the petiole takes root, you can cut it into the potting soil together with the stem and rhizome and wait patiently for rooting and germination.
Three cutting methods for begonias
1. Material selection for cuttings
Many people don’t know that begonias can actually be cut from stems, rhizomes, leaves and other parts. The essence of the three cutting methods is not much different. The cuttings need to be placed in the soil and soaked in rooting water for a period of time before they can take root and sprout.
2. Soil preparation
When begonias are cut from stems, rhizomes, and leaves, a mixture of peat soil, pine needles, perlite and other materials in a ratio of 3:1:1 is needed as a substrate. This kind of soil is highly breathable and air-permeable, and it also makes it easier for the stems, rhizomes, and leaves to take root in the soil.
3. Leaf treatment
Among the three methods of begonia cuttings, if you use leaf cuttings, you need to soak the leaves in rooting water first. After a few days, they will take root in the water. This way, the success rate of leaf cutting propagation will be higher. In fact, you can also cut the upper leaves in half.
4. Cutting management
The stems and rhizomes are directly cut into soil suitable for growth, while the leaves need to wait until they take root in water before they can be transplanted into potting soil. The soil needs to be kept moist. After a month, the stems, rhizomes, and leaves have taken root in the soil and adapted to the soil before applying fertilizer. Avoid sunlight. 9. Cross-shaped Begonia Window Lattice During the Paleolithic Age, caves dating back to the Middle Paleolithic have been discovered in areas such as Yanqu, Shanxi, Shaoguan, Guangdong, and Changyang, Hubei. By the Neolithic Age, various clans and tribes, large and small, had emerged in China and had begun engaging in agricultural production, leading to the emergence of various types of houses and settlements. Regarding the development of cave dwellings, the general progression from cave dwellings to semi-cave dwellings, to above-ground buildings, and finally to above-ground buildings with platforms was evident. The living and residential areas gradually rose in height from low to high. In plan, they evolved from circular to square, rectangular, and finally rectangular. The number of rooms increased from a single room to two rooms in front and back, or even multiple rooms in parallel. The Shang Dynasty had a highly developed bronze craft industry, leaving behind a large number of oracle bones. The characters “宫,” “高,” “京,” and “宗” in oracle bone inscriptions indicate that buildings of varying styles included platforms and stilt houses. Flat tiles, tubular tiles, and ridge tiles appeared, becoming common during the Spring and Autumn Period, and ceramic drainage pipes also appeared. Architectural colors began to have a strict hierarchy. Emperor Wu of Han abolished all schools of thought, prioritizing Confucianism alone. He established a ritual system and consolidated imperial power, which became the dominant ideology in China for over two thousand years. The Confucian ideal of “respecting the dead and remembering ancestors” strengthened the traditional practice of lavish burials dating back to the Shang Dynasty, significantly increasing the scale of mausoleum construction and raising the level of architectural standards. The plan and appearance of buildings in the Eastern Han Dynasty became increasingly complex. Platforms gradually became less common, while pavilions gradually increased. Large numbers of grouped brackets began to be used. Brick and stone structures developed rapidly, with the emergence of various hollow brick tombs, brick vaults, and stone slab tombs. The Han Dynasty marked the first peak period of Chinese architectural development. Residences during this period were smaller in scale, with square or rectangular plans. Most houses employed wooden structures, with the exception of a few using load-bearing walls.
Some artifacts from stilt-style buildings have been unearthed in Guangzhou and Sichuan. These buildings typically consisted of two stories, with an open lower floor and the upper floors used for living or storage, adapting to the hot and humid climate of southern China.
Slightly larger residences employed courtyards, sometimes curved or square. Some had two- or three-story attics. Large aristocratic mansions had a main entrance, with a high center roof and lower sides, and small side doors for easy entry and exit.
The front hall within the courtyard served as the primary building. Some wealthy nobles built garden residences with multi-story pavilions and corridors, stone structures forming hills, and water diverted to form ponds.
As for tombs, during the Spring and Autumn Period and the Warring States Period, trees were planted on tombs rather than covering them with earth. Qin and Han tombs generally had earthen burial mounds.
The Mausoleum of Qin Shihuang, located on Mount Li in Lintong, Shaanxi Province, is the largest of the Qin and Han tombs, constructed from three stacked square rammed earth platforms. The lower level measures 345 meters wide from east to west and 350 meters long from north to south, with each tier tapering inward. From base to top, the three tiers stand 43 meters high. The mausoleum is surrounded by two inner and outer walls. Outside the eastern wall of the mausoleum is a massive terracotta army. The rise of Buddhist and Taoist architecture during the Jin and Southern and Northern Dynasties. Following its introduction to China during the Eastern Han Dynasty and the Jin Dynasty, Buddhism flourished amidst the dire straits of the people. Until modern times, Buddhism achieved significant achievements in architecture, painting, sculpture, and literature, culminating in the Yungang Grottoes. The Wei, Jin, and Southern and Northern Dynasties saw the gradual development of imperial and private gardens. Scholars eagerly sought seclusion, “pursuing their aspirations in seclusion.” Gardens gradually became smaller in scale but richer in content, appreciating the subtle details of the landscape—viewing the larger from the small. The Sui, Tang, and Five Dynasties saw the maturation of Chinese wooden architecture, and a small number of architectural remains from this period remain, representing rare cultural relics. Tang Dynasty architecture is characterized by grandeur, rigor, and openness. Its scale and meticulous planning marked the maturation of China’s overall architectural planning during this period. Its architecture is unpretentious, dignified, and elegant, with a simple, bright color palette. Both the Tang capital of Chang’an and the eastern capital of Luoyang boasted vast palaces, gardens, and government offices, each with a more standardized and rational architectural layout. Chang’an was the largest city in the world at the time, boasting the most rigorous planning of any ancient Chinese capital, and its Daming Palace is particularly majestic. Its ruins cover an area approximately three times the size of Beijing’s Forbidden City. Tang Dynasty wooden structures achieved a perfect integration of artistic refinement and structural form, with components like brackets, columns, and beams embodying a perfect blend of strength and beauty. The main hall of Foguang Temple on Mount Wutai in Shanxi Province is a typical Tang Dynasty building, embodying these characteristics. In addition, brick and stone architecture developed further during the Tang Dynasty, with most Buddhist pagodas constructed of brick and stone. These include the Big Wild Goose Pagoda and the Small Wild Goose Pagoda in Xi’an, the Guang Pagoda at the Huaisheng Temple in Guangzhou, and the Qianxun Pagoda in Dali. All existing Tang Dynasty pagodas in China are brick and stone. Only four surviving Tang Dynasty wooden structures remain today, including the main hall of Foguang Temple and the main hall of Nanchan Temple. However, the earliest, the main hall of Nanchan Temple, was built in the third year of Jianzhong, dating back to the mid-Tang Dynasty. The structure of the early and prosperous Tang Dynasty can be glimpsed through Dunhuang murals and contemporary Japanese architecture. The early Tang Dynasty inherited the Sui Dynasty system, with simple bracket sets, consisting of only one or two jumps. If there were two jumps, the first jump would often be the center, while the second would be the main arch or a replacement. The supplementary spans often used a herringbone arch, occasionally with a hump. A single arch and a single beam formed a set along the center line of the eaves, while two sets were used on the sides with two jumps. The slow arch was not concealed on the beams. Each beam was made of a single piece of wood, with scattered brackets or douzi Shu columns placed between the beams. The prosperous Tang Dynasty saw a booming economy and significant productivity growth, leading to rapid advancements in architectural technology. Brackets quickly matured, reaching a maximum of four steps, with double-crossing and double-lower-angling brackets. Complexity increased, with styles such as jump-by-step centering and double-arch brackets appearing. In the High Tang, brackets often featured a dougong with a smaller outer span, without a doutou. A single dou was used for the interspace, with the dou placed on the hump, and the span was smaller than that of a capital bracket. The mid-to-late Tang, a transition from the High Tang to the Five Dynasties, saw relatively little evolution in brackets. The dougong style, with its doutou extending outward and a dougong extending outward, appeared in the mid-Tang, often carved into the shape of bamboo. The first-story beams of the main hall of Nanchan Temple feature carved dougongs. The Song Dynasty saw significant developments in economy, craftsmanship, and science and technology, leading to a high level of expertise in architects, carpenters, craftsmen, engineers, bracket systems, architectural construction, and architectural design. Construction methods also became increasingly systematic and modular, leading to the emergence of free and varied architectural combinations, a mature style, and a more professional appearance. To increase interior space and light, the practice of reducing and shifting columns was adopted. The number of brackets on beams and columns increased, leading to irregular beam and column layouts, a departure from the neat, orderly arrangement of beams and columns of the Tang Dynasty. Although the Song Dynasty boasted a wide variety of architectural styles, the most prominent structures were pagodas, stone and wooden bridges, gardens, imperial tombs, and palaces. Because garden design, emphasizing artistic conception, sought to blend natural and artificial beauty, the architecture of this period departed from the imposing grandeur of the Tang Dynasty and became delicate and graceful, with soft curves and an emphasis on ornamentation, resulting in ornate and intricate details. The ridges and corners of buildings rose, unlike the heavy, imposing style of the Tang Dynasty, creating a softer, more relaxed impression. Extensive use of paint created striking colors. The carvings and paintings on window lattices, beams, and stone bases were highly varied, and the column shapes were even more diverse. Ming Dynasty architectural style inherited the Song Dynasty’s architectural traditions and initiated the Qing Dynasty’s official construction practices. While there were no significant changes, architectural design and planning were primarily characterized by grand scale and grandeur. The architectural style of the early Ming Dynasty, similar to that of the Song and Yuan Dynasties, was characterized by its simplicity and grandeur. The architectural style of the mid-Ming Dynasty was rigorous, while that of the late Ming Dynasty tended towards complexity. During this period, the art and technology of wooden structures advanced further, and official buildings became more rigorous and stable. Their decoration, painting, and ornamentation became increasingly standardized. Numerous works of brick, stone, glazed tiles, and hardwood were also preserved in the decoration and furnishings. Bricks were widely used in the walls of residential buildings. Local architecture also flourished during the Ming Dynasty, with residences, gardens, ancestral halls, and village buildings flourishing across the country. This was particularly evident in the economically developed Jiangnan provinces of Jiangsu, Zhejiang, Anhui, Jiangxi, and Fujian, where numerous Ming Dynasty buildings remain to this day. During the mid-to-late Ming Dynasty, garden construction reached a new peak across the country. Villages and towns in the affluent Jiangnan region underwent planned development, resulting in many outstanding examples of beautiful environments and excellent facilities. These villages generally boasted high-quality roads and bridges, memorial archways honoring prominent figures in the village, ancestral halls serving as ties between clans, academies for educating children, and public structures such as wind and rain bridges, roadside pavilions, opera stages, and temples. The Ming Dynasty saw major advances in architectural technology: First, improvements in brick production led to increased production, leading to widespread use of brick walls in buildings across the country, including prefecture and county walls, a shift from the predominantly earthen walls of the Yuan Dynasty. Furthermore, a craft developed for using a plane to create various moldings for architectural decoration, known as “brick fineness,” was commonly used for door and window frames, wall cladding, and other applications. Simultaneously, brick carving also saw significant development. Second, glazed glaze production techniques advanced further. Glazed pagodas, glazed doors, glazed memorial archways, and glazed screen walls all saw development during the Ming Dynasty. Glazed tiles became commonplace in temples across the country, and the variety of colors increased, bringing the vibrant and vibrant character of Chinese architecture to a mature stage. Third, timber frame technology advanced in three areas: enhancing overall structural performance, simplifying construction, and enhancing the decorative use of brackets. For example, the Song Dynasty’s common practice of stacking layers of wooden structures to create pavilions was replaced by a monolithic framework composed of pillars connecting the upper and lower floors. Interlaced beams and slatted beams were added between the columns, improving the structure of the pavilions. Dougong (brackets) became smaller and their arrangement became increasingly dense. These factors significantly differentiated Ming Dynasty architecture from that of the Song Dynasty. The Qing Dynasty’s capital, Beijing, largely retained its Ming Dynasty appearance. It boasted 20 tall, majestic gates, the most imposing of which was Zhengyang Gate in the inner city. Continuing the traditions of Ming Dynasty imperial palaces, the Qing emperors built large-scale imperial gardens, which represent the essence of Qing Dynasty architecture, including the magnificent Old Summer Palace and the Summer Palace. In examples of Qing Dynasty architectural complexes, the layout and decorative design of the complexes reached a mature level. Garden architecture, in particular, achieved remarkable sophistication in adapting terrain and space, and in varying forms. The unique style of Tibetan Buddhist architecture flourished during this period. These Buddhist temples boasted diverse forms, breaking away from the monotonous, formulaic approach of traditional temple architecture and creating a rich tapestry of architectural styles. Beijing’s Lama Temple and a number of Tibetan Buddhist temples in Chengde are representative examples. In the late Qing Dynasty, China also saw the emergence of new architectural styles that blended Eastern and Western influences. Driven by the increasing scarcity of timber resources, traditional timber frame techniques were modified, with the use of brick and stone gradually increasing, leading to changes in the architectural appearance. Economic development fostered a hedonistic mentality, leading to a flourishing of decorative art, which spread from everyday objects to architecture. Brick, wood, and stone carving techniques were widely used in architecture. Compared to Ming Dynasty architecture, the Qing Dynasty achieved significant success in garden architecture, Tibetan Buddhist architecture, and residential architecture. Architectural art also emphasized overall layout and the expression of artistic conception, achieving groundbreaking results in decorative art. Therefore, Qing Dynasty architecture holds a crucial position in the history of Chinese architecture, carrying on the past and ushering in the future, and in some aspects, it even serves as a historical summary. There are five main architectural styles: gable roof, hanging roof, hipped roof, hipped roof, and ridged roof. Within this most basic form, hipped roofs can be divided into single-eaved and double-eaved hipped roofs; hipped roofs can be divided into single-eaved, double-eaved, three-drop-water pavilion-style, large-eave hipped roof, and curved roof; gable roofs and hanging roofs are commonly found in both one- and two-story buildings; and ridged roofs can be triangular, quadrangular, pentagonal, hexagonal, octagonal, circular, with single-eaved, double-eaved, and multi-layered eaves. The artistic style of Qing Dynasty architecture also underwent significant changes. Since the Song and Yuan Dynasties, the traditional architectural features of large overhanging eaves, gentle roof curves, majestic brackets, sturdy columns, and the rise and side feet of eaves columns have gradually declined, and the stable and rigorous style has gradually disappeared. The pursuit of structural and constructional beauty has shifted to aesthetic forms such as architectural composition, form variation, and decorative details. For example, the architectural complexes of Beijing’s Western Suburbs Gardens, the Chengde Mountain Resort, and the Chengde Outer Eight Temples all reached historical heights, demonstrating the architects’ ability to flexibly and effectively utilize various building forms to create spatial arrangements under diverse terrain conditions, and also demonstrating their keen sense of scale. Qing Dynasty architectural forms were no longer content with the traditional simple rectangular building with a few rooms and a few frames. Instead, they sought variations in the forms of receding and recessing, eaves, roof forms, corridors, doors, and walls, creating forms with greater artistic expression. Examples include the Mahayana Pavilion of Puning Temple in Chengde, the Wanfu Pavilion of the Yonghe Palace in Beijing, the Potala Palace in Lhasa, and the Xilituzhao Great Sutra Hall in Hohhot. Qing Dynasty architectural art also excelled in decorative art, as evidenced by its colorful paintings, small woodwork, railings, interior decoration, carvings, and wall moldings. Qing Dynasty architectural colored paintings broke away from the stereotype of the Ming Dynasty’s Xuanzi colored paintings, and official colored paintings developed into three main categories: Hexi, Xuanzi, and Su-style colored paintings. Detailed analysis reveals the distinctions between the Golden Dragon and Seal, the Dragon and Phoenix Seal, the Large Gold-dotted Spindle, the Small Gold-dotted Spindle, the Stone Mill Jade, the Yawu Ink, the Realgar Jade, the Gold-carved Black Su Painting, the Gold-threaded Su Painting, the Yellow-threaded Su Painting, and the Sea-walled Su Painting, each painted on different parts of different buildings. The color painting technique also incorporated techniques such as leaf lacquer, gilding, and sweeping green to enhance the decorative effect, further enhancing the architectural appearance’s splendor and richness. The variety of door and window types increased significantly during the Qing Dynasty, and the lattice patterns on them became more complex, a stark contrast to the simple well-shaped, willow-shaped, pillow-flower, and brocade-patterned patterns of the Ming Dynasty. During the Qing Dynasty, many lattice patterns on doors and windows developed into overlapping patterns, where two patterns are superimposed, such as the Cross Begonia pattern, the Eight-square Six-pattern, and the Tortoiseshell Brocade pattern. The Jiangnan region also favored the Kui pattern, which evolved into the Luan pattern, and further evolved into a combination of coarse and random patterns. In areas with advanced woodcarving techniques, such as Dongyang, Zhejiang, and Jianchuan, Yunnan, some residential doors and partitions feature entirely openwork wood carvings, with flowers, birds, trees, and rocks gracing the doors, creating a complete picture screen. Interior partitions also featured prominently in the decoration. In addition to partition doors and panel walls, a wide range of enclosures were used to divide interior spaces. Common types include railing enclosures, table-leg enclosures, flying enclosures, kang enclosures, round light enclosures, octagonal enclosures, winding vine enclosures, and flower enclosures. Other examples include antique shelves and imperial walls. The diverse interior partitions create an ambiance that feels like separation, with spaces interwoven and interwoven. Interior decoration also incorporates numerous techniques from handicrafts, such as hardwood veneer, cloisonné, jade carving, shell carving, gold and silver inlay, bamboo strips, silk gauze mounting, and gold-flowered wallpaper, further enhancing the interior aesthetic. Brick, wood, and stone carvings were also widely used in Qing Dynasty architecture, becoming a symbol of wealth for the wealthy. Other decorative techniques, such as wall molding, plaster sculpture, marble inlay, and plaster ornamentation, were also valued. The architectural decorative art of the Qing Dynasty fully demonstrates the ingenuity and imagination of craftsmen and the formal beauty of traditional Chinese architecture.
10. How to Grow a Cross Begonia
Plant it in fertile, well-drained soil in a well-ventilated, sunny location, and water and fertilize regularly.