胡同與四合院是北方城市建筑中的“夫妻配”,也可以說是“黃金搭檔”,可謂相互依存、相互分割、有機(jī)結(jié)合。濟(jì)南也不例外。 　　濟(jì)南的四合院既與北京相似,又有所差別,有著屬于自己的風(fēng)格和建筑語(yǔ)言。由于老城依山靠水,且城內(nèi)泉水眾多,濟(jì)南老城的建筑布局與建筑形式剛?cè)岵��?jì),南北兼得。既有北國(guó)建筑的深厚淳樸,又具江南水鄉(xiāng)的輕巧靈秀。傳統(tǒng)民居多采用典型的四合院布局,青磚或土坯或石砌墻,灰瓦花脊,多以一進(jìn)院為主,而殷實(shí)富戶或達(dá)官顯貴則擁有二進(jìn)或多進(jìn)院落。門樓、影壁、建筑雕刻和庭院綠植是四合院建筑中不可或缺的構(gòu)件。門樓往往是四合院中的一大亮點(diǎn)。它的整體形象、造型尺度都標(biāo)志著院子主人的身份、社會(huì)地位、富裕程度和審美取向。一般而言,平民百姓家的門樓狹小低矮,而達(dá)官顯貴家的門樓高闊宏大。影壁即古代所謂的蕭墻,是四合院中最富裝飾的地方。影壁與門樓相呼應(yīng),形成一個(gè)相輔相成的整體,使院子增加了幾分安全感,不至于院門開啟時(shí)一覽無余。濟(jì)南的影壁大多與廂房的山墻相結(jié)合,既依附于山墻,又突出于山墻。精美的雕刻,包括磚雕、木雕和石雕,多見于高質(zhì)量的四合院的門樓、門罩、影壁、廳堂墻飾等處。雕刻內(nèi)容以琴棋書畫、花草瑞獸為主。特別值得一提的是,荷花形象在濟(jì)南四合院雕刻中非常多見,體現(xiàn)了濟(jì)南濃郁的地方特色。人們?cè)缇托纬稍谒暮显豪锓N樹養(yǎng)花的習(xí)慣,石榴樹在濟(jì)南民居中最為多見,幾乎每家院子都種石榴樹,反映了舊時(shí)人們“多子多�！钡纳�活愿望。而四合院的大樹中,梧桐最為多見,俗話說:“沒有梧桐樹,引不來金鳳凰”,這恐怕是院子的主人對(duì)于娶妻生子、闔家幸福的另一種寄托吧。
　　濟(jì)南的四合院體量較小,“大宅門”屈指可數(shù)。位于鞭指巷的狀元府、寬厚所街的金家大院和西青龍街的張公館算是濟(jì)南“大宅門”的代表。狀元府是清光緒年間新科狀元陳冕的府邸。少時(shí)陳冕勤奮好學(xué),才藝雙全。光緒年間,他一舉奪得了殿試的第一名,成為清代第105位狀元,也是最年輕的狀元。陳冕故居在鞭指巷今9號(hào)和11號(hào),兩個(gè)大院原由八個(gè)座西朝東,東西相連的四合院組成。朝廷對(duì)陳冕褒揚(yáng)有加,曾御賜“狀元及第”貼金大匾,剛解放時(shí)尚存,后被毀。解放后這里成為居民大院,一些院子被肢解,一些臨時(shí)搭建的小房使原來規(guī)整的院子看上去擁堵而雜亂。但從建筑布局、?闊的門樓、石階木柱、磚雕石刻來看,可以想象這座“狀元府”昔日的風(fēng)采。
　　寬厚所街55號(hào)院,是1910年歷城縣知縣金有大的宅第。正院前后兩進(jìn),橫列西向三合院兩進(jìn),共四個(gè)院子組成。門樓早已拆除,正院前為東西廂房,北為二層穿堂式樓房,過穿堂樓的后院是由兩層樓組成的四合樓院,這在濟(jì)南很是罕見。四面上下均為木制環(huán)廊,中間是天井。門窗為拱形八棱石門柱,拱形門券上為“富貴牡丹”石雕紋樣。北樓木制走廊,欄板上有幾十幅木刻翠竹圖,形態(tài)各異。西跨院原有平房四合院和百花園,早已拆建他用。這位縣太爺?shù)姆孔庸嗜粴馀?但卻事先忘了請(qǐng)風(fēng)水先生看看,房子蓋好后才發(fā)現(xiàn),二層樓的屋脊高出了正北不遠(yuǎn)處的歷城縣城隍廟,犯了沖,這位縣官便一天也沒在此住過。
　　要說濟(jì)南最奢華、最講究的四合院非張公館莫屬了。張公館的主人張懷芝是北洋政府的高官。1917年,北洋政府總理段祺瑞任命張懷芝為第二路總司令,分別率軍“南征”,與已南下的孫中山為大元帥的非常國(guó)會(huì)所屬的“護(hù)國(guó)軍”激戰(zhàn),結(jié)果北洋軍在湖南一敗涂地,張懷芝只身逃回北京,后被委任了閑職。此后張懷芝辭職回到他曾經(jīng)任第五鎮(zhèn)統(tǒng)制的濟(jì)南,廣招南北工匠,在已購(gòu)買的西青龍街萬竹園舊址上營(yíng)造私宅,用5年時(shí)間,終于建成了這座占地18畝,房舍186間,集江南園林與北方四合院為一體的府宅,也成為山東省內(nèi)規(guī)模最大的私家園林。據(jù)說,張懷芝有13房妻妾,所以除西花園和傭人住的房屋外,有13個(gè)院落,一房一個(gè)院子。其實(shí),后來張懷芝在天津又買了新房,一部分眷屬跟他去了天津定居,這張公館里只有部分小妾和兒女居住。
　　這里院院相套,泉渠環(huán)繞,曲廊相接,小橋勾連,山石點(diǎn)綴其間,并以墻垣漏窗、廊亭、假山來分隔空間,劃分景區(qū),給人以曲徑通幽和“庭院深深深幾許”的神秘感覺。同時(shí),所有的正房都落座在軸線上,頗具王府的氣派,并表現(xiàn)出北方園林具有的寓變化于對(duì)稱之中的特點(diǎn)。
　　過去的四合院大多每一家一個(gè)院子,即所謂獨(dú)門獨(dú)院。解放后,私人的房產(chǎn)充了公,很多四合院便被重新分配,成了居民大雜院,人口自然也稠密起來。為滿足居住需求,這家蓋個(gè)小伙房,那家壘間儲(chǔ)藏室,院子里顯得雜亂而滿當(dāng)。但住慣四合院的人卻悠然自得,一旦關(guān)起了院門,躲進(jìn)小院成一統(tǒng),這里便成了溫暖的巢,幾家老小其樂融融,仿佛與世相隔。城市的劇變似乎離這里很遠(yuǎn),他們依然過著平淡、祥和、踏實(shí)、舒緩甚至有些慵懶的生活。
　　無論搬走的和堅(jiān)守在四合院里的人,每當(dāng)看到想到陽(yáng)光照耀的天井、種什么活什么的院子,以及抬頭見天、出門見地的那份踏實(shí)的感覺,還有那些和睦相處、關(guān)愛有加的街坊鄰居,對(duì)四合院總有一份難以割舍的情懷和鄉(xiāng)愁。
　　
　　The alley and quadrangle courtyard are a couple, which also can be called “golden partner” in northern urban buildings. They are interdependent, divided by each other and organically integrated. Jinan is not an exception.
　　The quadrangle courtyard of Jinan is similar to but different from that of Beijing. It has its own architectural style. The old city area has waters and mountains and a lot of springs inside it. For this reason, the architectural layouts and forms of old Jinan city are balanced with hardness and softness, combining the features of south and north, so that it possesses the simplicity of north China and exquisiteness of south china. The traditional residential houses adopt the classical layout of quadrangle courtyards, featuring blue bricks, sun-dried mud bricks, stone-made walls and grey tiles and beautifully shaped ridges; the courtyards are mainly single-yards, while rich people or dignified officials usually have two or more.
　　The gatehouse, screen wall, architectural sculpture and green plants in courtyards are indispensable components of a quadrangle courtyard building. The gatehouse is usually a bright spot for its whole image and appearance symbolizes the host’s position, social status, affluence, and aesthetic tendency. Generally speaking, the gatehouses for common people are low and narrow while that for rich people are high and magnificent. The screen wall is the so called Xiao Qiang in ancient times that was also the most decorated place in the whole quadrangle courtyard. Coordinated with each other, the screen wall and the gatehouse form an interdependent integration, adding a sense of security to some degree through avoiding the commanding view at first glance.
　　The screen walls of Jinan are mostly combined with the head walls of the wing-houses, dependent on the headwall yet standing out from it. Exquisite carvings on brick, wood or stone, are mostly seen in high-level gatehouses, door covers and screen walls and hall wall decorations. The sculptures are mainly lute-playing, chess, calligraphy and painting as well as flowers, grass and animals. One thing that deserves mention is that the lotus image is commonly seen in the sculptures of quadrangle courtyards, which embodies the strong local flavor of Jinan. People have long been adjusted to planting trees and flowers in their courtyards. And pomegranate trees are commonly seen in Jinan residential houses. Nearly every courtyard is planted with pomegranate trees, bearing the wish of ancient people to have more sons and more blessings. And, of the big trees in the quadrangle courtyards, the most commonly seen are phoenix trees. As the saying goes, “golden phoenix will not be attracted to live in without phoenix tree.” This may bear the hope of of the owners of having a wife and children and being happy forever.
　　In the past, the quadrangle courtyards were mostly in the form of “one yard for one family”, that is the so-called “single yard - single family”. Afterwards, the courtyards have become the places for mixed living, and the population has become dense subsequently. However, residents being used to living in the courtyards feel comfortable and natural: the courtyard becomes a warm nest if the door is closed. Old or young from several families live in harmony and happiness, just as living a hermit life. The drastic changes in cities have nothing to do with them, who still live a life that is simple, harmonious, steady, slow and a bit lazy.

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