本论文以鎌仓与室町时代现存的佛寺、庭园、居室等建筑式样风格为研究对象，以宋代建筑式样与风格进行比较，初探其间关系并判断后者对前者所产生的影响。鎌仓与室町时代的佛寺有四大式样，其中「禅宗样」和「天竺样」是原封不动由中国移植至日本，将禅宗样简化加上斗栱细部复古产生的「和样」，以及融合的禅宗样、天竺样、和样三种式样在一起的「折衷样」，其式样都离不开宋朝厦两头造九脊顶（歇山殿）的本质，包括室町末期，将和样与折衷样平面增加拜亭并将屋顶中央顺着屋坡突出一小檐的「缒破风」、以及应用禅宗样欢门花头饰放在小檐上的「唐破风」，加上桃山时代将三角形山花面放在屋檐上的「千鸟破风」在内，这三种变化；加上日本本土原始高床地坪，就是日本自豪异于中国建筑式样的风格。鎌仓与室町居住建筑有所谓「主殿造」、「武家造」、「书院造」三种住宅建筑风格，其实皆由藤原时代的「寝殿造」建筑式样脱胎而来；寝殿造系由临水殿，池沼，中岛组成；「寝殿造」去掉池沼及东、西钓殿，剩下一个主殿及一客殿就成为「主殿造」，将「主殿造」的回廊改为铺木板的廊下走廊“広缘” ；就成为「武家造」；而将「武家造」客室与主室集中在一殿，并去除通行的“広缘”，改为使用室内障子拉门通行，并加上一个临窗读书座及棚架的书斋兼茶室即成「书院造」，以上即为日本四种住宅形式。「寝殿造」的庭园可以行舟如唐太液池或曲江池；即称为「舟游式庭园」。在1253年宋僧蓝溪道隆仿径山寺的明月池，其池庭系日本第一所「回游式庭园」，而金阁寺池庭也是回游式庭园，其临水殿阁“金阁”出自宋代临水殿的构想；室町时代足利义满书画总管相阿弥所创建的龙安寺「枯山水石庭」，号称日本文化瑰宝，其实也系由我国画论「石无十歩，山有千里」以及佛教「恒河沙」因恒河水无量、恒河沙无数，故「以砂象水乃天经地义」构思而来。 本研究得出以下结论，鎌仓与室町时代建筑可谓以南宋建筑为母体，而稍作变更；礼失而求诸野，对日本仍然保留宋代江南禅寺式样的活样本值得庆幸，它正可作为研究宋代佛寺建筑之参考，以填补研究宋式建筑资料的空白。

This thesis has a macroscopic research on the influence brought by Chinese Sung Dynasty Architecture on Japanese Kamakura and Muromachi Period Architecture.First of all, we are to examine the forms and styles of existing temples, gardens, dwellings, timber structures, etc. of Kamakura and Muromachi Period, to compare the forms and styles with those of Sung Dynasty architecture next, and finally to study their relation between and judged the degree of Sung Dynasty’s influence. Kamakura and Muromachi periods had four forms of temples: “Karayo”, “Tenjikuyo”, “Wayo” and “Sechuyo”. Among which, “Karayo” and “Tenjikuyo”, were transplanted intact from China to Japan in Southern Sung Dynasty without denying by any Japanese. “Wayo” -which developed from the simplified “Karayo” plus “Tou-Kung” detail with back to the ancients, and “Sechuyo” -which mixed with “Karayo”, “Tenjikuyo” and “Wayo”, were not even digressing the essence of nine ridges roof hall. Nevertheless, in the last phase of the Muromachi period, “Wayo” and “Sechuyo” planes had been integrated with central span “Mukihai” - a Worship Pavilion, “Sugaru Hafu”- a small protruding eaves along roof slope, and “Kara Hafu” -a decorative door border of “Karayo” and being placed on protruding eaves. Furthermore, in the Momoyama period, another brand new form, “Chidori Hafu”- a pediment on the protruding eaves appears. These three changes plus original Japanese high-level floor differentiates proudly Japanese Architecture from Chinese Architecture. The so-called three styles residential architecture of the Kamakura and Muromachi period- “Shiden-Zukuri”, “Buke-Zukuri” and “Shoin-Zukuri”, were actually transformed from “Shinden-Zukuri” of the Fujiwara Period. “Shinden-Zukuri”, being composed of water-face hall, pond and central islet. As we removed ponds and east-west Fishing hall from “Shinden-Zukuri”, the form of remaining one master hall and one guest hall turned into the “Shiden-Zukuri”. “Buke-Zukuri” was born by modifying the winding corridor of “Shiden-Zukuri” into timber floor corridor - Hiroyen or veranda. Assembling the master hall and guest hall of “Buke-Zukuri” into one hall, using Shoji pull door as a passageway instead of passing Hiroyen, and annexing a window seat for reading as well as a room both for book case and tea room, developed into “Shoin-Zukuri”. This is how the Japanese residence styles evolves. The“Shinden-Zukuri ”style garden ponds could do yachting like Tai Yih pond and Qu Jiang lake, which are gardens with “Sightseeing vachting”. The monk of Southen Sung Dynasty, Lanxi Dao Long (or named Rankei Doryu), imitated Bright Moon pond in Jing-Shan Temple to build Qiao-Bi Pond and Bright Moon Storied Building in Kenchoji in 1253 A.D., which was the first circuit sight-sighting Zen garden in Japan , another circuit sightseeing garden, derived its designing inspiration of water face pavilion -golden pavilion, from waterside pavilion in the Sung Dynasty. As for the Kare-Sansui Stone Garden in Ryoanji built by Soami, the chief painting and calligraphy management director of Buckfu Genenal Ashikaga Yoshimitsu, was claimed to be the national culture heirloom of Japan, which pictured the concept from the Painting Theory of China“The length of a stone shall be no longer than a ten-footsteps distance, while a mountain shall be continuing a thousands-miles distance, “Get together sand as if mountain” , and from the inspiration of“Take sand as if water”, which means that the sand of Ganges river is innumerable and water of Ganges river is infinite. It is concluded that Kamakura and Muromachi Period Architecture parents from Southern Sung Architecture with slight changes. A Chinese saying is that “When the etiquette disappears, you may appeal to the folks or commonality”. It should be worthy of rejoicing at the preservation of Southen Sung Zen style temples by Japanese as living specimens for our reference to research into Sung Dynasty Temple Architecture.