论文部分内容阅读
历史上的西方人与古代中国人都是从自己的本体论出发来确定自己的建筑原则,如果说西方人根据自己的哲学理念而将“美观”作为最为重要的建筑诉求的话,古代中国人则将“卑宫室,致力于沟洫”作为最高的建筑追求。两者各自的出发点在于:皈依了基督教的西方人是将对外在于人的上帝的趋近,以及对上帝所创造的善与美的模仿与追求,作为终极的建筑目标;而古代中国人则将自我完善,最终达到人伦至善的境地作为一种终极目标。这使得古代中国人将建筑中的“卑宫室”原则与“止于至善”的人伦标准联系在一起,成为古代中国人率性修道的重要内容。帝王的宫殿建筑也在一定程度上实践或体现着这一目标。至少,历代宫殿建筑匾额中所内涵的意义,就是围绕着这样一个目标而设置的。而这也是古代中国帝王宫殿,虽然雄伟,但并不追求超人的规模与尺度;虽然华美,但不追求豪奢侈靡的室内;虽然工巧,但不追求奇幻迷惘的装饰的重要原因之一。本论文拟从中西建筑思想比较的角度对中国人这一建筑理念的诉求加以阐释。
Westerners and ancient Chinese in history have determined their own architectural principles based on their own ontology. If Westerners regard “beautiful ” as the most important architectural aspiration according to their philosophy, ancient China People will be the “Bei Gong room, dedicated to the gully” as the highest architectural pursuit. The starting point of each of them is that the Westerners converted to Christianity are bringing God to the external world, and imitating and pursuing the goodness and beauty created by God as the ultimate architectural goal; while the ancient Chinese will Perfection will eventually reach the goal of human relations and perfection as an ultimate goal. This has enabled the ancient Chinese to associate the principle of “concubines and palaces” in architecture with the criterion of human relations that “stops to perfection.” This has become an important part of the ancient Chinese people’s spiritual cultivation. Imperial palace buildings also practice or embody this goal to some extent. At the very least, the significance of connotation in the plaques of the palaces of all ages is set around such a goal. This is also an ancient Chinese imperial palace. Although it is majestic, it does not pursue the scale and scale of Superman. Although it is gorgeous, it does not pursue luxury interiors. Although it is clever, it is not one of the important reasons for the pursuit of fantasy. This thesis intends to interpret the appeal of the Chinese architectural concept from the perspective of comparison of Chinese and Western architectural ideas.