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与传统西方在建筑形式审美方面有诸多观念一样,古代中国人也发展了自己的建筑审美观念。这些观念散见于中国历代文献中,其基本的美学意趣,与西方建筑美学有很大的差别。在审美与社会等级秩序方面,中国人更强调建筑美与建筑所有者的社会等级关系。在形式之美与技艺之巧方面,中国人对“巧”似乎有更多的青睐。与西方人将审美愉悦作为建筑的基本目标的观念截然相反,中国人明确提出了“非直为观美”的思想。相对于西方人提出的高尚美与优雅美,中国人则主张了“非美”或“清美”的思想。而在审美观照方面,中国人明确区分了审美对象在“质”与“饰”方面的区别。而这一切的审美意趣,皆本于《尚书》中所透露的上古圣王禹所谓“正德、利用、厚生、惟和”的主张。这一主张被孔子演绎为“卑宫室”的思想,又在古代建筑的“适形”论观念中得以延伸。
As with the traditional Western aesthetic ideas in the architectural form, ancient Chinese also developed their own architectural aesthetic concepts. These concepts scattered throughout the Chinese literature, the basic aesthetic interest, and western architectural aesthetics are very different. In terms of aesthetic and social order, the Chinese emphasize the social hierarchy between architectural beauty and architectural owners. In terms of the beauty of form and skill, the Chinese seem to have more and more favoritism. Contrary to the Westerners’ idea of aesthetic pleasure as the basic goal of architecture, the Chinese clearly put forward the idea of “non-straightness as beauty”. Compared with the noble beauty and elegant beauty that the Westerners put forward, the Chinese advocate the idea of “non-beauty” or “beauty”. In terms of aesthetic standards, the Chinese made a clear distinction between the aesthetic objects in the “quality” and “decoration” distinction. All of these aesthetic interests are based on the proposition of the ancient Shengyu Yu’s “positive morality, utilization, deep living, but harmony” as disclosed in Shangshu. This idea was interpreted by Confucius as the idea of “the palace complex,” and was extended in the concept of “conformality” in ancient architecture.