从北京城中轴线看中国设计审美观的演变
发布时间：2018-08-03 20:07
【摘要】：北京城中轴线是传统中国城市规划设计思想的典型案例和杰出代表，是中国传统人文思想、造物观和设计技法与工艺的集中体现。北京城中轴线正面临着申报2014年世界文化遗产的重要工作，对其进行设计观和美学思想的分析与总结有着积极的现实意义。 本课题尝试将文化遗产、设计美学、设计批评三个领域的研究内容结合在一起，从北京城中轴线的“活态轴线”这一特性入手，在“空间之轴”和“时间之轴”两个方面探讨北京城中轴线的产生与发展，并就相关的设计理念及其演变过程进行分析。本文主要研究了以下几个方面的内容： 1.论述现存明清北京城中轴线的历史形成轨迹，将北京城中轴线的形成分为三个阶段，，改变了以往“肇始于元，形成、发展于明清”的论述； 2.关于北京城中轴线组成范围的界定，提出应从发生学的角度对北京城中轴线进行新的描述，并将改造后的天安门广场、自然水系纳入申遗范围； 3.总结北京城中轴线蕴含的传统文化内涵与传统美学思想，论述了传统美学中“和”的理念在北京城中轴线规划设计中的体现，对“自然”、“自由”两个设计审美命题分别从艺术创作的客观规律和创作者创新意识发掘的角度，对“和”的精神做出了具体的阐释。并以此为基础明确提出北京城中轴线的遗产类型划定应为“文化景观”； 4.讨论北京城中轴线近代演变的历程以及由此带来的新的设计现象与审美观念，较为完整的梳理了西方建筑在北京的产生、发展过程及其影响，明确指出中西合璧、民族复兴、前苏联式等设计风格产生的根源。从历史唯物主义的角度，论述了近代以来北京城中轴线建筑形式变迁的必然性与时代性特征，并总结了此阶段折衷主义的设计本质。； 5.比较分析中西方设计思想的源流与发展，探讨中西方设计美学的差异，并从设计批评的角度对西方设计审美观影响下的中国现代设计状况进行分析，探讨适合现今时代发展需要的中国设计审美观。
[Abstract]:The central axis of the city of Beijing is a typical case and outstanding representative of the traditional Chinese urban planning and design thought. It is the concentrated embodiment of the traditional Chinese humanistic thought, the concept of creation and the design techniques and techniques. The central axis of Beijing is facing the important work of declaring the world cultural heritage in the 2014, and the analysis and summary of its design and aesthetic thoughts are carried out. It is positive and realistic.
This topic attempts to combine the research contents of three fields of cultural heritage, design aesthetics and design criticism, starting with the characteristics of the "axis of living" of the axis of Beijing City, and discussing the emergence and development of the axis of Beijing city in the two aspects of "the axis of space" and "the axis of time", and the related design concept and its evolution. This paper mainly studies the following aspects:
1. discuss the historical formation track of the axis of Beijing city in the Ming and Qing Dynasties, divide the formation of the axis of Beijing city into three stages, and change the previous discussion of "beginning in the yuan, forming and developing in the Ming and Qing Dynasties".
2. as to the definition of the scope of the axis of Beijing City, a new description should be given to the axis of Beijing city from the perspective of Genesis, and the natural water system is included in the scope of the reformed Tiananmen square.
3. summarize the traditional cultural connotation and traditional aesthetic ideas contained in the axis of Beijing City, and discuss the embodiment of the concept of "harmony" in the planning and design of the axis of Beijing in the traditional aesthetics, and the two aesthetic propositions of "nature" and "freedom" from the angle of the objective law of artistic creation and the creative consciousness of the creator, respectively. The spirit of "harmony" is explained concretely, and on this basis, the heritage type of the central axis of Beijing city should be defined as "cultural landscape";
4. to discuss the history of the modern evolution of the central axis of Beijing city and the new design phenomenon and aesthetic concept brought from it, a more complete combing of the emergence, process and influence of Western architecture in Beijing, and clearly pointing out the origin of the design wind in the Chinese and Western countries, the national revival, the former Soviet style and so on. This paper expounds the inevitability and epochal characteristics of the architectural form changes of the central axis of Beijing since modern times, and summarizes the design essence of eclecticism at this stage.
5. compare and analyze the origin and development of Chinese and Western design ideas, explore the differences between Chinese and Western design aesthetics, and analyze the Chinese modern design conditions under the influence of western design aesthetics from the perspective of design criticism, and discuss the Chinese design aesthetics which is suitable for the development of the present times.
【学位授予单位】：北京理工大学
【学位级别】：博士
【学位授予年份】：2014
【分类号】：TU984.2
本文编号：2162867
[Abstract]:The central axis of the city of Beijing is a typical case and outstanding representative of the traditional Chinese urban planning and design thought. It is the concentrated embodiment of the traditional Chinese humanistic thought, the concept of creation and the design techniques and techniques. The central axis of Beijing is facing the important work of declaring the world cultural heritage in the 2014, and the analysis and summary of its design and aesthetic thoughts are carried out. It is positive and realistic.
This topic attempts to combine the research contents of three fields of cultural heritage, design aesthetics and design criticism, starting with the characteristics of the "axis of living" of the axis of Beijing City, and discussing the emergence and development of the axis of Beijing city in the two aspects of "the axis of space" and "the axis of time", and the related design concept and its evolution. This paper mainly studies the following aspects:
1. discuss the historical formation track of the axis of Beijing city in the Ming and Qing Dynasties, divide the formation of the axis of Beijing city into three stages, and change the previous discussion of "beginning in the yuan, forming and developing in the Ming and Qing Dynasties".
2. as to the definition of the scope of the axis of Beijing City, a new description should be given to the axis of Beijing city from the perspective of Genesis, and the natural water system is included in the scope of the reformed Tiananmen square.
3. summarize the traditional cultural connotation and traditional aesthetic ideas contained in the axis of Beijing City, and discuss the embodiment of the concept of "harmony" in the planning and design of the axis of Beijing in the traditional aesthetics, and the two aesthetic propositions of "nature" and "freedom" from the angle of the objective law of artistic creation and the creative consciousness of the creator, respectively. The spirit of "harmony" is explained concretely, and on this basis, the heritage type of the central axis of Beijing city should be defined as "cultural landscape";
4. to discuss the history of the modern evolution of the central axis of Beijing city and the new design phenomenon and aesthetic concept brought from it, a more complete combing of the emergence, process and influence of Western architecture in Beijing, and clearly pointing out the origin of the design wind in the Chinese and Western countries, the national revival, the former Soviet style and so on. This paper expounds the inevitability and epochal characteristics of the architectural form changes of the central axis of Beijing since modern times, and summarizes the design essence of eclecticism at this stage.
5. compare and analyze the origin and development of Chinese and Western design ideas, explore the differences between Chinese and Western design aesthetics, and analyze the Chinese modern design conditions under the influence of western design aesthetics from the perspective of design criticism, and discuss the Chinese design aesthetics which is suitable for the development of the present times.
【学位授予单位】：北京理工大学
【学位级别】：博士
【学位授予年份】：2014
【分类号】：TU984.2
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本文编号：2162867
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