湖南传统民居地域审美文化差异研究

【外文题名】A Study on Aesthetic Culture Differences of Hunan Traditional Houses

【作者】 文卷

【关键词】 湖南传统民居 建筑文化 建筑风格 审美价值差异

【外文关键词】 Hunan traditional houses architecture cultural architecture aesthetic

【导师姓名】蒋烨

【学位名称】硕士

【学位年度】2013

【学位授予单位】暂无

【所属分类】TU241.5

【录入时间】2013-01-01

【全文挂接】 知网挂接 万方挂接 读秀挂接

【摘要】这种社会现状,不少专家学者包括决策者们开始理性的反思,传统与现代碰撞出的火花,让人们对自己的民族文化的重新定位和审视。本文从湖南传统民居入手,以区位地理为基础,以历史渊源、文化风俗为出发点,将湖南传统民居分为湘西、湘北、湘南三大地域,试图通过比较湘西、湘北和湘南传统民居发展过程中的文化和建筑差异,发掘其内在的审美价值,并以此阐明传统与现代、传承与发展的重要意义,以此影响人们在现代化建设过程中,特别是小城镇建设发展过程中的行为。论文的主体部分主要是对湘西、湘北、湘南的建筑文化和建筑风格进行比较,归纳出三者之间在建筑文化内涵和建筑风格上的差异,发掘其内在的不同美学价值。在文化内涵和建筑风格的差异性比较上,本文沿袭同中求异的基本思路,所谓同即中国建筑文化、建筑风格几千年来无不遵循着“中心”、“中庸”、“天人合一”的哲学思想,这是历史传承与文化积淀上的同,这种建筑文化的内涵势必贯穿于中国式建筑的始终,无论任何形式的中国现代建筑,一旦失去了这种建筑文化的内涵,从某种意义上讲就会迷失自我,成为“无根之厦”。所谓异,即在大同文化的集成上,受地域、风土、人情的影响而形成的地域文化差异。在建筑风格上,湘北地区由于东近吴越,北接中原。既受中原文化的影响也受荆楚文化的熏陶,同时还受明清时期大移民多民族异质文化渗透,具有丰厚的文化底蕴,受这些文化的影响,建筑形态上的“大屋”成为湘北民居建筑的一大特色,在审美上给人以韵律感和节奏感。湘南地处湖广交界之地,受到大移民潮的文化影响较深。迄今为止,湘南民居在村落选址、规划和建筑风格上与客家民居、岭南民居有颇多相似之处,具体表现在重群体、幅度小、向水平面发展,且单体不突出,很少标新立异,和谐是整个建筑的基调。湘西地区山峦起伏,本土文化一直是该地区的主流,与此同时也有受到巴蜀文化影响,在明清时期又受汉文化影响较深,从而造就了近闻名的湘西吊脚楼。在建筑风格上,“虚”“实”“势”“围”“凹”“凸”的空间形态收放自如,具有很大的灵活性。因此从建筑文化的差异所导致的建筑风格的差异简而言之可概括为：湘西体现的是粗犷浪漫之美,湘南体现的是内敛清雅之美,湘北体现的是外拙内秀之美。本文的突破点是从学术上理顺湖湘传统民居发展的脉络,通过湖南三地建筑文化和建筑风格的差异性比较以及人们对审美需求和审美价值观的基本判断和取向,阐述建筑文化的历史轨迹和不可替代的作用。并从传承上理清湖南传统民居的保护思路,有效地使传统建筑文化得以传承和发展,让中国建筑文化的“根”得以弘扬。图片87幅,参考文献51篇。...

【外文摘要】After more than 30 years of reforming and opening up, China has more solid national strength and plays an important role in the world, as a rising country in the East shocking the world, a worldwide modern civilization rising in the world. It’s no exaggeration to say that this is the revitalization of three decades, but it is also something lost in three decades. The historical links of the traditional houses were ruthlessly cut off in the thirty years of the development process, especially in the process of development of small towns in China. To face up to this impetuous current social situation, a lot of people with lofty ideals, including decision-makers are beginning to rational thinking. Traditional and modern collision sparks ignited the people to reposition and re-examined their own ethnic culture. Starting from the Hunan traditional houses, this paper is trying to compare the cultural differences and architectural differences of west-Hunan, north-Hunan, and south-Hunan residential development process, which divided were based on location geography, historical origin and cultural customs, and to explore their intrinsic aesthetic value, so that together to discuss the significance of tradition and modern, inheritance and development, looking forward to influence people’s behavior in the process of modernization, especially in the development of construction of small towns. The main part of the paper is the comparison of the western, northern and southern of Hunan’s architectural culture and architectural style, summed up the differences among the three on the architectural culture and architectural style, and explored its inherent aesthetic value. On comparing the differences in culture meaning and architectural style, this paper followed the same basic idea of “seek common ground while reserving differences”. The so-called “common ground” is the philosophy ideal of “centre”, “middlebrow” or “theory that man is an integral part of nature” in Chinese architectural culture, architectural style for thousands of years, which is the same on the historical heritage and cultural heritage. The connotation of this building culture is bound to throughout the Chinese architectural style, and in case lost those would lost meaning as “rootless buildings” to some extent. As to the so-called “differences”, it is the differences of culture differences influenced by the location geography, local customs and practices, based on the integration of the Great Unity. Xiangbei, the north Hunan, is near to Wu Yue and bond of the Central Plains. The architectural style is affected by the influence of the Central Plains culture as well as the Chu culture, and at the same time, also received the Ming and Qing Dynasties large-scale migration of ethnic heterogeneity and cultural infiltration, having a rich cultural heritage. By these cultural influences, “Big House” becomes a distinguishing style in Xiangbei house that embody rhythmical image and rhythm sensation in appreciation. Xiangnan, the south Hunan, is located at the junction of Hubei and Hunan, which deeply influenced by the cultural impact of the Great Migration.So far, the Xiangnan houses have a lot of similarities with the Lingnan houses in the village location, planning and architectural style, which express in the weight groups, ranging from small, to the horizontal plane development, and the monomer is not prominent, very few unconventional, and harmony is the tone of the entire building. Xiangxi, the west of Hunan, has rolling hills, ravines and complex terrain. Local culture has been the mainstream of the region, and at the same time, it influenced by the Ba-Shu culture, especially in the Ming and Qing Dynasties deeply influenced by Chinese culture, thus giving birth to the famous Xiangxi Diaojiaolou. In the architectural style, the spatial form of “virtual”, “solid”, “potential”, “concave” and “convex” acting freely with a great deal of flexibility. Therefore, caused by building cultural differences, the difference the architectural style can be summarized in a nutshell for: Xiangxi embodies the rustic romantic beauty, Xiangnan reflects the quality of intension and elegant, and Xiangbei embodied the outside humble beauty of diamond. The breakthrough of this thesis is to state the historical trajectory and the irreplaceable role of the architectural culture, by comparing the differences of architectural culture and architectural style in the three regions and from the people basic judgment and orientation to aesthetic needs and aesthetic values, based the academic context rationalize development of Hunan traditional house. And this thesis also clear up the protection thought of Hunan traditional house of effectively passing on and development of the traditional architectural culture in the modern society, so that to advance and enrich the “root” of the China Architectural Culture....