中国民居建筑艺术的象征主义

中国民居建筑艺术的象征主义吴庆洲象征主义与中国传统建筑文化象征主义是中国传统文化的重要特色之一，也是中国传统建筑文化的重要特色之一。这与中华民族的特殊思维方式有关，而象征主义就是这种特殊思维方式的重要特点和标志。象征的思维方式和表达方式表现于中华民族...     

河南传统民居中的象征文化

1 民居建筑艺术与象征文化 建筑是一种文化载体，中国建筑中有着最古老历史、最多样内涵的传统民居，在与自然的漫长博弈中，自始至终都伴随着对本土文化的眷恋。象征，是中国传统文化的重要特色，这与中华民族特殊的思维方式息息相关，当人们将其潜移默化到传统建筑中来时，我们发现在建筑的整个构筑过程中，从立意构思、平面规划、形体造型、装饰装修……处处都闪耀着象征主义的神奇光彩。     

来自徽州民居的启发

徽州民居是中国民居代表之一.布局的内部空间分隔和建筑艺术有其感情价值、文化价值,也有使用价值.在保护徽州民居的同时,还能从中在新时代住宅建设中得到启示.     

小河镇明清古街民居建筑技术特征

小河溪几百年的古民居建筑,飞檐迭拱与木楼争辉,具有较强的文化价值和艺术生命力。通过对建筑结构、建筑材料和装饰艺术等几个方面探寻了以小河镇明清古街民居建筑为代表的鄂东北民居的建筑技术特征。     

苏北传统民居的装饰艺术

介绍了苏北传统民居装饰艺术的表现形式,研究了苏北传统民居装饰的文化内涵,指出苏北传统民居建筑装饰艺术融合了中国传统文化精神,融合了南北建筑艺术特征,使建筑装饰艺术与建筑达到了一种和谐的状态。     

湘西土家民居聚集

土家族传统民居的典型代表是吊脚楼,并且得到了广泛地介绍。的确,融建筑、绘画和雕刻等艺术于一体的吊脚楼,是土家族建筑艺术的杰出代表之一。另一方面,为土家族聚居地之一的湘西地形起伏多变,崎岖不平,因此产生了随形就势、变化多端的土家民居。归纳起来大致有这么几种:吊脚楼     

徽州民居的象征文化

本文通过对象征以及象征文化的界定,阐述了象征文化产生的原因,并从徽州民居的聚落布局、单体布局、装饰和建筑附件三个方面阐述了徽州民居的象征文化.     

中国传统民居的创作方法借鉴

从传统民居建筑的设计方法中归纳出四种可借鉴的创作方法：实用与艺术相结合、型类学的设计、类比与象征的设计手法、“话语与语境”的关系,并对现代建筑的设计,特别是对传统民居的现代化改造提出了建议。     

新疆吐鲁番地区维吾尔族民居门饰探析

新疆吐鲁番地区的维吾尔族民居门饰在我国的民居门饰中具有独特的艺术特点,它既有中国传统的建筑内容与风格,也吸收借鉴了伊斯兰的建筑形式和风格,并且巧妙的将二者融合表现出来。表现出维吾尔族民居门饰建筑类型的多样性。让我们了解了新疆吐鲁番地区维吾尔族民居门饰的独特艺术魅力。     

传统民居建筑装饰研究

中国传统文化博大精深,中华民族的传统装饰艺术也有着悠久和深厚的历史底蕴。建筑装饰是建筑营造中十分重要的环节,蕴涵着丰富的文化内容。在中国传统民居中,建筑装饰承载着民俗的、民间的及社会各个层面的文化现象,向人们传递着历史的信息。民居建筑装饰,作为民居建筑中的一项专题,保存大量的地域文化的信息,是研究当地文化、历史、民俗等课题的珍贵考古遗存。传统民居装饰元素是综合文化的体现,包括建筑技术、艺术、社会、文化等多个方面,从宏观到微观都涉及的学科领域,并因时间年代的流变有所发展与变化。本文以关中传统民居建筑装饰为例,探究传统民居建筑装饰方面的内容。     

景观意象论——探索当代中国风景园林对传统意境论传承的途径

滥觞于史前的象征主义艺术,形成中国人意象审美的萌芽,象形文字和表意文字的使用,使意象审美成为中国人审美的本质特征.无论在传统园林、当代景观营建乃至普通大众的风景欣赏中意象审美无处不在.意境是中国传统艺术的精华,是中国式智慧的结晶,意象思维与意象审美是意境传承的核心实质.通过对中国人思维方式的理性思考,概括,提炼出"中国式"设计理论--景观意象论,以探索当代中国风景园林对传统意境论传承的途径.     

在工程与艺术之间——上海新江湾城重点桥梁桥型设计

本案的设计灵感来自于大自然,自然的情调,生态的寓意,使这些桥梁将象征与形式、功能与艺术,景观与观景融为有机整体。     

从《越狱》到越"域"——艺术表意:影视VS建筑

该文探索了建筑与其他艺术形式（尤其是影视）在表意方式上的差异。首先,由艺术的心理暗示效应入手,引用实例,将影视《越狱》同建筑“水的教堂”作假设中的映射式阅读,试图寻找建筑语汇与影视情节上的关联。其次,通过对以上作品创作方式的差别进行分析,提出其对建筑设计中“追新”、“求异”的“个性式”创作态度的启示。最后引入美国学者拉普卜特的论作,对建筑作品的“立意”,以及“象征论”、“符号论”作出反思。     

Memorials to Modernity? Public art in the 'city of the future'

This paper examines the role of public art in urban redevelopment, focusing on the reconstruction of Coventry (UK) in the post-war years. Overseen by the city's Chief Architect, Donald Gibson, this redevelopment has often been described as resulting in a placeless and artless urban landscape indistinguishable from other redeveloped city centres in post-war Britain. To the contrary, here it is suggested that public art was an important feature of Coventry's new urban landscape, with the attempt to create a new civic identity manifest in a series of highly symbolic and distinctive public artworks. Analysing both the official symbolism of these artworks and their reception in the public sphere, it is concluded that, although just one aspect of the urban landscape, the production and consumption of public art encapsulated the tensions that existed between different visions of the city.     

基于“象征主义”的专题博物馆建筑设计个性表达——以三峡乌木艺术博物馆设计为例

针对专题博物馆展示内容单一和个性特征鲜明的特点,深层次的挖掘专题博物馆与"象征主义"手法结合的意义,通过对三峡乌木艺术博物馆的设计实践,从建筑总体布局、空间形态、地域文化等几个方面提出该类建筑的创新设计理念和设计方法。     

Adjustment and Optimization of Public Art to the Folk Psychology

Public art has practical significance by showing a variety of forms to explore the various design factors on the psychological reactions of different people. Public art should fit the characteristics of human physiology and psychology. The mental aberration phenomenon induced by unhealthy circumstance could be adjusted and compensated by certain style of public art, and from which the optimization of psychological ecology is resulted. A variety of psychological ecology environment, such as gestalt, artistic exaggeration, implicit, pleasure, interesting, relax, mystery, intricacy, metaphor, and so on, could be constructed by different methods in public art. The excellent public art design optimizes the person's mental spiritual ecology, reduces the burden on people's lives and enhances the quality of life by using the meaningful forms and combinations to achieve the living environment and people's coordination.     

纪念性建筑与城市文化

文章简要分析了文化概念的历史沿革,以哲学的视角探讨人类文化的逻辑根据,并试图建立起城市文化的逻辑结构。以结构的观念来分析,建筑与城市可以从实用、文化、艺术3个层面进行研究,与此相应,从具体到抽象,建筑与城市可视为"器物(实用)、符号(文化)与意象(审美)"。文章着重讨论了建筑的文化表意性,以及相关的城市形态和城市生活方面的问题。     

Colonial Irrigation: Myths of Emptiness

This paper examines the role of public art in urban redevelopment, focusing on the reconstruction of Coventry (UK) in the post-war years. Overseen by the city's Chief Architect, Donald Gibson, this redevelopment has often been described as resulting in a placeless and artless urban landscape indistinguishable from other redeveloped city centres in post-war Britain. To the contrary, here it is suggested that public art was an important feature of Coventry's new urban landscape, with the attempt to create a new civic identity manifest in a series of highly symbolic and distinctive public artworks. Analysing both the official symbolism of these artworks and their reception in the public sphere, it is concluded that, although just one aspect of the urban landscape, the production and consumption of public art encapsulated the tensions that existed between different visions of the city.     

Landscapes,Vegetation, and Folklore in Late Medieval Art: An Iconographic Study Based on Selected Austrian and South German Panel Paintings

Abstract

This article examines the symbolism and realism of naturalistically depicted flowering plants in Late Gothic art from Southern Central Europe. A large number of fifteenth- to sixteenth-century pre-Reformation panel paintings with a landscape context were studied in order to learn about their plant species, the contexts the plants were shown in, and their symbolism in connection to religious subjects. Paintings were studied in groups of 1) roadsides and execution sites and 2) fenced meadows, gardens and courtyards. In addition, the seasonality of depicted plants was observed in the scenes of the Passion cycle and in the scene of the Visitation. The realism of these landscapes was manifested in these pictures by showing plants growing in places they belonged to naturally or culturally, and in seasons of religious feasts that the paintings were connected with. However, this realism was not consistent, but combined with plant metaphors and symbols, neatly associated to the subject, and recognised by plants’ overall frequency, placement, properties and naming. Plant names in late medieval and early modern herbals appeared to be a particularly good tool for understanding their possible meanings in paintings, assuming that the first question the late medieval viewer could have asked was: ‘What is this?’ The religious art of the period is rich in links between natural and cultural environments; from it we can learn about the diversity of past vegetation as well as the spirituality and poetics of the society.     

Recent History - Art In Ruins

Some two decades on, guest-editor Nic Clear returns to the work of Hannah Vowles and Glyn Banks of collaborative art practice Art in Ruins. As cited by Brian Hatton on their behalf in 1989: ‘in the city of the future everything will be historical (ie visited) for fifteen minutes’. Copyright © 2009 John Wiley & Sons, Ltd.