本文選題：禪文化 + 現(xiàn)代園林��； 參考：《東北農(nóng)業(yè)大學(xué)》2014年碩士論文

【摘要】：隨著我國城市化進程的加快及人們生活水平的提高,人們對生活環(huán)境的要求也越來越高。人們希望現(xiàn)代園林既可以滿足游覽休憩的功能,還要創(chuàng)造宜人的生態(tài)環(huán)境同時具有一定的文化內(nèi)涵。這對我國的現(xiàn)代園林既是機遇又是挑戰(zhàn)。自改革開放以來,我國的園林事業(yè)進入了大發(fā)展大繁榮時期,各種西方設(shè)計思想的涌入使中國的園林形成了百花齊放的態(tài)勢,但是居安思危,我們?nèi)阅馨l(fā)現(xiàn)我國現(xiàn)代園林中出現(xiàn)的隱患。首先,我國的現(xiàn)代園林沒有形成自己的風(fēng)格,中國的土地上充斥著各種形式的“法國園”、“英國園”。其次,我國現(xiàn)代園林一味的注重使用功能,對園林的文化內(nèi)涵和精神層面挖掘不夠,致使很多園林作品不過是園林元素的簡單疊加,缺失了中國園林獨特的風(fēng)骨。再次,我國現(xiàn)代園林作品中,有些文化內(nèi)涵意境表達直白,毫無美感,使文化與現(xiàn)代園林的結(jié)合成為不可調(diào)和的矛盾�；谏鲜鋈c,本文從禪文化這一點入手,探討如何在中國現(xiàn)代園林中引入傳統(tǒng)文化。 本文立足于禪文化的思想精髓,尊重禪文化卻又不拘泥于禪文化。把禪文化作為中國傳統(tǒng)文化的一部分,以此為突破口,引導(dǎo)今后現(xiàn)代園林中傳統(tǒng)文化的滲透與表達。文章介紹了禪宗的法脈傳承與思想變遷,從詩詞、繪畫、音樂、園林四個角度介紹了禪對中國傳統(tǒng)藝術(shù)的影響,從而探求出,禪文化園林中應(yīng)該借鑒藝術(shù)的表達形式。以此為原則,又通過中日兩國園林審美及形式上的對比,總結(jié)出中國禪文化園林的設(shè)計原則和方法,最后結(jié)合項目實例,把所述的理論方法落實在圖紙上,意在為禪文化園林的營造提供一些借鑒。 作者在碩士期間有幸參與了嫩江禪文化公園的設(shè)計工作,從前期的選址、測量、風(fēng)格定位到后期的詳細設(shè)計、文本出圖、成果匯報都全程參與。這期間對禪文化與現(xiàn)代園林有了更深一步的領(lǐng)會。所以,本文的重點不是追溯禪與中國園林的淵源,也不是對哲學(xué)理論的辨析。而是把禪作為一種文化現(xiàn)象,用文化符號把其高深隱晦的文化形式拆解,達到園林中的有的放矢,把禪的精髓溶入到園林元素之中。以往研究方向相似的文章多側(cè)重寺廟園林的發(fā)展,或是在具體設(shè)計中只談原則而不講方法,還有的把禪文化用“風(fēng)”、“光”、“水”等抽象的形式來表達,而本文把禪文化園林定位為現(xiàn)代公共綠地空間,將重點放在具體的應(yīng)用上,提出了一些在實際設(shè)計中的想法,希望對今后的深入研究提供一些借鑒。
[Abstract]:With the acceleration of urbanization and the improvement of people's living standard, people's demands on living environment are higher and higher. People hope that modern gardens can not only meet the functions of sightseeing and rest, but also create a pleasant ecological environment with certain cultural connotations. This is both an opportunity and a challenge to our modern gardens. Since the reform and opening up, the garden industry in our country has entered a period of great development and prosperity. The influx of various western design ideas has made the gardens of China blossom in a hundred flowers, but they are in danger in times of peace. We can still find hidden dangers in our modern gardens. First of all, Chinese modern gardens do not form their own style, Chinese land is full of various forms of "French garden", "British garden". Secondly, our modern garden blindly pays attention to the use of function, the cultural connotation and spiritual level of the garden is not enough, resulting in a lot of garden elements are simply superimposed, missing the unique strength of the Chinese garden. Thirdly, in Chinese modern garden works, the artistic conception of some cultural connotations expresses plainly and has no aesthetic feeling, which makes the combination of culture and modern garden become irreconcilable contradiction. Based on the above three points, this paper discusses how to introduce traditional culture into Chinese modern gardens from the point of view of Zen culture, which is based on the essence of Zen culture and respects Zen culture without sticking to Zen culture. Taking Zen culture as a part of Chinese traditional culture and taking it as a breakthrough guide the infiltration and expression of traditional culture in modern gardens in the future. This paper introduces the inheritance and ideological change of Zen Buddhism, and introduces the influence of Zen on Chinese traditional art from four angles of poetry, painting, music and garden, so as to find out that the expression of art should be used for reference in the garden of Zen culture. Taking this as the principle, and by comparing the aesthetic and formal aspects of gardens between China and Japan, the design principles and methods of Chinese Zen culture gardens are summarized. Finally, the theory and methods mentioned above are carried out on the drawings in the light of project examples. The author was fortunate to participate in the design of Nenjiang Zen Cultural Park during his master's degree, from the site selection, measurement, style orientation to the detailed design of the later stage, and the text was drawn out. Results are reported throughout the process of participation. During this period, Zen culture and modern gardens have a deeper understanding. Therefore, the focus of this paper is not to trace the origin of Zen and Chinese gardens, nor to discriminate the philosophical theory. It takes Zen as a kind of cultural phenomenon, disassembles its profound and obscure cultural form with cultural symbols, reaches the goal of garden, and melts the essence of Zen into garden elements. In the past, articles with similar research directions have focused on the development of temple gardens, or in their specific design, they have only talked about principles and not methods, and have expressed Zen culture in abstract forms such as "wind", "light", "water" and so on. In this paper, the Zen culture garden is positioned as the modern public green space, the emphasis is put on the concrete application, and some ideas in the practical design are put forward, hoping to provide some reference for the further research in the future.
【學(xué)位授予單位】：東北農(nóng)業(yè)大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：TU986

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本文編號：2004342