【摘要】：北京城中軸線是傳統(tǒng)中國(guó)城市規(guī)劃設(shè)計(jì)思想的典型案例和杰出代表，是中國(guó)傳統(tǒng)人文思想、造物觀和設(shè)計(jì)技法與工藝的集中體現(xiàn)。北京城中軸線正面臨著申報(bào)2014年世界文化遺產(chǎn)的重要工作，對(duì)其進(jìn)行設(shè)計(jì)觀和美學(xué)思想的分析與總結(jié)有著積極的現(xiàn)實(shí)意義。 本課題嘗試將文化遺產(chǎn)、設(shè)計(jì)美學(xué)、設(shè)計(jì)批評(píng)三個(gè)領(lǐng)域的研究?jī)?nèi)容結(jié)合在一起，從北京城中軸線的“活態(tài)軸線”這一特性入手，在“空間之軸”和“時(shí)間之軸”兩個(gè)方面探討北京城中軸線的產(chǎn)生與發(fā)展，并就相關(guān)的設(shè)計(jì)理念及其演變過程進(jìn)行分析。本文主要研究了以下幾個(gè)方面的內(nèi)容： 1.論述現(xiàn)存明清北京城中軸線的歷史形成軌跡，將北京城中軸線的形成分為三個(gè)階段，，改變了以往“肇始于元，形成、發(fā)展于明清”的論述； 2.關(guān)于北京城中軸線組成范圍的界定，提出應(yīng)從發(fā)生學(xué)的角度對(duì)北京城中軸線進(jìn)行新的描述，并將改造后的天安門廣場(chǎng)、自然水系納入申遺范圍； 3.總結(jié)北京城中軸線蘊(yùn)含的傳統(tǒng)文化內(nèi)涵與傳統(tǒng)美學(xué)思想，論述了傳統(tǒng)美學(xué)中“和”的理念在北京城中軸線規(guī)劃設(shè)計(jì)中的體現(xiàn)，對(duì)“自然”、“自由”兩個(gè)設(shè)計(jì)審美命題分別從藝術(shù)創(chuàng)作的客觀規(guī)律和創(chuàng)作者創(chuàng)新意識(shí)發(fā)掘的角度，對(duì)“和”的精神做出了具體的闡釋。并以此為基礎(chǔ)明確提出北京城中軸線的遺產(chǎn)類型劃定應(yīng)為“文化景觀”； 4.討論北京城中軸線近代演變的歷程以及由此帶來的新的設(shè)計(jì)現(xiàn)象與審美觀念，較為完整的梳理了西方建筑在北京的產(chǎn)生、發(fā)展過程及其影響，明確指出中西合璧、民族復(fù)興、前蘇聯(lián)式等設(shè)計(jì)風(fēng)格產(chǎn)生的根源。從歷史唯物主義的角度，論述了近代以來北京城中軸線建筑形式變遷的必然性與時(shí)代性特征，并總結(jié)了此階段折衷主義的設(shè)計(jì)本質(zhì)。； 5.比較分析中西方設(shè)計(jì)思想的源流與發(fā)展，探討中西方設(shè)計(jì)美學(xué)的差異，并從設(shè)計(jì)批評(píng)的角度對(duì)西方設(shè)計(jì)審美觀影響下的中國(guó)現(xiàn)代設(shè)計(jì)狀況進(jìn)行分析，探討適合現(xiàn)今時(shí)代發(fā)展需要的中國(guó)設(shè)計(jì)審美觀。
[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.
【學(xué)位授予單位】：北京理工大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2014
【分類號(hào)】：TU984.2

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