愿解如來真實義：傳統(tǒng)佛教建筑中向心圖式的哲學(xué)闡釋
發(fā)布時間：2018-11-22 13:40
【摘要】：以現(xiàn)代建筑哲學(xué)對于傳統(tǒng)建筑文化內(nèi)涵的再認(rèn)識及再開發(fā)為契機(jī),在分析廣義的“向心”現(xiàn)象內(nèi)涵和佛教經(jīng)典中有關(guān)“向心圖式”原型的基礎(chǔ)上,以傳統(tǒng)佛教建筑為考察對象,從現(xiàn)象學(xué)、符號學(xué)、類型學(xué)、文獻(xiàn)學(xué)、圖像學(xué)等視角切入辨析其向心圖式原型并依其進(jìn)行藝術(shù)創(chuàng)作的設(shè)計思路,將傳統(tǒng)佛教建筑中“向心圖式”的哲學(xué)闡釋歸納為“真理真相—向心圖式”、“場所精神—向心圖式”、“物化自然—向心圖式”三個層面,并分析其與建筑類型學(xué)同步發(fā)展的特征,揭示對傳統(tǒng)佛教建筑中“向心圖式”進(jìn)行哲學(xué)闡釋研究的意義,并嘗試探討構(gòu)建真正建筑哲學(xué)的思路與可行性。研究共分為緒論和主體論述兩大部分。緒論部分首先闡明探索傳統(tǒng)佛教建筑向心圖式生成的動因和意義,指出哲學(xué)闡釋所融攝的學(xué)科、思路,及其與建筑類型學(xué)發(fā)展并行不悖的特征,通過對“源泉”的求索,使傳統(tǒng)建筑文化得到有效傳承;其次界定研究的學(xué)科范疇,并概述研究的思路及結(jié)構(gòu);最后對傳統(tǒng)佛經(jīng)哲學(xué)、傳統(tǒng)佛教建筑、藝術(shù)的符號象征、向心圖式、建筑哲學(xué)等方面的相關(guān)研究,相關(guān)學(xué)者的關(guān)鍵思想以及相關(guān)研究方法的運(yùn)用,闡明各界觀點,并對其進(jìn)行綜述。主體論述在整體上,以“現(xiàn)象學(xué)”的思維態(tài)度及方法為基本原理,在明確哲學(xué)闡釋所融攝的學(xué)科及思路的“鋪陳”之上,著重于“去蔽”的研究工作以對傳統(tǒng)佛教建筑中的向心圖式進(jìn)行還原分析,以哲學(xué)反思的態(tài)度加以闡釋并形成最終“結(jié)論”,此為研究的三大核心部分。其中,第一部分包含一章,明晰研究中有關(guān)核心思想的幾個關(guān)鍵詞的相關(guān)內(nèi)涵,從五個視角認(rèn)識和辨析研究的實質(zhì),實現(xiàn)“傳統(tǒng)哲學(xué)-藝術(shù)哲學(xué)-建筑哲學(xué)”的理論關(guān)聯(lián),完成由“向心圖式”到“建筑哲學(xué)”的初步思考。第二部分包含三章,分別闡明向心圖式是佛陀教育中有關(guān)諸法實相的粗制表達(dá),是對佛陀教育場所精神的還原并體現(xiàn)佛教建筑的功能實質(zhì),是以物化自然手段來實現(xiàn)的對覺悟理想的訴求及對佛國境界的摹仿,分別傳達(dá)出傳統(tǒng)佛教建筑藝術(shù)的永恒之美、神圣之美及自然之美,是“求解如來之真實義”的典型圖式。第三部分為研究的結(jié)論章,對傳統(tǒng)佛教建筑中蘊(yùn)含的大量的向心圖式進(jìn)行綜括,總結(jié)佛經(jīng)哲學(xué)背景下傳統(tǒng)佛教建筑空間生成與發(fā)展的內(nèi)在動因,以此打通東西方建造藝術(shù)原始表達(dá)的核心思路,為特定空間圖式及其演變方式因循傳統(tǒng)思維而生的現(xiàn)象找到一種可能的詮釋。
[Abstract]:Based on the re-understanding and re-development of the connotation of traditional architectural culture in modern architectural philosophy, and on the basis of analyzing the connotation of the phenomenon of "centripetal" in a broad sense and the prototype of "concentric schema" in the Buddhist Classics, this paper takes the traditional Buddhist architecture as the object of investigation. From the perspectives of phenomenology, semiotics, typology, philology, pictography and so on, the author analyzes the archetypes of his concentric schemata and designs the art creation according to them. The philosophical interpretation of "centripetal schema" in traditional Buddhist architecture is summed up as "truth-concentric schema", "place spirit-centripetal schema", "materialized nature-centripetal schema". It also analyzes the characteristics of its synchronous development with architectural typology, reveals the significance of philosophical interpretation of "concentric schema" in traditional Buddhist architecture, and attempts to explore the idea and feasibility of constructing real architectural philosophy. The research is divided into two parts: introduction and subject discussion. In the introduction part, the motivation and significance of exploring the formation of the concentric schemata of traditional Buddhist architecture are first expounded, and the subject, ideas and characteristics of the philosophical interpretation are pointed out, which go hand in hand with the development of architectural typology, and through the search for the "fountainhead". To make the traditional architectural culture to be effectively inherited; Secondly, it defines the subject category of the research, and outlines the thought and structure of the research. Finally, the related researches on traditional Buddhist sutras philosophy, traditional Buddhist architecture, symbolic symbol of art, concentric schema, architectural philosophy, the key ideas of relevant scholars and the application of relevant research methods are expounded. And to carry on the summary to it. On the whole, on the basis of the thinking attitude and method of phenomenology, the main body expounds on the basis of defining the subject and thought of philosophical interpretation. The emphasis on the study of "de-masking" is to analyze the concentric schema in the traditional Buddhist architecture, to explain it with the attitude of philosophical reflection and to form the final "conclusion", which is the three core parts of the study. Among them, the first part contains a chapter to clarify the relevant connotations of several key words about the core thoughts in the study, to recognize and discriminate the essence of the research from five angles of view, and to realize the theoretical connection of "traditional philosophy-philosophy of art-philosophy of architecture". To complete the initial thinking from "concentric schema" to "architectural philosophy". The second part consists of three chapters, respectively explaining that the centripetal schema is the crude expression of the actual phases of the Buddha's teachings, the restoration of the spirit of the Buddha's educational place and the functional essence of the Buddhist architecture. It is the pursuit of consciousness ideal and the imitation of the realm of Buddha, which is realized by materialized natural means. It conveys the eternal beauty, the sacred beauty and the natural beauty of the traditional Buddhist architecture art, respectively. It is a typical schema of "solving the true meaning of the Tathagata". The third part is the conclusion chapter of the study, including a large number of concentric schemas contained in the traditional Buddhist architecture, and summarizes the internal causes of the formation and development of the traditional Buddhist architecture space under the philosophical background of Buddhist scriptures. In this way, the core idea of the original expression of the eastern and western construction art can be obtained, and a possible interpretation of the phenomenon of the special spatial schema and its evolution based on the traditional thinking can be found.
【學(xué)位授予單位】：天津大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2014
【分類號】：TU252
，
本文編號：2349533
[Abstract]:Based on the re-understanding and re-development of the connotation of traditional architectural culture in modern architectural philosophy, and on the basis of analyzing the connotation of the phenomenon of "centripetal" in a broad sense and the prototype of "concentric schema" in the Buddhist Classics, this paper takes the traditional Buddhist architecture as the object of investigation. From the perspectives of phenomenology, semiotics, typology, philology, pictography and so on, the author analyzes the archetypes of his concentric schemata and designs the art creation according to them. The philosophical interpretation of "centripetal schema" in traditional Buddhist architecture is summed up as "truth-concentric schema", "place spirit-centripetal schema", "materialized nature-centripetal schema". It also analyzes the characteristics of its synchronous development with architectural typology, reveals the significance of philosophical interpretation of "concentric schema" in traditional Buddhist architecture, and attempts to explore the idea and feasibility of constructing real architectural philosophy. The research is divided into two parts: introduction and subject discussion. In the introduction part, the motivation and significance of exploring the formation of the concentric schemata of traditional Buddhist architecture are first expounded, and the subject, ideas and characteristics of the philosophical interpretation are pointed out, which go hand in hand with the development of architectural typology, and through the search for the "fountainhead". To make the traditional architectural culture to be effectively inherited; Secondly, it defines the subject category of the research, and outlines the thought and structure of the research. Finally, the related researches on traditional Buddhist sutras philosophy, traditional Buddhist architecture, symbolic symbol of art, concentric schema, architectural philosophy, the key ideas of relevant scholars and the application of relevant research methods are expounded. And to carry on the summary to it. On the whole, on the basis of the thinking attitude and method of phenomenology, the main body expounds on the basis of defining the subject and thought of philosophical interpretation. The emphasis on the study of "de-masking" is to analyze the concentric schema in the traditional Buddhist architecture, to explain it with the attitude of philosophical reflection and to form the final "conclusion", which is the three core parts of the study. Among them, the first part contains a chapter to clarify the relevant connotations of several key words about the core thoughts in the study, to recognize and discriminate the essence of the research from five angles of view, and to realize the theoretical connection of "traditional philosophy-philosophy of art-philosophy of architecture". To complete the initial thinking from "concentric schema" to "architectural philosophy". The second part consists of three chapters, respectively explaining that the centripetal schema is the crude expression of the actual phases of the Buddha's teachings, the restoration of the spirit of the Buddha's educational place and the functional essence of the Buddhist architecture. It is the pursuit of consciousness ideal and the imitation of the realm of Buddha, which is realized by materialized natural means. It conveys the eternal beauty, the sacred beauty and the natural beauty of the traditional Buddhist architecture art, respectively. It is a typical schema of "solving the true meaning of the Tathagata". The third part is the conclusion chapter of the study, including a large number of concentric schemas contained in the traditional Buddhist architecture, and summarizes the internal causes of the formation and development of the traditional Buddhist architecture space under the philosophical background of Buddhist scriptures. In this way, the core idea of the original expression of the eastern and western construction art can be obtained, and a possible interpretation of the phenomenon of the special spatial schema and its evolution based on the traditional thinking can be found.
【學(xué)位授予單位】：天津大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2014
【分類號】：TU252
，
本文編號：2349533
本文鏈接：http://sikaile.net/guanlilunwen/chengjian/2349533.html
最近更新
教材專著
