本文選題：曼荼羅　切入點(diǎn)：原型　出處：《中央美術(shù)學(xué)院》2013年碩士論文

【摘要】：隨著中國的全面崛起和復(fù)興,國家建設(shè)對建筑領(lǐng)域提出了巨大的需求。如何創(chuàng)作出具有傳統(tǒng)文化底蘊(yùn)和審美內(nèi)涵的建筑,成為每一名中國建筑師和相關(guān)學(xué)者關(guān)切的話題。同時,現(xiàn)代文明對傳統(tǒng)文化產(chǎn)生了強(qiáng)烈沖擊,這在建筑領(lǐng)域表現(xiàn)的尤為突出,缺乏情感的建筑和脫離文脈的城市隨處可見,并在肆無忌憚的擴(kuò)張,歷史和傳統(tǒng)在現(xiàn)代建筑中被不斷的剝離。這已經(jīng)引起了人們廣泛的憂慮,亟需找到一種方式來平衡建筑中傳統(tǒng)與現(xiàn)代的關(guān)系。 面對這些問題和需要,筆者希望從歷史和文化中找到答案和解決途徑。因此,論文引入了佛教密宗的神秘宇宙構(gòu)圖——“曼荼羅”,進(jìn)而通過對“曼荼羅”的研究來解答現(xiàn)代建筑發(fā)展中的困惑。首先,結(jié)合榮格的“原型”理論,對“曼荼羅”進(jìn)行研究和探討,說明其原型圖式在人類審美價值中的普適性和永恒性；其次,結(jié)合古代建筑文化中表象出來的曼荼羅式設(shè)計思想,證明曼荼羅原型圖式在建筑創(chuàng)作中的巨大實(shí)用價值和精神價值,并歸納出對其進(jìn)行有意識或無意識運(yùn)用的兩種方式；接著,將“曼荼羅”的概念延展到現(xiàn)代建筑設(shè)計領(lǐng)域。找到在創(chuàng)作中運(yùn)用曼荼羅原型圖式的代表性現(xiàn)代建筑師,如路易斯·康、查爾斯·柯里亞、馬里奧·博塔和里卡多·波菲爾等,通過對這些建筑師設(shè)計思想的解讀,和對他們代表性作品的分析,總結(jié)出他們設(shè)計中運(yùn)用歷史元素的基本原則和手段,指導(dǎo)中國的建筑創(chuàng)作實(shí)踐；最后,通過筆者對“曼荼羅”的理解,完成一個現(xiàn)代曼荼羅式建筑的設(shè)計,來證明本文理論對實(shí)踐的指導(dǎo)意義。 將曼荼羅原型圖式運(yùn)用于現(xiàn)代建筑創(chuàng)作之中,是當(dāng)代中國建筑創(chuàng)作的深層結(jié)構(gòu)內(nèi)傳統(tǒng)建筑精髓的顯現(xiàn)。
[Abstract]:With the overall rise and renaissance of China, the construction of the country has put forward a huge demand in the field of architecture. How to create architecture with traditional culture and aesthetic connotation has become a topic of concern to every Chinese architect and related scholars. Modern civilization has had a strong impact on the traditional culture, which is particularly prominent in the field of architecture. The lack of emotional architecture and isolated cities can be seen everywhere, and they are expanding brazenly. History and tradition have been separated from each other in modern architecture, which has caused widespread concern, and it is urgent to find a way to balance the relationship between tradition and modern architecture. In the face of these problems and needs, the author hopes to find answers and solutions from history and culture. This paper introduces the mysterious cosmic composition of Buddhist tantrums-"mandala", and then solves the puzzles in the development of modern architecture through the study of "mandala". First, combining Jung's theory of "archetype", this paper studies and discusses the "mandala". It explains the universality and permanence of its archetypal schema in human aesthetic value. Secondly, it combines the mandala design thought of the appearance in ancient architectural culture. To prove the great practical and spiritual value of the mandala archetypal schema in architectural creation, and to sum up two ways to use it consciously or unconsciously. To extend the concept of "mandala" to the field of modern architectural design. Find representative modern architects, such as Louis Conn, Charles Correa, Mario Botha and Ricardo Pauffel, who use the prototype schemata of mandala in their creation. Through the interpretation of these architects' design ideas and the analysis of their representative works, the basic principles and means of using historical elements in their design are summarized to guide the architectural creation practice in China. Through the author's understanding of "mandala", the author has completed the design of a modern mandala architecture to prove the guiding significance of this theory to practice. The application of mandala archetypal schema to modern architectural creation is the manifestation of the essence of traditional architecture in the deep structure of contemporary Chinese architectural creation.
【學(xué)位授予單位】：中央美術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：TU-86

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本文編號：1684734