导　　师： 唐孝祥

学科专业： 010106

授予学位： 硕士

作　　者： ;

机构地区： 华南理工大学

摘　　要： 建筑美学是美学与建筑学交叉而生的一门新兴边缘学科，它丰富了建筑学理论的内容，也拓展了美学的学术视野，但在国内其研究尚未达到成熟阶段。对我国传统建筑艺术与戏曲艺术进行审美共通性研究是建筑美学研究的具体和深化，审美共通性是艺术审美的基本规律，无论对于建筑审美来说，还是就戏曲审美而言，加强我国传统建筑艺术与戏曲艺术审美共通性的研究有助于在审美活动中，激发审美兴趣，驰骋审美想象，深化审美体验，实现审美超越，陶冶审美情操。 本文从美学精神、审美创作和审美体验三个方面来分析传统建筑和戏曲的审美共通性，并按照从审美客体到审美主体的创作，到审美活动的逻辑顺序进行探索。首先，在东方文化背景下，作为审美客体的建筑艺术和戏曲艺术的美学精神存在共通之处：对意境的追求、写意性、时空变换中契合的文化精神。通过对我国传统建筑和戏曲的分析，认为不论是艺术系统的综合性还是写意性的特色，都体现出了独特的东方文化特色，是在东方美学的熏陶下形成的，而它们身上所体现的地域特征和时代特征也表现出浓浓的东方特色，让我们从细部了解了东方文化在不同地域和不同时代的具体表现方式。这些共通性对传统艺术的创作和审美提供了很好的思路，并让审美主体体会到浓浓的东方特色。 其次，在审美主体的创作过程中，传统建筑和戏曲在创作过程、创作手法、创作法则存在共通性。二者的创作过程都呈现出集体性和二度性的特点；在创作手法上“虚实相生”和程式的手法都得到了大量运用；在创作法则上，色彩象征意义的运用以及点、线结合的布局模式也普遍存在。这些共通性帮助审美主体更好地了解传统建筑和戏曲的审美特征，从而激发他们的审美联想，丰富他们的审美体验。 最后，在审美体验的阶段，传统建筑和戏曲都能激发审美主体的强烈的审美兴趣，帮助主体实现审美超越，获得某种哲理性的妙悟，或进入天人和谐、物我两忘的哲理境界。帮助审美主体从审美客体那感受到丰富的空间、悠悠的历史，甚至由物及己，引发审美主体对自身人生的思考和体会，从而获得对空间感、历史感和人生感的体验，实现审美超越，达到审美活动的终极目标。以东方审美文化为背景，通过对传统建筑和戏曲的比较研究，发现它们在美学精神、审美创作和审美体验三个方面所受到的东方美学精神的影响以及二者对这种美学精神的继承和表现。 Architectural Aesthetics,a newly-established subject at which architecture and aestheticsintersects,enriches the contents of theory of architecture and expands the horizon ofaesthetics.But in China,the study of Architectural Aesthetics has not reached a stage ofmaturity yet. Research on the aesthetic intersection of Chinese Traditional Architecture andChinese Opera is a branch of Architectural Aesthetics,which is more specific and deepening.Actually aesthetic intersection is a fundamental rule of artistic appreciation,no matter inchinese traditional architecture appreciation or in chinese opera appreciation,the study ofaesthetic intersection of both sides can promote aesthetic emotion,aesthetic imagination,anddeepen the aesthetic experience,to achieve aesthetic transcendence in aesthetic activities. In the present paper,the author analyses the aesthetic intersection of ChineseTraditional Architecture and Chinese Opera from three aspects which are aesthetic spirit ,aesthetic creation and aesthetic experience.The analysis order starts from aesthetic objectiveto aesthetic subjective to aesthetic activity .Firstly,Chinese Traditional Architecture andChinese Opera have a lot in common on aesthetic spirit in the eastern culture.Both of theminclude different art sorts and also pay attention to achieving the spirit function,besides,theyall perform strong time character and location character,which are affected by the easternculture.also,the subjective could learn and understand the eastern aesthetic culture better anddeeper. Secondly, in the creation progress of the subjective ,Chinese Traditional Architecture andChinese Opera have a intersection in creation progress ,creation method and creationregulation. they all need second creation in the creation progress while insufficiency andexcessiveness as well as stylization play important role in the aspect of creation method.When it comes to the creation regulation, color is used commonly and the layout is mostlypoint with line。 In the third place, during the aesthetic experience stage,Chinese Traditional Architectureand Chinese Opera both can promote aesthetic emotion,aesthetic imagination,and deepen theaesthetic experience,to achieve aesthetic transcendence in aesthetic activities. The subjectivecan experience the abundant space and long history of the objective,eventually thinking of their own life and achieve the experience of space,history and life,to achieve aesthetictranscendence This paper compares Chinese traditional architecture and Chinese opera in the easternculture background and tries to find out the culture's affection on them from the aspects ofaesthetic spirit , aesthetic creation and aesthetic experience .

关 键 词： 建筑美学 审美共通性 美学精神 审美创作 审美体验

分 类 号： [TU-85]

领　　域： [建筑科学] [艺术]