本文關(guān)鍵詞：宮觀建筑環(huán)境設(shè)計中道教美學(xué)思想的運用，由筆耕文化傳播整理發(fā)布。

宮觀建筑環(huán)境設(shè)計中道教美學(xué)思想的運用

宮觀建筑環(huán)境設(shè)計中道教美學(xué)思想的運用

道教，是我國土生土長的宗教，并一直在中國的大地上存活、繁衍和傳播。在歷史的長河中，道教曾對中國古代的哲學(xué)、思想、文學(xué)、藝術(shù)、宗教、文化、風(fēng)俗乃至科學(xué)技術(shù)方面，都產(chǎn)生過相當(dāng)大的影響。道教是中華民族五彩繽紛的文化現(xiàn)象中的一支奇葩，是我國文化之樹結(jié)出的宗教之果。 道教建筑是中國古代建筑的組成部分。道教歷來重視宗教建筑的精神價值，宮觀建筑在道教發(fā)展史上具有重要地位，是道教文化的外在表現(xiàn)。按照道教自身特有的觀念，道教建筑被賦予了崇高的象征意 義，是對神仙所居的瓊樓玉宇諸般仙境的模擬。目前，關(guān)于道教宮觀建筑環(huán)境的理論研究比較多。但是，筆者作為一個環(huán)境藝術(shù)設(shè)計的從業(yè)者和研究者經(jīng)過較長時間的調(diào)查發(fā)現(xiàn)在眾多的研究成果中還較少涉及道教建筑在環(huán)境藝術(shù)設(shè)計方面的內(nèi)容，尤其是實例設(shè)計。就筆者所能夠收集到的有關(guān)此類課題的研究資料而言，目前筆者還未曾看到有比較完備、系統(tǒng)的資料和實例。然而，，道教宮觀建筑作為中國本土宗教建筑文化中一個舉足輕重的、不可或缺的組成部分，我們十分有必要進行這方面的實例設(shè)計研究，以便更好的發(fā)掘其中的精髓并將它發(fā)揚和改善。 其從道教以修煉成仙為之最終愿望，因此選擇幽靜秀美的名山大川作為修道養(yǎng)生之地，謂之洞天福地，故有十大洞天、三十六小洞天、七十二福地之說。四川即有許多仙真修道的福地，在眾多的仙山福地的擇址中四川青城可謂是塊風(fēng)水寶地，一方面它孕育了巴蜀道教文化，另一方面也完成了中原道教文化和巴蜀道教文化的融合。從南北朝以致如今，它一直是巴蜀地區(qū)道教文化傳播和發(fā)展的中心。青城山天然就是仙家福地，自古就有仙道風(fēng)氣，被道教目為十洞天的第五洞天，號曰“九仙寶全之人”。建福宮正是這個布局嚴謹?shù)墓诺烙^群中的第一觀，也是本文所要討論和研究的實例對象。本文重點探討的是道教宮觀建筑，特別是青城山建福宮這樣山地宮觀環(huán)境藝術(shù)設(shè)計中的美學(xué)思想運用。那么對道教自身的情況，對道教美學(xué)以及道教建筑的一些基本情況的了解就成為必要。由此筆者將從道教的源起、發(fā)展，道教建筑的源流，四川地區(qū)道教宮觀建筑的實物以及道教美學(xué)的主要觀念入手，通過對建福宮近況的考察，淺析淺析其特殊的宗教活動功能、歷史性文化建筑和自然地勢地貌以及景觀狀況等方面的要素，然后再針對場所環(huán)境藝術(shù)設(shè)計的視覺感等方面的要求，力圖設(shè)計一套更為合理、實用而且更加具備美學(xué)意 義的環(huán)境藝術(shù)設(shè)計方案。

【Abstract】 Taoism, the native religion of China, has been prevailing in this ancient country for over centuries. As an exotic flower in Chinese culture, it has brought profound impact to Chinese philosophy, ideology, religion, culture, literature, arts, folk customs and even science and technology. As the outside expression of Taoist preaches, Taoist temple constitutes an essential part of Chinese architecture. Traditionally, Taoism attaches great importance to the spiritual connotation of its architectures and Taoist temples have been given a holy symbolic position in that they are viewed as the imitation of inhabitance of the spirits and gods in Taoist doctrine, which usually are richly decorated. ;As a researcher and practitioner of environmental art design, the author has been investigating Taoist temple for a long time. However, the author found that among the various researches in this field, few are related to the environmental art of Taoist temple. It is even more difficult to find an exemplary design of Taoist temple. As to the materials and data within the author’s reach, no temple design is complete and systematic. Therefore, with the hope of preserving the essence of traditional culture and popularizing it inmodern society, it is imperative we carry out research into the exemplary design.With the pursuit of immortality, Taoists often choose secluded and quiet places, usually famous mountains and great rivers, as inhabitance for meditation and cultivation. These places are called dongtian (cave heaven) or fudi (blessed land). In Taoist doctrines, there are ten big dongtian, thirty-six small dongtian and seventy-two fudi. Qingcheng mountain, located in Sichuan province, is one of these cave heaven and viewed as the fifth dongtian, named fairyland of nine spirits. Being the center of Taoism in ba and shu region since Southern and Northern dynasty, it has not only gestated the local Taoism, but also merged the Taoism from the Central Plains. Jianfu palace, the first temple of this group of well-distributed architectures, is the subject this research. With the analysis of Jianfu palace, this essay is to explore the aesthetics in Taoist architecture, especially in the Taoist temples with mountainous environment.This essay begins with the introduction of the Taoist aesthetics and Taoist architectures. After an interpretation of the Taoist origin and development, the author examines basic concepts of Taoist aesthetics and Taoist architectures in Sichuan area--specifically Jianfu palace. Following the examination, the author analyzes factors contribute to the formation of these characteristics, mainly from religious function, historical influence, geographic position and physiognomy. In the end, the essay brings visual impact of the Taoist temple into consideration and explores it from the perspective of environmental art. The author strives to find a more feasible and practical environmental designing project, which is, at the same time, aesthetically more valuable.

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  本文關(guān)鍵詞：宮觀建筑環(huán)境設(shè)計中道教美學(xué)思想的運用，由筆耕文化傳播整理發(fā)布。