發(fā)布時(shí)間：2018-05-31 20:56

  本文選題：中國現(xiàn)代佛教建筑 + 漢傳佛教　； 參考：《山東建筑大學(xué)》2012年碩士論文

【摘要】：本文以漢傳佛教建筑裝飾為主要究對象。佛教建筑不同于一般的世俗建筑,它較多受到佛教文化制約,不僅為信眾提供集會場所,還是現(xiàn)代佛教精神的象征。佛教建筑裝飾是佛教藝術(shù)的物化形態(tài),它具有特殊的雙重特征：一方面,它美化了僧團(tuán)修行、禮佛、禪修的活動中心；另一方面,佛教裝飾一般都具有很強(qiáng)的象征性,它是人們對極樂世界的向往和想象,成為佛教藝術(shù)和信眾精神的載體。漢傳佛教建筑裝飾在中國傳統(tǒng)木構(gòu)建筑文化中占很大比重。從東漢末年到明清時(shí)期,傳統(tǒng)佛教建筑裝飾與時(shí)俱進(jìn),不斷與中困禮制建筑文化協(xié)調(diào)、融合,形成各個(gè)時(shí)期不同的風(fēng)格特征和表現(xiàn)形式,也為傳統(tǒng)裝飾藝術(shù)帶來新的生機(jī)和活力。但是隨著現(xiàn)代佛教復(fù)興和裝飾藝術(shù)的多元發(fā)展,大陸許多新建、擴(kuò)建佛教建筑裝飾藝術(shù)缺乏對新形式、新風(fēng)格的探索�；蚰�守成規(guī),延續(xù)著古典裝飾形式；或單純追求表面形式的奢侈豪華,空間單調(diào)乏味。設(shè)計(jì)當(dāng)隨時(shí)代,現(xiàn)代科技不斷進(jìn)步,東西方建筑文化交流日益頻繁,佛教建筑及其裝飾的轉(zhuǎn)型也成為必然。因此本文將佛教建筑裝飾的傳承與創(chuàng)新作為主旨。 第‘章講述本文選題的目的和意義,研究方法與范疇及國內(nèi)外的研究狀況、創(chuàng)新之處等；第二章依據(jù)史料記載、圖書館及現(xiàn)存代表性佛教建筑等資料,著重分析論述傳統(tǒng)佛教建筑裝飾漫長的發(fā)展歷程之中,所獲得的成就、中國傳統(tǒng)儒道文化之間的關(guān)系及各裝飾內(nèi)容的主要特征等內(nèi)容；第三章根據(jù)實(shí)地調(diào)研所得圖片,分析現(xiàn)存佛寺發(fā)展?fàn)顩r及所而臨的問題,并總結(jié)問題出現(xiàn)的原因等。世界上有三大宗教,不同宗教有其特殊的、極具辨識性的建筑裝飾形式,但是宗教建筑的發(fā)展卻有著相同的途徑,這一點(diǎn)可以從西方教堂的古今演變和現(xiàn)存狀態(tài)中得知。因此第四章通過對臺灣、日本一些現(xiàn)代優(yōu)秀佛寺裝飾設(shè)計(jì)案例及現(xiàn)代西方教堂的裝飾設(shè)計(jì)進(jìn)行總結(jié)和分析,找出它們裝飾設(shè)計(jì)現(xiàn)代化轉(zhuǎn)型的方式、方法,對比分析中國大陸佛寺所面問題的解決思路。為中國大陸地區(qū)佛教建筑裝飾設(shè)計(jì)的現(xiàn)代化轉(zhuǎn)型提供新的理論依據(jù)和可借鑒的觀點(diǎn)。
[Abstract]:This article takes the Han Buddhism architecture decoration as the main research object. Buddhist architecture is different from common secular architecture. It is restricted by Buddhist culture. It not only provides meeting places for believers, but also symbolizes the spirit of modern Buddhism. The decoration of Buddhist architecture is the materialized form of Buddhist art, and it has two special features: on the one hand, it beautifies the activity center of the monk group's practice, rites and Buddhas, and meditation; on the other hand, Buddhist decoration generally has a very strong symbolism. It is people's yearning for and imagination of the world of bliss and the carrier of Buddhist art and the spirit of believers. Chinese Buddhist architecture decoration occupies a large proportion in Chinese traditional wooden architecture culture. From the end of the Eastern Han Dynasty to the Ming and Qing dynasties, the traditional Buddhist architectural decoration kept pace with the times, coordinated with the construction culture of the middle and trapped etiquette, and formed different style characteristics and forms of expression in each period. Also for the traditional decorative art to bring new vitality and vitality. However, with the revival of modern Buddhism and the pluralistic development of decorative art, many new and expanded Buddhist architecture decoration art lacks the exploration of new form and new style. Or stick to the rules, continuation of the classical decorative form; or simply pursue the luxury of surface form, space monotonous and boring. With the development of modern science and technology, the exchange of architectural culture between East and West becomes more and more frequent, and the transformation of Buddhist architecture and its decoration becomes inevitable. Therefore, this paper takes the inheritance and innovation of Buddhist architectural decoration as the main theme. The second chapter describes the purpose and significance of this topic, the research methods and categories, the research situation at home and abroad, the innovations and so on. Chapter two is based on historical records, libraries and existing representative Buddhist buildings, etc. Focusing on the analysis of the long history of traditional Buddhist architecture decoration, the achievements, the relationship between the Chinese traditional Confucianism and Taoism culture and the main characteristics of the decoration content, etc. This paper analyzes the development and problems of the existing Buddhist temples, and summarizes the causes of the problems. There are three major religions in the world, different religions have their own special, very discernible architectural decoration form, but the development of religious architecture has the same way, which can be learned from the ancient and modern evolution and the existing state of western churches. Therefore, the fourth chapter summarizes and analyzes some cases of modern excellent Buddhist temple decoration design in Taiwan and Japan and the decoration design of modern western churches, and finds out the way and method of modern transformation of decoration design. Compare and analyze the solutions to the problems of Buddhist monasteries in mainland China. It provides a new theoretical basis and reference point for the modern transformation of Buddhist architectural decoration design in mainland China.
【學(xué)位授予單位】：山東建筑大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：TU252;TU-80

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 何彩彩;飄動的梵唄[D];杭州師范大學(xué);2013年

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本文編號：1961253