摘要
在中国古代建筑发展的历程中,汉代是一个重要的转折期。宫殿、祠庙、民居、墓葬等建筑形制在汉代不断走向成熟。汉代建筑设计人工宇宙与自然宇宙同构的理性思维达到了高度的统一,是"物"、"我"和谐造物美学尺度的典范。本文通过探寻汉代建筑设计的文化传统,探究古代传统造物艺术"天"与"人"、"物"与"我"、"匠"与"艺"相统一的制器尚象之造物美学问题。
In the course of the development of Chinese ancient architecture,the Han Dynasty was an important turning period. The palace, temples, houses, tombs and other architectural forms in the Han Dynasty continued to mature. The rational thinking of the isomorphism of the artificial and natural universe in architectural design in the Han Dynasty achieved a high degree of unity, and was the model ofaesthetics scale with 'object' and 'I ' in harmony. In this paper, through exploring cultural tradition in architectural design in Han, the author hasexplored questions of creation a esthetics of ZhiQiShangXiang(advocating image in ware making) with the unity of 'heaven' and 'people', 'object' and 'I', and 'craft' and 'art'.
出处
《南京艺术学院学报（美术与设计）》
CSSCI
北大核心
2017年第2期74-77,共4页
Journal of Nanjing Arts Institute:Fine Arts & Design
基金
江南大学产品创意与设计文化研究中心专项研究资助项目
国家社科基金项目艺术学"汉代建筑明器的造物学研究"阶段性成果(15CG151)
关键词
汉代建筑设计
匠艺
制器尚象
Han Dynasty
architectural design
craftsman Art
ZhiQiShangXiang(advocating image in ware making)
