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作 者:崔景舒 李东霖 章俊华[1] CUI Jingshu;LI Donglin;ZHANG Junhua(Graduate School of Horticulture,Chiba University,Matsudo,Chiba,Japan,271-8510)
出 处:《园林》2025年第2期96-104,共9页Landscape Architecture Academic Journal
摘 要:从“有界与无常”的审美界限、“中正和复置”的审美形态、“物我与功能”的审美思维三方面,阐述中国和日本在城市街巷尺度和宫庭宅园尺度两个层次的传统人居空间美学的异同点。中国的传统人居空间美学体现了有界、中正和有尊的审美特质,呈现出边界显明、正始交泰、主次有序的空间特点;日本的传统人居空间美学体现了无常、复置和无定的审美特质,呈现出无界无常、多轴无形、次第随性的特点。虽然日本自古深受中国美学的影响,以中国为骨,但在中国空间美学体系进入日本后,其对中国的美学进行了本土化的改造和衍生,根据本土的民族情绪特点进行继承和变化。日本对中国的空间美学进行本土化适应和改造的“变”的过程,对于中国现代景观继承中国传统人居空间美学特质有借鉴意义。From the aesthetic boundaries of“boundaries and impermanence”,the aesthetic forms of“neutralization and repositioning”,and the aesthetic thinking of“object and function”,the aesthetic similarities and differences between Chinese and Japanese traditional human space aesthetics at two levels,namely,the urban street scale and the palace garden scale,are described.Chinese traditional human space aesthetics embodies the aesthetic qualities of boundedness,neutrality,and dignity,presenting the spatial characteristics of obvious boundaries,orthodoxy,and order;Japanese traditional human space aesthetics embodies the aesthetic qualities of impermanence,repositioning,and indeterminacy,presenting the characteristics of no boundaries and impermanence,invisible multi-axis,and spontaneous order.Although Japan has been deeply influenced by Chinese aesthetics since ancient times,with China as the bone,after the Chinese spatial aesthetics system came into Japan,it was localized and derived from Chinese aesthetics and inherited and changed according to the characteristics of the local national mood.The process of“change”in Japan’s localized adaptation and transformation of China’s spatial aesthetics has reference significance for the modern landscape of China to inherit the aesthetic qualities of traditional Chinese human space.
关 键 词:风景园林 人居空间 空间美学 审美形态 审美思维
分 类 号:TU986[建筑科学—城市规划与设计]
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