浅析中国风水与环境艺术之间的关系

从古以来,风水就是中国古代建筑环境选址、设计、营造的基本依据、规范和指导思想,它对于中国的环境艺术设计有着极其深刻的影响。本文在概述中国风水和环境艺术内涵的基础上,主要从风水对环境艺术影响的角度探讨了中国风水与环境艺术之间的关系。     

客家民间风水信仰与水资源的利用和保护

唐末五代至两宋时期,在客家地区形成了一个重要的风水流派——江西形势派。明清时期,风水活动已经成为一种风俗普及于赣闽粤广大客家地区,风水信仰亦由此深入人心,成为客家人的一种传统意识。客家人的风水信仰对水资源的利用和保护起到了重要作用。如客家人出于"山环水抱"的风水观念,往往将宅居建于山坡下或河湾处,形成一个个聚族而居的村落,世世代代守护着身边的青山绿水;出于风水信仰,引活水环村,在房前开挖"风水塘",对古村落的水口、后龙山、风水林、村边河流、排水系统进行营造和保护等,为科学利用和保护水资源提供了重要的借鉴,值得认真研究和总结。     

风水现代化及其旅游开发意义

传统风水研究在二十世纪后半期逐渐被学者所认识,开始对其内涵和操作途径进行具体分析。风水现代化成为学者,甚至部分术士努力的研究方向。作为空间组织学的风水研究,形法要领可作新解,理法和日法是风水动态研究方向。风水从个例定点转向区域风水研究可以更有实践意义。风水的内涵分析必须以易经为根据,以象数法进行类推论证。区域旅游开发,不论导游说明,还是景点规划,若能注意与风水结合,可以更有旅游吸引力,甚至提高相应建筑的物业价值。     

风水与帝陵——汉帝陵与风水的相互关系问题浅析

中国古代帝陵和陵寝的相关问题研究,是中国传统文化的一个重要组成部分,想要研究这一问题就不得不谈到风水和风水术。本文从风水的发展历程,秦汉帝陵与风水的相互关系问题入手。对这一问题进行了较为细致的追寻和探讨,试图揭开遮掩在我们面前的关于帝陵与风水相互关系问题的神秘面纱。     

实践性风水中的“相向解释”——基于辽东宋屯经验的分析

风水不仅是一套话语、信仰、义理,还是一种社会实践。在社会逐步祛魅化的今天,风水作为一种实践策略的特征更加突出。因此对风水的研究,除了关注话语、仪式和功能外,还应遵循实践逻辑,关注风水话语与社会情境,以及行动者之间的互构。辽东宋屯的两起风水事件,展现了行动者是如何依据社会情境将风水转变成自己的实践策略,各方在实践中如何相向而行以寻找意志的交汇点,通过"相向解释"达至基本的平衡与和谐。     

理性策略,非理性表达——《信仰、仪式与乡土社会》中的风水现象与风水功能

陈进国《信仰、仪式与乡土社会——风水的历史人类学探索》(中国社会科学出版社,2005)一书,也许是中国大陆最早以“风水”作为研究专题的博士论文。长期以来,风水在大陆学术界是一个禁忌的话题。禁忌源自我们对于风水的价值判断。我们可以举出无数的例证,来说明风水建设对于社会资源的浪费,以及它     

客家地区社会知识的生产和消费——福建省永定县的客家土楼与风水话语

1978年改革开放以后,在中国,能看到很多地方宗教活动再次活化的情况。风水活动也再次活化了。尽管,中国政府认为风水思想和风水活动是迷信,但是,采用风水思想的人越来越多。风水思想被引进到人们的生活中,他们建房屋,修坟墓时,常常看周围环境和地理,以此判断吉凶祸福。在福建省西部山区也能看到同样的状况。在那里,1980年以后,各种各样的宗教活动显示着再活性化。     

董易林 现代风水师

"风水"源流和发展风水是什么?如今风水行业崛起,一些院校对风水的研究也活跃起来。学者们多方考证,各予褒贬,各出定义。有说中国人喜欢用山把家围护起来,把自己隐匿起来,于是出现了左青龙,右白虎,前朱雀,后玄武。并举西方抢占制高点、炫耀自己的城堡型的景观模式作为对比,强调中国的风水始于陕西关中盆地,西方人则受了希腊山地及雅典卫城的影响。有对风水持肯定态度的学者,声称,"风水是集地     

东南风水初探

风水伴随中国传统建筑二千余载,却因其迷信、粗鄙、光怪陆离而被今人当成糟粕,摈弃于中国建筑史研究范畴之外,然而,她在欧美曾风靡一时,论著频出.作为中国人,对之进行研究探讨责无旁贷.本文从勾勒阳宅理论发生、发展的历史轮廓入手,借着对风水盛行的东南地区的实地考察,试图对风水作初步探讨.全文分三部分:上篇阐述风水的历史发展及其在东南地区两大流派的理论特点;中篇具体分析风水对东南方域传统建筑的影响,讨论又分别从村落、城市、宗教建筑诸方面展开;下篇则进一步就风水为什么在中国长期流行以及现代建筑如何吸收借鉴风水中的有益成分等问题展开研讨,并对风水作了适当的评估.本文为硕士论文的改写。论文是在导师潘谷西教授的悉心指导下完成的。论文答辩过程中,梁白泉研究员,朱光亚副教授等对论文的进一步修改提出了许多宝贵意见,在此致以衷心感谢！     

东南风水初探(中、下篇)

下篇 风水影响下的东南传统建筑1、风水·村落一、村基的选择──相地 一个“好”基地──不论是湖、是河、是山、是岸──根据文化来定义和解释。在深厚的传统文化涵育下的国人津津乐道的是人与自然的感应关系,认为自然环境的优劣会直接导致人命运的吉凶祸福,这种选址思想的源头及实现这种理想均和“风水”这一世俗文化有极大关系,事实上相地选址一直是风水的主题和首要使命。 风水称村基为阴基,阳基何求?有否一定的模式?本文试对这两点加以讨论: 第一、积极的选择 1、方法与步骤 在选择村基时,一般多请风水地师进行觅龙、察砂、观水、点穴等一系列步骤。此时以形家最能用武。各地宗谱都可看到类似如下的记载:“邀形象者流出外观     

土质建筑遗址传统营造技法的演化与特征探析

土是延用至今最重要的建筑材料之一,在人类认知和掌握不同环境土的性能和特点的进程中,创造了类型丰富的土质建筑遗址。对传统营造工艺的认知、传承、挖掘和应用成为当下土质建筑遗址保护的关键问题。因此,本工作基于土质建筑遗址保存现状、建筑形制、结构特征和传统营造技法调查,结合文献记载和研究成果,按照营造技法将土建筑遗址分为生土挖造、泥土堆筑、生土夯筑、土坯砌筑和湿泥垛筑5大类15亚类,阐释了随着生产力的发展和功能需要多方面共同推动,营造技法呈递进式发展演化,且呈现出不同营造技法既具备各自的鲜明特征又相互渗透的特点,也是适应环境和功能需求的具体体现,具有一定的规律性。研究结果为深入研究早期建筑形制和营造技法提供了依据。     

由五代宋初山水画论看风水学对山水画成熟的影响

风水学在唐末五代发生了变革,其中以考察山川形势的“形势宗”占据了主流地位,其理论具有浓厚的美学意味。就在这段时期,山水画领域同样发生了巨变,山水画由稚嫩发展至成熟。通过对风水术转型前后理论的发展与山水画成熟期山水画论的比较,可以看到风水学对山水画的成熟所起的作用。     

“金陵根本重地”——明末政治语境中的风水观

自三国时代起,作为南京地区地理标志的钟山就被赋予了风水学的内涵。随着明太祖朱元璋(1328-1398年)将孝陵营建于此,钟山在明代风水堪舆理论中便有了更为丰富的意义。有明一代,孝陵与钟山的意义绝非止于帝王陵寝和自然景观,它们不断为文学传统、仪式制度、风水堪舆、地理象征、政治语汇所利用,并且在这个过程中被赋予政治影响力。     

The Protopalatial State of the Western Magazines of the Palace at Malia (Crete)

The evidence available for the reconstruction of the Western Magazines of the early palace at Malia is here re‐evaluated. Despite the importance given to external social agents stationed in the Protopalatial town outside the palace, our knowledge of the main building during this key period in the history of the settlement remains limited. The shallow stratigraphy associated with its construction and heavy rebuilding during the succeeding Neopalatial period obstruct a clear vision of the architectural phasing of the early building, but a new analysis focusing on building materials and techniques suggests the presence of a series of Protopalatial storage rooms behind the main façade on the West Court, later integrated into the Neopalatial building. This architectural analysis allows a better assessment of the role of the central building of Middle Bronze Age Malia.     

周口关帝庙建筑彩画艺术研究

周口关帝庙建筑彩画是河南省内保存较为完整的一处清中期文物建筑彩画遗存,具有一定的历史和艺术价值.文章系统描述了庙内各建筑的彩画构成,进而分析了它的制作年代、结构特征和工艺做法.     

Daylight as a Design Strategy in the Ottoman Mosques of Tunisia and Algeria

This study investigates daylighting design in Tunisian and Algerian mosques from the Ottoman era. It aims to constitute a daylight-based architectural design knowledge which might serve the built heritage preservation as well as supports contemporary environmentally friendly mosques’ and building design. An intensive literature review and a field work research have been undertaken in Tunisia and Algeria in order to survey daylighting devices in the Ottoman mosques era. Nine Tunisian and 14 Algerian mosques, from the Ottoman era, constitute the study corpus. First, an inventory of architectural components and their associated daylighting strategies was carried out. This collected data is then examined by means of a building conformation lecture based on typological, topological, and morphological analysis. This research reveals the existence of an interrelated set of daylighting devices and structural models governing rules in the Ottoman mosque model, site conditions, and previous local architectural styles.     

Structural,Visual, or Iconic: Transmutations of Wooden Brackets in Modern China

Together with pillars and roof, the bracket set is one of the most fundamental structural components of traditional timber-frame architecture in China. Not only structurally indispensable, it was also emblematic of specific building styles developed through history. Entering the modern era, however, its architectural validity was overturned by the use of modern technology and building materials, rendering brackets merely a visual and decorative motif. This paper contends that it was precisely when the bracket set lost its structural significance that it began to be discussed in ways that endowed it with layers of cultural meaning in the context of modern China. Examining its modern appropriations in materials other than wood throughout the twentieth century, the paper explores shifting meanings of brackets in their continuous transmutations from a reminder of a defunct component in the building tradition to a nostalgic sign for an irretrievable architectural past.     

Protrusion, Bioturbation, and Settlement Detection during Surface Survey: The Lowland Maya Case

In upland settings in humid and semihumid temperate and tropical environments, bioturbation is a major factor in the burial of modest architectural remains, which are abundant components of the settlement systems of complex societies. Surface survey, favored by archaeologists of complex societies as a settlement detection method, seldom is appropriate for discovering architectural remains buried through bioturbation. Where the focus of analysis includes settlement represented by architectural remains, surface survey is appropriate only where all or a representative sample of all types of architectural remains are protrusive. Protrusion describes a relationship (affected by climate, environment, topography, and cultural variables) between the height of a ruined building and the depth of the biomantle, which is the zone of bioturbation. To enable archaeologists to assess the appropriateness of settlement detection procedures, including surface survey, I propose a scheme that classifies architectural remains in terms of their protrusion, building height, and visibility characteristics. The scheme can be employed to determine if and why architectural remains are protrusive in particular study areas. To demonstrate its analytical utility, I apply the scheme and the model of building burial through bioturbation that underlies it to the problem of Maya invisible settlement. I conclude that in the Maya lowlands of Mesoamerica, building remains buried through bioturbation are a more abundant settlement category than many archaeologists have supposed.     

‘Who Should Be the Author of a Dwelling?’ Architects versus Housewives in 1950s France

This article draws upon archival sources, architectural trade publications and contemporary social science to trace the design and reception of the ‘cell’, a functionalist, rational apartment that was the building block of apartment complexes that sprung up all over France during the 1950s and 1960s. I argue that French Modernist architects, shaped by both professional and socio‐political concerns, believed their streamlined interiors to be key to building a classless society and restoring French greatness and thus rejected the dwelling preference and expertise of French homemakers when designing their homes. Nevertheless, Frenchwomen tried to ignore architectural dictates when it came to homemaking, and ultimately, in a changed political climate, their preferences convinced the national housing ministry to redefine its norms and standards for apartments.