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像学语境的中世纪督教伊教教建较研comparative Study of Christian

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像学语境的中世纪督教伊教教建较研comparative Study of Christian 津大学博士学论文 像学语境的中世纪督教 伊教教建较研 Comparative Study of Christian and Islamic Religious Architecture of Middle Ages in the context of Iconology 学建学 学建计理论 者吕 指教师罗威 教授 津大学建学院 声 本人声呈交的学论文是本人在师指的研和的 研除了文中别加注和谢处外论文中包含他人发表 或撰写的研包含获 天津大学 或他教育机构的学或证 书而使用的料跰的本研做的任何献均在论文中 了确的并表示了谢意跰 学论文者签 签期 学论文使用授书 本学论文者全了解 天津大学 保留路使用学论文的规跰 授 天津大学 将学论文的全部或部内容编入数据检 索并采用路或等复制手段保路汇编供查阅和借阅跰意学校 向家部门或机构交论文的复和磁盘跰 (保密的学论文在解密用本授) 学论文者签 师签 签期 签期 中文摘要 教建构了建研的要内容跰在人类的文中 教建 是功能建构它是教教做的形陈述更是人类自身生意 的深刻表跰铭刻人类精和物质就的丰碑教建的解 超建术路建结构化或艺术风格的臼 将教建 原于生和发展的中在人类求索贬在购意的宏画中展 跰本论文用艺术研中的像学阐法西方中世纪种文 形西欧教路庭教路伊教发通督教和伊教 教建的较研阐种质教的精源流贬希文购 在中生的文化假晶象在建域引发的贬文构购 象并教建中的贬本体论购意建构了探索跰 第探了教建研的要意用贬像阐学购方法 教建研的法督教和伊教建研中的盲和误 者较研的要和畴跰第教意识形的源流发探索了 拉罕系教在西方社会期的形发展督教伊教 属 贬希文购流物的跰第要探了督教学思想于 中世纪贬象购美学思想形的响中世纪西欧社会背督教建 的发展程跰着探了督教秘和院哲学思想于哥式教堂形 和发展的响跰第解了教建在督教教的表继罗马 贬君授购思想的质种贬教购教建周边文的 深刻响跰第研了清表的伊教建在中世纪背的发 生发展跰探了伊教的建语汇书法铭刻路何饰和蔓藤 式的含用穆喀伊建的素的形式源流意 跰第中世纪西班牙的穆加尔建和曼西西建的因 探了中世纪督教和伊教种贬质购文形在突融中生的 文化贬假晶购象在教建域形的贬文构购跰第七总结 教建 贬本体论购建构的质并建建师面多 计理论的贬自境购探向人本建构的回跰 词教建督教伊教像学较研 希文本体论 ABSTRACT Religious architectures compose the main chapter of architectural history. In human civilization, sacred architecture acts not simply as functional construction. In reality, it is the perceptible narrative of religious doctrine, the most profound expression of ―Being‖ in sense of humanity. As the monument of both spiritual and material achievement of human being , religious architecture should be interpreted within its historical context and at the background of man‘s persistent exploring of the meaning of ―Being‖ , rather than a chronological development of technology ,structure or artistic style . Using Iconology as the methodology, based on three different civilizations in Medieval time, which are Western Catholic, Byzantine Orthodox and Islam, this dissertation focuses on the study of Christian and Islamic architecture in a comparative way , in order to reveal that ―Hellenistic-Hebrew‖ civilization is their common ideological originality, their cultural pseudomorphism phenomenon and its consequence of architecture conflation, and at the end to explore the ontological meaning in religious architecture. Chapter one, focuses on the significance of religious architecture study, the validity of Iconology in architecture history research, the misnomers of former study in Christian and Islamic architecture and both the necessity and categories of comparative study in this field. Chapter two, explores the development of Abrahamic monotheism at the end of Classic World, and the fact that both Christianity and Islam are actually the result of Hellenistic-Hebrew civilization. Chapter three, deals with the influence that made by Christian theology upon Symbolic theory as Medieval art philosophy and the development of Christian Architecture in western Europe, the influence made upon the Gothic style by Christian Mysticism and Scholasticism. Chapter four, reveals Byzantine church which had been built with the legacy of Caesaropapism, and its profound influence upon its periphery civilizations. Chapter five, studies the development of Mosque within the context of Medieval Islam, and the spectacular Islamic architectural languages: calligraphy, geometric pattern and arabesque; the originality of Muqarnas dome and its spiritual motivation of Atomic Occasionalism in Islam. Chapter six, deals with cultural pseudomorphism phenomenon caused by the collision and coexistence between Christianity and Islam, with case studies in Spanish Mudejar and Norman-Sicily architecture, and analyses the conflation within the construction of religious architecture. Chapter seven draws conclusion on the essence of ontological construction in religious architecture, discusses the ‗dilemma of freedom‘ which is caused by various modern architecture theories, that confuses contemporary architects. And at the end proposes the ontological revival in architecture design. Key wordsReligious Architecture; Christianity; Islam; Iconology; Comparative Study; Hellenistic-Hebrew Civilization; Ontology 目 录 第 论 ............................................................................................................. 1 1.1 西方教建学的研状 ................................................................... 1 1.1.1 教象教建 ........................................................................ 1 1.1.2 内教建研的状 ................................................................. 4 1.2 艺术的建研方法 ........................................................... 8 1.2.1 艺术的研方法和黑格尔的遗 ................................................. 8 1.2.2 艺术风格学的研方法................................................................... 10 1.2.3 ―像学‖的研方法 ........................................................................ 11 1.3 督教和伊教建的较研畴 ............................................. 16 第 拉罕系教和希文 .................................................................... 18 2.1 ―拉罕‖教——犹教督教伊教 ................................... 18 2.1.1 犹教 ............................................................................................. 19 2.1.2 督教 ............................................................................................. 21 2.1.3 伊教 .......................................................................................... 23 2.2 希腊哲学拉罕系学 ................................................................. 26 2.2.1 希腊哲学督教学的响 ....................................................... 27 2.2.2 希腊哲学伊教学的响 ................................................... 31 2.3 本小结 ................................................................................................... 40 第 城西欧督教建 .................................................................... 43 3.1 信仰象督教的学美学 ............................................................. 44 3.1.1 象论 ............................................................................................. 45 3.1.2 的形而学 .................................................................................. 48 3.2 督教圣间原型 ................................................................................ 50 3.2.1 犹教的圣殿摩西圣罗门殿 ........................................ 51 3.2.2 督教的圣间 .......................................................................... 54 3.3 西欧期督教建 ................................................................................ 56 3.3.1 地墓期 .................................................................................. 57 I 3.3.2 洛林王朝文艺复 ....................................................................... 58 3.4 罗曼期.................................................................................................... 61 3.4.1 间的非物质化 .............................................................................. 62 3.4.2 体系的发展 .............................................................................. 64 3.4.3 罗曼雕刻 .......................................................................................... 67 3.4.4 克吕( Cluny)会西都会(Cistercian)的美学 .................... 71 3.4.4.1 督教教美学中的―简‖―‖ ................................... 71 3.4.4.2 克吕会的建 ................................................................. 74 3.4.4.3 西都会的建 ..................................................................... 79 3.5 哥大教堂 ................................................................................................ 85 3.5.1 督教秘哥大教堂的间意象 .................................... 86 3.5.1.1 圣教堂的形而学.................................................. 87 3.5.1.2 的向 ......................................................... 90 3.5.2 石头的院大教堂的建构 ............................................ 93 3.6 本小结.................................................................................................... 96 第 教教建 ........................................................... 99 4.1 罗马―罗马‖—— ...................................................................99 4.2 查士的遗赠 ...................................................................................... 102 4.2.1 ―堂‖在尘世的喻—圣索大教堂(Hagia Sophia) ................ 103 4.2.2 圣莱——人格化的教 ................................................. 105 4.3 建像——教的建表处理 ..................... 107 4.3.1 督教王的式 ................................................................. 107 4.3.2 和十形的象 ..................................................................... 109 4.3.3 马赛克镶嵌画的信 ......................................................... 110 4.3.4 督在尘世的摄者 ..................................................................... 113 4.4 本小结文化信码 ................................................................... 114 第 认唯伊教建 ................................................................... 117 5.1 伊建艺术的滥觞 .......................................................................... 108 5.1.1 庭的响......................................................................... 108 5.1.2 波萨珊王朝的响 ..................................................................... 120 5.2 清伊信仰的象 ................................................................... 121 5.2.1 清的形式源流功能 ............................................................. 121 5.2.1.1 清的形式源流 ............................................................... 122 5.2.1.2 清的本间 ....................................................... 123 5.2.1.3 朝向―克尔‖——伊教的民族化................................. 125 II 5.2.2 伊建的艺术流 ......................................................... 127 5.2.3 依据间序的 .................................................................... 127 5.2.4 依据地理文化间的 ............................................................. 128 5.3 伊建艺术语言 .............................................................................. 130 5.3.1 伊建艺术的美学 ........................................................
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