Campus landscape as the essence of campus environment accentuates the history, culture and time characteristics of university. Pleasant and elegant campus landscape conveys spirit, aesthetic taste, and cultural connot...Campus landscape as the essence of campus environment accentuates the history, culture and time characteristics of university. Pleasant and elegant campus landscape conveys spirit, aesthetic taste, and cultural connotation of the university; furthermore, it makes people active and struggle for it. Shanshui culture on campus landscape design has important signifi cance and function and appeal to the design conception of landscape and planning strategy to follow the principles of integrity, ecology and comfort.展开更多
The incorporation of landscapes into art signifies a profound transformation in the aesthetic relationship between human and nature,shifting the focus of human aesthetic appreciation from the utilitarian realm to the ...The incorporation of landscapes into art signifies a profound transformation in the aesthetic relationship between human and nature,shifting the focus of human aesthetic appreciation from the utilitarian realm to the non-utilitarian realm,from humans and animals to plants and landscapes.This represents a revolutionary moment of decisive significance in the history of human aesthetics.The emergence of landscape art does not merely signify a significant transformation in aesthetic objects and artistic themes.More importantly,the appreciation of natural landscapes marks a new stage in human aesthetic activities-an aesthetic consciousness of nature.Both the Wei-Jin period in China and the Renaissance in Europe contributed to the creation of landscape culture,with Chinese landscape culture giving birth to shanshui山水(landscape)aesthetics.However,the concept of shanshui in Chinese differs from the European notion of landscape.The ethicalization of aesthetic appreciation of nature in China helps shape the bland and plain national characteristics of Chinese shanshui aesthetics,providing a paradise for the poetic dwelling of the soul and becoming the fundamental development direction of Chinese shanshui aesthetics.The shanshui aesthetics developed in China prior to the Western cultures stands as the most ethnically distinctive aesthetic heritage,holding cross-temporal significance in global aesthetics.展开更多
Shanshui山水(landscape)poetry of Wang Wei王维and Meng Haoran孟浩然primarily utilizes five-character lines,while poets like Gao Shi高适,Cen Shen岑参,and Wang Changling王昌龄seldom employed seven-character lines for sha...Shanshui山水(landscape)poetry of Wang Wei王维and Meng Haoran孟浩然primarily utilizes five-character lines,while poets like Gao Shi高适,Cen Shen岑参,and Wang Changling王昌龄seldom employed seven-character lines for shanshui themes.However,Li Bai李白,even before the rebellion of An Lushan and Shi Siming,extensively adopted various genres,such as five-character ancient-style poetry五言古诗,five-character rhythmic poetry五言律诗,five-character quatrains五言绝句,seven-characterquatrains七言绝句,and seven-character song verses七言歌行,to express shanshui themes,achieving significant artistic accomplishments.By examining his shanshui poetry from the perspective of genre,it can be said that Li Bai is the poet of the High Tang period who exerted the most effort,explored the widest range,and innovated the most in the creation of shanshui poetry.Li Bai's various genres of shanshui poetry each have their unique origins and stylistic features,exhibiting different expressions between inheritance and transformation,as well as between tradition and innovation.Overall,there are two main characteristics:first,a full expression of individuality,and second,an emphasis on the pursuit of musicality,drawing from the unique features of each poetic genre.These two characteristics form the unique identity of Li Bai's shanshui poetry,distinguishing it from that of other poets of the High Tang period,and they have had a profound influence on the art of shanshui poetry in later generations.展开更多
During the Southern Dynasties,shanshui山水(landscape)emerged as an independent aesthetic subject in literary and artistic works.The underlying causes of this phenomenon have been extensively investigated in academic s...During the Southern Dynasties,shanshui山水(landscape)emerged as an independent aesthetic subject in literary and artistic works.The underlying causes of this phenomenon have been extensively investigated in academic scholarship.This study explores the intrinsic connections between official career pursuit and reclusive withdrawal(chuchu出处)and the literary discovery of shanshui as aesthetic subjects by investigating the lives of three representative figures of the Xie family of Chen Prefecture:Xie An谢安of the Eastern Jin Dynasty,Xie Lingyun谢灵运of the Eastern Jin to Liu-Song transition,and Xie Tiao谢眺of the Qi Dynasty.The findings suggest that:For Xie An,shanshui served not only as sensory pleasure but also as a vehicle to alleviate psychological tensions arising from political struggles.For Xie Lingyun,shanshui provided a space to contemplate metaphysical principles,laying the philosophical foundations for the aesthetic exploration of sensory beauty.Xie Tiao integrated shanshui into daily life through his bureaucratic routines and travels,ultimately transforming nature into a spiritual sanctuary for scholars navigating court politics.展开更多
Xie Lingyun's谢灵运“Rhapsody on Dwelling in the Mountains”山居赋is not only a remarkable literary achievement but also holds significant value in the theoretical discourse on ancient Chinese shanshui山水(landsca...Xie Lingyun's谢灵运“Rhapsody on Dwelling in the Mountains”山居赋is not only a remarkable literary achievement but also holds significant value in the theoretical discourse on ancient Chinese shanshui山水(landscape)aesthetics.It expands the subject-object relationship within this aesthetic tradition:Instead of mere contemplation,which became prevalent in the pre-Qin and Han periods,it presents a subject-object relationship that integrates the enjoyment of dwelling and roaming with aesthetic appreciation,reflecting the thoughts on the body-mind relationship and the nature-principle relationship within shanshui aesthetics.The aesthetic distance in the Rhapsody on Dwelling in the Mountains,"neither too close nor too far,deviates from the rhapsody tradition and the established custom of mountain dwelling.This rhapsody expresses the viewpoint centered on“attaining intention”意得and“delighting the heart”赏心,pioneering a self-fulfilling space自得之场transcending and yet grounded in the mundane world,thus influencing the depiction from the subjective spirit in subsequent shanshui aesthetics.展开更多
The traditional Feng Shui pattern embodies rich ecological wisdom and philosophical thoughts,which are of great significance to the modern sustainable space design.The core concepts of Feng Shui patterns from traditio...The traditional Feng Shui pattern embodies rich ecological wisdom and philosophical thoughts,which are of great significance to the modern sustainable space design.The core concepts of Feng Shui patterns from traditional civilization can provide a theoretical foundation and research framework for this study.By integrating these principles,such as“hiding the wind and gathering the Qi”and“backing the mountain and facing the water”,a functional relationship between urban structures can be established.This approach can help optimize the spatial layout of urban elements,minimize energy consumption,and enhance environmental comfort.It also examines the influence of the ShanShui City pattern in traditional Feng Shui on guiding the development of modern urban ecological networks,as well as its role in protecting and restoring biodiversity through ecological corridors and ecological nodes.The modern urban design of traditional Feng Shui culture focuses on the inheritance and innovation of riotous things and the combination of traditional Feng Shui concepts and modern design concepts to form ecological spaces with cultural connotation.This paper hopes to give some inspiration or methods for contemporary urban design and to reconcile the relationship between human and nature through these thoughts.展开更多
文摘Campus landscape as the essence of campus environment accentuates the history, culture and time characteristics of university. Pleasant and elegant campus landscape conveys spirit, aesthetic taste, and cultural connotation of the university; furthermore, it makes people active and struggle for it. Shanshui culture on campus landscape design has important signifi cance and function and appeal to the design conception of landscape and planning strategy to follow the principles of integrity, ecology and comfort.
基金Fund of China,“Research on Chinese ShanshuiAesthetics in Western Sinology”西方汉学中的中国山水美学研究(23AZX014).
文摘The incorporation of landscapes into art signifies a profound transformation in the aesthetic relationship between human and nature,shifting the focus of human aesthetic appreciation from the utilitarian realm to the non-utilitarian realm,from humans and animals to plants and landscapes.This represents a revolutionary moment of decisive significance in the history of human aesthetics.The emergence of landscape art does not merely signify a significant transformation in aesthetic objects and artistic themes.More importantly,the appreciation of natural landscapes marks a new stage in human aesthetic activities-an aesthetic consciousness of nature.Both the Wei-Jin period in China and the Renaissance in Europe contributed to the creation of landscape culture,with Chinese landscape culture giving birth to shanshui山水(landscape)aesthetics.However,the concept of shanshui in Chinese differs from the European notion of landscape.The ethicalization of aesthetic appreciation of nature in China helps shape the bland and plain national characteristics of Chinese shanshui aesthetics,providing a paradise for the poetic dwelling of the soul and becoming the fundamental development direction of Chinese shanshui aesthetics.The shanshui aesthetics developed in China prior to the Western cultures stands as the most ethnically distinctive aesthetic heritage,holding cross-temporal significance in global aesthetics.
基金This paper is a phased result of the First-Class Discipline of Universities in Shanghai(Category B)ConstructionPlanning Project.
文摘Shanshui山水(landscape)poetry of Wang Wei王维and Meng Haoran孟浩然primarily utilizes five-character lines,while poets like Gao Shi高适,Cen Shen岑参,and Wang Changling王昌龄seldom employed seven-character lines for shanshui themes.However,Li Bai李白,even before the rebellion of An Lushan and Shi Siming,extensively adopted various genres,such as five-character ancient-style poetry五言古诗,five-character rhythmic poetry五言律诗,five-character quatrains五言绝句,seven-characterquatrains七言绝句,and seven-character song verses七言歌行,to express shanshui themes,achieving significant artistic accomplishments.By examining his shanshui poetry from the perspective of genre,it can be said that Li Bai is the poet of the High Tang period who exerted the most effort,explored the widest range,and innovated the most in the creation of shanshui poetry.Li Bai's various genres of shanshui poetry each have their unique origins and stylistic features,exhibiting different expressions between inheritance and transformation,as well as between tradition and innovation.Overall,there are two main characteristics:first,a full expression of individuality,and second,an emphasis on the pursuit of musicality,drawing from the unique features of each poetic genre.These two characteristics form the unique identity of Li Bai's shanshui poetry,distinguishing it from that of other poets of the High Tang period,and they have had a profound influence on the art of shanshui poetry in later generations.
基金study constitutes an interim result of the project“A Study of the Philosophical Basis of Official Career Pursuit and Reclusive With drawal and Its Aesthetic Implications”出处问题的哲学基础及其美学意蕴研究(10cZX053)of the National Social Science Fund of China.
文摘During the Southern Dynasties,shanshui山水(landscape)emerged as an independent aesthetic subject in literary and artistic works.The underlying causes of this phenomenon have been extensively investigated in academic scholarship.This study explores the intrinsic connections between official career pursuit and reclusive withdrawal(chuchu出处)and the literary discovery of shanshui as aesthetic subjects by investigating the lives of three representative figures of the Xie family of Chen Prefecture:Xie An谢安of the Eastern Jin Dynasty,Xie Lingyun谢灵运of the Eastern Jin to Liu-Song transition,and Xie Tiao谢眺of the Qi Dynasty.The findings suggest that:For Xie An,shanshui served not only as sensory pleasure but also as a vehicle to alleviate psychological tensions arising from political struggles.For Xie Lingyun,shanshui provided a space to contemplate metaphysical principles,laying the philosophical foundations for the aesthetic exploration of sensory beauty.Xie Tiao integrated shanshui into daily life through his bureaucratic routines and travels,ultimately transforming nature into a spiritual sanctuary for scholars navigating court politics.
文摘Xie Lingyun's谢灵运“Rhapsody on Dwelling in the Mountains”山居赋is not only a remarkable literary achievement but also holds significant value in the theoretical discourse on ancient Chinese shanshui山水(landscape)aesthetics.It expands the subject-object relationship within this aesthetic tradition:Instead of mere contemplation,which became prevalent in the pre-Qin and Han periods,it presents a subject-object relationship that integrates the enjoyment of dwelling and roaming with aesthetic appreciation,reflecting the thoughts on the body-mind relationship and the nature-principle relationship within shanshui aesthetics.The aesthetic distance in the Rhapsody on Dwelling in the Mountains,"neither too close nor too far,deviates from the rhapsody tradition and the established custom of mountain dwelling.This rhapsody expresses the viewpoint centered on“attaining intention”意得and“delighting the heart”赏心,pioneering a self-fulfilling space自得之场transcending and yet grounded in the mundane world,thus influencing the depiction from the subjective spirit in subsequent shanshui aesthetics.
文摘The traditional Feng Shui pattern embodies rich ecological wisdom and philosophical thoughts,which are of great significance to the modern sustainable space design.The core concepts of Feng Shui patterns from traditional civilization can provide a theoretical foundation and research framework for this study.By integrating these principles,such as“hiding the wind and gathering the Qi”and“backing the mountain and facing the water”,a functional relationship between urban structures can be established.This approach can help optimize the spatial layout of urban elements,minimize energy consumption,and enhance environmental comfort.It also examines the influence of the ShanShui City pattern in traditional Feng Shui on guiding the development of modern urban ecological networks,as well as its role in protecting and restoring biodiversity through ecological corridors and ecological nodes.The modern urban design of traditional Feng Shui culture focuses on the inheritance and innovation of riotous things and the combination of traditional Feng Shui concepts and modern design concepts to form ecological spaces with cultural connotation.This paper hopes to give some inspiration or methods for contemporary urban design and to reconcile the relationship between human and nature through these thoughts.
