摘要
关注于18世纪中国建筑的音乐化设计,并剖析了北京现存的两例皇家建筑:天坛圜丘和北海韵琴斋。两处实例均由乾隆皇帝督造,现场调研及历史文档显示,圜丘平面依照"黄钟"律尺设计,韵琴斋则意在营造比拟"琴乐"的水声。通过探讨这些设计如何表达社会、文化内涵,并由此涉入中国古代思想中的"圣王"理念得出,上述建筑-音乐一体的杰作可看做乾隆皇帝"圣王"抱负的物化体现。
This study concerns about the archi-musical design in the 18th-century Chinese architecture.Two surviving examples of imperial buildings in Beijing are examined：the Altar of Heaven and the Zither Rhythm Studio,both of which were constructed at Emperor Qianlong＇s direction.By field surveys and literature review of historical documents,it is found that（1） the terrace plan of the Altar was deliberately designed under the ＂huangzhong＂ tonal measurement, and（2） the Studio and its surrounding landscape were encircled by water-sound produced ＂music＂.To explore how the design expressed its inherent sociocultural meanings,the influence from the ancient Chinese idea of ＂sage-king＂ notion are discussed.This study concludes that the above two archi-music masterpieces could be regarded as a material representation of Emperor Qianlong＇ s sage-king ambition.
出处
《新建筑》
2012年第6期110-112,共3页
New Architecture
基金
国家自然科学基金重点资助项目(50738003)
关键词
清代皇家建筑
跨建筑-音乐设计
律尺
圜丘坛
韵琴斋
imperial architecture in the Qing Dynasty
archi-musical design
tonal measurement
Alter of Temple
Zither Rhythm Studio
