多元共存与文化认同:西藏拉萨清真寺的中华堪舆叙事与美学阐释

Multiple Coexistence and Cultural Identity:Chinese KanYu Narrative and Aesthetic Interpretation of Lhasa Mosque in Tibet

西藏清真寺建筑融贯多元文化形态的中国化建筑艺术。其与中国内地伊斯兰建筑中国化的步调共频,吸收了汉地建筑文化的养料,且由于地处高原藏地,又与中华文明体系包含的次级藏族建筑文化圈关联密切,具有藏地人文景观的特征,体现为大环境中的空间句法、中环境中的空间形制、小环境中的空间布局等三维层次。其建筑美学内涵又表现为整体“势空间”下的空间实践审美、空间表征的审美以及装饰艺术的审美表达三个重要维度,构建出具有独特视觉美学范式的景观符号。

Mosque architecture in Tibet is a Chinese architectural art that integrates multi-cultural forms.It keeps pace with the sinicisation of Islamic architecture in Chinese mainland,absorbs the nourishment of Chinese architectural culture,and because it is located on the Tibetan plateau and closely related to the secondary Tibetan architectural culture circle included in the Chinese civilization system,it has the characteristics of Tibetan cultural landscape,which is embodied in three dimensions:spatial syntax in the large-scale environment,spatial form in the middle-scale environment,and spatial layout in the small-scale environment.Its architectural aesthetic connotation is manifested in three important dimensions:the aesthetic of space practice,the aesthetic of space representation,and the aesthetic expression of decorative art under the overall"potential space",which constructs a landscape symbol with a unique visual aesthetic paradigm.