【作者】 雷亚伦；

【导师】 仲星明；

【作者基本信息】 上海大学 ， 设计艺术学， 2019， 博士

【摘要】 20世纪90年代至今,在打造文化主题景区和发扬中国优秀传统文化的大背景下,以佛教文化为主要内容的旅游景区开发成为了一种流行。然而,我国佛教文化旅游景区的相关利益部门却普遍把这一特殊文化资源视为创建地方特色文化旅游品牌和吸引游客观光的重要手段。在“宗教搭台、经济唱戏”的利益驱动之下,他们一方面打着弘扬中国传统佛教文化和佛法精神的旗号,另一方面却做着“不如法”设计。一些景区为了应对相同性质景区之间的激烈竞争和满足游客追新猎奇的想法,不惜斥巨资去建造巨型露天佛像、过于豪华的室内外装饰、佛俗迥异的景观小品、泥古的佛教建筑等途径去吸引游客和信众。这种“不如法”设计不仅有损原佛教文化遗存的历史价值、佛教教义、国家宗教法规,同时也不符合当代佛教景区建设“人间佛教”、“人间净土”的实际需要。面对这种“不如法”趋势,自1994年国务院颁布《宗教活动场所管理条例》以来,从中央到地方都陆续制订了一系列条例,然而结果却不尽如人意,甚至出现法律越严佛像越高的窘境。这些问题归根结底,是因为各利益相关者对当前佛教景区设计诉求存在差异,且利益主体各方制衡力有强弱之分。作为一名设计学研究者和佛教景区景观设计实践者,本文以佛教景区景观空间设计为研究对象,禅宗美学“心性”思想为核心论点,针对当前佛教景区“不如法”设计的流行,提出在“心性”思想指导下的设计语境能够更好满足当前佛教景区的现实诉求,有效阻止“不如法”设计的盛行,并予以案例和实践证实本文观点。第一章为禅宗美学“心性”史论梳理,从社会文化宏观背景和禅宗美学发展史的理解与认知角度出发,分析在“心性”思想影响下“宗教禅”到“美学禅”的演变过程,挖掘围绕禅宗思想本源“心性”而产生的审美基本特征。第二章为汉传佛教寺院发展与演变的历史梳理,解读禅宗美学“心性”对古代佛教寺院彻底汉化的影响。第三章为案例分析,针对佛教景区发展现状、设计问题、原因展开深入探讨,提出受禅宗美学“心性”思想启示的设计语境能够有效满足当前景区各方利益的诉求,提供“如法”设计形式,并结合案例给予证明。第四章为理论实证,以参与和调研的南京栖霞三论宗佛教文化园、陕西法门寺文化景区实证本章提出的论点。最后,本文认为,佛教景区与旅游开发实际不存在本质矛盾,依据“心性”的审美设计原则,是可以实现共赢的。当代佛教景区既是僧人诵经礼佛的宗教活动场所,也是社会大众旅游观光、体验佛教文化、学习佛法精神的“人间净土”,而它真正的魅力在于亲身体验佛教对人调心、净化内心、提升生命的内在品质功能。这一点与禅宗“心性”审美思想相当契合。更多还原

【Abstract】 From the 1990 s to the present,under the background of creating cultural thematic scenic spots and promoting Chinese traditional cultures,the development of tourist attractions with Buddhist culture as the main content has become a popular one.However,the relevant interests of Buddhist cultural tourism scenic spots in China are think of this special cultural resource as an important means of creating local cultural tourism brands and make money.On the one hand,they are carrying the banner of developing the traditional Chinese Buddhism cultures and publicize the spirit of Buddhism.while on the other hand,they are doing the design of “Not in compliance with the Buddhism arts”.In order to cope with the fierce competition between scenic spots of the same contents and to satisfy the tourists’ pursuits of new curiosity,some scenic spots even have invested huge sums of money to build enormous open-air Buddha statues,extravagant interiors and erratic landscape facilities to attract tourists and religious believers.These ways not only destroy the historical values of original Buddhist cultural heritages,Buddhist doctrines,national religious regulations,but also can not meet the needs for creating contemporary Buddhist scenic spots.Faced with this trend of not in compliance with the Buddhist art designs,governments had set s series of regulations to cope with these problems in past 10 years.however,the results are not satisfactory.Why?these problems can not be solved,because various stakeholders who have huge interest in Buddhist scenic spots have differences needs.As a design researcher and a landscape design practitioner in Buddhism,this paper takes the landscape design of Chinese Buddhism scenic spot as the research object,and Zen’ aesthetic as an argument.According to the actual demands of various stakeholders,we can make excellent designs that compliance with Buddhist arts if we learn Zen’s aesthetic.The first chapter is historical research.It proposes the necessity of this research from the perspective of the macro-background of social culture and the understanding and cognition of the development history of Zen aesthetics,analyzing the characteristics of the Zen’s aesthetics.The second chapter is description of the development and evolution of historical Buddhist architectures,analyzing the relationship between Zen’s aesthetics and Chinese traditional Buddhist architectures.The third chapter is the strategy research,which goes into the in-depth analysis of the development status,design problems and reasons of the Buddhist scenic spots,and explores the use of Zen aesthetics to satisfy the interests of all parties in the scenic spot,and provides the scenic space design pattern and strategy of “Zen aesthetics” and combined with some cases to prove.The fourth chapter is theoretical practice.Through the understanding of the art characteristics of Zen aesthetics,combined with the author’s landscape design practices in Xi Xia Temple and Fa Men Temple to support my points.Finally,the paper concludes that the Buddhist scenic spot is the place of religious activities of the believers,and is also a learning cultural scenic spot for tourists to visit,experience Buddhist cultures and Buddhist spirit.And its true charms lies in experiencing the function of Buddhism to help people reliving pressure and purifying the soul.As we known this is very similar to Zen’ aesthetics.更多还原