【作者】 王迪；

【导师】 王其亨；

【作者基本信息】 天津大学 ， 建筑设计及其理论， 2013， 博士

【摘要】 佛教传入中土后，在其生根、成长的过程中，完成了与儒家、道家等传统文化的碰撞和融合，形成了与印度佛教理趣迥异的汉化佛教，并深刻地影响着中国的传统思想和文化。传入中国的佛教被称作“像教”（亦称“象教”），它在很大程度上是基于佛教的语境和意义系统，通过其图像（包括佛教造像、图案、壁画及具有宗教意义的各种形象）的艺术表现形式来传达其宗教教义、实践其宗教特有的觉悟方式。同时，基于佛教教义和实践禅观的佛教图像，作为中国传统佛教建筑的空间核心，对其内部空间的形式布局、尺度视线规律，以及外部组群的配置均产生了深远的影响。然而长期以来，学术界、设计界对该领域的研究和实践并未得以深入地展开，存在着诸多研究的空白。作为一个建筑研究者和设计从业者，笔者通过在数年中的设计实践和不断的学习思考，以“上篇：理论归纳”和“下篇：实践演绎”两大部分来解析佛教这支对我国文化、思想影响最大的宗教形式的图像语境，分析、归纳佛教在禅观和艺术表现形式上发展出的多种表象，以及艺术借用佛教来展现其表意性和文化性的功能，并在此基础上探索佛教“教”（思想、观念、实践方式）与“像”（艺术形象）和当代设计之间的共通性，找到当代佛教空间和图像系统设计的灵感和方向，探索具有中国佛教文化内涵的建筑创作思路。本文上篇以汉化佛教空间的“象——教”互动关系为主要研究对象，将“象”、“教”相互关联的佛教实践方式——禅观及其经典作为基础，以“象——象的内层空间——中层空间——外层空间”这样一个空间递进的脉络层次为基本的研究模型，以文献考证和图示分析（包括中层空间：石窟形制演变图示；外层空间：地面佛寺演变图示；图像——空间系统分析；空间——视线分析）为核心的研究方法，对佛教传入中国后逐渐汉化的进程展开了历史梳理与归纳研究。以发掘汉化佛教图像和空间设计中在“教”的思想根源下，图像语汇、构图方式、视线规律、比例尺度、空间模式、体验序列、美学特征等内容和规律；下篇则综合应用上篇的研究结论，通过本人近几年在这一领域的若干设计和教学实践，示范当代佛教空间（建筑、景观）中“象”、“教”结合的设计思路和方法。更多还原

【Abstract】 Since Buddhism was introduced to China, it has accomplished the collision and fusionwith Confucianism, Taoism and other traditional Chinese cultures in the process ofrooting and growing, formed a Chinese Buddhism which is very different from thetaste of Indian Buddhism. Incoming Chinese Buddhism was referred to as "Religionof Image", to a large extent, it is based on the context and meaning of the Buddhistsystem. It expresses the religious doctrine and practices the unique religiousawareness by its images (including Buddhist statues, patterns, murals, etc.).Meanwhile, the Buddhist images which are based on Buddhist doctrine andmeditation act as the core of the Chinese traditional Buddhist architecture haveinfluenced on internal space arrangement, visual, scale, as well as the groupsconfiguration. For a long time, however, the research on this area has not beendeveloped further by the academia and the class of designers, so there are lots ofblank in this field．As an architectural researcher and design practitioner with many years’ practicaldesign and continuing consideration, the author divided the thesis into two parts,historical induction and practical deduction, to explain the religious form of imagecontext which has the largest impact to Chinese cultural and ideological. Used by artto show its ideographic and cultural function as well as based on it to explore thecommonness between "Buddhism"(thought, concept and practice way) and "image"(artistic image) and contemporary design, in order to find the inspiration and directionof contemporary Buddhist space together with diagram system design.The first half takes the interaction of “Image-Religion” as the main research object,takes the Buddhist practice--meditation and its classic which correlate to "Image" and"Buddhism" as basement, takes a spatial procession of "image--corespace--intermediate space—outer space" as research model, philological research andanalytic diagram (including intermediate space: evolution diagram of grottoes space;outer space: evolution diagram of Buddhist temple; image-spatial system analysis;spatial-sightline analysis) as core method. Summarized the history and inductedresearch of the Buddhism localization process. In order to discover the origin thoughtof Buddhism diagram and spatial design, like the context and laws of image pattern,composition form, vision law, scale dimension, experience sequence and aestheticcharacteristics etc.. The second half comprehensive uses the research conclusion ofthe first half, combined the author’s design and teaching practice, demonstrates thedesign ideas and ways of combination of “image” and “Religion” in contemporaryBuddhist space (architecture and landscape).更多还原