【作者】 李慧；

【导师】 王向荣；

【作者基本信息】 北京林业大学 ， 城市规划与设计， 2014， 博士

【摘要】 中国武当山,始建于隋唐、发展于宋元、大兴于明朝,是中国历史上唯一一次动用国家力量一次性规划修建而成的道教名山,武当山既是中国的文化遗产地,也是世界文化遗产地,自唐以来武当山景观无论从规模、地位,还是空间格局上都有很大的变化,是经过千年的历史发展演化形成,具有宗教和皇家双重特征,集中体现了元、明、清三代古典园林与建筑的艺术成就。因此,要了解中国道教园林和皇家园林的发展历程,对武当山道教宫观环境空间的深入研究是必不可少的。论文以武当山道教宫观为研究对象,通过对历史文献资料整理挖掘、实地调查采集数据,运用GIS方法,对武当山宫观与环境的关系及宫观院落空间进行定性和定量的研究,为武当山及其他风景名胜区的保护及规划设计提供依据,并为当代景观设计提供丰富的空间原型与组织技巧。主要结论如下：(1)梳理历史文献和以往研究成果,从景观节点、道路神道、景观序列3方面,还原出不同历史时期武当山景观分布图。划分武当山景观格局变迁为唐代(959年以前)的起源阶段、宋元(960～1367年)的发展阶段、明代(1368～1644年)的大兴阶段、清至民国(1645～1948年)的衰败阶段和新中国后(1949年以后)的新发展等五个阶段,明确了武当山景观格局初步形成于元朝,经明朝的进一步完善达到顶峰,山上部分景观格局保存至今。(2)武当山是中国道教名山“天路历程”空间模式的典型代表,建造者巧妙利用山体地貌自身的特点来进行规划,充分考虑对地貌空间与视觉空间的划分及利用。本文归纳了武当山“天路历程”的总体规划模式：以“太和”为规划主要目标,依托主峰天柱峰,建立全山的控制中心；以“玄武信仰”为叙事主题,布局宫观；依托山体的“自然地势”,将武当山划分道教世界中的“天、地、人”空间。(3)武当山道教宫观主要分布于剑河与水磨河之间,沿主要登山神道呈线性分布,且宫观间距离较为均匀。本文利用ArcGIS10软件对武当山道观空间分布特征与影响因子进行分析,得出：1)武当山道教宫观的分布与高程、坡度、及河流距离有显著的相关性；2)随高程的增加武当山宫观的数量和规模逐渐减小,并集中分布于距河流200-600m缓冲区及坡度为0-25°的山体,且随着与河流距离的加大宫观数量增多；3)武当山宫观主要分布于山体脊线走向的垂直方向即西、南和东南坡向；4)金顶作为武当山的地标,在全山道教宫观中具有突出的控制作用。(4)武当山道教宫观院落的引导空间,既可为游众提供游赏向导,又能酝酿香客的宗教情绪,具有交通运输、组织景观和宗教活动的功能。武当山道教宫观引导空间的提示语言有天门、牌坊和桥三个类型,并将其组织形式总结如下：“天门+神道”是武当山道教宫观引导空间的基本形式；“天门+复墙夹道”是武当山道教宫观的特有形式；“甬路连接主神道”是普通形式应用最多,没有明显的提示语言,一般等级不高的宫观都采取这种形式。(5)武当山道教宫观的院落空间在平面布局上分为生活区、修炼区、祭祀区三个区域,而地位最重要、保存最完整的祭祀区又可分为过渡空间、核心空间和后续空间,通过对祭祀区院落的空间率和空间尺度分析,得出：1)面积小于1hm2的道教宫观的院落空间率集中分布在0.4-0.5之间,并且随着祭祀区面积的增大院落空间率一般逐渐增大；2)通常核心空间为宫观的最大院落空间,过渡空间次之,后续空间最小,并且各进院落的进深和宽度一般都在60m以内,形成较好的围合感。(6)南岩宫是武当山人文景观与自然景观结合最好的宫观之一,提炼各景象单元的空间特质和分析景象单元之间的空间组织,总结了这组园林化道宫的造园手法：依据自然地形地貌特征划分空间,并设置景观,达到事半功倍的效果；通过逻辑的空间组织,使各具特色的景象单元衔接顺畅；巧于因借并通过传说赋予园林多重内涵,使“意”与“境”得到统一。更多还原

【Abstract】 Chinese Wudang Mountain, founded in Sui and Tang, developed in Song and Yuan, and fully established in the Ming Dynasty, is the only Taoist mountain that was constructed under the state power in the Chinese history. Wudang Mountain is China and the world’s cultural heritage. It has been changed a lot in terms of size, standing, and spatial pattern since Tang dynasty as a result of a thousand years of development. It has the feature of both religious and royal, epitomizing the Yuan, Ming and Qing three dynasties of artistic achievements of classical gardens and architecture. Therefore, to understand the development process of Chinese Taoist gardens and royal gardens, an in-depth study of the Wudang Taoist temples is essential. This paper studies the Wudang Taoist temples by investigating historical documents, conducting field survey and data collection, and using the GIS method. It conducts qualitative and quantitative research of Wudang Mountain’s landscape distribution patterns, relationships between the environment and temples, and the temples’courtyard space. It provides a theoretical foundation for protecting and improving Wudang Mountain as well as abundant spatial examples and organizational skills for landscape design. The main results show that:(1) By reviewing historical documents and literature, this study investigates the transformation of landscape pattern of Wudang Mountain. The landscape development has been divided into five stages: the originating stage in the Tang Dynasty (before959), the developing stage during the Song and Yuan Dynasties (960-1367), the peak stage in the Ming Dynasty (1368-1644), the decline stage from the Qing Dynasty to the Republic of China (1645-1948), and the new stage of development recently (after1949). Wudang Mountain landscape pattern was shaped in the Yuan Dynasty and further developed to the peak in the Ming Dynasty; moreover, the mountain part of it has been preserved up to now.(2) Wudang Mountain is a typical representative of the Chinese Taoist "Pilgrim’s Progress" spatial patterns. It takes into fully consideration of topography and visual space. This paper summarizes the overall planning model of Wudang Mountain:using "Taihe Palace" as the planning objective, Tianzhu peak as the center,"basaltic faith" as the narrative themes, and relying on the "natural terrain" to illustrate the "Heaven, earth and Man" space of the Taoist. (3) Wudang Mountain Taoist temples are mainly distributed between the Jian River and the Shuimo River. It finds that:1) the distribution of Wudang Taoist temples is highly correlated with the elevation, slope, and distance to the rivers;2) the temples are concentrated between0-25°slope, with a distance to the river between200m and600m, and there are more temples in the area with longer distance to the rivers;3) more temples distribute perpendicular to the trend of the mountain in the west, south and southeast directions;4) most parts of the large and medium temples are in the sight of the Golden Summit, indicating the Golden Summit is a visible landmark which has a prominent controlling role in Taoist temples.(4) Wudang Taoist temples’guiding spaces, not only can stimulate religious sentiment, but also provide guide for the general public. They have multi-functions including transportation, organization landscape and religious activities. There are three types of guide space:heaven gate, memorial gateway, and bridge. There are also three forms of organization including "Heavenly Gate+Shinto,""Heavenly Gate+Nine-winding Yellow River Walls," and "pathway connecting the main Shinto".(5) A typical Wudang Taoist temples’courtyard is divided into three regions including worship area, practicing and living areas. This study divides the most important and best preserved area, the worship area, into the transitional space, the kernel space and the subsequent space, and analyzes the worship area’s spatial ratio and spatial scale. It finds that when the temple is less than1hm2, the spatial rate of worship area is between0.4and0.5. Moreover, the spatial rate increases as the worship area increases. It also finds the courtyard scales are generally less than60m.(6) Nanyan palace located in mountains, with beautiful scenery, was a representative work of royal garden in Ming Dynasty. This study analyzing the characteristics of the scene units and the organization between them, three keystones of the garden were found. First, based on the natural terrain features, spaces were segmented and landscapes were set. Second, by logical organization, the scene units were connected smoothly. At last, though utilizable scenery outside and the possible legend the garden was enriched, so that the "meaning" and "scening" were harmonized.更多还原