【作者】 刘兵；

【导师】 李传荣； 刘晓明；

【作者基本信息】 山东农业大学 ， 森林培育， 2014， 博士

【摘要】 泰山具有悠久的历史和丰厚的文化，具有是世界自然与文化双遗产的身份。其自然景观雄伟奇绝，历经数千年历史文化的浸润与渲染并与之相互辉映，成就了泰山景观与文化崇高的文化地位，被誉为中华民族精神的缩影。深入挖掘其山地人文景观的形成和发展规律，对于丰富山地景观造景理法具有重要意义。本文选取泰山历史文化轴线的山地段——即关帝庙至南天门的泰山中路的谷地和岱顶的景观及空间为研究对象，在普遍查阅和收集资料的基础上，采用实地调研、综合研究及数据分析等方法，在泰山历史文化轴线的地域背景下研究泰山中路景观对于山地空间的利用、空间拓展和局部景观对于景观空间的塑造规律。1、泰山历史文化轴线的演变本部分内容以泰山历史文化轴线的山地景观及空间的构建为切入点，阐述泰山历史文化轴线的形成、空间结构及文化结构，通过对史料的梳理和查阅相关文献，理清了泰山历史文化轴线的辐射范围和文化影响下的泰山中路景观及景观文化形成、发展的脉络，同时也理清了泰山中路景观及景观文化对泰山历史文化轴线构建的作用。远古的高山祭祀和封禅文化的发展及成熟，促成了泰山中路物质景观及文化景观构建的极大丰富。自秦汉始，直至明清，历经数千年的发展，泰山文化及景观在该区域内形成了特色鲜明、呈明显规律性的带状分布，即泰山历史文化轴线。泰山历史文化轴线纵穿泰山南麓和泰城，是泰山历史文化轴线的重要段落，在这个段落内分布有泰山历史文化轴线的主要的人文景观，同时，该段落也是泰山景观及文化分布最集中、最具代表性的区域。2、泰山历史文化轴线的山地景观即泰山中路的自然景观和人文景观。在现场调查和实测的基础上，简要总结了泰山奇石景观、植物景观、山水溪泉景观以及天象景观的特点、空间分布以及景观空间的特点；重点对泰山中路的段落景观、院落景观、建筑景观、石刻景观的形式、景观尺度、景观空间做了详细调研和测绘。针对其构建方式和形式，系统论述其景观形式特点、构建特点和对空间利用的特点。总结出在泰山历史与文化发展的影响下，泰山自然景观与人文景观注定要经历同时受到几种不同类型文化影响的漫长发展历程，最终为一个多元化、多层次的文化综合体的主要特征。3、泰山历史文化轴线的山地景观空间针对泰山中路山地空间的形式及特点，从宏观和微观两方面进行空间界面、空间围合、空间关系以及空间利用等方面展开论述。并对泰山中路的山地景观空间展开分析，从而总结了泰山中路宏观山地景观空间的形式特点以及相关物质景观构建对其产生的作用；从微观角度分析了段落街区景观空间、院落空间、建筑空间和石刻景观空间的构建规律、形式特点、尺度特点以及在此基础上所形成的山地景观意境空间。同时，分析了个体空间和整体空间之间的关系以及空间关系作用下景观构建的规律和特点。总结出泰山历史文化轴线山地景观跨越数千年积累的文化特点、“向明而治”的格局特点、随势生机的造景特点和文景相依的景观意境。通过研究论述，针对泰山历史文化轴线山地景观及空间的构建特点，总结了泰山中路的“空间融糅”的独特构建规律和方法，这是一种有别于建筑和传统园林造景的构景方法，对于当下建筑空间和园林景观空间的构建具有重要的启示作用。更多还原

【Abstract】 Mountain Tai’s historical and cultural axis line refers to a long belt of cultural landscapearea, where are crowded the most diverse and typical landscape and culture of Mountain Tai,running through the south of Mountain Tai and Tai’an City, more than ten kilometers long.This dissertation is mainly researched in one section of the line, called the Middle Road ofMountain Tai, which is the mountainous area along the south of Mountain Tai, from Dai Ding,via Nantian Gate, Zhongtian Gate, Wanxian Tower etc., to Guandi Temple. It is7kilometersin length and1300meters in drop from north to south. This section is an important part ofMountain Tai’s historical and cultural axis line along which a great diversity of landscape isdistributed. It includes Mountain Tai’s unique natural scenery, its Grandeur Heaven WorshipCeremony which started from remote antiquity and matured in Qin and Han Dynasty, and theStone Carving which is praised as “the soul of Mountain Tai Culture,” as well as the religiousculture, Mountain Tai God culture and folklore, etc.This dissertation chose the mountainous area of Mountain Tai’s historical and culturalaxis line as the research object and adopted approaches of field investigation, comprehensiveresearch, and comparison etc. On the basis of close investigation about the natural andcultural landscapes in this area, this paper gave a detailed and comprehensive summary on thecomposition and characteristics of Mountain Tai’s natural and cultural landscapes, andemphatically analyzed their space constructions and characteristics. It discovered that therules and methods of the construction of Mountain Tai’s natural and cultural mountainouslandscape space illustrated a Spatial Overlay Theory which made all the space constructionpossible and unique.The main research content includes three parts.Part one is an introduction to Mountain Tai’s historical and cultural axis line.In this part, the author first listed out the physical environments which helped shape thehistorical and cultural line of Mountain Tai. The grandeur of Mountain Tai was determined by its geographical conditions, whose natural, historical, cultural and transportation locationcontributed to its being selected as the top of the Five Sacred Mountains in China. After that,the author discussed Mountain Tai’s natural and physical landscapes, including the terraintopography and vegetation conditions. By reading historical documents and reviewingrelevant literature, the author clarified the geographical coverage of Mountain Tai’s historicaland cultural axis line, and also gave a detailed illustration and summary of its physical andcultural construction, which is the highlight of this part. Mountain Tai’s historical and culturalaxis line, a blending belt-shaped space combining natural and cultural landscapes, wasestablished with a series of selection and precipitation of history and culture on a certain basisof physical advantages. The Grandeur Heaven Worship Ceremony, a dominant culture ofMountain Tai, was originated from the rituals of mountain worship and sacrifice in a remoteantiquity. Since Qin and Han dynasties to Tang and Song dynasties, the Heaven WorshipCulture had become typified of Mountain Tai, thus established its unshakable cultural statusas the most revered among China’s five sacred mountains, and also settled the thematiclandscape of Mountain Tai’s historical and cultural axis line. After thousands of years’development from Qin and Han Dynasties to Ming and Qing Dynasties, this area hasdeveloped into a striking landscape belt with a distinctive culture.Part two focuses on the landscapes in mountainous space of Mountain Tai’s historicaland cultural axis line. As for the natural landscape, there are rare stones, plants, mountainsand rivers, and astronomical phenomena. Locations of these various natural landscapes werefully and in great detail investigated and their forms were carefully and objectively described.As for the cultural landscape, the dominant part in Middle Road landscape, a detailedsurveying and mapping was made on all scattered courtyards, individual buildings, stonecarvings, etc., and accordingly a detailed and objective summary was reached on theirformation, construction, spatial scales and distributions. In the end, the author summed up thelandscape characteristics and patterns in the mountainous space of Mountain Tai’s historicaland cultural axis line. These characteristics include the following aspects：①it has richcultural deposits with thousands years’ nourishing;②it reflects Chinese traditional ritualpattern which means kings and figures face the bright sunlight and govern the populace;③itfeatures in vitalizing according to terrains and acting according to circumstances;④it creates an artistic imagery where culture and landscape are interdependent. As a result, thisdissertation illustrated the process and constitution mechanisms that the natural and culturallandscape finally developed into a multivariable and multilayered cultural complex under theinfluence of Mountain Tai’s historic and cultural developments.Part three concentrates mainly on such mountainous space characteristics as the spatialscale, spatial configuration, spatial openness, spatial division, spatial change and spatialrelationship along Mountain Tai’s historical and cultural axis line. The mountainous landscapespace in Middle Road of Mountain Tai was interpreted after that in both the macro and microdimensions in accordance with its spatial pattern and feature. Then it summarized the spatialcomposition, formation and features of the mountainous landscape space in Middle Road aswell as the formal features of its macroscopic parts and the impacts of related physicallandscape construction on it. It also analyzed the building rules, formal features, scale featuresof the block space, courtyard space, architecture space and stone carving space, as well as themountainous landscape based on all these spaces. Meanwhile, it also analyzed both therelationships between individual space and overall space, and the landscape space constructedaccordingly. Through the study on mountainous landscape and spatial building features ofMountain Tai’s historical and cultural axis line, the author summarized the unique SpatialOverlay Theory of Middle Road landscape construction which includes：①a block divisionof the macro mountainous space is the basis of spatial overlay;②a culture is both added tothe large-scale physical belted mountainous space and the small-scale dotted-like space;③anartistic imagery is added to the dotted-like physical space;④a multi-culture is added to thedotted-like physical space. The Spatial Overlay theory revealed the essence of the space of theMiddle Road of Mountain Tai, that is to say, a multi-serial landscape space, which expressedthe significance of space handling on the landscape constructions. This is a constructiveapproach different from either architecture or the traditional landscape gardening, which hassignificant implications for both the construction of architectural space and landscapegardening space.更多还原