【作者】 冯林；

【导师】 桂胜；

【作者基本信息】 武汉大学 ， 社会学， 2010， 博士

【摘要】 文本理论是我第一次提出的。我以该理论和武当山道教建筑民俗为视角,在族群迁徙及其建筑习俗变迁背景下对道教建筑的民俗性加以结构性的解读,并探讨民俗学的宿题——民俗形成与个体的关系。本文关注建筑民俗的人类共通性,并进行一系列推测与假设,其结果可能引起更多丰富多样关乎往昔物质世界的情景图式。道教建筑空间文本样态千年来的相对静止引人注目,其文化演进特征令人深思,其民俗性是中国建筑民俗心理的集中投射,显露出群落、方国、王国和帝国各时代中国人思维方式和技术理性中大陆主流文化的最根本特质。但中国建筑民俗在其形成之初,决不是孤立的,必定受到世界范围内的先在建筑文化的影响,尤其受到族群迁徙及其文化和历史记忆的在地化影响。文本理论是关于文本生成的理论,尤其观照人类文化生成中创新与稳定、显性知识与隐性知识之间的关系。此文将道教建筑文本作为一种重要的中国古典建筑标本和民俗载体,籍由它探讨迁徙族群的历史记忆和文化的在地化建构对原住民建筑民俗的影响。本文包括：四种原型文本(住宅、公共设施、城市、聚落)、三大选择文本(基督教建筑、佛教建筑、伊斯兰教建筑)、两类创造文本(道教建筑、大乘佛教建筑)和一个移转文本(武当山道教建筑)。本文讨论的文本,是在文化学总水平上与社会学的关联,尤其指人类的创造物(物质的、非物质的)。本文在文本理论视角下宏观地勾勒人类建筑民俗的样态,尤其是异文化因素对这种样态的影响；并质疑学术界长期以来关于道教及其建筑的“土生土长”的结论；揭示影响民俗生成的显性知识和隐性知识。本文只对道教空间文本的民俗源流与族群迁徙之间的关联作方法论上的导引。任何一个给定空间文本的民俗都不乏其它域文化的指涉,这些指涉关联不同时空进行的族群迁徙及其文化和历史记忆的在地化、文化交流、文本在必然和可然性中的流传、人类文化存在全球的相似性网点等因素。体现共在的符号(基于共同人性的)表现在包括中国道教建筑在内的所有的建筑类型之中。民俗流行于大众却发源于个别心智优越的精英,天才创造经典,经典成为流俗的文本原型。道教建筑史是中国建筑史的缩写,是人类建筑文化共同涵构的历史,它表达了中国建筑接受者和创造者对美学判断、美学愉悦、雕像以及想象力的关注方式。文本生成四个层序和文本接受四个层序的概念结构,以及族群迁徙与其文化和历史记忆在地化构建为我们研究文化创造、演变,传统与习俗在文化创造中的价值(恶习为负价值)提供了依据。首先,作为武当道教建筑原型的(to see)先在的人类建筑,可分为聚落、联合居住、公共居住、私密居住四种原型；其次,作为武当道教建筑选择文本(tolook)的先在的宗教建筑,包括基督教建筑、伊斯兰教建筑和非中国佛教建筑；第三是作为武当道教建筑创造文本的道教建筑和中国大乘佛教建筑；第四是作为移转文本的武当道教建筑。这四种居住原型、三大宗教建筑、两类道教空间和一个宫观组群的四大层序,分别观照了各个建筑文本所在区域原住民建筑文化与迁徙族群的在地化建筑文化共在的情景图式；根据逻辑体系中接受文本诸层序对旧习俗援引和对新习俗创造力度的不同,必表现为文本接受的不同层次。由此有了建筑习俗变更与建筑文本创新、异质文化博弈的基本框架。该框架指向人类建筑实在、现在(与意义有关的真实性、与客观性有关的真实性、与理智有关的真实性以及与表现有关的真实性)以及定在。道教建筑民俗强调道教空间文本创造者与接受者对基于实际感觉和想象感觉的建筑民俗的内在理解和外在选择,而文中涉及到的其他建筑民俗领域则旨在强调各自涵构的习俗以及对道教建筑先验和外在的影响。民俗是生活世界最广泛存在的文化脉络,它基于个体内在而强调特定共同体的共在,关涉天、地、人、神四大元素的共在。民俗性存在于人类所有文化样态的形成中。基于WXYZ四维接受和ABCD各态创造的武当山道教建筑,其民俗性的表现是复合的,它在逻辑上应当关涉人类共同的建筑习俗,尤其是两河流域、尼罗河流域以及西亚中亚建筑习俗在我国的在地化表征。因此,从创造的力度而言,它也表现为多层次的复合,它成熟的物质实在层、形式符号层、意象世界层、意境超验层是中国传统建筑民俗样态的直觉表达,并需要直觉接受。这种表达与接受观照与文本移转情境关联者(主体、客体)的美学气质(美学态度、美学教育、美学判断、美感因素、美学性质)。道教建筑空间文本的创造与传播,观照了农耕时代中国人生活中最关切的人人、天人、地人、神人的共在样态。道教建筑各种具象符号及其各种有意味的形式以及隐喻是各种不同关切重心的叠合,这种不同关切重心来源于两种不同的生活态度：寻求与天地诸神合和的方法是必须经常中庸,这造就了他们的思考方式,对事物抱持怀疑态及理性；来自农业的稳定生资所带来的生存保障不仅向他们暗示了农业之神的稳定和神秘,也让他们心怀感激并顺从天命,鼓励他们重视感官和感情。中国建筑民俗的演变尤其关涉族群迁徙及其文化和历史记忆的在地化构建的影响,这种影响包括正价值和负价值,以及在影响存在与影响缺失状态下的不同样态。这种迁徙在时空上包括小范围的境内迁徙,以及异文化的国际、族际、群际迁徙与族群融合；在强度上包括武力入侵和和平迁徙。道教建筑民俗样态千年来相对静止引人注目,它是其创造者、接受者最个人、最隐秘的生活的一种未经掩饰的流露,也是他们的集体无意识。作为移转文本和移转接受的武当道教建筑包含道教建筑的环境、情境和意境三个层次,富含多重隐喻。文本理论揭示了文本接受者与文本创造者在创造过程的相似地位甚至兼具接受者、创造者、传播者三重人格。就文本理论的逻辑而言,道教建筑的民俗性是道教建筑与其他建筑符号历时与共时性叠加的结果,是对其创造者和接受者而言的可取的生活方式的阐释。更多还原

【Abstract】 I suggust a theory of creation in this article. when I explain Taoist buildings and discuss the relationship between the formation of folklore and personal basing on my theory and Wudang Taoist buildings’custom, I want to express that the ethnic migration and the changes of building’s custom might influence Taoist buildings. I pay attention to the common character of building custom and propose a series of hypothesis and speculations in this article. Resultantly, it may lead to more diverse the schema of material world related to the past.Taoist building patterns have little change compared to its cultural evolution. It represents a folk psychology resulted from Chinese folk architecture and shows the most essential characteristics of Chinese thinking ways and technicism in agrarian times in China’s mainland. But I argue that when Chinese building folk began to be developde, it was influenced but not isolated, by the other building culture in the world, especially influenced by ethnic migration, its culture and historyThe theory about creation shows the relationships such as innovation and stability, the explicit knowledge and tacit knowledge in human culture. The theory in particular contains a lot of methods which folklore often uses, such as Hermeneutics, structural analysis, aspect of law, historical geography, cultural anthropology, architectural anthropology, essentialism, constructivism and so on. This article takes Taoist building as an important Chinese classical architectural samples to study the changes of building customs which resulted from immigration populations culture.This article outlines the development of human building’s folk in the perspective of my theory and pay attention to the influence by other cultural factors. I also question the statement—which concluded for a long time by the academic community-that Taoism and Taoist building are native and reveal the influence of explicit knowledge and tacit knowledge. Any given folk of building includes other cultural factors. They are also associated with the migration of the population in deferent places and deferent times. Their meaning reveal in all patterns of buildings its culture, including the types of Chinese Taoist buildings. I think the heroes create the history of mankind and Folk in General is created by heroes too. Genius create classic and classic is prototype of the prevalent..Taoism architectural history is a sample for Chinese architectural history. It refers to the ways of aesthetics, pleasure and imagination concerned with accepter and creators for Chinese building.There are four ways ((A)prototype (B)selecting (C)creating (D)transfer) that the schemes of buildings generated. It gradually adds more new contents from A to D and shows more innovations. Hence, the sequence of ABCD is from lower to advance. Although the innovative contents gradually increase, the stability of theory decreases. From D to A, it is logical relationships, and from A to D is the sequence of generation. Correspondingly, there are four ways of accept which I name (E) prototype accept (F) selecting accept (G) creation accept (H) transfer accept. The sequence of EFGH also has four levels and it is gradually advanced from E to H. The different types of creation and acceptance are related and contribute to the evolution of culture.This theory can help us research generation and changing of culture, value of traditions and customs in culture. I explain Wudang Taoist buildings based on the theory. I conclude that Wudang Taoist buildings are composite, and logically there are factors of human architectural traditions. They are influenced by the building custom of two river basin, the Nile, West Asia and Central Asia. The character of Taoist buildings originate from themselves interlacing with other patterns of buildings.更多还原