基于文化生态学的文化主题公园设计方法探讨——以中国梅山文化园为例
|
摘要
基于文化生态学的文化主题公园设计,紧密围绕实现文化在特定现代语境中复苏发展,从而达到对文化再现传承的核心主旨。这一设计方法能有效提取出最具文化基因象征意义的纹饰,应用于文化主题公园的设计。中国梅山文化设计从梅山地区建筑纹饰资源中收集、分析、评价、筛选出最具梅山文化特色的象征纹样,为实现延续梅山文化基因、传承梅山文化的设计目标提供了技术支撑。结果表明:1)梅山地区4市13县的200余处传统建筑中保存约1 052枚建筑纹饰,梅山文化象征纹样资源丰富。2)梅山地区建筑纹饰蕴含、表现出梅山文化具有的自然生态基因、原始宗教基因、祖先崇拜基因,地域文化特征鲜明。3)梅山地区建筑纹饰包含几何类、花鸟类、宗教类、龙凤类、人物类等五种类型,各类型纹饰枚题材丰富、造型多样。4)梅山建筑中的张五郎纹饰、凤鸟纹饰是最具梅山文化基因代表性的象征纹样,中国梅山文化园设计通过对这两种纹样的应用实现了对梅山文化的再现、传承和发扬。
The design of cultural theme parks based on cultural ecology closely revolves around the core theme of cultural renaissance and development in a specific modern context, so as to realize the inheritance of cultural representation. This design method can effectively extract the most symbolic meaning of cultural genes and apply it to the design of cultural theme parks. The design of Chinese Meishan Culture collects, analyses, evaluates and screens out the most symbolic patterns with Meishan cultural characteristics from the architectural decoration resources in Meishan area, which provides technical support for the realization of the design goal of continuing Meishan cultural gene and inheriting Meishan culture. The ?ndings are as follows: 1) There are about 1052 architectural ornamentation,kept in 200 traditional buildings in 13 counties of 4 cities in Meishan area, and the resources of cultural symbols of Meishan are abundant. 2) The architectural decoration in Meishan area contains natural ecological gene, primitive religious gene and ancestor worship gene of Meishan culture, and the regional culture is distinctive. 3)The architectural ornamentation in Meishan area includes ?ve types, including geometry, ?ower and bird, religion, dragon and phoenix, and people, each type of ornamentation is rich in subject matter and diverse in shape. 4) The decorations and patterns of Zhangwulang and phoenix in Meishan architecture are the most representative symbolic patterns of Meishan culture genes. The design of Chinese Meishan culture park realizes the reproduction, inheritance and development of Meishan culture through the application of these two patterns.
The design of cultural theme parks based on cultural ecology closely revolves around the core theme of cultural renaissance and development in a specific modern context, so as to realize the inheritance of cultural representation. This design method can effectively extract the most symbolic meaning of cultural genes and apply it to the design of cultural theme parks. The design of Chinese Meishan Culture collects, analyses, evaluates and screens out the most symbolic patterns with Meishan cultural characteristics from the architectural decoration resources in Meishan area, which provides technical support for the realization of the design goal of continuing Meishan cultural gene and inheriting Meishan culture. The ?ndings are as follows: 1) There are about 1052 architectural ornamentation,kept in 200 traditional buildings in 13 counties of 4 cities in Meishan area, and the resources of cultural symbols of Meishan are abundant. 2) The architectural decoration in Meishan area contains natural ecological gene, primitive religious gene and ancestor worship gene of Meishan culture, and the regional culture is distinctive. 3)The architectural ornamentation in Meishan area includes ?ve types, including geometry, ?ower and bird, religion, dragon and phoenix, and people, each type of ornamentation is rich in subject matter and diverse in shape. 4) The decorations and patterns of Zhangwulang and phoenix in Meishan architecture are the most representative symbolic patterns of Meishan culture genes. The design of Chinese Meishan culture park realizes the reproduction, inheritance and development of Meishan culture through the application of these two patterns.
引文
[1]韩敏,段渊古.城市文化主题公园景观设计探析[J].中国农学通报,2012,28(16):310-316.
[2]李涛,刘家明,徐庆颖,等.中国省域文化旅游资本的空间结构与流动——基于主题公园投资数据的分析[J].地理研究,2017, 36(7):1283-1296.
[3]朱利安·斯图尔德.文化变迁论[M].贵阳:贵州人民出版社,2013.
[4]王丽梅,童钰瑶.文化生态学视阈下的旅游景区导视系统设计研究[J].包装工程,2018(14):49-54.
[5]肖湘东,易秋丽,马建武,等.苏州桃花坞历史文化街区水系利用与景观改造研究——以第二直河片区为例[J].中南林业科技大学学报,2016,36(12):140-150,156.
[6]姜敏,陈飞虎.小规模渐进建造的乡野公园——中国梅山文化园建设实录[J].建筑学报,2013(12):33-37.
[7]刘柏青.传承视角下民族传统体育的文化基因与文化表达研究——兼论图腾文化对少数民族传统体育的影响[J].贵州民族研究,2017(9):126-129.
[8]张鎏,陈飞虎.基于梅山剪纸的梅山文化园旅游纪念品设计[J].包装工程,2014(6):94-98
[9]熊莹,陈飞虎,张雅妮.湖南梅山婚丧剪纸的民俗文化内涵与现代艺术演变[J].装饰,2014(2):73-75.
[10]张泽洪.梅山神张五郎与张赵二郎研究[J].宗教学研究,2014(2):144-150.
[11]皮元珍,薛其林,李映辉.浅论湖湘旅游文化的审美特质[J].中南林业科技大学学报(社会科学版),2016,10(3):71-76.
[12]汪溟,陈飞虎.“梅山文化园”标志设计与地域传统文化符号再生[J].包装工程,2016(12):61-64
[13]陈书芳,龙彦静,姚志凌.湘中梅山地区风雨桥的建筑装饰艺术与文化意蕴探析[J].中外建筑,2016(9):44-46.
[14]张洪福.基于文化生态学的梅山文化园建筑与景观研究[D].长沙:湖南大学,2014.
[15]邹阳,付庆伟.挖掘、转化、延续——原型优化法在梅山文化主题公园建筑设计中的运用[J].装饰,2015(12):85-87.
[16]李江宁.浅谈梅山文化园建筑入口景观设计的地域性表达[J].中外建筑,2013,(10):118-119.
[2]李涛,刘家明,徐庆颖,等.中国省域文化旅游资本的空间结构与流动——基于主题公园投资数据的分析[J].地理研究,2017, 36(7):1283-1296.
[3]朱利安·斯图尔德.文化变迁论[M].贵阳:贵州人民出版社,2013.
[4]王丽梅,童钰瑶.文化生态学视阈下的旅游景区导视系统设计研究[J].包装工程,2018(14):49-54.
[5]肖湘东,易秋丽,马建武,等.苏州桃花坞历史文化街区水系利用与景观改造研究——以第二直河片区为例[J].中南林业科技大学学报,2016,36(12):140-150,156.
[6]姜敏,陈飞虎.小规模渐进建造的乡野公园——中国梅山文化园建设实录[J].建筑学报,2013(12):33-37.
[7]刘柏青.传承视角下民族传统体育的文化基因与文化表达研究——兼论图腾文化对少数民族传统体育的影响[J].贵州民族研究,2017(9):126-129.
[8]张鎏,陈飞虎.基于梅山剪纸的梅山文化园旅游纪念品设计[J].包装工程,2014(6):94-98
[9]熊莹,陈飞虎,张雅妮.湖南梅山婚丧剪纸的民俗文化内涵与现代艺术演变[J].装饰,2014(2):73-75.
[10]张泽洪.梅山神张五郎与张赵二郎研究[J].宗教学研究,2014(2):144-150.
[11]皮元珍,薛其林,李映辉.浅论湖湘旅游文化的审美特质[J].中南林业科技大学学报(社会科学版),2016,10(3):71-76.
[12]汪溟,陈飞虎.“梅山文化园”标志设计与地域传统文化符号再生[J].包装工程,2016(12):61-64
[13]陈书芳,龙彦静,姚志凌.湘中梅山地区风雨桥的建筑装饰艺术与文化意蕴探析[J].中外建筑,2016(9):44-46.
[14]张洪福.基于文化生态学的梅山文化园建筑与景观研究[D].长沙:湖南大学,2014.
[15]邹阳,付庆伟.挖掘、转化、延续——原型优化法在梅山文化主题公园建筑设计中的运用[J].装饰,2015(12):85-87.
[16]李江宁.浅谈梅山文化园建筑入口景观设计的地域性表达[J].中外建筑,2013,(10):118-119.