雕塑·建筑·景观
摘要
本论文针对当代雕塑、建筑在多元化的艺术现状中，自身形式和语言的不断变化和扩展，造成了实际现状脱离了传统的雕塑及建筑概念的这个现状，在文章的开头就对其定义提出疑问，然后对雕塑和建筑从古至今的变化过程进行列表分析，从历史的角度来看雕塑、建筑本身的变化过程，以及当代雕塑、建筑语言的多元性导致雕塑范围的很大程度延伸和相融，导致传统定义的自动解体。在文章中，大量使用了图表的的方式来综合归纳以及例证的方式来比较雕塑和建筑之间的关系。在第四、五节中，从雕塑及建筑的制作材料、施工工艺以及功能方面的类比，来阐述它们之间的在不断变化中的异同；而且从形式主义和观念艺术上来比较两者的角色替换的现象。在第六节，还从空间的角度补充它们之间的关系。最后得出结论：雕塑和建筑正在交融并且在今后将会更加密切和深入；很自然它们的传统定义早就被它们瓦解了。之后又提出问题：如何解决这个问题?因为要明确的定义两者已经是成为不可能。之后提出了景观说，就着现代景观和雕塑、建筑的渊源关系，将三者融为一体，从而解决定义模糊的问题和今后的发展前景。
In this thesis, the author firstly puts forward the problem that contemporary sculpture and architecture in the context of pluralism of arts have deviated from their traditional concepts, with the artistic forms and languages changing and extending. Many diagrams and examples are used to explain the developing process historically from old days to present and the relationship between sculpture and architecture. The large extension and mixture of artistic languages leads the traditional definitions disjoint automatically. And then, the variational sameness and difference between the two art fields is expatiated by the contrast of materials, technics, functions, and space. The phenomenon that two roles interchange is analyzed according to the formalistic and concept art. At last, the author draws a conclusion that sculpture and architecture are blending, closer and closer, deeper and deeper, and naturally, the traditional definition has collapsed. How to resolve the problem? The thesis sets forth the city-landscape theory. Modern landscape has close relationship with sculpture and architecture, and they are inosculation. Thereby, we could deal with the problem of the illegibility of definitions, and find a feasible approach to hopeful future.
In this thesis, the author firstly puts forward the problem that contemporary sculpture and architecture in the context of pluralism of arts have deviated from their traditional concepts, with the artistic forms and languages changing and extending. Many diagrams and examples are used to explain the developing process historically from old days to present and the relationship between sculpture and architecture. The large extension and mixture of artistic languages leads the traditional definitions disjoint automatically. And then, the variational sameness and difference between the two art fields is expatiated by the contrast of materials, technics, functions, and space. The phenomenon that two roles interchange is analyzed according to the formalistic and concept art. At last, the author draws a conclusion that sculpture and architecture are blending, closer and closer, deeper and deeper, and naturally, the traditional definition has collapsed. How to resolve the problem? The thesis sets forth the city-landscape theory. Modern landscape has close relationship with sculpture and architecture, and they are inosculation. Thereby, we could deal with the problem of the illegibility of definitions, and find a feasible approach to hopeful future.
引文
《世界艺术史-雕塑卷》
《全彩西方雕塑艺术史》
《全彩西方建筑艺术史》
《西方现代建筑和建筑师》
《景观雕塑》
《当代艺术事业中的建筑》
《西方现代景观设计的理论和实践》
《全彩西方雕塑艺术史》
《全彩西方建筑艺术史》
《西方现代建筑和建筑师》
《景观雕塑》
《当代艺术事业中的建筑》
《西方现代景观设计的理论和实践》