Lang Zhao
About
本论文探讨东亚现代城市景观中的遮蔽美学的历史结合根源、文化传承与复兴，以日本作家谷崎一郎（1886-1965）的散文《遮蔽礼赞》（1933）为起点，水田立比特（1964年生） ））的《原子光（）》（2005）理论，阐释了遮光在事物方文化中不同的象征意义及其背景哲学。
首先，论文探讨了古希腊文化与视觉中的光之美学。而东亚文化，尤其是中国巫山巫萨满文化，则重视光影与内在的结合，体现了一种强调通过光影塑造内在视觉的精神，体现了一种万物皆有灵魂的宇宙观。这些不同的世界观导致了事物方建筑美学的差异。其次，论文详细分析了巫山影文化的起源，探讨了漆器在巫萨满文化中的作用以及如何发挥将挂毯建筑变成独特的影建筑。建筑文化不仅在中国得以保存，而且在整个东亚地区传播开来。最后，论文以重庆挂毯建筑洪崖洞为例，展示现代城市景观中的光影洪崖洞美学上通过夜景的灯光效果营造出一种万物皆有灵魂的场所精神，成功地保留并展示了东亚影文化的魅力。
综上所述，本现代论文以美学、人文、城市文化等多学科视角，深入挖掘和阐释东亚遮蔽美学的起源、传播及运用，为文化遗产保护与城市规划提供重要的美学参考。
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