Bridge is a kind of public building built by human beings according to the needs of life and production development. It has greatly influenced human life with its practicality, greatness and artistry. With the development of human material civilization and spiritual civilization, the beauty of bridges is even more obligatory for shaping the image of a city or region. Therefore, people pay more and more attention to bridge aesthetics. Bridges built in nature should be integrated with beautiful nature. On the basis of Chinese and western philosophy, this paper analyzes the relationship between bridge aesthetics, aesthetics and philosophy, as well as the characteristics and development of bridge aesthetics.
1, the interpretation of beauty
The word "aesthetics" comes from Greek, and its original meaning is feeling and perceptual knowledge. Aesthetics is a humanities subject, a subject about people's aesthetic value, and has various connections with all aspects of society. This paper studies the aesthetic relationship between man and reality, that is to say, the establishment of the aesthetic relationship between man and reality must be based on man's aesthetic value theory.
1. 1, the philosophical basis of China's aesthetics.
China culture is a music, art and aesthetic culture that pursues the overall harmony between man and nature, man and society, individual life and personality ideal. In a word, the unique personality and beautiful spirit of China culture lies in the harmonious unity of musicality, artistry and aesthetics. Art is not only an integral part of traditional culture, but also a characteristic of the whole cultural ideal. Due to the particularity of cultural background, it presents a completely different face from the western aesthetic category, so it has unique value in the history of world aesthetics. The philosophical foundation on which China's aesthetics is based was completed earlier. During the Spring and Autumn Period and the Warring States Period, there was a complete philosophical system. In the long feudal society, China's aesthetic development was inevitably dominated by the feudal ruling class and served the ruling class to a great extent, but its core was the objective law summed up from the natural and social development. China's philosophy is not only deeply rooted in the thoughts of the people of China, but also spread to neighboring countries in the East. After contacting with China's philosophy, the West has continuously discovered rich and profound philosophy, which has had a great influence on modern sociology and art ... China's aesthetics is essentially a life aesthetics system which is dominated by Confucianism and combines the thoughts of Taoism and Buddhism.
Under the guidance of its philosophy of entering WTO, Confucian aesthetic thought attaches importance to people's objective life, pursues the aesthetic realm of harmony and unity between people and society, emphasizes the unity of beauty and goodness, and attaches importance to the role of aesthetics and artistic ethics. The pursuit of architectural aesthetics can be summarized as eight words, that is, insisting on practicality as beauty. Emphasizing the beauty of eyes, social ethics and spiritual satisfaction, people applied the concept of beauty to beauty at the beginning. In the Zhou Dynasty, the concept of harmony as beauty also appeared, that is, a building can only be called beauty if it is in harmony with its surrounding environment. It can be seen that the harmony between China's aesthetic appearance and the surrounding natural things is reflected in the practical and beautiful aesthetic thought of bridge architecture. Moreover, with the progress and development of society, the concept of beauty did not stop at meeting material needs and sensory pleasure. The concept of beauty was endowed with social and ethical awareness, which linked beauty with ethics. Confucius observed virtue for practical purposes.
Confucian aesthetic pursuit of China's architectural art is an aesthetic realm based on utility and reality, with strong political and social ethics. Now we put forward practical and economical architectural design, pay attention to aesthetics when possible, attribute architectural art to ideology and emphasize its ideological nature, which is obviously related to the above concepts.
Taoist aesthetics attaches importance to the natural nature of man and his natural environment, and pursues the realm of harmony and unity between man and nature in the aesthetic direction, and the natural realm of integration between man and nature.
The dialectical philosophy system of the organic combination of Taoism and Confucianism is the foundation of China's philosophy.
1.2, western aesthetics
With the publication of the book Aesthetics by the German philosopher Baum Garden, aesthetics was formally established as an independent discipline. He is called "the father of aesthetics" and thinks that people's psychological activities can be divided into three aspects: knowledge, emotion and meaning. He first proposed that "aesthetics" is a part of philosophy, and defined its inherent object field, which laid its scientific foundation. He believes that "aesthetics is the art of thinking in a beautiful way, and it is the art theory of beauty", and "the research object of beauty is the perfection of perceptual knowledge", which is beauty. In contrast, perceptual knowledge is imperfect, which is ugliness. In his view, psychological activities can be divided into three categories: knowledge, emotion and meaning. Knowledge is based on theoretical understanding, and its corresponding subject is logic. Emotion belongs to emotional function and comes from perceptual knowledge. Its corresponding subject is aesthetics and its corresponding subject is ethics, which shows the basic idea of his aesthetic system, that is to say, what looks beautiful is only perceptual knowledge.
Therefore, aesthetics is a science that studies aesthetics and aesthetic feeling and the creation of beauty. Aesthetic research is inseparable from art, artistic creation and appreciation, and "seeing" and "listening".
2. Interpret the beauty of the bridge
As far as its aesthetic significance is concerned, bridge architecture belongs to the category of aesthetics, and aesthetics, as a special subject, covers a wide range. His research covers the general laws of the whole art field. Organizing and optimizing the shape of bridges has always been the behavior of architects who understand the laws of bridge structure. In the second half of the last century, people began to realize that bridge design should not only "care about themselves" but also "care about others", such as caring about the influence of bridges on urban land, the significance of bridges as a landmark building in a city, and the harmonious beauty of bridges and their surrounding environment, thus raising the aesthetics of bridges to the level of solving the problems of survival and perfunctory of the earth cut by roads, that is, bridges should also "care about" ecology. These problems can not be solved by pure aesthetics or pure bridge structural engineering professionals, and need to be solved by people who know both bridge structure and deep harmonic aesthetics.
As a building, especially a bridge, it has two functions: use and appreciation. Bridge designers use structural principles to design, meet the traffic requirements, and at the same time use aesthetic principles to conceive, meet people's appreciation requirements and change the environmental landscape.
People paid attention to bridge aesthetics earlier. Bridges built by people not only hope that bridges can achieve practical functions, but also pay great attention to aesthetic characteristics, such as Lugou Bridge in the suburbs of Beijing. Not only are the 485 lions carved on the balustrade different in shape and unique, but the huabiao and stele pavilion at the bridgehead are elegant and gorgeous, with appropriate proportions and exquisite anomalies. The overall shape of the bridge is symmetrical and balanced, with appropriate proportions and harmonious unity. The Jade Belt Bridge built during the Qianlong period of the Qing Dynasty and the 17-hole bridge in the Summer Palace are also famous at home and abroad for their unique and beautiful shapes. The white bridge body blends with the green hills and blue waves, green trees and red flowers, pavilions and pavilions, which are harmonious and beautiful and set each other off in interest. It has always been a good scene for many painters and photographers. Modern people pay more attention to the aesthetic function of bridges. For example, Tongling Bridge on the Yangtze River, Bayi Bridge in Nanchang, Ganjiang, Jiangyin Bridge on the Yangtze River, etc., which were built in China in recent decades, and many bridges abroad have made special landscape designs, so that these bridges not only reflect the aesthetic feeling of large bridges, but also produce good social benefits.
3. Aesthetics and philosophy
3. 1, the property of beauty
The essence and origin of beauty is a controversial topic in history. Beauty and ugliness are relative, and beauty and ugliness contain many things as relative aspects. Western philosophical problems are both rational and emotional, subjective and objective, and relative in form and content.
3.2. 1 objectivity of beauty
As a kind of existence, beauty exists objectively. Objectivity based on objectivity lies in its materiality, so does bridge aesthetics. Its objective basis refers to the technical and functional requirements of morphological materials.
Subjectivity of beauty
The subjectivity of beauty is the subjective part of beauty, and the objective aesthetic object is the combination of the subjective consciousness of the aesthetic subject and the judgment of beauty and ugliness, so it is also the main part of beauty. Of course, beauty cannot be regarded as beauty only in subjective consciousness. Therefore, in bridge design, we should not only pay attention to the objective laws such as building materials, structural forms and technical level, but also give full play to and mobilize people's subjective initiative to avoid subjectivity in bridge aesthetics. Often, like other things, they are complacent about their own labor achievements, think they are beautiful, and have subjective beauty prejudice due to other people's reasons or specific circumstances.
3.3. Relativity of beauty
Beauty is not only the unity of subjective and objective factors, but also the change of subjective and objective factors, which will naturally lead to different aesthetic concepts, educational levels and professional nature of different nationalities in different regions, different political, economic and cultural backgrounds, and different aesthetic cultivation and cultural quality of each person, which will also lead to relative changes in aesthetic standards.
Even if the environment, emotion and age of the same person change, the aesthetic concept will change relatively, which is the relativity of beauty.
In addition, beauty is relative to ugliness, and beauty is only shown when it is compared with ugliness. The two complement each other. Mutual penetration, there is ugliness in beauty and beauty in ugliness.
It is precisely because of the equivalence of beauty that there will be a diversified world, diverse bridge buildings and rich aesthetic feeling.
3.4. The sociality of beauty
People's aesthetic feeling is directly related to people's social practice and social consciousness, and it is not completely determined by human brain thinking modes and laws such as abstract thinking, image thinking and inspiration thinking. Even though their thinking methods and laws are similar, their social practices are different, so their social consciousness is different and their aesthetic feelings are quite different. In class society, the aesthetic feeling of the ruling class is different from that of the oppressed and ruled working people; Today, some people think it is beautiful, but most of us say it is mental pollution. Therefore, the practice of beauty is the product of human social activities and must be understood from the laws of social activities. Without social practice, there is no beauty.
Although beauty is relative, it cannot lead to absolutism, that is, there is no certain standard for beauty, and different people have different views. There is no denying that beauty is social, that is, in a certain society in a certain period, there are relatively unified aesthetic standards that can be generally accepted by certain social masses. For example, during the Renaissance, bridges in the West were beautiful with complicated decorations, but in the 20th century, they generally tended to be simple, bright, slender and smooth. But in any case, diversity and unity, harmonious proportion, balance and stability, and beautiful rhythm are still the basic principles of bridge beauty in each period. We also rely on this theory and psychology. Study the era characteristics and social characteristics of bridge aesthetics.
4. The characteristics of bridge aesthetics
It has always been the behavior of architects who know the laws of bridge structure to organize and optimize the shape according to aesthetic laws. In the second half of last century, people began to realize that bridge design should consider many aspects in aesthetics, such as caring about the influence of bridge on urban land and the symbolic significance of bridge as a city landmark. Bridge aesthetics has risen to the demand of professionals who know both bridges and aesthetics.
4. 1, technical characteristics of bridge aesthetics
Bridges can't blindly pursue beauty, first of all, it is to solve the traffic function and optimize between technology and economy, which is the basic requirement of bridge design and construction specifications. Therefore, the aesthetic design of bridge must meet the requirements of bridge function and economy, and adjust the aesthetic elements based on this principle, such as the aesthetic comparison and selection of bridge, the proportion adjustment of bridge structural members, the coordination between bridge route selection and urban or terrestrial landscape scale, and the connection between bridge anti-corrosion painting and urban overall color. This feature of paying attention to function and technology in bridge aesthetics is the feature of technical aesthetics. However, in the case of obvious advantages in aesthetic value, satisfying functions and feasible technology, sometimes economic factors can be delayed, such as bridges in scenic spots or bridges in cities. Therefore, under different environmental conditions, some related fields of bridge aesthetic design will be different.
4.2, the characteristics of the times of bridge aesthetics.
At present, the choice of bridges has strong characteristics of the times and important "new" meanings, such as new things, new developments, new phenomena, new landscapes, new knowledge, new cultures and new technologies. These all show the characteristics of the times. The scientific characteristics of bridge structure technology and the continuous renewal of bridge structure technology are the leading factors that make bridge aesthetics have a profound brand of the times. Because of the strategic position of bridge in the city, bridge aesthetics has become the main point of urban visual recognition. This is the expression and extension of bridge aesthetics to the times. Therefore, we need to pay attention to grasp this characteristic of aesthetics and give full play to it in the city.
5. The development of Chinese bridge aesthetics
Looking back at the history of bridge architecture in China, we have made many outstanding achievements in design and construction technology, and also written brilliant articles on bridge aesthetics, leaving precious wealth. Anji Bridge in Zhaozhou, Hebei Province, which was built 1 300 years ago, has the spirit of pioneering and innovation in layout and design concept. It broke through the inherent form of semi-circular stone arch bridge and only adopted a section of arc length on the circular curve, thus achieving this stone arch bridge with a span of 37.2 meters. The height of vault is 7.23 meters higher than that of arch foot, which greatly reduces the slope of bridge deck. At the same time, the four small arches are symmetrically arranged on the two shoulders of the main arch, which not only reduces the self-weight of the bridge, increases the flood discharge capacity of the bridge, but also enhances the aesthetic feeling of the bridge, making the overall shape of the bridge look "soft lines, ethereal structure, stable and light, majestic and elegant". Secondly, in the decorative art of the bridge, there are dragon-animal-like reliefs and bamboo shapes carved by Panlong and Zhu Bao. The composition is simple and elegant, the image is vigorous and elegant, and the craftsmanship is exquisite and vivid. Therefore, it has won the reputation of "Out of the water at the beginning of the month, Changhong drinks streams" and "Sophia Kao is the best in the world". Praise and praise its lyrics, folklore has been widely circulated for thousands of years, and now it has been recognized as the treasure of ancient architecture by the world architectural community. It is also a pearl in the treasure house of world architectural art.
In recent years, China's bridge construction has made great progress, the level of design and construction has improved rapidly, and the aesthetics has also been deeply explored, and remarkable achievements have been made. Xiamen Haicang Bridge, Wuhan Baishazhou Bridge, Qiantang River Fourth Bridge (Fuxing Bridge), Runyang Yangtze River Highway Bridge, etc. It is also unique in bridge type selection and aperture arrangement. , developed and created in inheritance, and integrated with the surrounding environment at the same time, reflecting the bridge structure and structure. In addition, the ancillary facilities of some bridges, such as the huge pyramid toll station and unique sculptures of Xiamen Bridge, are also spectacular, especially the natural landforms at the bridgehead are integrated with the original buildings. The amusement park next to the east anchor ingot of Xiamen Haicang Bridge makes the bridge not only have traffic function, but also have comprehensive functions such as leisure and entertainment.
With the development of China's economy, bridge aesthetics will be paid more and more attention. In modern bridge architecture, aesthetics has been listed as an independent project to study. For example, the choice of bridge type must be adapted to local conditions, and the bridge decoration should be coordinated with the architectural style of the bridge and the buildings around the bridge. Further increase investment in bridge decoration and beautification in cities and scenic spots. As long as we attach importance to aesthetics in bridge construction, learn from others and absorb the successful experience of ancient and modern China and foreign countries, more bridges will become a beautiful landscape in our life.
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