审美观念

The course is to understand the essence of aesthete and the manufacture of aesthetical viewpoint, helping students enhance the abilities to appreciate beauties.

本课程目的在于充分理解美的本质和审美活动的机制，使学生形成健康的审美观念，增强学生的审美能力。

Humanism" carried out in archival information communication is not only meant to follow with interest the audience's daily practical needs of archives and esthetic demands, but also, even more basically, meant to encourage the audience's consciousness and willingness of receiving archival information rather than their involuntariness and utilitarianism. The real essence in the communication effects of archival information lies in developing the audience's high-level esthetic view, archival sensitiveness and "EQ for seizing the value of archival information. On the other hand, the humanity in archival information itself, democracilization in the society and the advances of human spirits have all laid a solid foundation for the development of esthetic culture of archives.

在档案信息传播中贯彻"人本主义"，不仅指关注受众日常功利性的档案需要和审美情趣的要求以及传播者对这些需要和审美情趣的迎合与顺应，更根本性的在于促使受众对档案信息的接受超越实用功利性和工具性行为的限定，上升到一种自觉的境况，培养和引导受众形成较高水准的审美观念，从而增强对档案信息传播的敏感度和把握档案信息意义的"情商"，通过接受档案信息触发美好情绪和有益思考，充实和完善自身，这才是理想的档案信息传播效果应有之义。

Each of these negations and each time developing the useful and discarding the useless indicate a bran-new beginning of aesthetic conception of architecture.

伴随着审美观念的转型，西方建筑在否定之否定的发展道路上，不断引导着人们的审美意识走向新的领域。

It is after the beauty of life,plainness, nature and harmony on the basis of landscape connotation.

其实两者无论在绘画的审美观念上，创作的技法上，还是人们的审美习惯上，都不尽相同。

By means of the natural and unrestrained language, the free and loose structure, unconventional works constructed informal style of writing, smashed the trammels of aesthetic traditional conceptions, also displayed exciting vehemence and power, with unpurified feelings as the center of expression, unbosoming and pouring out the hearts as the lyric fundamental method.

疏放"型作品以未曾净化的情感为表现中心，以宣泄与倾诉为基本抒情手段，以自然、恣肆的语言和自由、松散的结构构建了随意的文体，在审美方式上打破了传统审美观念的束缚，显示出了激动人心的气势和力量。"

This paper mainly includes two parts The first part falls into three main sections. First, it analyses the formative causes of the Chinese traditional house interior display art through five aspects, including the structure and forms of Chinese traditional architecture, the productive mode of Chinese traditional society, Chinese traditional philosophy, the idea of ethics and grading and custom of Chinese traditional society. Second, it briefly introduces the history of Chinese traditional house interior display art's development. Finally, it focuses on the analysis of Chinese traditional house interior display art's design ideas and concludes that its design ideas embodies the five sides as follows: respect for nature and imitate artfully nature, practical-oriented and function incorporated into form, images of space of what the theory and practice forms, balanced natural pattern of the display, artifacts with the thoughts and respect for poetic imagery. Another part of the article further researches on the application of Chinese traditional house interior display ideas to the contemporary home display, and leads to the author's view, that is that each era should has its own character when it inherits the traditional culture. What's more, the contemporary Chinese-style home display design not only have to take over the spirit of the tradition but also have to give full consideration of the contemporary aesthetic concepts, principles and methods. In the 21st century, humanistic care is greatly proponed in the interior design. The interior display art should develop towards the ecological, personalized and comfortable direction and the cultural dimensions. It should absorb the traditional cultural elements to decorate contemporary living space. In order to upgrade the simple and primary "appearance likeness" to a higher level of "spirit likeness", it must effectively grasp the poetic imagery of space, which can reach the artistic effect of "both appearance and spirits".

本文的重点内容有两部分：一部分是从中国传统建筑的结构形式、中国传统社会的生产方式、中国传统的哲学观念、中国传统的伦理等级观念、中国传统社会的风俗习惯等五个方面简单分析了中国传统民居室内陈设艺术形成的原因；简要介绍了中国传统民居室内陈设艺术的发展过程；着重对中国传统民居室内陈设艺术设计理念的具体内涵进行了深入的分析，总结出其设计理念集中体现在五个方面，即崇尚自然与巧法造化、实用为本与文质彬彬、虚实相生的空间意象、均衡自然的陈设格局、器以载道与以境为尚；另一部分是对中国传统民居室内陈设设计理念在当代居室陈设设计中的应用作了较深层次的探讨，并提出了自己的见解，即每个时代对传统文化的继承都应该呈现出自己的特色，当代中式风格的居室陈设设计既要秉承传统民居室内陈设艺术的设计精髓，又要充分考虑当代审美观念、原则和方法的融入。21世纪，室内设计大力提倡人文关怀，具体到室内陈设艺术设计上，应该向生态化、个性化、舒适化和文化层面发展；吸收传统文化元素装饰当代居室空间，要有效地把握空间意境，使当代中式风格的居室陈设设计从简单、初级的&形似&上升到较高层次的&神似&，进而追求&形神兼备&的艺术效果。

By means of the natural and unrestrained language, the free and loose structure, unconventional works constructed informal style of writing, smashed the trammels of aesthetic traditional conceptions, also displayed exciting vehemence and power, with unpurified feelings as the center of expression, unbosoming and pouring out the hearts as the lyric fundamental method.

疏放&型作品以未曾净化的情感为表现中心，以宣泄与倾诉为基本抒情手段，以自然、恣肆的语言和自由、松散的结构构建了随意的文体，在审美方式上打破了传统审美观念的束缚，显示出了激动人心的气势和力量。&

The shape of geometry straight and square, detail modeling of dentations and handle, and also the picture of line and side composition, and even three-dimensional decorative design of bass-relief in utensil, which all strengthen artistic form and esthetic meaning of the Xia dynasty's jade.

几何直方的规整形状，出齿、安柄的细部造型，还有线面结合的构图，乃至浅浮雕式的立体纹饰，均强化了夏代玉器的艺术形式和审美意蕴，形成了匀称规整、多样统一、象征表意和凝重神秘的艺术风格，从而有效地实现了中国玉器主体审美观念从新石器时代&饰玉&向商周&礼玉&的过渡。

The former would not investigate what aesthetic fashions and activities there were but analyze what Confucius and Zhuangzi once said, that is, to discover the selfconscious levels of aesthetic ideas in the time in question through the study of ancient books, in other words, to validate the logical levels of aesthetic ideals in the society in question displayed in the theories by ancient philosophers. The later would not pay much attention to the sayings and writings by them but emphatically analyze the shapes and lines of potteries and the styles of calligraphy and brush drawings and the lines and manufacture of bronze utensils, that is, to realistically reveal the types of material configurations in which the aesthetic activities in a time embodied, in other words, to demonstrate in a descriptive way the artistic effects that the aesthetic experiences in a time could make.

前者不去考察先秦时代究竟存在着哪些审美风尚和审美活动，而旨在分析孔子说过什么，庄子说过什么，即要从古代文献的字里行间中发现那个时代的审美观念究竟达到了何种自觉的程度，即要从古代哲人的理论表述中确认那个社会的审美理想究竟达到了什么样的逻辑水准；后者则不太关心思想家、哲学家的言论和著作，而着重分析陶器的形状、书画的风格、青铜器的线条与制作，即要从实证的角度发现一个时代的审美活动究竟体现为何种类型的物质形态，即要以描述的方式来证实一个社会的审美经验究竟凝结为什么样式的艺术成果。

The author manages to clarify the influences of the religion on the world outlook, life outlook and the concepts of morals and aesthetics of the Byzantines through the Concept of God, the Holy Process of Human Being and the Religious Ethical Characteristics from the Byzantine Church, and on the basis of which, comes to the conclusions that:(1) The Byzantines' understanding of the world ultimate essence is mystery, and the understanding of life is full of fatal and holy pursuit;(2) The secular ethical concepts of the Byzantines are obviously with the tendency of escapism because it contains a lot of church ethics;(3) The aesthetic concepts of the Byzantines pay attentions to both the beauty of Harmony and the beauty of Holy with the influences of the religious ethical inclinations.

笔者主要以拜占廷教会&上帝观念&、&人的神圣化过程&以及&宗教伦理特征&为切入点，尝试去阐明宗教对于拜占廷人的世界观、人生观以及道德和审美观念的影响，并在此基础上得出如下结论：（1）拜占廷人对于世界终极本质的理解是神秘的，对人生的理解充满了宿命的神圣化追求；（2）拜占廷人的世俗伦理观念中包容了诸多教会伦理，因此带有明显的遁世主义倾向；（3）拜占廷人的审美观念因受宗教审美取向的影响而呈现出&和谐&之美与&神圣&之美并重的局面。

On the other hand, the more important thing is because the urban housing is a kind of heterogeneity products.

另一方面，更重要的是由于城市住房是一种异质性产品。

Climate histogram is the fall that collects place measure calm value, cent serves as cross axle for a few equal interval, the area that the frequency that the value appears according to place is accumulated and becomes will be determined inside each interval, discharge the graph that rise with post, also be called histogram.

气候直方图是将所收集的降水量测定值，分为几个相等的区间作为横轴，并将各区间内所测定值依所出现的次数累积而成的面积，用柱子排起来的图形，也叫做柱状图。