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Study on the Architectural Idea of Paul Thillich and the Theory of Protestant Church Architecture

保罗·蒂利希的建筑思想与新教教堂建筑理论研究

基本信息

批准号：
06650710
负责人：
MAEKAWA Michio
金额：
$ 1.09万
依托单位：
Osaka Sangyo University (1995-1996)Kyushu University (1994)
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (C)
财政年份：
1994
资助国家：
日本
起止时间：
1994 至 1996
项目状态：
已结题

项目摘要

I have endevoured to clarify the total aspects of theory of architecture and visual arts (fine arts) of Paul Thillich (1886-1965), one of the most representative theologians of 20th Century, who is called a theologian of culture, by carefully scrutinizing his writings, essaya and lectures, as the central theme of my study of architectural theory on Protestant church. Begining with grasping strictly and correctly the fundamental concepts in his theory of culture, and tracing in detail "the principle of essential belongingness of religion and culture to each other", I have discussed Thillich's existential attitude that "Religion means being ultimately concerned". And then, I have indicated his opinion of the dominance of theonomy over autonomy and heteronomy, the dominance of Gehalt (substance, import, depth) over Inhalt (content) and form. In doing so, I have made clear troublesome confusions in the variouse translation into Japanese as well as into English, of the a German word "Gehalt … More " which is one of the most essential concepts in his theory of culture. In his view, Gehalt is grasped and expressed, by content being mediated by form. Next, I have showed his understanding of the meaning of style--in the triplet of subject (content) -form-style--in the visual arts including architecture ; that is, style exoresses Gehalt in a individual form, and in the works of arts, the ultimate meaning and the experience of the ultimate being are expressed in the style. In accordance with it, even the kind of art which is usually called proface, be able to be religious. He considers a just "expressionistic" or "expressive" art as a truly religious art. He says that what is expressed in a expressionistic-expressive art is not emotional subjectivity, the depth of reality is exposed by breaking through the surface of thinngs and appearance. I did not have time to disscuss, in detail, on space of church architecture. The most important concept is surely "heilige Leere"(sacsed emptiness). The Protestant space of church building must be heilig eleere. Recognizing two principles--consecrationand honesty--which must be integratedin church architecture, and being much concerned with honesty that is a characteristic of Modern architecture, we ought to embody architect ural space of consecration that is alwaysessential of religious space. I am also continuing the consideration on built church, diss-cussing with priests and church architects, but I have not yet published the fuller accomp-lishments. Less

本文以20世纪最具代表性的神学家之一、被称为文化神学家的保罗·蒂利希（Paul Thillich，1886-1965）的著作、论文和演讲为中心，对他的建筑理论和视觉艺术（美术）理论进行了全面的梳理。本文从严格、正确地把握蒂利希文化理论中的基本概念入手，通过对“宗教与文化的本质相容性原则”的详细追溯，探讨了蒂利希“宗教意味着终极关怀”的生存态度。然后，我指出了他的观点，即神律对自律和他律的支配地位，Gehalt（实质、意义、深度）对Inhalt（内容）和形式的支配地位。在这样做的时候，我已经明确了德语单词“Gehalt”在翻译成日语和英语时的各种麻烦混乱 ...更多信息这是他文化理论中最重要的概念之一。在他看来，格哈尔特是通过以形式为中介的内容来把握和表达的。接下来，我展示了他对风格意义的理解--在包括建筑在内的视觉艺术中的主题（内容）-形式-风格的三重奏中;也就是说，风格以个人的形式表达了Gehalt，在艺术作品中，最终的意义和最终存在的经验都表达在风格中。与此相适应，即使是通常被称为序言的那种艺术，也可以是宗教性的。他认为一种纯粹的“表现主义”或“表现性”艺术是一种真正的宗教艺术，他说，表现主义-表现性艺术所表现的不是情感的主观性，而是通过突破事物和表象的表面来揭示现实的深度。我没有时间详细讨论教堂建筑的空间。最重要的概念无疑是“heilige Leere”（神圣的空虚）。教堂建筑的新教空间必须是heilig eleere。认识到教堂建筑必须结合的两个原则--奉献和诚实，并关注诚实这一现代建筑的特征，我们应该体现宗教空间的本质--奉献的建筑空间。我也在继续考虑建造教堂，与牧师和教堂建筑师讨论，但我还没有发表更全面的成就。少