建筑藝術中的民族浪漫主義：歷史、保護及修復

李 爽

?

建筑藝術中的民族浪漫主義：歷史、保護及修復

李 爽

（國立基輔建筑工業大學建筑學博士 烏克蘭基輔 01044）

19世紀下半葉民族浪漫主義在歐洲大地蔓延,追溯它的起源,主要是在一些尋求文化獨立和發展的國家傳播。

民族浪漫主義從外觀上增加了很多羅馬式建筑遺產中常見的有趣特點(著名蘇格蘭詩人、小說家沃爾特·斯科特的歷史小說中有清晰的描寫)。中世紀早期騎士們嚴峻的生存環境卻帶給了美國建筑師亨利·理查森設計靈感。亨利·理查森創建了自己的版本，與哥特式（Neogothic）風格洽洽相反的——新羅曼式（Neo-Romanesque）建筑，并且(美國查里森羅曼式花崗巖風格)在19世紀下半葉得到廣泛推崇和傳播。

德國羅馬式建筑大多給人以粗獷笨重的印象，那是因為它的設計靈感來源于德國民族浪漫主義(北歐風格)。亨利·理查森的羅曼式建筑，德國和法國的羅馬式建筑,19世紀下半葉德國民族浪漫主義,英國理性現代主義和(由威廉·莫里斯和約翰·拉斯金領導的)英國工藝美術運動，再結合芬蘭民間故事主題，為1890年開始的芬蘭民族浪漫主義的形成奠定了基礎。類似的現象出現在其他北歐國家——瑞典和挪威,但只有芬蘭帶給世界一個最具斯堪的納維亞民族浪漫主義的形象。新風格的主要創造者有：尼·塔賈安娜（Onni Tarjanne）、拉爾斯·索克（Lars Sonck）、阿克塞爾·加倫-卡勒拉（Axel Gallen-Kallela）、埃利爾·薩里嫩（Eliel Saarinen）、赫爾曼·格西利斯（Herman Gesellius）、阿馬斯·林格倫（Armas Lindgren）——代表項目:波赫尤拉保險公司大廈(1901年建于赫爾辛基）、坦佩雷大教堂(1902 - 1907建于坦佩雷)、電話公司(HPY)大樓(1905建于赫爾辛基）和赫爾辛基火車站(1904 - 1914年建于赫爾辛基)。

這個過程中，形成了一些北歐民族浪漫主義的主要特征，并逐漸傳播至圣彼得堡演變為圣彼得堡北歐民族浪漫主義。

北歐民族浪漫主義的主要特征有以下幾點：

1) composition: the dynamic asymmetry with dominant, the large scale, the distinguished tectonic with using natural, domestic stone – granite and soapstone, the active silhouette with towers, gables, erkers with towers;

2) elements: towers with motives of the Middle-Aged Romanic castles, the multy-storeyed erkers of different forms with original completions, patterned finishing of the walls and specific decoration, trapezishaped and egg-shaped windows and entrances;

3) decorative methods: the specific rough ornamentation of the walls and decorative motives using pine branches and cones, bears, bob-cats, heroes of Finnish and Sweden folk tales.

The North National Romanticism of Saint Petersburg was severe, monumental, with dominating of grey colour. There were using natural stone on the facades (granite, swedish shale, soapstone) with different surfaces (rustic work, common ashlar). The stone decoration had the origin in Scandinavian culture and folk tales – there were pictures of wild animals, fishes, snakes, spiders, fantastic humansimilar beings.

The architecture of Saint Petersburg influenced on the Art-nouveau style in Central and Eastern Ukraine. Many architects from Kyiv and Kharkiv graduated the Saint Petersburg institute of Civil engineers or Saint Petersburg Academy of Arts.

From all towns – the centres of Art-nouveau in Ukraine – more attention of processing of facades were in Eastern Ukraine. The most houses were plastered at the bricks, had rustic work of the walls. Such type of decoration were typical mainly for the examples of North National Romanticism.

Meeting with culture of China and Japan the Western Europe feeled the influence their religions and philosophies – taoism, shinto and buddhism.

One of the sources of the European Art Nouveau (further – A.N.) was the Chinese and Japanese Art: the inspirations that Chinese and Japanese artists drew from nature, using its lines and forms, was quickly assimilated by their European counterparts. The new movement’s preeminent source of artistic inspiration was nature herself, captured in microscopic details in the glass and jewelry confections and with subtle abstractions in the carved foliage serving as decorative accents.

As for the “founder of A.N.” Belgian architect Victor Horta one of the sources of inspiration was the Middle Ages Gothic and the Neogothic of the second half of the 19th century that influenced the appearance on the facades on some buildings in Kyiv of a peculiar synthesis of Neogothic and A.N. the so called “modernized Gothic”.

The Chinese and Japanese calligraphy was the basis for appearance whiplash.

The whiplash is a very particular curve a spiral ending in a hook-like shape. It became one of the typical motifs of the Vienna Secession.

Horta put together stone and iron, cast-iron and iron, wood and marble, iron and glass, as well as different types of wood with contrasting colours. The walls of buildings valued only when they became enriched by sculptural vibrations, when they became cornices, bands, corbels.

In Kyiv took place four main varieties of A.N.:

1) A.N. with 3-dimensional décor, plastic facades and no partitions between the inner spaces;

2) A.N. with 2-dimensional décor and flat (plane) facades;

3) National Romanticism with modernized details of folk architecture;

4) Expressive “sculptural” A.N.

Besides decorative and rationalistic A.N. in Kyiv were also registered combinations of A.N. with other styles. The spreading of the National Romanticism was connected with yearning for national identity, renascence of national traditions, expressing of the new multi-plane plastic conception of A.N. with the language of national architecture. Trapezishaped openings, hipped roofs, “porches” and stylized turretlike apexes became the signs of the National Romanticism in Kyiv.

The most spread style in Kyiv was the mature rationalistic A.N. with décor, even if there could be found samples of decorative A.N. with 3-dimensional and 2-dimensional (flat) décor, samples of National Romanticism and a few samples of expressive A.N.

The traditional Chinese and Japanese architecture connected with philosophy of Buddhism and nature exerted influence at the European A.N.

In A.N. in China the international tendencies of European A.N. interlaced with traditional Chinese architecture and gave the birth to the original A.N. in China.

It is necessary to mark that the A.N. from one part of China to another differed so considerable. For example the A.N. objects in German colony Qingdao differ from such objects at Russian settlement in Harbin, Shenyang and Dalyan.

In Qingdao A.N. arose the original appearance in representative buildings – the original Chinese interpretation of North (German) National Romanticism. In these buildings used grey granite blocks. These objects are similar to the objects of National Romanticism in Northern Europe but they included the combination of European and Chinese traditions.

The most famous architects of German National Romanticism who worked in Qingdao were Lazarowicz Werner (the author of the Gouverneur House – Residenz des Gouverneur, built in 1907) and Curt Rothkegel (the author of the Christian Gospel church, built in 1908-1910).

In these objects both architects used massive stone blocks, massive forms and large scale. These objects had bright colours of outside walls and roofs, what were untypical for Northern National Romanticism.

These two buildings were similar Middle Aged European castels. They are the examples of the influence of changing landscape for forming architectural styles. The hill on which were standing the Gouverneurs House named “Dragon Hill” and visitors could see the head of stone dragon near the gable above central entrance to residence. Dragon was the typical figure of the old German and Scandinavian legends, for example, dragon Fafnir from the “The Nibelungenlied” (“The Song of the Nibelungs”), “S?mundar Edda” (“Elder Edda”), “Snorri's Edda” (“The Younger Edda”).

The third original building of German National Romanticism in Qingdao was the Japanese Middle School built at 1921 by Japan architect Tadashi Mikami. This building was similar to other building of Holland Consulate built at 1915 in Harbin by Van der Hoven.

The main problem in keeping the architectural heritage is the problem of conservation and protection of construction.

The lessons of history testify that the development level of society is in direct dependence on attitude toward the historic and cultural heritage, because “he, who does not know and does not respect the past, has no right for the future”. Beginning from the most ancient times, the mankind has been always interested in its past and future trying to understand the present and determine its place in it, that is why almost valuable things that reached us through ages, we had to preserve in order the best traditions of the past would not depart in obscurity.

Sights of history and culture are a major part of the spiritual property of people. Their preservation for future generations is not an easy but sacred work. This responsible task on preservation and revival of historic and cultural heritage in Ukraine is performed by “Ukrrestavratsiya” corporation – a leading organization in the state on restoration of sights, which takes a direct part in the recreation of prominent sacred objects of Ukraine11. For the time of its existence corporation with its rich experience, painstaking work and high level of skills has been generally recognized not only in Ukraine but also beyond its bounds.

The unique object according to its design, which total structural volume makes up 38 thousand cubic meters had arisen from ruins.

從世界上來講，修復保護對象的主要原則是盡量減少后續的破壞，這也是我們的主要任務——可見的損毀無法彌補，但是可以修復和重現，盡量不改變原貌，為我們的后輩保留最完整的文化遺產。科學、工程水平和行業生產力的恢復，允許我們對首要目標的實現做一個樂觀的預期——這是在符合當前世界和諧統一的前提下，保護并傳承民族文化遺產給下一代的特許狀。

TU7

B

1007-6344（2017）03-0099-01