建筑艺术中的民族浪漫主义：历史、保护及修复

李 爽



建筑艺术中的民族浪漫主义：历史、保护及修复

李 爽

（国立基辅建筑工业大学建筑学博士 乌克兰基辅 01044）

19世纪下半叶民族浪漫主义在欧洲大地蔓延,追溯它的起源,主要是在一些寻求文化独立和发展的国家传播。

民族浪漫主义从外观上增加了很多罗马式建筑遗产中常见的有趣特点(著名苏格兰诗人、小说家沃尔特·斯科特的历史小说中有清晰的描写)。中世纪早期骑士们严峻的生存环境却带给了美国建筑师亨利·理查森设计灵感。亨利·理查森创建了自己的版本，与哥特式（Neogothic）风格洽洽相反的——新罗曼式（Neo-Romanesque）建筑，并且(美国查里森罗曼式花岗岩风格)在19世纪下半叶得到广泛推崇和传播。

德国罗马式建筑大多给人以粗犷笨重的印象，那是因为它的设计灵感来源于德国民族浪漫主义(北欧风格)。亨利·理查森的罗曼式建筑，德国和法国的罗马式建筑,19世纪下半叶德国民族浪漫主义,英国理性现代主义和(由威廉·莫里斯和约翰·拉斯金领导的)英国工艺美术运动，再结合芬兰民间故事主题，为1890年开始的芬兰民族浪漫主义的形成奠定了基础。类似的现象出现在其他北欧国家——瑞典和挪威,但只有芬兰带给世界一个最具斯堪的纳维亚民族浪漫主义的形象。新风格的主要创造者有：尼·塔贾安娜（Onni Tarjanne）、拉尔斯·索克（Lars Sonck）、阿克塞尔·加伦-卡勒拉（Axel Gallen-Kallela）、埃利尔·萨里嫩（Eliel Saarinen）、赫尔曼·格西利斯（Herman Gesellius）、阿马斯·林格伦（Armas Lindgren）——代表项目:波赫尤拉保险公司大厦(1901年建于赫尔辛基）、坦佩雷大教堂(1902 - 1907建于坦佩雷)、电话公司(HPY)大楼(1905建于赫尔辛基）和赫尔辛基火车站(1904 - 1914年建于赫尔辛基)。

这个过程中，形成了一些北欧民族浪漫主义的主要特征，并逐渐传播至圣彼得堡演变为圣彼得堡北欧民族浪漫主义。

北欧民族浪漫主义的主要特征有以下几点：

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”), “Sæmundar 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.

从世界上来讲，修复保护对象的主要原则是尽量减少后续的破坏，这也是我们的主要任务——可见的损毁无法弥补，但是可以修复和重现，尽量不改变原貌，为我们的后辈保留最完整的文化遗产。科学、工程水平和行业生产力的恢复，允许我们对首要目标的实现做一个乐观的预期——这是在符合当前世界和谐统一的前提下，保护并传承民族文化遗产给下一代的特许状。

TU7

B

1007-6344（2017）03-0099-01