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Title Page

Contents

Abstract 17

Ⅰ. INTRODUCTION 19

1.1. Research Background 19

1.2. Research Aim and Methodology 26

1.3. Research Perspective 28

1.3.1. Language as the Symbol and the Landscape as the Language 28

1.3.2. The Aesthetic and Psychological of Imagery 32

1.4. Organization 36

Ⅱ. BRIDGING THE LANGUAGE OF LANDSCAPE AND IMAGERY IN CONTEMPORARY CHINA 40

2.1. The Context Level: Landscape as a Product of Context 40

2.2. The Archetypal Level: Landscape as Collective Mental Perception 42

2.2.1. Imagery Emerging from Archetype 42

2.2.2. The Metaphysical and Biological Properties of Archetype Imagery 44

2.2.3. Archetype Imagery: The Mental Source of the Landscape 48

2.3. Symbol Level: Landscape as Symbol Expression 50

2.3.1. The Language of Landscape and Landscape as the Symbols 50

2.3.2. The Language of Landscape: Discursive and Representational Symbols 56

2.4. Aesthetic Level: Landscape as Aesthetic Appreciation 62

2.4.1. The Aesthetic Imagery and Symbol: Material and Spiritual 62

2.4.2. Landscape Imagery: the Intentional Creation Unity the Psychological and Aesthetic 65

2.5. Four Levels for the Language of Landscape and Imagery in Contemporary Chinese Landscapes 68

Ⅲ. SOVIET MODEL PLAN: 1949 - 1978 72

3.1. The Context of Soviet Model 72

3.1.1. The Soviet Experience and Greening the Motherland 72

3.1.2. Great Leap Forward and Cultural Revolution 75

3.1.3. The Government Authority of Landscape Department Established 77

3.2. The Archetypal Level: The Archetype Imagery of Socialism and Nationalism 79

3.2.1. Socialism: Materialism as a Universality of Marxism 79

3.2.2. The Ideal of Marxist: Communist Society 82

3.2.3. Nationalism: Shan-shui as the Universality in Chinese Culture 83

3.2.4. The Ideal of Shan-shui: the Harmony of Nature and Human 87

3.3. The Symbol Level: Nature, History and Past Dialogue 89

3.3.1. Nationalism Park: Hua Gang Guan Yu Park 91

3.3.2. Culture Rest Park: Chongqing People's Park 102

3.4. The Aesthetic Level: Poetic and Productive Imagery 112

3.4.1. Nationalism Park: Poetic Imagery 112

3.4.2. Culture Rest Park: Productive Imagery 120

Ⅳ. CITY BEAUTIFUL MOVEMENT IN CHINA: 1978 - 2000 125

4.1. The Context of City Beautiful Movement in China 125

4.1.1. Economic Growth and Environmental Construction 125

4.1.2. The Enactment of the Law and Ecological Concept 127

4.2. The Archetypal Level: The Archetype Imagery of Geometric 131

4.2.1. Anthropomorphism as a Universality of Western Culture 131

4.2.2. The Ideal of Geometric: The Eternity of Heaven 134

4.3. The Symbol Level: Power Dialogue 136

4.3.1. Dalian City's Large Scale Square 136

4.3.2. Dayan Pagoda Culture Square 140

4.4. The Aesthetic Level: Symptomatic Imagery 145

Ⅴ. ECOLOGICAL PLAN: 2000-Present 150

5.1. The Context of Ecological Plan: Ecological Crisis, Sustainable Development, and Ecological Civilization 150

5.1.1. Ecological Crisis and Drosscape Generation 150

5.1.2. Globalization, Sustainable Development and Ecological Civilization 155

5.1.3. The Refinement and Improvement of Landscape Legal Regulations: Eco-Garden City, Forest City, Sponge City, Park City 160

5.2. The Archetypal Level: The Archetype Imagery of Pluralism 168

5.2.1. Deconstruction as the Universality of Post-modernism 168

5.2.2. The Ideal of Pluralism: Cooperation, Adaptation, and Harmony with Nature 173

5.3. The Symbol Level: Nature, Past, and Production Dialogue 175

5.3.1. Drosscape: Zhongshan Qijiang Park and Tianjin Qiaoyuan Park 177

5.3.2. Urban Event Landscape: Beijing Olympic Forest Park 188

5.3.3. Drosscape and Urban Event Landscape: Shanghai Houtan Park and Quarry Garden 192

5.3.4. Sponge City: Sanya Mangrove Wetland Park 203

5.3.5. Sponge City and Cultural Landscape: Xiaoyan Pagoda Historical and Cultural Restoration 209

5.4. The Aesthetic Level: Vertical Imagery 222

5.4.1. The Aesthetic Imagery of Naturalism and Ecology 222

5.4.2. The Aesthetic Imagery of Shan-shui and Ecology 226

5.4.3. The Aesthetic Imagery of Post-industrial and Ecology 229

5.4.4. The Universality of Pluralism Aesthetic Imagery 232

Ⅵ. DISCUSSION 236

6.1. The Context Level: From Soviet Model to Ecological Plan 236

6.2. The Archetypal Level: From Shan-shui and Socialism to Pluralism 239

6.3. The Symbol Level: From Nature, History and Past to Nature, History, and Production 241

6.4. The Aesthetic Level: From Poetic and Productive Imagery to Vertical Imagery 244

6.5. The Research Limitation 246

Ⅶ. CONCLUSION 248

Reference 254

논문요약 271

List of Tables

Table 3.1. The language of landscape in nationalism and cultural rest park 111

Table 4.1. The language of landscape in City Beautiful Movement in China 144

Table 5.1. The language's elements of the language of landscape in ecological plan 216

Table 5.2. The speech and rhetoric in the language of landscape in the ecological plan 220

Table 6.1. The landscape target under the social context in contemporary China 238

Table 6.2. The imagery generation under the different social context 240

Table 6.3. The imagery expression in three historical stages: the language of landscape 243

Table 6.4. The imagery appreciation in three historical stages: the aesthetic imagery 245

List of Figures

Figure 1.1. The Research Structure 39

Figure 2.1. The paradise archetype imagery of Islamic Garden: Bajas del Generalife 49

Figure 2.2. The archetypae imagery in Chinese scholar garden: mountain and water 49

Figure 2.3. The modify and subordinating grammar of Parc de Sceaus and the agreeing and corresponding grammar of riverbank. 53

Figure 2.4. The theoretical framework of the language of landscape 55

Figure 3.1. The location of Hua Gang Guan Yu Park 93

Figure 3.2. Landscape painting of Hua Gang Guan Yu, painted by Ma Yuan 93

Figure 3.3. The master plan of Hua Gang Guan Yu Park 94

Figure 3.4. The main entrance for Hua Gang Guan Yu Park 96

Figure 3.5. Traditional Chinese window patterns - "Bu Bu Jin" 96

Figure 3.6. The flying eave and bird's wing 97

Figure 3.7. Emphasis placement: A wooden promenade on the bank of a fish pond 98

Figure 3.8. The fish pond in Hua Gang Guan Yu Park 98

Figure 3.9. A distant view of the fish pond in Hua Gang Guan Yu Park 99

Figure 3.10. Emphasis placement: Half-moon shaped arch bridge 100

Figure 3.11. Peony and Stone in Chinese traditional painting and Peony Garden 100

Figure 3.12. The location of Chongqing City 104

Figure 3.13. Aerial view of Chongqing People's Park and its topographic features 105

Figure 3.14. The first level of Chongqing People's Park: cultural, educational and public facilities, sports facilities, and children's activities 106

Figure 3.15. Boundary, path, and gateway space that links the first and second levels in Chongqing People's Park 107

Figure 3.16. The second level of Chongqing People's Park and the weekend flower and bird market 108

Figure 3.17. The third level of Chongqing People's Park: stone hexagonal planters, Chongqing firefighters monument and Sichuan revolutionary martyrs monument 109

Figure 4.1. Anthropomorphism: Abstract human proportions and geometry 132

Figure 4.2. The location of Dalian City 136

Figure 4.3. Geometric square shape of Dalian People's Square 138

Figure 4.4. The ellipse shape of Xinghai Square 139

Figure 4.5. Control of the Horizon and Artificial Fountains: Dalian Xinghai Square and French Gardens 139

Figure 4.6. The location of Dayan pagoda 141

Figure 4.7. The none of landscape in Dayan Pagoda Cultural Square 142

Figure 4.8. The progressive placement of fountain in Dayan Pagoda Cultural Square 143

Figure 4.9. Symptomatic imagery: The crisscross geometic shape of humanistic metaphors rooted in West andpresence in China 148

Figure 5.1. The urbanization rate in China 153

Figure 5.2. The location of Zhongshan Qijiang Park 177

Figure 5.3. The master plan of Zhongshan Qijiang Park 178

Figure 5.4. The image of abandoned Yuezhong Shiyard 178

Figure 5.5. Railroad track crossed diagonally through Gijiang Park to form a main pathway 179

Figure 5.6. Paths intersecting the tracks diagonally, grid-shape hedges, and white columns running parallel to the tracks 180

Figure 5.7. The red box at the intersection of the diagonal crossroads and the internal water-friendly space 180

Figure 5.8. Refuge space created by steel frame structure 181

Figure 5.9. Grid-shaped concrete trestle bridge on the bank of the Gijiang River 182

Figure 5.10. The periphery of Gijiang Park and two water towers 183

Figure 5.11. The location of Qiaoyuan Park 184

Figure 5.12. Site before transformation and master plan after transformation 185

Figure 5.13. Irregular low-lying water bubbles in Qiaoyuan Park 186

Figure 5.14. Wooden trestle bridge in the pond 187

Figure 5.15. The location of Beijing City 188

Figure 5.16. The central axis of Beijing City 189

Figure 5.17. The master plan of Beijing Olympic Forest Park and the dragon-shaped artificial water body 190

Figure 5.18. The Yangshan and natural environment in Oympic Forest Park 190

Figure 5.19. The location of Shanghai City 192

Figure 5.20. The master plan of Houtan Park 193

Figure 5.21. The pre-existing conditions of the site 193

Figure 5.22. The language elements for Shanghai Houtan Park 194

Figure 5.23. The rust steel made refuge and meeting place in Houtan Park 195

Figure 5.24. The dialogue of nature, past, and production in Houtan Park 196

Figure 5.25. The location of Quarry Garden 197

Figure 5.26. The pre-existing conditions of the site 197

Figure 5.27. The master plan of Quarry Garden 198

Figure 5.28. The refuge and prospect view of Quarry No. 1 199

Figure 5.29. Aquatic and Wet Plant Garden at Quarry 2 200

Figure 5.30. Mining production equipment is maintained in Quarry 6 201

Figure 5.31. Pluralism archetype' invention and deconstruction: geometric agape bridge, and mountain and water 202

Figure 5.32. The location of Sanya City 203

Figure 5.33. The pre-existing condition of Sanya City: polluted water system, concrete flood walls, and trash 204

Figure 5.34. The master plan of Sanya Wetland Park 205

Figure 5.35. Finger-shaped mangrove wetland in Sanya Mangrove Wetland Park 206

Figure 5.36. The concrete boundary and path in Sanya Mangrove Wetland Park 207

Figure 5.37. The refuge and prospect of concrete pavilion, plants, water, and mountain as the background of the Sanya Mangrove Wetland Park 208

Figure 5.38. The location of Xiaoyan pagoda 209

Figure 5.39. The relationship between the Xiaoyan Pagoda cultural and historical area and Xi'an City 210

Figure 5.40. The location of Dayan Pagoda and Xiaoyan Pagoda in Xi'an City 211

Figure 5.41. The south square of The Xiaoyan Pagoda's cultural and historical renovation 212

Figure 5.42. The shadow of Dayan Pagoda and Xiaoyan Pagoda on the ground 212

Figure 5.43. The urban texture of ancient Xi'an City and the pavement's detail 213

Figure 5.44. The Sponge waterbody in Xiaoyan Pagoda's renovation area 214

초록보기

 1949 년에 설립된 중화인민공화국(중국)은 현대 시대의 개막을 알렸다. 사회적, 경제적, 문화적 맥락의 진화에 따라 1949 년부터 현재까지의 현대 중국은 1949 년부터 1978 년, 1978 년부터 2000 년, 그리고 2000 년부터 현재까지 세 개의 시기로 구분된다. 70 년 동안, 현대 중국의 경관은 농업 및 산업 문명에서 현재의 세계화된 생태 문명 시대로의 전환을 거치며, 인류 및 자연사의 모든 유·무형적인 흔적을 보존해왔다. 경관언어와 이미지 개념은 경관의 해석, 인식, 그리고 존재 사이의 유·무형적 관계에서 모두 중요한 역할을 수행한다. 현대 중국 경관 발전의 맥락에서 인간과 토지의 유·무형적 측면 사이의 역동적인 역사적 관계는 시간이 흐름에 따라 발전해왔다. 본 연구의 방법은 문헌 고찰, 사례 연구, 학제간 연구로 진행되었다. 경관언어와 이미지에 대한 이론적 분석을 수행하여 중국 현대 경관의 진화 과정을 정성적으로 살펴보는데 목적이 있다.

현대 중국의 경관언어와 이미지는 맥락 수준, 원형 수준, 부호 수준, 미학적 수준이라는 네 가지 수준의 이론적 틀로 구성된다.

본 회고적 연구는 현대 중국 경관에서 경관의 언어를 통한 이미지의 진화를 탐구한다. 맥락 수준에서 현대 중국 사회는 소련 모델(1949-1978 년), 도시미화운동(1978-2000 년)을 거쳐 생태계획(2000 년-현재)에 이르렀다. 원형 수준에서는 산수화와 마르크스주의, 기하학에서부터 다원주의로 전환되었다. 부호 수준에서의 상징적 표현은 자연, 역사 및 과거, 권력에서 자연, 역사 및 생산에 이르는 풍경 대화를 포함한다. 70 년에 걸친 시간 동안, 미학적 수준에서의 이미지는 사회주의 정치적 의도를 반영하는 생산적이고 시적인 이미지에서 서양의 건축 성과를 맹목적으로 모방하는 증상적 이미지로 전환되었다. 전 세계적 및 국가적인 맥락이 지속적으로 진화함에 따라, 경관언어는 다양한 관점과 주제에 대한 통합적 접근을 채택하고, 특히 자연과의 상호 작용에 중점을 둔 해석에 참여할 것이다. 이미지 관점을 통해 볼 때, 중국 경관의 미래 경향은 산수화를 연상시키는 수직적 이미지를 형성할 것으로 예측되며, 이는 물질과 영적인 측면, 존재와 인식, 해석과 경험과 같은 다양한 측면을 통합할 것이다.

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