Through the analysis of bridge architecture art, the aesthetic principles of bridge architecture art are put forward at first. Then it analyzes the times, nationality and regionality of the artistic style of bridge architecture, and finally introduces the modeling elements of bridge architecture, thus revealing the rich connotation of the artistic significance of bridge architecture. This has theoretical reference value for the study of bridge architecture art and bridge architecture history.
In a sense, the theory of bridge aesthetics involves many disciplines such as architecture, aesthetics, physics, materials science, color science, art science and so on, and it is an interdisciplinary theoretical research. A perfect bridge should not only pay attention to its practicality and scientificity, but also pay attention to its artistry; It should not only meet functional requirements, but also meet aesthetic needs. The artistic implication of bridge architecture is to perfectly combine the aesthetic needs of aesthetic subjects with bridge modeling and technology, indicating that bridge, as a structure and a structural modeling art, bears the local customs, habits, traditions and political, economic and cultural ideologies at that time. This paper will reveal the profound connotation of bridge architecture by analyzing the art of bridge architecture and its aesthetic principles, styles and modeling elements.
1. Bridge architecture art
Since humans built simple steps with natural stones and wooden bridges with collapsed trees, they began to leave beautiful birthmarks on them. With the development of the times, bridge architecture reflects a certain social consciousness more and more strongly, and has been developing in the direction of architectural art. Bridge architects use the most difficult language known to mankind, that is, functional, mechanical and construction technical language to solve specific problems.
Architectural art is a combination of practicality and aesthetics. On the one hand, it is restricted by the technological level and practical function of materials; On the other hand, the evolution of its form and style is influenced by people's spiritual life, especially social aesthetic consciousness. The art of bridge architecture is a branch of architectural art, and it is a structural artistic image created by bridge architects through material means on the basis of mastering the natural attributes and laws of art media's materials (colors, lines, shapes, etc.). ), in order to make people feel and know, so as to play its social influence and reflect certain life content. As an architectural art, bridge is a building with scientific and artistic spirit, which combines all elements of plastic arts and great achievements of science and technology. The quaint and elegant Zhao Zhouqiao in China, the exquisite and beautiful 17-hole arch bridge in Yuanmingyuan and the magnificent Golden Gate Bridge, just like the great works such as the ancient pyramids, the winding Great Wall and the towering Eiffel Tower, all shine with immortal brilliance and constitute the beauty of architecture.
On the one hand, the art of bridge architecture reflects the aesthetic feeling reflected by the spatial span of the structure; on the other hand, the shape of the bridge, especially the form of ancillary facilities such as railings and bridge heads, is also influenced by the stream of economic, political, social and cultural consciousness. The Dragon Fence in Zhao Zhouqiao (Figure 1) is exquisitely carved, which integrates myths and legends with local culture, fully demonstrating the humanistic customs and technical level at that time. The stone lions of Lugou Bridge (Figure 2) are lifelike, with their eyes fixed on the bridge deck, resembling the patron saint of the bridge, giving pedestrians and local residents a full sense of security.
However, the art of bridge architecture is also highly subjective. Beautiful bridges are all integrated with the personal emotional color and artistic means of bridge architects. The dual characteristics of practicality and beauty determine that the art of bridge architecture is often one of the most vivid witnesses of the material life and spiritual life of a certain era and society. A perfect bridge building should be both utilitarian and beautiful, which is the unity of opposites between matter and spirit.
2. The artistic principle of bridge architecture
The art of bridge architecture is the materialization of the aesthetic consciousness of bridge architects and has independent aesthetic value. Bridge architects usually consider and weigh the following artistic principles in bridge design and artistic conception creation.
2. 1 Coordination between function and formal beauty
The art of bridge architecture is different from language art, performing art and plastic art, and it is still a practical art. An excellent bridge should realize the unity of practicality and aesthetics. Only by combining technology and art can we create a real bridge of beauty. When dealing with the coordination between the function and formal beauty of bridge buildings, there are usually two wrong tendencies: one is to overemphasize the practical function and ignore the beauty of bridge buildings, which is most obvious in the early days of liberation in China; The other is that there are many pseudo-structures of bridges, which only pay attention to the beauty of bridge buildings and ignore its practical value. In order to avoid these two tendencies, the coordination principle of bridge architecture art is very important. Function and form, biased towards either side will not produce good works; Only when function and form are perfectly unified can bridge art have long-term vitality.
2.2 satisfy people's aesthetic taste
First of all, the convenient transportation service function provided by the bridge meets people's living needs. But ordinary people have their own aesthetics, and they must combine social utility with the national economy and people's livelihood. With the development of society. The beauty of the bridge has been distinguished from practicality, but it still shows its social utility.
2.3 reflect the spirit of the times, the art of bridge architecture
Like other arts, the art of bridge architecture is not static. The beauty of ancient bridges is gorgeous decoration, while the beauty of modern bridges is simple and generous. Bridge architecture can show some essential aspects of life with its huge spatial image, reflecting a certain spirit of the times. In different historical periods, the architectural style, art and technology of bridges vary greatly. In the history of bridge architecture at home and abroad, almost every era will form its unique bridge architectural style, which has become the symbolic feature of this era. Bridge architects in past dynasties are inevitably influenced by the spirit of the times in their design and creation, especially western architecture. Venice Water World is a local feature, with a dense market on the bridge, integrating leisure, shopping, sightseeing and transportation.
2.4 Show the distinctive national characteristics of bridge architecture art.
There is no requirement in the world that aesthetic buildings must have aesthetic standards, but a certain nation must have certain architectural characteristics. Reflected in the bridges, most of the bridges in China have local characteristics, such as the beautiful bridges in the south of the Yangtze River (Figure 3), while the bridges in the southwest have strong ethnic minority styles, such as Chengyang Yufeng Bridge (Figure 4). Different nationalities have many differences in customs, cultural traditions and ways of thinking. Based on this, it is not surprising that different nationalities put forward different requirements for the art of bridge architecture.
3. The characteristics of bridge architectural style
The architectural style of bridge is the expression of the characteristics in the design conception embodied in the form of bridge, the sum of various elements of bridge architecture, a beautiful style expressed by the internal laws of the structure in the external form, an abstraction or sublimation of the form, just like a person's demeanor, sometimes it is a meaningful and unspeakable expression of characteristics. Style is a high-level problem in culture and art, which is restricted by social, traditional, economic and cultural factors, and reflects a comprehensive image with distinctive characteristics of the times, nationality and region.
3. 1 era
"Architecture is the history book of stone" is the product of the development of scientific and technological civilization in a certain historical period. It reflects the social material productivity and people's living conditions at that time, embodies the social thought, aesthetic concept and technical level of a certain era, and leaves an eternal brand of the times. In the era of mechanical industrialization and handicraft production, bridge architecture is completely different in material selection, construction technology and production means, and its structural form selection and artistic characteristics are naturally different. For example, the elegant column structure in ancient Greece, the semi-circular arch structure in Rome, the pointed arch in Gothic Europe, the bridgehead with strong religious color and military defense function popular in the Middle Ages (Figure 5), the complex and exquisite Baroque sculpture on the iron bridge in the Renaissance, and the concise and slender form of modern bridges brought by modern reinforced concrete and prestressed structures, such as the outward inclined half-through arch bridge in a French city (Figure 6). All these reflect the times style of architecture (including bridge architecture, of course).
3.2 Nationality
All ethnic groups have their own long history, rich cultural background, unique traditions, cultures and customs. It also produces aesthetic concepts with national characteristics, which are closely related to the language psychological characteristics, living environment and living conditions of a certain nation. Human life is closely related to bridge construction, so it must have a certain national color. For example, ancient bridge buildings have a good desire to fight against nature with the help of "sacred objects". Most of the sculptures on western bridges are mythical figures or great cultural relics, such as the ancient bridge on the main river in Wü rzburg (Figure 7), the Twelve Angels Bridge in Italy, the Arlington Memorial Bridge in Washington, USA, and the bridge on the Seine in France. There are statues on the pier or the observation post at the bridge head. In China, stone bridges mainly carve lions and dragons. These "beasts" have played a role in winning the battle to ward off evil spirits. For example, the railing art of Xianghua Bridge in Suzhou (Figure 8) is also a form of national decoration, which not only adds luster to the art of bridge architecture, but also reflects the preferences and interests of working people in China and becomes a unique landscape.
3.3 regionality
Even in the same era, in different regions, due to differences in geographical location, natural environment and living conditions, aesthetic standards will vary greatly. However, bridges in a certain area should have their own unified style. If every bridge is unconventional or even "one bridge is the same", it will not only waste people and money, but also violate the aesthetic law and lose the "appetite".
However, bridge architecture is different from residential architecture after all, and its functional simplicity restricts the form of bridge. Arch, beam and crane are the basic forms of ancient and modern China and foreign countries. Due to the frequent and convenient communication of modern information, the influence of nationality and region on bridge forms is not as prominent as in ancient times. Moreover, the national style of the bridge is mostly the subsidiary structure of the bridge, such as bridgehead buildings, railings, lamp posts, sculptures and so on. In the center of Paris, France, there are many bridges with strong French national cultural characteristics (Figure 9). The ancient bridge on the Rhone River also reflects the splendid culture of medieval Europe (Figure 10). Therefore, it is very important to embody the regional style in bridge architecture and create a form that local people like, because without characteristics, there will be no personality, thus lacking lasting vitality.
The times, nationality and regionality of style are organically unified. The excellent works of bridge architecture have always been a beautiful embodiment of the aesthetic ideal of a certain era, a certain nation and a certain region, as well as aesthetic value and historical value. Obviously, modern bridge architecture should show a positive, positive and inspiring style, reflecting the good features of the times, nationalities and regions.
4. Elements of bridge building modeling
Morphology is composed of points, lines, surfaces and bodies. The art of bridge architecture has formed a colorful system through its artistic language-spatial combination, proportion, texture, scale, figure, rhythm, color and symbol. It presents a form of beauty: in morphological aesthetics, a point has modeling significance and a point is in the picture. T the focus of the line of sight is two points with the same size, and the line of sight goes back and forth between these two points. Lines have different shapes and different meanings. Different shapes of straight lines and curves have different personality characteristics. Thick and straight lines are firm, powerful, thick, stable, thick, clumsy and stubborn; Thin straight lines are sensitive, fragile and slender; The broken line has the characteristics of rhythm, movement, anxiety and uneasiness. The arc gives a full and energetic feeling; In addition to the characteristics of arc, elliptical arc also has a modern sense; Streamlining is the free aesthetic creation of parabola; Hyperbola has the beauty of curve balance and a strong sense of the times, and the variable diameter curves are rich and varied. Free curve is full of emotion.
The movement of a line forms a surface. It is generally believed that the plane has a sense of stability and certainty; The triangle gives people the feeling of impulse and stimulation; Round gives people a warm and flowing feeling; Strong sense of trapezoidal stability; The inclined trapezoid has a sense of movement or force in the inclined direction; Square gives people a sense of neatness and dignity, and has a sense of uniformity; The shapes of curved surfaces such as sphere, cone and torus give people a feeling of kindness, fullness, softness and fluidity.
Stereo is formed by the movement of the surface. The three-dimensional aesthetic feeling of architecture is produced by the change of angle, artistic association and the relationship between reality and reality. The vertical lines of the tower of the Golden Gate Bridge (Figure 1 1) are smooth and regular, and the changes are reasonable, which makes the heavy shape of the tower look slim and gives people a strong sense of beauty. Bright red paint adds a bright and lively color to the bridge. The footbridge in a park in France (figure 12) is a perfect combination of curves and straight lines, and its reflection in the water is beautiful and unforgettable.
The formal beauty of bridge architecture produces a comprehensive aesthetic effect. The interdependence and unity of opposites of point, line, plane and body constitute a broad, far-reaching and changeable artistic scene, which enriches people's feelings of beauty.
5. Conclusion
Ancient and modern, Chinese and foreign, the artistic forms of bridge architecture are different and colorful. The rich connotation of bridge architecture makes it a unique structural art, and the evolution of its artistic connotation always affects the development of bridge architecture in a deep level. Studying the artistic significance and internal mechanism of bridges will help to improve the artistic quality of professionals and the public. It will play a positive role in promoting the research on the history of bridge development.
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