從證嚴法師之克里斯瑪到靜思堂的建築象徵

Tunghai University Institutional Repository > 創意設計暨藝術學院 > 建築學系所 > 碩士論文 > Item 310901/1621

Please use this identifier to cite or link to this item: http://140.128.103.80:8080/handle/310901/1621

Title:	從證嚴法師之克里斯瑪到靜思堂的建築象徵
Other Titles:	From Master Cheng Yen's Charisma to the Architectural Symbolism of Still Thought Hall
Authors:	周惠嫺 Chou, Hui-Hsien
Contributors:	關華山 Kwan, Hwa-San 東海大學建築學系
Keywords:	靜思堂;克里斯瑪;建築象徵
Date:	2009
Issue Date:	2011-03-07T02:43:17Z (UTC)
Abstract:	建築如同電影、文本一般，不同建築師，有著不同建築風格特色，在慈濟分會靜思堂建築裡，卻看不到建築師的風格。慈濟分會靜思堂建築散發其特有的自明性，本研究藉「作者論」作為研究理論，以田野調查與深度訪談為主，並與文獻資料相互印證，來釐清影響慈濟分會層級以上之靜思堂建築的諸多成因。並探討證嚴法師其領袖魅力（Charisma）如何影響慈濟分會靜思堂之建築象徵。本文發現，兒時清水、豐原的市街印象，《法華經》、《無量義經》等佛教經典和屹立百千年的國外教堂，皆影響證嚴法師的對靜思堂建築之期望與觀點。慈濟志業的發展與證嚴法師的領袖魅力，有著魚水相幫的關係，相互成就。而慈濟志業組織和附屬團體的發展，亦影響於靜思堂空間的機能與形式的發展。證嚴法師特有的克里斯瑪領袖魅力，使慈濟人對證嚴法師產生克里斯瑪的崇拜情結。又慈濟人對於「靜思精舍」如「家」集體意識等，因此慈濟靜思堂建築至今，仍舊依循著相同的模式演化發展。靜思精舍大殿的灰白色外觀、人字形破風，奠定了後來靜思堂的基本造形。此外隨著慈濟的發展與活動儀式之需，慈濟分會靜思堂的空間組織發展由一大型儀式集會空間（講經堂或大殿、佛堂）和其他機能性空間（如辦公、教學、住宿、展示空間等）組織而成。有合院型、向心集中型空間、和複合型空間。而慈濟建築中的柱子，不論室內外多為圓柱，這與靜思精舍大殿入口四根圓立柱有關，也是將證嚴法師對慈濟人的叮嚀「事圓、理圓、人圓」轉化在空間形式之表現。本研究主要的貢獻有二，第一、釐清證嚴法師Charisma如何影響慈濟靜思堂的建築象徵。再者重構慈濟靜思堂興建史，並給予建築設計部份評論、詮釋。 Architecture is as movies and literatures. Different architects have distinct styles in his/her own design. In the Still Though Halls of Tzu Chi Charters, different architectural styles cannot be seen. The architectural style of the Still Thought Halls of Tzu Chi Charters transpires their own identity. The research uses the “Author Theory” as a theoretical construct, and employ methods of survey field study and in-depth interviews. In addition, literature review also provides evidences for the many levels of architectural expression of Still Thought Halls. This analysis also provides insight into how the charismatic leadership of Master Chen Yen influences the symbolic architectural features in the design of Still Thought Halls. Research results show that all the childhood images of Chin-Shui, Fung-Yuen, and the Lotus Sutra, the Sutra of Innumerable Meanings, and other classical Buddhist temples overseas have significant influence on Master Cheng Yen’s idea for the Still Thought Hall. The development of Tzu Chi is highly inter-correlated with Master Cheng Yen’s leadership charisma. The formations of Tzu Chi organization as a charity association also define the function and formality of Still Thought Hall. Master Cheng Yen’s charismatic leadership style has made the association develop a worship complex. Followers of Tzu Chi view the Still Though Abode as a spiritual home. From this home, so does the Tzu Chi Still Thought Halls of different charter evolve and develop till, today. The exterior of Still Thought Abode is grayish-white in color, and has a gable of “人” shape, which establish the common elements of all the Still Thought Halls today. However, their spatial organization has been transformed according to Tzu Chi’s development and activity necessities. The Still Thought Hall is for ceremonial purposes (which include lecture rooms, basilicas, and a Buddhist altar) and other functional purposes (such as office, accommodation, and exhibition). In addition, the majority of pillars used in the Tzu Chi architecture are circular in shape. It originates from four circular pillars at the entrance of Still Thought Abode, symbolizing Master Cheng Yen’s teaching of “Only when matters are in harmony will all the reasons be in harmony. Only when all the reasons are in harmony will everyone be in harmony with each other”. The study has two significant contributions. First, it clarifies how Master Cheng Yen’s charismatic leadership influences the symbolic designs of the Tzu Chi Still Thought Halls. Second, it reconstructs the evolving process of the architectural design of Tzu Chi Still Thought Halls, and elaborates their meanings.
Appears in Collections:	[建築學系所] 碩士論文

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