| The thesis aims to sort out the history of the occurrence and changes of the modern Changchun urban landscape,and give an aesthetic,historical,and cultural analysis and interpretation of the modern Changchun urban landscape and its historical changes combining the modern urban history,architectural history,social life history,aesthetic cultural history and other relevant historical materials.On this basis,the author tries to establish an effective method of urban landscape appreciation and analysis,and develop a theoretical interpretation of the urban landscape and aesthetic modernity of modern colonial cities.The thesis is composed of three parts: introduction,main body and conclusion.The introduction part introduces the topic background,research methods,advanced research results and research content.The main body consists of five chapters:The first chapter mainly discusses the regional presentation of traditional Chinese urban landscape.The origin of Changchun City and the occurrence and changes of its early landscape are discussed.From three aspects including the origin of Changchun City to the development and budding of the city,as well as the early urban development of Changchun,the early urban landscape of Changchun City and its historical and social background are presented.As a city with an important position in the history of modern China and even East Asia,Changchun owns a long history and occupies a geographical position that cannot be ignored in the historical time and space of the ancient Northeast.Its origin and development clue as a “city” is from Changchun Hall,which started from “borrowing land to support the people” at the beginning,to Changchun City,which is beginning to take shape.Its early urban landscape showed distinctive traditional Chinese urban aesthetics and its localized characteristics.It can be said that the early urban scale,construction,spatial layout,and landscape changes of Changchun are the regional presentations of traditional Chinese urban landscapes.The second chapter mainly discusses the emergence of Changchun’s modern urban landscape in the early 20 th century and the complex historical context of the generation of urban modernity represented by it.In the process of Czarist Russia and Japan’s colonial invasion,division and confrontation of Changchun,the colonial forces transplanted new art,neoclassicism,Baroque,and Japanese “Tatsuno” styles toChangchun through urban planning and architecture,and contributed to the Changchun modern era.The externality of the urban landscape occurs.In sharp contrast to this,the local government of the Qing Dynasty opened a port in Changchun and established commercial ports.On the basis of continuing the Chinese architectural culture and urban aesthetic traditions,it opened a block plan,Chinese and Western eclectic architectural styles,etc.The modernization process of the urban landscape constitutes the internal starting point of Changchun’s modern urban landscape.The commercial port land connects the old city of Changchun with the Manchurian Railway Subsidiary and the Tsarist Kuancheng Sub-subsidiary,which makes the Changchun urban space present a special landscape appearance.In the process of the formation of this modern urban landscape,the confrontation between colonization and anti-colonization is hidden in the confrontation and competition between the architectural landscape in the form of aesthetics.The third chapter mainly discusses a series of modern urban planning and urban landscape design of Changchun by the Japanese colonists and the Puppet Manchukuo after Changchun became the capital of the pseudo-Manchukuo.The Japanese and puppet authorities changed the name of Changchun to “Xinjing”,which not only changed the function of the city,but also created the future landscape illusion of the“National Capital Xinjing” through modern knowledge such as urban planning.Here,while referring to modern urban planning in Europe and the United States,Japanese colonialists also implanted colonial ideologies in urban spatial layout and social governance,which are displayed in the sensuous form of buildings and urban landscapes they conceived.——They attempted to map the so-called “historical innovation spirit” of “from Edo to Tokyo” to the “national capital” of the so-called“origin of Manchurian culture”,showing the urban landscape as a visual installation.The fourth chapter mainly discusses the composition and presentation of the urban landscape of Changchun during the period of the Puppet Manchukuo and its colonial urban aesthetics.In order to display the new image of the pseudo-“Manchukuo National Capital” and to exaggerate the “modern civilization”brought by the Japanese colonizers,under the strong promotion of the Japanese colonial forces,the pseudo-Manchukuo puppet regime completed the “national capital” plan and formed a unique colonial urban landscape,including temporary imperial palaces,official halls,religious sites,axis boulevards,central squares,residences,shops,cinemas,parks and other landscape installations.These unique modern urban landscapes present the image and order of colonial rule with different faces,postures and forms.The old city of Changchun,the Commercial Port area,the Kuanchengzi S area and the Manchurian Railway Annex,which have not received attention or even been deliberately ignored in the “Xinjing” urban plan,actually constitute an important part of the urban landscape pattern of Changchun in this historical period.Its buildings,roads,parks and even various flowing cultural landscapes,as the historical starting point of this “new colonial modern city”,deeply participate in the latter’s landscape construction and make its overall landscape and aesthetics present a complex heterogeneous structure.The fifth chapter launches an aesthetic,historical and cultural analysis and interpretation of the modern urban landscape of Changchun as a whole.The analysis of the historical layers,spatial development and urban texture of Changchun’s modern urban landscape shows that the urban landscape recognized as a visual device is in fact directly related to extremely complex political,social and cultural events and background elements.The modernization of the city and its landscape practice—the generation and evolution process of the modern urban landscape,essentially contains the competition and confrontation between localization and colonization.And this kind of competition and confrontation between colonization and anti-colonialism presented in the form of landscape was concealed and obliterated by the colonial forces that occupied the initiative in a specific historical period.It is also worthy of re-discussion in the current academic and cultural context.The colonial forces used the aesthetic modernity of urban landscapes and named them to “stylize” the discourse practice.The motivation is consistent with the pace of colonial expansion.The conclusion part tentatively proposes perspectives and methods for further expanding and enriching urban landscape research based on the combing and research of the urban landscape in Changchun and launches urban landscape research from multiple dimensions such as function,form and symbolic meaning. |
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