1、巴洛克建筑風格 巴洛克建筑是1718世紀在意大利文藝復興建筑基礎上發展起來的一種建筑和裝飾風格。其特點是外形自由，追求動態，喜好富麗的裝飾和雕刻、強烈的色彩，常用穿插的曲面和橢圓形空間。 巴洛克一詞的原意是奇異古怪，古典主義者用它來稱呼這種被認為是離經叛道的建筑風格。這種風格在反對僵化的古典形式，追求自由奔放的格調和表達世俗情趣等方面起了重要作用，對城市廣場、園林藝術以至文學藝術部門都發生影響，一度在歐洲廣泛流行。 意大利文藝復興晚期著名建筑師和建筑理論家維尼奧拉設計的羅馬耶穌會教堂是由手法主義向巴洛克風格過渡的代表作，也有人稱之為第一座巴洛克建筑。 手法主義是16世紀晚期歐洲的一種藝術風格。
2、其主要特點是追求怪異和不尋常的效果，如以變形和不協調的方式表現空間，以夸張的細長比例表現人物等。建筑史中則用以指15301600年間意大利某些建筑師的作品中體現前期巴洛克風格的傾向。 羅馬耶穌會教堂平面為長方形，端部突出一個圣龕，由哥特式教堂慣用的拉丁十字形演變而來，中廳寬闊，拱頂滿布雕像和裝飾。兩側用兩排小祈禱室代替原來的側廊。十字正中升起一座穹窿頂。教堂的圣壇裝飾富麗而自由，上面的山花突破了古典法式，作圣像和裝飾光芒。教堂立面借鑒早期文藝復興建筑大師阿爾伯蒂設計的佛羅倫薩圣瑪麗亞小教堂的處理手法。正門上面分層檐部和山花做成重疊的弧形和三角形，大門兩側采用了倚柱和扁壁柱。立面上部兩側作了兩對
3、大渦卷。這些處理手法別開生面，后來被廣泛仿效。 巴洛克風格打破了對古羅馬建筑理論家維特魯威的盲目崇拜，也沖破了文藝復興晚期古典主義者制定的種種清規戒律，反映了向往自由的世俗思想。另一方面，巴洛克風格的教堂富麗堂皇，而且能造成相當強烈的神秘氣氛，也符合天主教會炫耀財富和追求神秘感的要求。因此，巴洛克建筑從羅馬發端后，不久即傳遍歐洲，以至遠達美洲。有些巴洛克建筑過分追求華貴氣魄，甚至到了繁瑣堆砌的地步。從17世紀30年代起，意大利教會財富日益增加，各個教區先后建造自己的巴洛克風格的教堂。由于規模小，不宜采用拉丁十字形平面，因此多改為圓形、橢圓形、梅花形、圓瓣十字形等單一空間的殿堂，在造型上大量使用
4、曲面。Baroque architectural styleBaroque building is the 17th and 18th century Italian Renaissance building developed on the basis of an architectural and decorative style.Its shape is characterized by freedom, the pursuit of dynamic, richly decorated and carved like, strong colors, commonly interspers
5、ed oval surface and space.The term is intended to Baroque strange strange, classicist use it to call this is considered to be deviants architectural style.This style in opposition to the rigid classical form, the pursuit of free-spirited style of taste and expression of the secular aspects played an
6、 important role in the city square, garden art and even literature and art departments have an impact, once widespread in Europe.Italian late Renaissance architect and architectural theorist vignola design of the Roman Jesuit church doctrine by means of transition to the Baroque masterpiece, it was
7、also known as the first Baroque buildings.Doctrine is the way the late 16th century Europe, an art style.Its main characteristic is the pursuit of strange and unusual effects, such as deformation and uncoordinated approach to the performance space, an exaggerated proportion of the performance of sle
8、nder figure and so on.Architectural history in 1530 and 1600 is used to refer to some years, the Italian architects works reflect the tendency of the early Baroque.Jesuit church in Rome as a rectangular plane, a holy shrine ends highlight from the usual Gothic church evolved from the Latin cross, in
9、 the wide hall, covered with statues and decorative arches.Two rows on both sides with a small prayer room instead of the original aisle.Cross the middle rises a dome top.Richly decorated altar of the church and free, above the flowers break through the classical French, for the icons and decorative
10、 light.Learn from the early Renaissance church facade Bertie design architect Albert Chapel in Florence, Santa Marias handling.Layered canopy above the main entrance of the Ministry and the flowers are made of overlapping curved and triangular, with a leaning column on both sides of the door and fla
11、t pilasters.On both sides of the facade were two pairs of large scroll.The handling of the spectacular, was widely followed.Breaking of the Roman Baroque style, architectural theorist Vitruvius blind worship, but also to break the late Renaissance classicism to develop the various rules and prohibit
12、ions, reflecting the yearning for freedom and secular thinking.On the other hand, magnificent Baroque church, and can cause very strong mystical atmosphere, is also in line with the Catholic Church to show off wealth and the pursuit of the requirements of mystery.Therefore, the originator of Baroque
13、 architecture from Rome, the soon spread throughout Europe, and even as far as the Americas.Some over-the pursuit of luxury Baroque spirit, even to the point where a pile of red tape.From the 1630s onwards, the increasing wealth of the Italian Church, each parish has its own built Baroque churches.Due to small size, should not be used Latin cross plane, so much to round, oval, plum-shaped, round flap cross a single space such as halls, large-scale use in the shape of the surface.
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