1、巴洛克建筑风格 巴洛克建筑是1718世纪在意大利文艺复兴建筑基础上发展起来的一种建筑和装饰风格。其特点是外形自由，追求动态，喜好富丽的装饰和雕刻、强烈的色彩，常用穿插的曲面和椭圆形空间。 巴洛克一词的原意是奇异古怪，古典主义者用它来称呼这种被认为是离经叛道的建筑风格。这种风格在反对僵化的古典形式，追求自由奔放的格调和表达世俗情趣等方面起了重要作用，对城市广场、园林艺术以至文学艺术部门都发生影响，一度在欧洲广泛流行。 意大利文艺复兴晚期著名建筑师和建筑理论家维尼奥拉设计的罗马耶稣会教堂是由手法主义向巴洛克风格过渡的代表作，也有人称之为第一座巴洛克建筑。 手法主义是16世纪晚期欧洲的一种艺术风格。
2、其主要特点是追求怪异和不寻常的效果，如以变形和不协调的方式表现空间，以夸张的细长比例表现人物等。建筑史中则用以指15301600年间意大利某些建筑师的作品中体现前期巴洛克风格的倾向。 罗马耶稣会教堂平面为长方形，端部突出一个圣龛，由哥特式教堂惯用的拉丁十字形演变而来，中厅宽阔，拱顶满布雕像和装饰。两侧用两排小祈祷室代替原来的侧廊。十字正中升起一座穹窿顶。教堂的圣坛装饰富丽而自由，上面的山花突破了古典法式，作圣像和装饰光芒。教堂立面借鉴早期文艺复兴建筑大师阿尔伯蒂设计的佛罗伦萨圣玛丽亚小教堂的处理手法。正门上面分层檐部和山花做成重叠的弧形和三角形，大门两侧采用了倚柱和扁壁柱。立面上部两侧作了两对
3、大涡卷。这些处理手法别开生面，后来被广泛仿效。 巴洛克风格打破了对古罗马建筑理论家维特鲁威的盲目崇拜，也冲破了文艺复兴晚期古典主义者制定的种种清规戒律，反映了向往自由的世俗思想。另一方面，巴洛克风格的教堂富丽堂皇，而且能造成相当强烈的神秘气氛，也符合天主教会炫耀财富和追求神秘感的要求。因此，巴洛克建筑从罗马发端后，不久即传遍欧洲，以至远达美洲。有些巴洛克建筑过分追求华贵气魄，甚至到了繁琐堆砌的地步。从17世纪30年代起，意大利教会财富日益增加，各个教区先后建造自己的巴洛克风格的教堂。由于规模小，不宜采用拉丁十字形平面，因此多改为圆形、椭圆形、梅花形、圆瓣十字形等单一空间的殿堂，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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