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中文摘要：
我国传统的“丘”“墟”“台”“坛”等，表现为以山岳自然形态为原型的视觉形象，并以其特有的“崇高性”文化表述范式凸显“天人合一”的宇宙观；却又不乏务实精神。“崇高性”不仅表现为帝王攀附“天”的权威性，也表现为“巫”的通天交流技术，更反映出“祖先在上”的世系关怀与庇佑。这一视觉形象在建筑艺术上形成了鲜明的功能特点。我国并不存在像欧洲那样以个人英雄为典范的石质建筑的纪念碑，因此也难以产生所谓“纪念碑性”。
英文摘要：
Like the ideas of ＂monad＂ or ＂oneness＂ which speak to the mutual presence of the ＂physical＂, ＂mental＂, and ＂spiritual＂ in the Western hermetic sense, China has developed the idea of ＂tian ten he yi＂ （the unity of Heaven and man）. The definition of this idea is rather complicated, because ＂tian＂ means not only ＂nature＂ but also imperial power. Firstly, this idea refers to the harmony between nature and human beings. Secondly, it reveals ancient shamanic belief of the king being the axle between the heaven, human beings, and the earth, who possessed the rightful imperial power. In comparison with monad theory, ＂tian ren he yi＂ is not merely the Chinese cosmology, but the metaphor for hereditary transfer of imperial power, justification for the legitimacy to rule, the philosophy that the king must govern subjects according to the universal order as well as ancestral worship. The most striking example of using architectural elements to make a philosophical statement is the Chinese altars named ＂qiu＂, ＂xu＂, ＂tai＂, and ＂tan＂. Most Chinese altars were designed to resemble mountains because legend had it that these mountains upheld the sky. The mountain-like visual image has become one of the most important characteristics of many Chinese altars. Unlike European countries, the majority of Chinese buildings were made of wood instead of rocks, thus lacking monuments to record victories, conquests, and heroes. Consequently, the so-called monumentality cannot be found in China.
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