基于传统山水审美的名山风景区审美价值识别与保护研究既是解决我国名山风景区审美价值保护管理问题的内在需求，也是弥补国际组织在遗产地审美评价中长期缺乏中国视角的外在需求。论文总结并比较了国内外风景评估及保护的理论研究与实践案例，提出了目前我国在名山风景区审美价值识别与保护方面的4点不足。并归纳总结了世界各国的6大审美体系，提出了对我国审美价值识别与保护框架建构的借鉴经验。论文立足于传统，总结出我国传统山水审美4个特点为：审美过程中主体性显著；“融情于景”的审美主客体关系；“以大观小”的审美方式；“虚实相生”的审美结果。阐释了传统审美作用中的各要素及相互作用，依据价值论中的主体、客体主客体作用关系来阐释审美价值。基于上述基础，论文构建了中国名山风景区审美价值识别框架，并阐释了该框架的主体差异性和历时性两个特点，以及它们分别的识别结果。主体差异性审美价值是考察不同主体在同一时间对同一客体审美识别的结果。主体差异性审美识别得出不同主体的审美价值。历时性审美识别是考察不同主体作为整体在不同时间对同一客体的审美价值。历时性审美识别得出审美在历史上的变化与传承。而审美价值识别框架本身具有层次性，因而审美价值识别也具有层次性。论文继而通过归纳演绎、比较研究、内容分析等方法，进一步构建了审美价值识别框架中的关键步骤、方法及指标。审美价值识别依然从主体差异性和历时性两个维度展开。在主体差异性审美价值识别中，通过权重分配识别出主要主体的审美价值，通过分层建立识别方法与指标识别出不同层次的审美价值及对应的载体。在历时性审美价值识别中，构建诗文分析理法和图像分析法来识别历时性审美价值，并通过古今比较研究确定值得传承的审美价值。在价值识别的基础上，构建了基于价值识别的审美价值保护框架。从宏观国土和单个风景区层面为我国名山风景区审美价值保护管理及规划提出了建议。提出了确立保护对象，识别影响因素和敏感度，制定保护措施与展示措施3个关键步骤及相关方法。基于审美价值识别的保护框架回应了现有审美保护中的对象过于宽泛、保护没有针对性的问题。最后，论文以黄山风景名胜为例，验证依据新构建的审美价值识别和保护框架所识别的黄山审美价值与世界遗产OUV评价的根本差别，以及保护对象及保护措施的差异，继而证实了该审美价值识别与保护框架可行性，也进一步提出了局限与不足。
Identification and conservation research of aesthetic values of famous mountains scenic areas based on traditional Chinese landscape aesthetic studies will not only fulfill national demand on conservation of famous Chinese mountain scenic areas within China, but also international demand on the creating a more comprehensive aesthetic evaluation assessment of World Heritage Sites from a Chinese perspective. This Paper summarized and compared domestic and foreign theoretical researches and practices of landscape assessment and conservation, suggesting 4 aspects to be improved for the recognition of aesthetic values and resource conservation. This paper summarized 6 different aesthetic evaluation systems, providing valuable references in the creation of a more comprehensive conservation framework for famous mountain scenic areas. Based on a traditional aesthetic perspective, this paper summarized 4 conclusion points: 1.the pronounced subjectivity in the process of aesthetic evaluation; 2.the attaching emotions within the scene" mechanisms; 3.The Wandering-Observing appreciating method, 4. the integration of “material and immaterial criterions” results. The paper illustrates interactions amongst different aesthetic factor, identifying the aesthetic values by interpreting the subject, object, and interactive relationship between the two. Based on the various key elements, a framework of Chinese famous mountains scenic aesthetic value identification is established, containing two elements, they are subject discrepant and diachronic traits, and the results of their identification. Subject discrepant aesthetic value is referring to identification of the same object from different individuals at same periods. Diachronic aesthetic identification is identification of the same object from a collective group of different individuals at different periods. Discrepant aesthetic identification reveals unique aesthetic values of different subjects, while diachronic aesthetic identification emphasizes more on changes in aesthetic and heritage values of the same subject over time. Through comparing ancient and contemporary cases, this paper establishes a paradigm for the conservation and management of today's aesthetic values. In addition to building the theoretical framework, this paper also used other methods including the deductive method, comparative studies, content analysis and etc, composing the key steps, methods, and indicators to identify aesthetic values. Identification methods and index for the four aesthetic levels of will also be established. Moreover, poetry analysis and image analysis will be created in the diachronic aesthetic value identification process. Nevertheless, compared with the existing evaluation system for scenic resource areas, the paper developed the more overall comprehensive and systematic framework, based on traditional Chinese landscape aesthetic value identification.A value based conservation framework was built after the value identification system. From a microscope of our national land as well as a microscope of individual scenic areas, this paper brought valuable advices for the conservation management and planning of aesthetic values of famous mountain scenic areas. Paper provides three key steps for the conservation of scenic areas. Aesthetic value-based conservation framework is more specific in providing conservation measures to specific objects, while the current framework is too broad with no clarification of instruction on what exactly is to be protected. In the end, this paper uses the Mount Huangshan Scenic Area as an example, verifying the feasibility and limitation of the aesthetic value identification and conservation framework, and also provides the new aesthetic identification and new conservation methods based on the new frameworks, and makes critic to the Outstanding Universal Values and traditional identification and conservation.
