上海教堂建築地圖（簡體書）

本書是“城市行走”書系的一種，介紹上海的基督教教堂建築，這是上海這一東方大都市獨特的歷史人文積澱之一。上海早在1609年就已建成第一座建堂，並在1840年開埠後一度掀起教堂建築高峰，為現在的城市留下了幾十座優秀的近現代教堂建築。目前上海的教堂建設仍在繼續。
本書以圖文並茂的形式描述了上海教堂建築在借鑒吸收西方教堂建築樣式的基礎上呈現出的本土化特徵，並選出48座具有歷史、人文、建築、藝術價值的教堂一一介紹。這48座教堂基本可以代表上海基督教教堂的整體面貌。書後並附有上海目前開放教堂名錄，供有心者查閱。
圖書形式仍為中英文介紹+圖片+地圖的口袋裝，便於讀者隨身閱讀或攜書行走。讀者對象為對上海城市建築文化感興趣的小資、白領等愛好閱讀和行走的人士。

周進，男，1982年生，同濟大學建築學博士，師從鄭時齡院士從事上海教堂建築研究，歷時八年，成果為博士畢業論文《上海近代教堂建築的地域性變遷研究》。

編輯推薦
上海曾經有771所教堂。
那是一個走在城市裡，
可以聽得見管風琴奏出的聖樂、
遠遠看到教堂的高塔的時代。
48個上海教堂建築旅行指南
180張教堂建築圖片
313個上海現今開放教堂名錄
中英文雙語＋位置示意
Once there were 771 Churches in Shanghai,
we could always recall that just in this city,
there used to be an era in which
we could hear the choir singing the sacred songs,
and see the steeple tower dominating the skyline.
48 Shanghai Church Travel Guide
180 Images of Church
313 Shanghai Church Directory
In bilingual Chinese & English + Current Address/Locati

序言
本書把我們帶入為絕大多數人感到神秘的世界——教堂建築。
上海是中國建造教堂最多的城市。從1609年的聖母瑪利亞祈禱所至今，雖然只有四百多年短暫的建築歷史，教堂建築卻曾經是近代上海十分重要的建築類型之一，許多著名的中外建築師曾參與教堂建築的設計，留下了一大批優秀的作品。目前列入632處上海優秀歷史建築的教堂建築就有18處。
與歐洲的教堂相比，上海的教堂雖也兼具宗教活動、教育、醫療和慈善等功能，但並非是城市和市民生活的中心，並不具有歐洲歷史上那種由教堂控制社會精神的作用。與上海近代的公共建築相比，上海的近代教堂建築呈現較為強烈的本土化傾向。
上海的近代教堂建築脫胎於歐洲的原型，但又有自己的創造，表現出多元化的特點。歐洲的教堂在羅馬風時期多用磚砌，到中世紀時多用石頭建造，其細部十分豐富。上海的教堂多為磚木混合結構，整體與羅馬風教堂有許多相似，僅在重要部位和雕像處使用少量的石材，也只有少數重要的主教座堂採用入口上方大為簡化的玫瑰花窗，基本上沒有歐洲教堂濕壁畫的傳統，也沒有歐洲中世紀教堂的地下墓室，室內設計則基本上是中國式的。甚至外立面也被本土化了，拼貼了一些歐洲教堂的元素，尤其在租界以外和郊區的教堂中十分普遍。
《上海教堂建築地圖》一書介紹了上海教堂建築的歷史，列舉了上海教堂建築形制的演變，解釋了上海教堂建築由於聖壇作用衰退、耳堂缺乏功能以及用地的關係而沒有廣泛採用西方教堂建築通常的拉丁十字平面佈局的原因，為解讀上海的教堂建築提供了重要的參照。由於上海近代教堂建築的模仿原型和本土化的原因，上海的教堂建築更為關注特徵而非風格；在歐洲中世紀教堂建築上普遍應用的飛扶壁到了上海已經變形或簡化。由於功能的多元化，上海出現了多層的教堂建築，教堂的主要空間位於二層，這在歐洲中世紀教堂中極為罕見。出於歷史的原因，一些教堂被拆毀，讓位給新建築，也有一些教堂建築得到新建和重建，書中也一併介紹和收入，讓讀者瞭解教會的與時俱進。
長期以來鮮有學者全面研究上海的教堂建築，這是一個令眾多建築史學家望而卻步的領域，不僅需要建築史學方面的學識，也需要對上海的基督教教會史有深入的學術基礎，需要研究神學和宗教學。周進博士多年來從事上海近代基督教教堂建築的研究，兩年前他完成的博士學位論文的主題是《上海近代教堂建築的地域性變遷研究》，是一項填補空白的學術成果。現在他又把多年研究的精華提煉、充實為這本圖文並茂的讀物。希望更多的人能夠借此來瞭解和認識上海城市建築的一個側面。
鄭時齡
2014年11月21日
Preface
This book will take you into a world of piety and solemnity – the churches.
Among all the Chinese cities, Shanghai is the one to boast the largest number of churches. Although the four centuries of church-building since the Virgin Mary Prayer Hall in 1609 can’t be reckoned as a long history, the numerous churches have constituted one of the most important architectural types of modern Shanghai. A lot of renowned architects from China and abroad have contributed their talent to the design of the churches, leaving a memorable legacy to the city today: there are 18 historic churches now in the 632 heritage protection sites in Shanghai.
Like the churches in Europe, the churches in Shanghai provide services in religious congregation, education, medicine and charity. However, unlike those in Europe, the churches in Shanghai don’t command the social ideologies as they are far from the centers of urban activities and secular lives. Compared with the other kinds of public buildings in modern Shanghai, the churches feature stronger influences of the local characters.
The churches of modern Shanghai are based on the European prototypes but incorporate various adaptations and developments that lead to a high level of diversity. The European churches, mostly made of bricks in the Romanesque stage and of stones in the medieval era, usually have elaborate details. The churches of Shanghai, on the other hand, are mostly made in a brick-and-wood mixed structure and apply stones sparingly to key positions and statues, in a way similar to a Romanesque church. In a few important cathedrals, highly simplified rose windows with stained glass can be found over the main entrance. The Shanghai churches have mainly dropped the European tradition of using frescoes and have done without the catacombs of the European medieval churches. The interior decoration is chiefly in the Chinese style. Even the faades feature mainly localized designs with added European elements, especially in the churches built in the former Concessions and the suburban areas.
Shanghai Church gives a thorough reference of the church architecture of Shanghai by recapping the history of Shanghai’s church-building, illustrating the development of Shanghai’s church architecture, and explaining the reasons for the absence of the Latin cross plan – a hallmark of the Western churches – in the Shanghai churches: the diminished value of the altar, the functional deficiency of the transept, and the considerations of limited land use. As imitation mixed with localization in the church-building of modern Shanghai, individual characters are favored over general styles in the Shanghai churches; for example, the flying buttresses widely used in the European medieval churches appear in altered or simplified forms in the Shanghai churches. Meanwhile, Shanghai saw the appearance of multi-level churches with the main praying space on the second level to serve multiple functions, which mark a bold breakaway from the European medieval churches. Due to the city redevelopment over the decades, some churches were pulled down and replaced by new buildings, and some churches have been rebuilt or renovated; all the past and present sites are included in this book, so that the readers may learn about the development of the Christian Church in Shanghai.
Over a long period in China, seldom have there been any complete researches on the churches of Shanghai, a field that daunts many architectural historians and requires them to be not only proficient in architectural history but also have a solid background in theology and religion to study the Christian Church in Shanghai. Dr. Zhou Jin has been engaged in the studies of the churches of modern Shanghai over the years. Two years ago, he finished his dissertation A Study on the Regional Changes of the Churches of Modern Shanghai, which has been recognized as filling a gap in relevant researches. Now, he presents the results of his explorations over the years in this enlightening book with both texts and pictures. Hopefully the book will attract more people to learn and understand the development of the Shanghai churches as an important part of the city’s architecture.
Zheng Shiling
November 21, 2014

序言
請先閱讀
“海派”教堂
圖解
回望教堂
　——48個上海教堂建築行走指南
黃浦區
　敬一堂
　董家渡天主堂
　聖三一堂
　沐恩堂
　聖若瑟堂
　清心堂
　新天安堂
　諸聖堂
　聖尼古拉斯教堂
　聖伯多祿堂
徐匯區、靜安區
　徐家匯天主堂
　懷恩堂
　國際禮拜堂
　大田路天主堂
　聖母大堂
　新恩堂
長寧區、普陀區
　聖母聖心堂
　滬西禮拜堂
　曹家渡聖彌額爾天神堂
　息焉堂
　普安堂
虹口區、閘北區
　鴻德堂
　景靈堂
　閘北堂
　富吉堂
　滬北會堂
楊浦區、浦東新區
　大金家巷聖母無原罪堂
　顧家樓天主堂
　傅家天主堂
　七灶天主堂
　川沙天主堂
　六墩天主堂
　小七灶天主堂
　唐鎮天主堂
　聖心教堂
　張江感恩堂
閔行區、奉賢區、松江區
　邱家灣天主堂
　張樸橋天主堂
　南橋天主堂
　七寶天主堂
　餘山天主堂
　中涇天主堂
　南張天主堂
青浦區
　朱家角天主堂
　青浦泰來天主堂
　練塘天主堂
嘉定區
　嘉定天主堂
　婁塘天主堂
上海現今開放教堂名錄
推薦閱讀

請先閱讀
上海早在四百多年前就引入了基督教，並於1609年建成了第一所教堂——聖母瑪利亞祈禱所，又於1640年建成了現存最早的教堂——敬一堂。至1664年，上海已有66所教堂，後因雍正禁教而終止建設。
1843年開埠後，上海因其優越的地理位置和重要的社會經濟地位，迅速成為基督教在華傳播的中心，也最終成為中國建成教堂最多的城市，曾經達到771所。現今上海教堂仍在不斷的修復、維護和建設中，新舊教堂總計超過300所。
1843－1899
在上海開埠至19世紀末的五十餘年裡，不同國家、不同宗派均紛紛在上海建堂，從各個區的主教堂，到之下的分堂，再到散佈在小街小巷的佈道所，以及遍佈郊區的鄉村教堂。這一時期，上海教堂經歷了從最初的家庭聚會點式的場所租賃，到購地建造簡易的教堂，再到不斷在原址或遷址重建、擴建、改建、增建的艱辛過程，共建成教堂百餘所。聖三一堂、董家渡天主堂、聖若瑟堂、新天安堂、佘山天主堂、虹口天主堂（1876；現已不存）、閘北堂和唐鎮天主堂等成為其中的典型代表。
這些教堂的設計師大多是傳教士，他們盡力模仿西方教堂的風格和樣式，甚至直接以某一歐洲教堂為藍本。由於傳教士們全身心地投入時間和精力，教堂建築品質較好，藝術價值也較高，體現了西方古典建築的特點。這些較為純正的西式教堂，相對於當時的外廊式洋行、領事館等建築更具永久性，代表了20世紀前西方建築在上海的最高成就，直到20世紀外灘建築群等一批重要的公共建築出現後才被取代。
1900－1927
20世紀初期，短短二十多年間，上海建造教堂的數量超過了整個19世紀，而且品質明顯提升，體現了迄今尚難超越的設計和施工水準。上海現存的教堂，基本上都是這一時期新建，或在這一時期進行了最為關鍵的、決定性的改建和擴建。
這一時期教堂的建造活動大致可分為三類：一是對19世紀建造的教堂進行翻新改建，或在舊教堂鄰近擴建新教堂，如聖三一堂、傅家天主堂、清心堂、新天安堂和佘山天主堂等；二是為一批早期成立卻沒有獨立教堂的差會（教會的一種宣教組織）建造新教堂，如滬東堂（1912；現已不存）、景靈堂、國際禮拜堂、諸聖堂和鴻德堂等；三是為新成立的教會建造教堂。
很多有影響的著名建築師在此前後參與到教堂的設計中，如徐家匯天主堂的新堂由道達洋行設計、新清心堂由李錦沛擴建、息焉堂由鄔達克新建。職業建築師們不再刻意模仿西式風格，而是轉向了對本土特徵的關注。
1928－1949
連年的戰爭對教堂損毀極大。一大批教堂被夷為平地，包括虹口救主堂（1853；這一時期被炸毀的是建於1926年的新堂；後又重建，即今五原路天主堂）、聖保羅堂（1926；現已不存）等；一些教堂經歷過數次炸毀和重建，如閘北堂、懷恩堂等；改建了一批老教堂，如1931年改建的沐恩新堂；也新建了不少優秀的教堂，如大田路天主堂、德國新福音教堂（1930－1932；鄔達克代表作之一，現已不存）、聖伯多祿堂、新恩堂等。
這一階段，教堂建築走向了多元化風格，中西建築體系達到了前所未有的大融合。雖然哥特風格的教堂在數量上仍然佔據主位，但教會已不再主動宣導任何一種建築樣式或強調某種建築風格，一個差會往往會同時建造幾種不同風格的教堂，多數情況下是根據建築所處的特殊的自然和文化環境，以及建築師和傳教士的個人喜好來選擇。
同時，教堂建築的世俗化傾向越來越明顯，尤其是經濟的發展，使得教堂建築不得不逐漸融入商業化的城市氛圍中，越來越接近其他公共建築，自身特色逐漸消退。
1949至今
1949年以後，西方傳教士紛紛回國，上海近一個世紀集中的教堂修建落下了帷幕，餘留的百餘所教堂也是滿目瘡痍。改革開放後，許多教堂恢復了使用，保留下來的近代歷史建築，尚有不足五十所。新堂開始修建，教堂數量有所回升。但整體來看，教堂建築已逐漸從城市中淡出，並最終湮沒在20世紀晚期的城市化進程中。
今天，我們談起上海的城市風貌，似乎很難想像除了摩天大樓和石庫門、法式花園別墅，還能用其他什麼建築來描述這座城市的個性。歷史已一去不復返，但至少應該知道，我們的城市曾經有過那樣一個可以看到身著聖袍的牧師佈道，能聽得見管風琴奏出的聖樂，也能遠遠看到教堂的高塔的時代。我們應該關注上海的教堂，關注上海那段獨特的歷史。這樣的獨特性，令上海與中國的其他城市相比，有了自己特別的文化積澱，這也正是我們最為寶貴的“海派”城市文化內涵。Preamble
Christianity was introduced into Shanghai over 400 years ago. The first church in Shanghai, called “Virgin Mary Prayer Hall”, was built in 1609. Jingyi Church, the oldest surviving church in Shanghai, was completed in 1640. By 1644, Shanghai had 66 churches, yet the construction of churches came to an abrupt stop due a ban on Christianity by Emperor Yongzheng.
After it was turned into a Treaty Port in 1843, Shanghai quickly became the most important center of the Christian missions in China thanks to its advantageous location and unique socio-economic status, until it came to be the city with the largest number of churches in China, boasting as many as 771 churches for a time. Today, there are over 300 churches in Shanghai, both old and new, which undergo constant repairs, maintenance and reconstruction.
1843-1899
In the half a century from 1843 to the end of the 19th century, Shanghai saw the arrival of churches from different countries and Christian schools. The churches ranged from parish cathedrals and regular churches to neighborhood preaching sites and countryside chapels. Over 100 churches were built in this period. The Christian community painstakingly held household preaching parties on rented sites, then built crude churches on bought land, and finally rebuilt, expanded, modified or relocated the original churches. Holy Trinity Church, St. Francisco Xavier Church, St. Joseph Church, Union Church, Sheshan Basilica, Hongkou Church (built in 1876, now gone), Zhabei Church and Our Lady of Lourdes Church of Tangzhen are the good examples of this period.
These churches were designed mostly by missionaries themselves, who tried to emulate the styles and floor plans of Western churches and sometimes simply copied certain European churches. Because of the dedication of the missionaries, the churches have been endowed with good quality and high artistic value representative of the Western classical architecture. These “pureblood” churches were permanent structures compared with the colonial-style company mansions and consulates at the time and embodied the highest level of the Western architectural influence in Shanghai, until they were surpassed by grander public buildings such as the mansions on the Bund in the 20th century.
1900-1927
More churches were built in the first quarter of the 20th century than in the entire 19th century in Shanghai, and these churches boast significantly improved qualities and a high level of expertise in design and construction that is admirable even by today’s standards. Most of the surviving historical churches in Shanghai are built or crucially modified/expanded in this period.
There are three situations in the construction of churches in this period. The first is the refurbishment or expansion of the old 19th-century churches, such as Holy Trinity Church, Our Lady of Rosary Church, Pure Heart Church, New Union Church and Sheshan Basilica. The second is the construction of new churches by missionary societies which were founded earlier and didn’t have independent churches, such as Eastern Shanghai Church (built in 1912, now gone), Allen Memorial Church, Community Church and Hongde Church. The third is the construction of new churches by newly-founded missionary societies.
In this period, a lot of prestigious architects were involved in the design of these churches. For example, St. Ignatius Cathedral was designed by William. M. Doyle, the expansion of Pure Heart Church was designed by Li Jinpei, and Sieh Yih Chapel was designed by Laszlo Hudec. These professional architects had stopped copying the Western styles, but turned their attention to the innovative portrayal of local characteristics.
1928-1949
The perennial warfare had a detrimental effect on the churches. Some churches were simply razed, such as Hongkou Savior Church (built in 1853; the expansion built in 1926 was destroyed in this period, and the original site was rebuilt into today’s Catholic Church on Wuyuan Road) and St. Paul Cathedral (built in 1926, now gone). Some churches were demolished and rebuilt several times, such as Zhabei Church and Grace Baptist Church. Nevertheless, in this period, some old churches were modified, such as Moore Memorial Church (modified in 1931), and some new churches were built as classical pieces, such as St. Teresa Church on Datian Road, German Gospel Church (built in 1930–1932, one of Hudec’s representative works, now gone), St. Peter Cathedral and New Grace Church.
The churches of this period tend to embrace greater diversity in architectural styles and feature an unprecedented harmony of Chinese and Western elements. Although the Gothic architecture still prevailed, no particular design or style was recommended or emphasized. A missionary society usually built its churches in widely different styles. In most cases, the architectural style of a church was picked according to the specific natural and cultural environments as well as the personal preferences of the architects and missionaries.
Meanwhile, the church architecture of this period is characterized by a development towards secularity. The churches had to blend into the highly commercialized neighborhoods and began to bear an affinity to other public buildings, thus allowing a fade-out of religious significance.
1949 till now
After 1949, the missionaries returned to their home countries, and the construction of churches came to an end. Over a hundred churches in Shanghai remained in various states of disrepair. The advent of the “reform and opening-up” in the 1980s saw the revival of many churches, though no more than 50 historical churches have survived into present day. New churches are being built and the number of churches in Shanghai is on the rise, yet on a whole the churches have been marginalized in the cityscape during the rapid urbanization of Shanghai towards the end of the 20th century.
It is hard to imagine how the city’s idiosyncrasies can be described through architectural elements other than the ubiquitous skyscrapers, Shikumen (stone-framed gate) lanes and French-style garden houses. The churches need to be lifted from obscurity as a legacy of certain episodes of history, when frocked priests preached amidst holy organ music and church steeples reached to the sky. The churches of Shanghai and the specific segment of history they represent deserve more attention from the public. It is these old churches that contribute to Shanghai’s colorful history which has been a part of the city’s cultural heritage.
……