描述
开 本: 36开纸 张: 胶版纸包 装: 平装是否套装: 否国际标准书号ISBN: 9787560856759丛书名: 城市行走CityWalk
编辑推荐
上海曾经有771所教堂。
那是一个走在城市里，
可以听得见管风琴奏出的圣乐、
远远看到教堂的高塔的时代。
48个上海教堂建筑旅行指南
180张教堂建筑图片
313个上海现今开放教堂名录
中英文双语＋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
那是一个走在城市里，
可以听得见管风琴奏出的圣乐、
远远看到教堂的高塔的时代。
48个上海教堂建筑旅行指南
180张教堂建筑图片
313个上海现今开放教堂名录
中英文双语＋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
内容简介
本书是“城市行走”书系的一种，介绍上海的基督教教堂建筑，这是上海这一东方大都市独特的历史人文积淀之一。上海早在1609年就已建成座建堂，并在1840年开埠后一度掀起教堂建筑高峰，为现在的城市留下了几十座优秀的近现代教堂建筑。目前上海的教堂建设仍在继续。
本书以图文并茂的形式描述了上海教堂建筑在借鉴吸收西方教堂建筑样式的基础上呈现出的本土化特征，并选出48座具有历史、人文、建筑、艺术价值的教堂一一介绍。这48座教堂基本可以代表上海基督教教堂的整体面貌。书后并附有上海目前开放教堂名录，供有心者查阅。
图书形式仍为中英文介绍+图片+地图的口袋装，便于读者随身阅读或携书行走。读者对象为对上海城市建筑文化感兴趣的小资、白领等爱好阅读和行走的人士。
本书以图文并茂的形式描述了上海教堂建筑在借鉴吸收西方教堂建筑样式的基础上呈现出的本土化特征，并选出48座具有历史、人文、建筑、艺术价值的教堂一一介绍。这48座教堂基本可以代表上海基督教教堂的整体面貌。书后并附有上海目前开放教堂名录，供有心者查阅。
图书形式仍为中英文介绍+图片+地图的口袋装，便于读者随身阅读或携书行走。读者对象为对上海城市建筑文化感兴趣的小资、白领等爱好阅读和行走的人士。
目 录
序言
请先阅读
“海派”教堂
图解
回望教堂
——48个上海教堂建筑行走指南
黄浦区
敬一堂
董家渡天主堂
圣三一堂
沐恩堂
圣若瑟堂
清心堂
新天安堂
诸圣堂
圣尼古拉斯教堂
圣伯多禄堂
徐汇区、静安区
徐家汇天主堂
怀恩堂
国际礼拜堂
大田路天主堂
圣母大堂
新恩堂
长宁区、普陀区
圣母圣心堂
沪西礼拜堂
曹家渡圣弥额尔天神堂
息焉堂
普安堂
虹口区、闸北区
鸿德堂
景灵堂
闸北堂
富吉堂
沪北会堂
杨浦区、浦东新区
大金家巷圣母无原罪堂
顾家楼天主堂
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
唐镇天主堂
圣心教堂
张江感恩堂
闵行区、奉贤区、松江区
邱家湾天主堂
张朴桥天主堂
南桥天主堂
七宝天主堂
余山天主堂
中泾天主堂
南张天主堂
青浦区
朱家角天主堂
青浦泰来天主堂
练塘天主堂
嘉定区
嘉定天主堂
娄塘天主堂
上海现今开放教堂名录
推荐阅读
请先阅读
“海派”教堂
图解
回望教堂
——48个上海教堂建筑行走指南
黄浦区
敬一堂
董家渡天主堂
圣三一堂
沐恩堂
圣若瑟堂
清心堂
新天安堂
诸圣堂
圣尼古拉斯教堂
圣伯多禄堂
徐汇区、静安区
徐家汇天主堂
怀恩堂
国际礼拜堂
大田路天主堂
圣母大堂
新恩堂
长宁区、普陀区
圣母圣心堂
沪西礼拜堂
曹家渡圣弥额尔天神堂
息焉堂
普安堂
虹口区、闸北区
鸿德堂
景灵堂
闸北堂
富吉堂
沪北会堂
杨浦区、浦东新区
大金家巷圣母无原罪堂
顾家楼天主堂
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
唐镇天主堂
圣心教堂
张江感恩堂
闵行区、奉贤区、松江区
邱家湾天主堂
张朴桥天主堂
南桥天主堂
七宝天主堂
余山天主堂
中泾天主堂
南张天主堂
青浦区
朱家角天主堂
青浦泰来天主堂
练塘天主堂
嘉定区
嘉定天主堂
娄塘天主堂
上海现今开放教堂名录
推荐阅读
媒体评论
序言
本书把我们带入为绝大多数人感到神秘的世界——教堂建筑。
上海是中国建造教堂多的城市。从1609年的圣母玛利亚祈祷所至今，虽然只有四百多年短暂的建筑历史，教堂建筑却曾经是近代上海十分重要的建筑类型之一，许多著名的中外建筑师曾参与教堂建筑的设计，留下了一大批优秀的作品。目前列入632处上海优秀历史建筑的教堂建筑就有18处。
与欧洲的教堂相比，上海的教堂虽也兼具宗教活动、教育、医疗和慈善等功能，但并非是城市和市民生活的中心，并不具有欧洲历史上那种由教堂控制社会精神的作用。与上海近代的公共建筑相比，上海的近代教堂建筑呈现较为强烈的本土化倾向。
上海的近代教堂建筑脱胎于欧洲的原型，但又有自己的创造，表现出多元化的特点。欧洲的教堂在罗马风时期多用砖砌，到中世纪时多用石头建造，其细部十分丰富。上海的教堂多为砖木混合结构，整体与罗马风教堂有许多相似，仅在重要部位和雕像处使用少量的石材，也只有少数重要的主教座堂采用入口上方大为简化的玫瑰花窗，基本上没有欧洲教堂湿壁画的传统，也没有欧洲中世纪教堂的地下墓室，室内设计则基本上是中国式的。甚至外立面也被本土化了，拼贴了一些欧洲教堂的元素，尤其在租界以外和郊区的教堂中十分普遍。
《上海教堂建筑地图》一书介绍了上海教堂建筑的历史，列举了上海教堂建筑形制的演变，解释了上海教堂建筑由于圣坛作用衰退、耳堂缺乏功能以及用地的关系而没有广泛采用西方教堂建筑通常的拉丁十字平面布局的原因，为解读上海的教堂建筑提供了重要的参照。由于上海近代教堂建筑的模仿原型和本土化的原因，上海的教堂建筑更为关注特征而非风格；在欧洲中世纪教堂建筑上普遍应用的飞扶壁到了上海已经变形或简化。由于功能的多元化，上海出现了多层的教堂建筑，教堂的主要空间位于二层，这在欧洲中世纪教堂中极为罕见。出于历史的原因，一些教堂被拆毁，让位给新建筑，也有一些教堂建筑得到新建和重建，书中也一并介绍和收入，让读者了解教会的与时俱进。
长期以来鲜有学者全面研究上海的教堂建筑，这是一个令众多建筑史学家望而却步的领域，不仅需要建筑史学方面的学识，也需要对上海的基督教教会史有深入的学术基础，需要研究神学和宗教学。周进博士多年来从事上海近代基督教教堂建筑的研究，两年前他完成的博士学位论文的主题是《上海近代教堂建筑的地域性变迁研究》，是一项填补空白的学术成果。现在他又把多年研究的精华提炼、充实为这本图文并茂的读物。希望更多的人能够借此来了解和认识上海城市建筑的一个侧面。
郑时龄
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
本书把我们带入为绝大多数人感到神秘的世界——教堂建筑。
上海是中国建造教堂多的城市。从1609年的圣母玛利亚祈祷所至今，虽然只有四百多年短暂的建筑历史，教堂建筑却曾经是近代上海十分重要的建筑类型之一，许多著名的中外建筑师曾参与教堂建筑的设计，留下了一大批优秀的作品。目前列入632处上海优秀历史建筑的教堂建筑就有18处。
与欧洲的教堂相比，上海的教堂虽也兼具宗教活动、教育、医疗和慈善等功能，但并非是城市和市民生活的中心，并不具有欧洲历史上那种由教堂控制社会精神的作用。与上海近代的公共建筑相比，上海的近代教堂建筑呈现较为强烈的本土化倾向。
上海的近代教堂建筑脱胎于欧洲的原型，但又有自己的创造，表现出多元化的特点。欧洲的教堂在罗马风时期多用砖砌，到中世纪时多用石头建造，其细部十分丰富。上海的教堂多为砖木混合结构，整体与罗马风教堂有许多相似，仅在重要部位和雕像处使用少量的石材，也只有少数重要的主教座堂采用入口上方大为简化的玫瑰花窗，基本上没有欧洲教堂湿壁画的传统，也没有欧洲中世纪教堂的地下墓室，室内设计则基本上是中国式的。甚至外立面也被本土化了，拼贴了一些欧洲教堂的元素，尤其在租界以外和郊区的教堂中十分普遍。
《上海教堂建筑地图》一书介绍了上海教堂建筑的历史，列举了上海教堂建筑形制的演变，解释了上海教堂建筑由于圣坛作用衰退、耳堂缺乏功能以及用地的关系而没有广泛采用西方教堂建筑通常的拉丁十字平面布局的原因，为解读上海的教堂建筑提供了重要的参照。由于上海近代教堂建筑的模仿原型和本土化的原因，上海的教堂建筑更为关注特征而非风格；在欧洲中世纪教堂建筑上普遍应用的飞扶壁到了上海已经变形或简化。由于功能的多元化，上海出现了多层的教堂建筑，教堂的主要空间位于二层，这在欧洲中世纪教堂中极为罕见。出于历史的原因，一些教堂被拆毁，让位给新建筑，也有一些教堂建筑得到新建和重建，书中也一并介绍和收入，让读者了解教会的与时俱进。
长期以来鲜有学者全面研究上海的教堂建筑，这是一个令众多建筑史学家望而却步的领域，不仅需要建筑史学方面的学识，也需要对上海的基督教教会史有深入的学术基础，需要研究神学和宗教学。周进博士多年来从事上海近代基督教教堂建筑的研究，两年前他完成的博士学位论文的主题是《上海近代教堂建筑的地域性变迁研究》，是一项填补空白的学术成果。现在他又把多年研究的精华提炼、充实为这本图文并茂的读物。希望更多的人能够借此来了解和认识上海城市建筑的一个侧面。
郑时龄
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
在线试读
请先阅读
上海早在四百多年前就引入了基督教，并于1609年建成了所教堂——圣母玛利亚祈祷所，又于1640年建成了现存早的教堂——敬一堂。至1664年，上海已有66所教堂，后因雍正禁教而终止建设。
1843年开埠后，上海因其优越的地理位置和重要的社会经济地位，迅速成为基督教在华传播的中心，也终成为中国建成教堂多的城市，曾经达到771所。现今上海教堂仍在不断的修复、维护和建设中，新旧教堂总计超过300所。
1843－1899
在上海开埠至19世纪末的五十余年里，不同国家、不同宗派均纷纷在上海建堂，从各个区的主教堂，到之下的分堂，再到散布在小街小巷的布道所，以及遍布郊区的乡村教堂。这一时期，上海教堂经历了从初的家庭聚会点式的场所租赁，到购地建造简易的教堂，再到不断在原址或迁址重建、扩建、改建、增建的艰辛过程，共建成教堂百余所。圣三一堂、董家渡天主堂、圣若瑟堂、新天安堂、佘山天主堂、虹口天主堂（1876；现已不存）、闸北堂和唐镇天主堂等成为其中的典型代表。
这些教堂的设计师大多是传教士，他们尽力模仿西方教堂的风格和样式，甚至直接以某一欧洲教堂为蓝本。由于传教士们全身心地投入时间和精力，教堂建筑质量较好，艺术价值也较高，体现了西方古典建筑的特点。这些较为纯正的西式教堂，相对于当时的外廊式洋行、领事馆等建筑更具永久性，代表了20世纪前西方建筑在上海的成就，直到20世纪外滩建筑群等一批重要的公共建筑出现后才被取代。
1900－1927
20世纪初期，短短二十多年间，上海建造教堂的数量超过了整个19世纪，而且质量明显提升，体现了迄今尚难超越的设计和施工水平。上海现存的教堂，基本上都是这一时期新建，或在这一时期进行了为关键的、决定性的改建和扩建。
这一时期教堂的建造活动大致可分为三类：一是对19世纪建造的教堂进行翻新改建，或在旧教堂邻近扩建新教堂，如圣三一堂、傅家天主堂、清心堂、新天安堂和佘山天主堂等；二是为一批早期成立却没有独立教堂的差会（教会的一种宣教组织）建造新教堂，如沪东堂（1912；现已不存）、景灵堂、国际礼拜堂、诸圣堂和鸿德堂等；三是为新成立的教会建造教堂。
很多有影响的著名建筑师在此前后参与到教堂的设计中，如徐家汇天主堂的新堂由道达洋行设计、新清心堂由李锦沛扩建、息焉堂由邬达克新建。职业建筑师们不再刻意模仿西式风格，而是转向了对本土特征的关注。
1928－1949
连年的战争对教堂损毁极大。一大批教堂被夷为平地，包括虹口救主堂（1853；这一时期被炸毁的是建于1926年的新堂；后又重建，即今五原路天主堂）、圣保罗堂（1926；现已不存）等；一些教堂经历过数次炸毁和重建，如闸北堂、怀恩堂等；改建了一批老教堂，如1931年改建的沐恩新堂；也新建了不少优秀的教堂，如大田路天主堂、德国新福音教堂（1930－1932；邬达克代表作之一，现已不存）、圣伯多禄堂、新恩堂等。
这一阶段，教堂建筑走向了多元化风格，中西建筑体系达到了前所未有的大融合。虽然哥特风格的教堂在数量上仍然占据主位，但教会已不再主动倡导任何一种建筑样式或强调某种建筑风格，一个差会往往会同时建造几种不同风格的教堂，多数情况下是根据建筑所处的特殊的自然和文化环境，以及建筑师和传教士的个人喜好来选择。
同时，教堂建筑的世俗化倾向越来越明显，尤其是经济的发展，使得教堂建筑不得不逐渐融入商业化的城市氛围中，越来越接近其他公共建筑，自身特色逐渐消退。
1949至今
1949年以后，西方传教士纷纷回国，上海近一个世纪集中的教堂修建落下了帷幕，余留的百余所教堂也是满目疮痍。改革开放后，许多教堂恢复了使用，保留下来的近代历史建筑，尚有不足五十所。新堂开始修建，教堂数量有所回升。但整体来看，教堂建筑已逐渐从城市中淡出，并终湮没在20世纪晚期的城市化进程中。
今天，我们谈起上海的城市风貌，似乎很难想象除了摩天大楼和石库门、法式花园别墅，还能用其他什么建筑来描述这座城市的个性。历史已一去不复返，但至少应该知道，我们的城市曾经有过那样一个可以看到身着圣袍的牧师布道，能听得见管风琴奏出的圣乐，也能远远看到教堂的高塔的时代。我们应该关注上海的教堂，关注上海那段独特的历史。这样的独特性，令上海与中国的其他城市相比，有了自己特别的文化积淀，这也正是我们为宝贵的“海派”城市文化内涵。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.
……
上海早在四百多年前就引入了基督教，并于1609年建成了所教堂——圣母玛利亚祈祷所，又于1640年建成了现存早的教堂——敬一堂。至1664年，上海已有66所教堂，后因雍正禁教而终止建设。
1843年开埠后，上海因其优越的地理位置和重要的社会经济地位，迅速成为基督教在华传播的中心，也终成为中国建成教堂多的城市，曾经达到771所。现今上海教堂仍在不断的修复、维护和建设中，新旧教堂总计超过300所。
1843－1899
在上海开埠至19世纪末的五十余年里，不同国家、不同宗派均纷纷在上海建堂，从各个区的主教堂，到之下的分堂，再到散布在小街小巷的布道所，以及遍布郊区的乡村教堂。这一时期，上海教堂经历了从初的家庭聚会点式的场所租赁，到购地建造简易的教堂，再到不断在原址或迁址重建、扩建、改建、增建的艰辛过程，共建成教堂百余所。圣三一堂、董家渡天主堂、圣若瑟堂、新天安堂、佘山天主堂、虹口天主堂（1876；现已不存）、闸北堂和唐镇天主堂等成为其中的典型代表。
这些教堂的设计师大多是传教士，他们尽力模仿西方教堂的风格和样式，甚至直接以某一欧洲教堂为蓝本。由于传教士们全身心地投入时间和精力，教堂建筑质量较好，艺术价值也较高，体现了西方古典建筑的特点。这些较为纯正的西式教堂，相对于当时的外廊式洋行、领事馆等建筑更具永久性，代表了20世纪前西方建筑在上海的成就，直到20世纪外滩建筑群等一批重要的公共建筑出现后才被取代。
1900－1927
20世纪初期，短短二十多年间，上海建造教堂的数量超过了整个19世纪，而且质量明显提升，体现了迄今尚难超越的设计和施工水平。上海现存的教堂，基本上都是这一时期新建，或在这一时期进行了为关键的、决定性的改建和扩建。
这一时期教堂的建造活动大致可分为三类：一是对19世纪建造的教堂进行翻新改建，或在旧教堂邻近扩建新教堂，如圣三一堂、傅家天主堂、清心堂、新天安堂和佘山天主堂等；二是为一批早期成立却没有独立教堂的差会（教会的一种宣教组织）建造新教堂，如沪东堂（1912；现已不存）、景灵堂、国际礼拜堂、诸圣堂和鸿德堂等；三是为新成立的教会建造教堂。
很多有影响的著名建筑师在此前后参与到教堂的设计中，如徐家汇天主堂的新堂由道达洋行设计、新清心堂由李锦沛扩建、息焉堂由邬达克新建。职业建筑师们不再刻意模仿西式风格，而是转向了对本土特征的关注。
1928－1949
连年的战争对教堂损毁极大。一大批教堂被夷为平地，包括虹口救主堂（1853；这一时期被炸毁的是建于1926年的新堂；后又重建，即今五原路天主堂）、圣保罗堂（1926；现已不存）等；一些教堂经历过数次炸毁和重建，如闸北堂、怀恩堂等；改建了一批老教堂，如1931年改建的沐恩新堂；也新建了不少优秀的教堂，如大田路天主堂、德国新福音教堂（1930－1932；邬达克代表作之一，现已不存）、圣伯多禄堂、新恩堂等。
这一阶段，教堂建筑走向了多元化风格，中西建筑体系达到了前所未有的大融合。虽然哥特风格的教堂在数量上仍然占据主位，但教会已不再主动倡导任何一种建筑样式或强调某种建筑风格，一个差会往往会同时建造几种不同风格的教堂，多数情况下是根据建筑所处的特殊的自然和文化环境，以及建筑师和传教士的个人喜好来选择。
同时，教堂建筑的世俗化倾向越来越明显，尤其是经济的发展，使得教堂建筑不得不逐渐融入商业化的城市氛围中，越来越接近其他公共建筑，自身特色逐渐消退。
1949至今
1949年以后，西方传教士纷纷回国，上海近一个世纪集中的教堂修建落下了帷幕，余留的百余所教堂也是满目疮痍。改革开放后，许多教堂恢复了使用，保留下来的近代历史建筑，尚有不足五十所。新堂开始修建，教堂数量有所回升。但整体来看，教堂建筑已逐渐从城市中淡出，并终湮没在20世纪晚期的城市化进程中。
今天，我们谈起上海的城市风貌，似乎很难想象除了摩天大楼和石库门、法式花园别墅，还能用其他什么建筑来描述这座城市的个性。历史已一去不复返，但至少应该知道，我们的城市曾经有过那样一个可以看到身着圣袍的牧师布道，能听得见管风琴奏出的圣乐，也能远远看到教堂的高塔的时代。我们应该关注上海的教堂，关注上海那段独特的历史。这样的独特性，令上海与中国的其他城市相比，有了自己特别的文化积淀，这也正是我们为宝贵的“海派”城市文化内涵。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.
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