悲怆性的美学情感多表现在诗歌和文学作品中,而悲怆一词,在《说文解字》中解释为,悲,痛也。怆,伤也。而在《广雅疏证》中解释为,悲,伤也。怆,悲也。可见悲怆之情皆可痛侧心扉,而在研究公共艺术景观设计中所营造的悲怆感和悲情主义确是很少的,并不被大家所关注,这种悲怆性多集中在墓地陵园和战争纪念碑。公共艺术作为景观构成元素的点睛之笔,兼具“公益性”和“公艺性”的环境景观设施构成。在对于公共艺术景观研究中,景观环境作为公共性场所,一直扮演舒适、休憩、放松的角色,公共艺术景观的可以把悲怆感呈现出三维效果,体验悲怆性的景观场所更是稀少。在汶川特大地震中所形成的东河口地震遗址,成为祭奠亡灵,地震科考的场所,其所表现的悲怆性美学成为公共艺术发展的新思考。 The sad and aesthetically aesthetical emotions are mostly manifested in poetry and literary works. The word of sadness is interpreted as “sad and painful” in “Shuo Wen Jie Zi”.怆, injury also. In the “Guang Ya SZH” explained, sad, hurt also.怆, sad too. However, the tragedy and tragedy created in the study of public art landscape design are very few and not everyone’s concern. This kind of sadness is mostly concentrated in cemetery cemetery and war monument. Public art as the crowning touch of landscape elements, both “public welfare” and “public” "environmental landscape facilities. In the study of public art landscape, landscape environment as a public place has been playing a role of comfort, relaxation and relaxation. Public art landscape can present a three-dimensional effect of sadness and sentiment, and scarce experience of the sad and pessimistic landscape. The Donghekou earthquake site, which was formed during the Wenchuan earthquake, became a site for sacrificing souls and earthquakes and the tragedy aesthetics it represents has become a new consideration for the development of public art.