何谓“闲情”——园林审美及其书写中的“放情”与“防情”  

On Xianqing:Restraint and Unrestraint in Ancient Chinese Garden Aesthetics and Garden Literature

作　　者：文韬[1] 

机构地区：[1]中央美术学院美术史系,北京100102

出　　处：《同济大学学报（社会科学版）》2014年第3期69-77,共9页Journal of Tongji University:Social Science Edition

摘　　要：中唐以降,园林书写中"以小为美"、"以简为尚"的特征取代了之前肯定奢华的倾向。对于繁华短暂和人生无常的在意,使忧患意识过多地渗入审美的当下。物与我的对立几成定式,收与放的紧张随处可见,作为放情之所的中国古代私家园林又时时处在防范与克制当中。"闲情"背后的悲情意识,催生了有别于现实世界的纸上园林,即作为精神性建构的园林书写的诞生。"放情"与"防情"作为园林"闲情"的一体两面,使我们得以从思想和情感的内在纠结切入古典园林,从而深化有关园林审美和园林文学的学术研究。In the garden writing after mid-Tang Dynasty,with simplicity replacing the tendency of boasting impermanence of life became the new focus.Suffering consciousness came to be heavily involved in garden aesthetics,which was full of prevention and restraint.The tension between restraint and unrestraint can be seen everywhere.The tragedy consciousness behind xianqing gave rise to spiritual garden writing,which is different from the reality.Only when we regard the restraint and unrestraint as the two sides of xianqingcan we better understand the inner struggle of ancient garden aesthetics and significance of garden literature.

关 键 词：园林审美 园林文学 闲情 放情 防情 

分 类 号：J01[艺术—艺术理论] TU855[建筑科学]