中国园林欣赏的两种模式及其互补性——对陈从周园林欣赏理论的环境美学反思  

The Two Modes and Complementariness in Chinese Garden Aesthetics——Reflections on Chen Congzhou Garden Aesthetics Theory

作　　者：龚天雁[1] 程相占[1] 

机构地区：[1]山东大学文学与新闻传播学院,山东济南250100

出　　处：《新疆大学学报（哲学社会科学版）》2015年第1期109-114,共6页Journal of Xinjiang University(Philosophy and Social Sciences)

基　　金：教育部人文社会科学重点研究基地重大项目"环境美学与美学的改造"(11JJD750014);国家社科基金重点项目"生态审美的基本要点与生态审美教育研究"(13AZW004)

摘　　要：从园林建造角度看,作为综合运用一定艺术手法的活动成果,园林可以界定为综合性艺术品;而从园林呈现方式来看,园林则可以界定为空间环境。园林的这种二重性决定了对其欣赏方式的双重性。中国园林批评家陈从周的园林欣赏理论主要着眼于园林作为艺术品的特性,而当代环境美学的代表人物伯林特则将中国园林视为审美环境来进行欣赏。二人从不同的理论视野出发做的中国园林分析,分别代表着园林欣赏的艺术模式和环境模式。只有将艺术欣赏模式和环境欣赏模式有机地结合起来,才能恰当而正确地欣赏中国园林。In light of garden construction, the garden, the achievement of applying certain artistic skills, can be defined as a comprehensive art work;and in light of the presentation of gardens, it can be defined as a space environment. This duality of the garden decides the dual mode in its appreciation. Chen Congzhou, a Chinese garden critic, developed his theory that mainly focuses on the art characteristics, while Berleant, a representative of the contemporary environment aesthetics took it to be an aesthetic environment. These two theories represents respectively art mode and environment mode. Only by integrating the two can we properly and correctly appreciate Chinese gardens.

关 键 词：园林欣赏 艺术欣赏模式 环境欣赏模式 陈从周 伯林特 

分 类 号：I207[文学—中国文学]