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作 者:应天慧 顾凯 YING Tianhui;GU Kai(School of Architecture,Southeast University;Department of Landscape Architecture,School of Architecture,Southeast University)
机构地区:[1]东南大学建筑学院 [2]东南大学建筑学院景观学系
出 处:《风景园林》2021年第4期111-116,共6页Landscape Architecture
基 金:国家自然科学基金面上项目(编号51678133)。
摘 要:假山洞是中国传统园林假山营造中重要的审美和营构对象,现有研究主要受限于对园林遗存的认知,较多关注其形态特征、空间布局以及动态游览的效果特点。通过对明清私家园林假山洞历史文献的细致考察,可以发现历史上存在大量静观型假山洞,在文献记述中,"静"构成"观"的起点,古人以听音、闻香、赏影、观气等知觉体验方式静观山洞,发生由"静"而"观"和由"观"而"静"的审美过程。由审美的视角展开进而探究此类假山洞背后的文化意蕴,可以发现其受到道家虚静观和神仙思想、入洞遁隐的隐逸思想,以及坐石和山居文化追求的影响。最后,将历史文献分析的结果和园林实例相结合,探究静观型假山洞的营造方法,为当代园林假山营造和体验提供新的思路和途径。Cave is an important aesthetic and construction object in the building of traditional Chinese garden rockeries.Existing studies, limited by the cognition of garden remains, largely focus on the morphological features, spatial layout, and dynamic tour effect characteristics.Through detailed studies of the historical documents on private garden rockeries in the Ming and Qing dynasties, this research finds that there were a large number of viewing-in-stillness rockery caves in history.As illustrated in the documents, "stillness" constitutes the starting point of "viewing".With people’s perceptual experience, such as listening to sound, smelling fragrance, appreciating shadow and watching Qi in the rockery caves, the aesthetic process took place from "stillness" to "viewing" and from "viewing" to "stillness".For the cultural implications on such rockery caves, it discloses that there are Taoist ideas of emptiness and immortality, the reclusive thought of cave hiding, and the pursuit of sitting-on-stone and mountain-dwelling.Combining the historical document analysis and existing garden examples, this research explores the physical features of the viewing-in-stillness rockery caves so as to provide new ideas and methods for today’s garden rockery construction and aesthetics.
关 键 词:风景园林 明清私家园林 假山洞 静观 审美 营造
分 类 号:TU986[建筑科学—城市规划与设计]
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