图绘、空间、时代、叙事——明代绘画中的 园篱与早期园林形态  

Drawing,Space,Times and Narration:The Bamboo Fence in the Paintings of Ming Dynasty and the Garden Form in Early Ming Dynasty

作　　者：刘君敏[1,2] 张玲[3] LIU Junmin;ZHANG Ling

机构地区：[1]河北工业大学建筑与艺术设计学院,天津300132 [2]河北工业大学河北省健康人居环境重点实验室 [3]天津财经大学艺术学院,天津300222

出　　处：《中国园林》2021年第7期118-123,共6页Chinese Landscape Architecture

基　　金：天津市艺术科学规划项目(编号C16018)资助。

摘　　要：“园篱”是中国园林的重要艺术组成,在明代园林绘画中可以窥见园篱具有的显著地位,其传递出的文化表征也与园林空间的形塑有直接联系。特别是明代前期的园林图像中出现了大量与后世不同的园篱运用,如果以空间的视角去理解分析,以形态构成为侧重点,研究其在园林中的空间组构与时空衍化脉络,则有助于清晰了解时代园林修建过程中文化观念对空间环境的影响。如果沿循并交错“园林”和“图绘”的平行系统去探寻园林艺术发展的内涵,以材料本身视觉和美学特征进行细致分析,从而形成对明代绘画中园篱的多模态解读,则能产生对此时期园林修建的趣味所向、文化内涵及时代风格等对园林空间形态映射的清晰理解,并在探讨传统园林艺术形式的同时,通过园篱这个物质载体去体会特定时代的园林风格,重新感知并梳理转化形成当今园林发展的实践导向。In the Ming Dynasty garden theme painting,the garden fence has a significant position.The cultural representation conveyed by the garden fence has an important relationship with the garden space,especially in the garden images in the early Ming Dynasty,which are different from those of later generations.If we us the space theory to understand and analyze,it will help us to understand more clearly the influence and structure of cultural concepts on the space environment in the process of garden construction.If we interpret the garden fence mode in Ming Dynasty painting from a long-term perspective,we can have a deeper understanding of the mapping of garden construction interest,cultural connotation and era style to the landscape spatial form in this period,and explore and carry forward the aesthetic principles of traditional garden art form,and re-perceive and sort out the transformation to form the practical guidance for the development of today's garden art.

关 键 词：风景园林 园林创作 园篱 明代园林 

分 类 号：TU986[建筑科学—城市规划与设计]