中國(guó)園林風(fēng)-外銷(xiāo)歐洲

1、第一部分：中國(guó)山水畫(huà)在宋代就已經(jīng)很成熟了。但在明嘉靖以前，陶瓷紋飾中獨(dú)立的山水紋飾很少也很簡(jiǎn)單，大部分也只是在人物故事中當(dāng)作配景出現(xiàn)。這是因?yàn)樽栽沾刹世L發(fā)展以后，陶瓷基本上仍是生活工藝用品，屬于普通大眾的俗文化。到了明萬(wàn)歷晚期，青花瓷中的山水畫(huà)已經(jīng)與明清文人山水畫(huà)構(gòu)圖非常相似，具備了山水紋飾中的主要元素：遠(yuǎn)山近水，亭臺(tái)樓閣，寶塔行人，小橋泊舟，垂柳釣翁與文人山水畫(huà)中的桃源意境相去不遠(yuǎn)。Chinese landscape paintings are already well-developed in the Song Dynasty. But before Jia jing period o

2、f the Ming Dynasty, the independent landscape emblazonries in ceramics are rare and simple, and most of them appeared as background in the stories. Thats because the ceramics were still craft supplies and folk culture belonging to ordinary people since ceramics paintings have thrived in the Yuan Dyn

3、asty. In the later period of the reign of Wan li, the structure of the landscape paintings on the blue and white porcelain are quite similar to the pure paintings in the Ming and Qing Dynasty, having main elements of landscape emblazonries, such as mountains afar and waters nearby, pavilions, towers

4、 and passers-by, parked boats near a bridge, fisher man under a drooping willow, all these are fairly close to poetic images. 明清之際中國(guó)青花瓷上出現(xiàn)了獨(dú)立山水紋飾，構(gòu)圖日益成熟，文人士大夫的雅文化和陶瓷的俗文化在青花瓷上得到很好的融合。這種文化現(xiàn)象與經(jīng)濟(jì)的發(fā)展是有關(guān)聯(lián)的。當(dāng)時(shí)，市民階層出現(xiàn)，江南經(jīng)濟(jì)活躍，微州版畫(huà)隨著明清小說(shuō)插圖的刊行而日益發(fā)展起來(lái)，當(dāng)時(shí)的許多文人大畫(huà)家如陳洪綬等，都加入了刻制版畫(huà)的行列中。中國(guó)文人山水畫(huà)也因此進(jìn)入了版畫(huà)題材。During the la

5、te period of Ming Dynasty and early period of Qing Dynasty, the independent landscape emblazonry of the blue and white porcelain came into being. With its increasingly mature structure, the elegant culture of the ancient scholars was perfectly incorporated with ceramics folk culture on the blue and

6、white porcelain. This cultural phenomenon was related to the development of economy. At that time, with the emergence of the citizen class, vibrant economy in the regions south of the Yangtze River, Huizhou print gradually prevailed as the printing and publishment of the illustrations in the Ming an

7、d Qing novels. A number of famous scholars and painters at that time like Chen Hongshou got involved in carving the print. Therefore, Chinese scholars landscape paintings served as the subject matters of the print. 而瓷都景德鎮(zhèn)離徽州在地理上非常接近，當(dāng)?shù)卮蓸I(yè)人員中有不少便是徽州移民?；丈淘诰暗骆?zhèn)也十分活躍。兩地密切來(lái)往中，版畫(huà)的流行勢(shì)在其中。青花瓷山水紋飾直接可以從徽州版畫(huà)的文人山

8、水圖式中取樣。山水畫(huà)紋飾，就這樣成為中國(guó)瓷器在明清時(shí)代的主要紋飾之一，并隨著外銷(xiāo)瓷將中國(guó)園林山水的自然觀輸入歐洲，并直接產(chǎn)生了文化差異下的距離美感。The “Porcelain Capital” Jingdezhen is geographically close to Huizhou, and most local ceramic workers were immigrants from Huizhou. Huizhou merchants were active in Jingdezhen as well. The frequently contact of the two cities

9、made it very possible for the prints blossom. The landscape emblazonry of the blue and white porcelain can take samples directly from the scholars landscape painting of Huizhou print. By this way, the landscape emblazonry has become one of the major emblazonries of the Chinese porcelain in the Ming

10、and Qing Dynasty. Those porcelains sold overseas have input Chinese nature outlook of garden and landscape into Europe which has directly generated distance beauty out of cultural differences. 第二部分有如人間仙境的青花瓷園林圖飾和五彩山水瓷，顛覆了當(dāng)時(shí)歐洲人傳統(tǒng)的審美觀。在此影響下，英國(guó)首先出現(xiàn)了自然園林景觀的理念和實(shí)踐。1712年，散文家、詩(shī)人、劇作家、政治家約瑟夫艾迪生(Joseph Addison

11、)發(fā)表了論庭院的快樂(lè)，認(rèn)為園林越接近自然越美，只有與自然融為一體，園林才能獲得最完美的效果。并提出了造園應(yīng)以自然美為目標(biāo)這一觀點(diǎn)，奠定了英國(guó)自然風(fēng)景式園林的理論基礎(chǔ)。另一位詩(shī)人造園家亞歷山大蒲柏(Alexander Pope)，則在專著論綠色雕塑中，批判了違反自然的方法，第一次全面表述了自然風(fēng)景園的基本原則。The fairyland-like gardens paintings of the blue and white porcelain and the colorful landscape emblazonry have overturned Europeans traditional

12、aesthetic standards. In that condition, the idea and practice of the natural landscape architecture firstly showed up in Britain.In 1712, a proser, poet, playwright and politician Joseph Addison published An Essay on the Pleasure of the Garden. He held that the more the garden is similar to nature,

13、the more beautiful it is. Only by the incorporation with nature, can the garden be perfect. He also put forward a viewpoint that the building should aim at natural beauty which has laid the theory foundation of the British natural landscape architecture. Another poet and landscape architect Alexande

14、r Pope has criticized the approach violating nature in his treatise Essay on Verdent Scupture, and comprehensively expressed the basic principles of the natural landscape architecture for the first time. 英國(guó)人以中國(guó)園林為藍(lán)本，嘗試學(xué)習(xí)以自然美代替人工美，使情感和個(gè)人體驗(yàn)代替了理性和均衡性統(tǒng)一。在隨后出現(xiàn)的自然性園林中，園路以曲折的流線形取代了筆直的直線形，水景設(shè)計(jì)也改變了人工構(gòu)圖，水流盡可能

15、以自然的形態(tài)出現(xiàn)；植物配制拋棄了行列式和幾何式種植，改為任由植物自然生長(zhǎng)，形成層次豐富，四時(shí)有景的自然式植物群落。Taking Chinese garden as blueprint, the British men attempt to learn to work on beauty of nature instead of beauty of mankind, replacing the unification of sense and balance with the emotional and personal experience. In the later designs, the

16、 zigzag streamline paths took place of the straight paths, handed structure waterscape were replaced by the natural forms by the flows, plant arrangement abandoned its determinant and geometry, favored freely growth of the plant which formed a plant group with rich levels and different sceneries in

17、four seasons. 1757至1763年，著名園林建筑家威廉錢(qián)伯斯(William Chambers)在英國(guó)泰晤士河畔主持設(shè)計(jì)修建著名的邱園。他借鑒中國(guó)造園手法，在園中挖湖建山，構(gòu)建巖洞，并建造了一座十層八角的中國(guó)式寶塔，一座被稱作是孔子之家的閣樓。錢(qián)伯斯的寶塔是仿制紐霍夫所繪的南京瓷塔，但因?yàn)榧~霍夫在繪圖時(shí)出了錯(cuò)，將九層寶塔繪成了十層，造成歐洲人在后來(lái)的仿建中，都將寶塔的層數(shù)建成了十層。其實(shí)，他們?nèi)袅私饬酥袊?guó)宗教文化就不會(huì)出現(xiàn)這種錯(cuò)誤了。按照中國(guó)宗教和風(fēng)水的要求，寶塔的層數(shù)只能是奇數(shù)。但無(wú)論如何，邱園的這兩幢建筑，還是比歐洲之前的任何一幢中國(guó)式建筑，都更接近中國(guó)風(fēng)格。在錢(qián)伯斯的影響下

18、，西方人在園中建造中國(guó)式的寶塔、小橋、假山、亭子一時(shí)成為風(fēng)尚。From 1757 to 1763, the renowned garden architect William Chambers chair designed the famous Kew Garden at the riverside of the River Thames. Drawing lesson of Chinese garden architecture, they dug lakes and built hills and caves in the garden. He constructed a Chinese

19、pagoda with ten floors and eight squares, an attic called home of Confucius. Chambers pagoda was modeled on Nieuhofs painting of Nanjing porcelain tower. However, Nieuhof has drawn nine-floor pagoda to ten floors as a mistake which leaded all the followers in Europe to build the pagoda to ten floors

20、. In fact, they wouldnt have made such a mistake if they had ever known about Chinese religious culture. Because according to Chinese religion and Fengshui, the number of the floors can only be odd number. Anyhow, the two architectures in Kew Garden are more close to Chinese style than any other Chi

21、nese building in Europe. Under the influence of Chambers, westerners built Chinese pagodas, small bridges, garden rockeries and pavilions, which became fashionable. 錢(qián)伯斯1772年出版了東方造園論，隨后被很快譯為法文。他提出造園不僅僅改造自然，而且還應(yīng)當(dāng)是高雅的，提供人休憩和娛樂(lè)的地方，應(yīng)體現(xiàn)出淵博的文化素養(yǎng)和藝術(shù)情操。In 1772, Chambers published A Dissertation on Oriental G

22、ardening, later the book has soon been translated into French. He pointed that landscape gardening was not only to reshape nature but also should be an elegant place for people to relax and entertain. So they should embody profound culture quality and art sentiment. 法國(guó)早期的古典主義造園理論倡導(dǎo)人工美，造園布局更是注重規(guī)則有序的幾

23、何構(gòu)圖。路易十四時(shí)代是法國(guó)古典主義園林風(fēng)格完全形成的時(shí)代，著重表現(xiàn)的是王權(quán)統(tǒng)治下的秩序，是莊重典雅的貴族氣勢(shì)。這在路易十四決定擴(kuò)建的凡爾賽宮巨大的花園布局中表現(xiàn)得最為明顯。18世紀(jì)中葉，法國(guó)資產(chǎn)階級(jí)進(jìn)步思想家掀起了啟蒙運(yùn)動(dòng)，反對(duì)教會(huì)權(quán)威和封建制度，否認(rèn)先天理性的至高無(wú)上的作用，主張“回到自然去”。（盧梭語(yǔ)）在英國(guó)風(fēng)景式園林和中國(guó)園林的雙重影響下，法國(guó)出現(xiàn)了帶有強(qiáng)烈的理想主義和浪漫主義色彩的風(fēng)景園林，被稱為“英中式”園林。但在表現(xiàn)方法上顯得更加豐富，甚至采用鄉(xiāng)野常見(jiàn)的建筑物來(lái)表現(xiàn)田園風(fēng)光，讓園林外觀更像小村落，摒棄了宮廷式的規(guī)則造園法。法國(guó)“英中式園林”大多建于1770年之后，其中最重要的有埃麥

24、農(nóng)維爾園（176676年），麥萊維爾園（1784），王后花園（1775）,尚蒂伊風(fēng)景園（1772），蒙梭花園（1775）和巴加特爾花園（1778）等。French early classicism gardening theories advocated artificial beauty, the layout focused on the regular geometrical structure. During the reign of Louis XIV, the classicism gardening fashion completely formed, emphasizing o

25、rder under the rule of monarch, solemn graceful nobility, which obviously demonstrated in the layout of the garden of Versailles when Louis XIV decided to expand Versailles. In the middle period of 18th century, french progressive bourgeois thinkers raised the Enlightenment which opposed the authori

26、ty of church and the feudal system, denied the supreme function of the innate sense, proposed to “go back to nature” (Rousseau). Under the dual influences of the British gardening and Chinese gardening, the French gardening presented a strong idealistic and romantic feature, being called “British-Ch

27、inese” gardening. But it has richer techniques of expression. It even adopted ordinary countryside buildings to show rural scenery, which made the garden look like a small village. Most of French “British-Chinese gardens” were finished after 1770. The most outstanding representatives are Parc dErmen

28、onville (1766-1776), Parc de Mereville (1784), Chantilly landscape garden (1772), Parc de Bagatelle (1778), etc. 2015年深秋，筆者在位于巴黎西南的凡爾賽宮參觀時(shí)，特意探訪了王宮后花園中的一處英中式花園。它位于小特里亞農(nóng)宮后側(cè)，在穿過(guò)遍布凡爾賽宮四周的法國(guó)古典園林之后，一片無(wú)比熟悉的景色出現(xiàn)在眼前:自然的山石上有小小的瀑布傾瀉著，小橋流水，垂楊在輕風(fēng)中飄拂，曲曲折折的小溪邊長(zhǎng)著茂盛的蘆草和蒲棒，沿著小路峰回路轉(zhuǎn)，才能看見(jiàn)不遠(yuǎn)處有一座小亭這完全是中國(guó)式園林的布局?。≈皇切⊥み?，一群金發(fā)碧眼的孩子們，在老師的帶領(lǐng)下，正在歡快地進(jìn)行著一場(chǎng)自然課教學(xué)。這座小特里亞農(nóng)宮，是路易十五為他的王后建造的。當(dāng)時(shí)，英中式花園已開(kāi)始在法國(guó)流行。In the late autumn of 2015, the author specifically visited a “British- Chinese garden” of the palace backyard gardens when visiting Chateau de Versailles in the southwest part of Paris. It is located beh