【作者】 李世葵；

【导师】 陈望衡；

【作者基本信息】 武汉大学 ， 美学， 2009， 博士

【摘要】 本文从哲学-美学和设计的视角来研究《园冶》。从艺术风格和审美情趣上看,《园冶》主要是围绕着文人园林的建造而展开的。换句话说,计成所阐发的主要是中国古典文人园林的审美理想和艺术特征。《园冶》的园林审美观可以概括为三大方面：自然、如画和尚雅,它们也是中国古代文人园林的主要艺术和审美特征。《园冶》还总结出造园方法的精髓：“巧于因借,精在体宜”,它是帮助人们实现造园目标的有效方法。第一章探讨《园冶》文中体现出的崇尚“自然”的园林审美观,研究中国古典园林自然模式的形成背景和具体表现。计成在《园冶》中提出“虽由人作,宛自天开”的造园理想,认为园林虽系人力所为,但要有天然生成的自然感,富于自然山林的意味。这八个字集中地表达了中国古典园林崇尚自然、师法自然的显著特征。中国园林的“天开”理想,源自中国古典哲学追求“天人合一”的思想传统。儒道禅三家思想都重视遵循自然规律,欣赏自然的美,这些都深刻地影响了文人士大夫的审美趣味,使他们崇尚艺术品的自然天成美感和清新自然风格。由于中国园林早在唐代便完成了从模仿自然到妙造自然的转变,因而《园冶》所提出的“天开”园林实际上指的是充满诗情画意的写意自然园林。进一步讲,《园冶》主张园林的自然感主要表现在山水、建筑、花木和景观以及它们的形态、结构和布局审美特征上。造园家根据自然山水的特征来组合园林要素,以有机不规则形态和错综自然的布局来使人工与自然融为一体,组成有生命、浑然一体的园林艺术品。第二章探讨“如画”园林审美观,以园林与山水画的关系为中心,着重分析了园林如画的原因与表现。唐宋以来,园画相通逐渐成为中国古典园林的一大特征。以王维和白居易为代表,文人日益参与到造园活动中,不但赋予了园林以浓厚的文人色彩,而且促成了古典园林从自然山水园到写意山水园的转变。文人的诗情画意渗透到园林的设计与建造,不仅出现了像艮岳这样完全按照画意来建造的园林,还涌现出一批像计成这样能诗善画的文人造园家。这些反映在《园冶》中,便是“境仿瀛壶,天然图画”的创作理念。计成在造园上所承接和发扬的是荆浩、关仝、倪瓒、黄公望和李思训、李昭道父子的山水画风格。“如画”造园观主要表现在画意、画理与画境三方面。从创作上来看,园林与绘画在立意构思、写意手法和意匠创新等方面有许多相通之处。具体来说,绘画讲究意在笔先,造园主张相地合宜,都是突出和强调构思规划的优先性；绘画采取简笔写意手法,造园运用小中见大手法,均为以有限表现无限的艺术创作手法；画论有“有法”、“无法”之说,构园则强调“无格”,它们都要求打破陈规、自由灵活地创作。从画理上来看,计成把阴阳互生和多样统一的绘画法则应用到造园活动中,以期造出意境深远、景观多变的园林。从意境上来看,山水画与园林有着相通的主题,都以成仙隐逸为宗旨。然而,园林毕竟不是山水画,二者在意境上有着不容忽视的差别。与山水画相比,园林在表现隐逸出尘的超越情怀之外,还充满了世俗享乐的物质气息。第三章探讨文人园林的审美品质：雅。文人园林不同于皇家园林的宏大富丽,而是以精巧雅致为园林的基本风格。在儒道思想的熏染下,文人园林讲究美善合一的文雅,追求美真合一的清雅。具体来说,清雅的表现是建筑简朴疏朗、山水清幽自然,用以满足文人超越凡尘、隐逸自得的精神旨趣。计成并不把清雅与精巧及时尚对立起来,认为精心构思运用这些美学特征,它们可以相得益彰、交相辉映。通常而言厅堂等园林主体建筑要精巧,窗户等局部装饰构件的造型要合乎时尚。文雅则表现为诗文题咏和人文寓意上。计成认为,通过运用隐逸典故和象征手法可以丰富园林的文化内涵,从而使园林充满诗情画意,表现出文人胸有万卷诗书、隐居求志、超凡脱俗的精神品格。第四章分析“因借体宜”的造园原则。要因人、因地、因时制宜的造园原则源于先秦诸家的处世哲学,儒家、法家、道家都有贵“因”的思想,尤其是以老庄为代表的道家,系统阐述了贵“因”的原因和途径。明末许多学者提出要在实践活动中用“因”。并且因借造园的思想火花一直闪耀于历代的园林游记和诗文之中,所以计成提出的“因借体宜”原则是对传统实践智慧的系统总结。《园冶》理论中的用“因”造园原则具体表现为因水构园、因地成形、因地造屋、因地取材、因时制宜五种设计手法。计成对传统的取景手法进行归纳,在历史上首次提出“借景”概念,归纳阐述了五种借景手法,描写通过借景营造出的境界。该理论认为要不分远近、内外,尽可能地吸纳美景为我所用,并且要巧于用“因”。借景可以使园林内外贯通一气,融合为往复不尽的视觉空间,从而使人在园林中产生超然物外、天人合一的审美体验。造园的“因借体宜”原则中,“因借”是手段,“体宜”是标准,二者不可分开,只有“因借”才能实现造园得体,而“因借”一旦失去分寸,不能做到“体宜”,就走向事情的反面,不成其为“因借”,而是“逆”。“体宜”标准要求造园家在规划和设计园林时,要综合考虑园林主人对园林的功能、艺术和人文方面的具体要求。结语部分总结《园冶》的历史地位和现实意义。从历史方面看,与《长物志》和《闲情偶寄》等书相比较,《园冶》确实是中国古代第一部全面系统地阐述造园原理与技法的理论著作,并在许多方面作出了重大的突破和创新,譬如“借景”理论。从现实来看,《园冶》所提出的“天开”理想和“因借”法则,对于当代环境美学和生态美学的建构具有非常重要的启发意义。具体来说,主要表现为：道法自然的生态平等观、因借体宜的生态保护观、建筑与环境相和谐的生态规划观、以朴素自然为美的生态审美观和充分合理地利用资源的生态节用观等。更多还原

【Abstract】 This dissertation analysed theories of making garden in Yuan Ye from aspects of philosophy-esthetics and design within social and culture context. According to the art style and aesthetic taste, Yuan Ye mainly concluded principles of constructing scholar garden. In other words, Ji Cheng mainly illuminated the aesthetic ideal and art characteristics of the Chinese classic scholar garden. These gardening aesthetic viewpoints in Yuan Ye can be generalized into three parts:Natural, picturesque and elegant. They are also the mainly art and aesthetic properties of the scholar garden. Yuan Ye also puted forward an essential principle of making garden:"qiao yu yin jie, jing zai ti yi."(Means:it’s clever to build garden according to circumstance, to skillfully use "reason" and "borrow" to make garden comely). It’s an effective method for garden makers to fulfil requirments of all kind.Chapter one studied the aesthetic appetite of emphasizing natural beauty embodyed in Yuan Ye, discussed the background of forming the natural mode and these concrete embodiments. Ji Cheng put forward that:"Even though the garden is created by human, it looks as if it were made by nature." It urgented that garden must show natural visual feature and be enriched to the feeling of natural forest.these words fully show the famous natural quality of the Chinese classic garden which learning from the landscape of the nature. The aesthetic appetite of emphasizing natural beauty derive from the Chinese classic philosophy tradition which pursuing the harmonious unity of nature and human. Confuciusim and daoism and zenism are all pay attention to following natural regulation and enjoying the beauty of nature.these deeply affect the aesthetic interest of the literatis, and made them emphasize the organic beaty and natural style in an art object. The theory of making garden has finished the change from the miniation to creation nature by Tang Dynasty. As a result, the nature-making-like garden in Yuan Ye is actually the lyric garden full of emotion and imagination of poetry and painting. The natural feeling of garden mainly embody through their appearances, structure and layout up of the landscapes, buildings, grants and views. The gardeners combine factors according to the characteristics of natural landscape, with organic irregular appearance and natural layout to make artificial constructs be merged into natural environment and integrate a whole, living art object. Chapter Two studied aesthetic attitude of liking picture, forcuses on the relationship between the garden and the picture of mountains and rivers, mainly analysize the reason and performance of the garden looking like a painting. Since Tang Sung, the combination of the garden and paintings gradually become a basic characteristic of Chinese ancient garden. As their representative of Wang Wei and Bai Juyi, the scholar glass participates in garden-building day by day. So it not only brings more and more the feeling and interest of the scholar to the garden, but also helps Chinese garden complete the transformation from the natural landscape to the comfortable landscape. The poetry and painting idea of the scholar seeps through the designing and construction of garden, not only appeared such as Gen Yue which is constructed completely according to painting idea, but also flow out a lot of scholar included Ji-Cheng that are good at making poet and painting. These reflections in Yuan Ye are the creations principle of "the territory imitates Ying pot, as a natural picture", and "put deep ideas in painting, pay more feeling to mountain and hills".During designing the form and shape of mountains and rivers, Ji Cheng benifits a lot from Jing Hao, Guan Tong, Ni Zan, Huang Gong Wang, Li Si Xun and his son Li Zhao Dao. The garden-making viewpoint of "liking painting" is mainly expressed in three aspects, including ideas, reason and image of painting. See from the creations; garden and painting have much conmon in purpose, skill and creative idea etc. Concretely say, the painting emphisize the importance of idea before drawing, garden-building assert firstly that design and conatruction be suitable to the background, painting and garden-building both pay much attion to conceive an outline and programm. The painting use the skill of "simple painting" (Jian Bi), garden-building use the skill of Xiao Zhong Jian Da, both try to express the infinite. Painting and garden-building both think that there is no restricts and limits, and both emphisize freely creat.As the reason of painting, when he design and cnstruct a garden, Ji Cheng make use the prnciple of "Yin-Yang" and the harmony of diversity. So that he can a beautiful garden full of profound idea and conception. As the artistic conception, painting and garden have the same topic that become immortal. However, garden after all is not a picture, they are different from each other. Compared with the painting of mountains and rivers, garden not only express an outstripping of recluse dust state of mind outside, but also filled with materialism breath of pursuiting comfort and physical well-being. Chapter three studied aesthetic quality of the scholar garden:elegant. The scholar’s garden differs from the Royal garden’s great and sumptuous quality, but takes delicate elegance as its basic style. Under the education of Confuciusim and Taoism, the scholar garden pays much attention to the combination of Virtue and Beauty, pursues the harmony of Truth and Beauty. In other word, the elegant performance is simple and sparse constructures and the deep and natural landscape, so that it can satisfy the scholar’s spirit needs, because they wanted to live a recluse and self-satisfied life. But Ji-Cheng did not think the natural and elegant features are opposite with fashion. In fact, he thinks if we make the best use of these aesthetics characteristics, they can benefit each other. He assert that the hall, the key building of a garden has to be delicate, the partial adornment including windows should be in fashion, namely so-called "construture is appropriate, the type is appreciated" and "the style is graceful and fashionable, so it make people pleasant" etc. The elegance of culture mainly includes poem texts and humanities implication in a garden. Through making use of recluse literary allusions and symbolizations can enrich the cultural content of a garden, and then make it be full of poetry and painting ideas and express a scholar chest to contain ten thousand poem books, and his spirit character of unique and free from vulgarity.Chapter four analysed the principle of "qiao yu yin jie, jing zai ti yi." This principle of making garden according to owner, geography and times comes from the life philysophy of former Qin dynasty philosophers. The confuciusim, daoism and legalism all have ideas of emphasizing "following". In the book of Yuan Ye, the principle of "Yin" in garden-building pratice is mainly expreesed in five apects, includes building a garden by the way of make use of water, taking shape by the way of making use of the ground, building a house by the way of making use of the ground, getting material by the way of making use of the ground, and taking action according to the circumstances. Ji Cheng put forward the concept of "borrow a view from"(Jie Jing) for the first time in history. He elaborates five kinds of skill to borrow view, and describe the view and landsacpe by the way of borrowing a view from the circomstance. Ji Cheng asserts that should make the best use of the outside scenery without near or farway, and be good at borrowing secenery from the enviroment. "Borrowing view" can make the outside scenery inside the garden and combine together, thus make the the garden ower produce a detached feeling from outside world and the experience of uniting Nature and Man. As the principle of "Yin Jie" and "Ti Yi", "Yin Jie"is a way to build a garden, "Ti Yi" is the standard of garden-building, "Yin Jie" and "Ti Yi" can not separate from each other. While building a garden, the achitect not only make good use of the principle of "Yin Jie". According to the standard of "Ti Yi", but also synthesize the concrete requirments of function, art and humanities.The conclusion part studied the history position and realistic meaning of Yuan Ye. As far as the history influence, compared with the Zhang Wu Zhi and Xian Qing Ou Ji, Yuan Ye is really the first theories work that systematically elaborated the principles and skills of making garden, and it made important breakthrough and innovation in many respects, such as the theory of "borrowing view". As far as its nowaday’s infuluence, these principles and aesthetics attitudes in Yuan Ye throw light to the construction of the contemporary environment aesthetics and the ecology aesthetics. Specifically talking, it includes:the ecological equal viewpoint of following the Way of Nature, the viewpoint of ecological protection through "following and borrowing", the ecological planning viewpoint of making building and the environment harmoniously, the ecological aesthetic interest which taking simple and natural design as highly beauty and the ecological saving view of making good use of the resources to reduce expenses etc.更多还原