“取意”与“拟形”：从刘珏小洞庭论明代中期与后期江南园林叠山之异

"Taking the Meaning" and "Imitating the Form": Differences inRock-Piling of Jiangnan Gardens Between the Mid and LateMing Dynasty from Liu Jue's Little Dongting

关键词:  风景园林  文人园林  假山  写仿  转译  明代  江南

Key words:  landscape architecture  literati garden  rockery  imitating  translation  Ming Dynasty  Jiangnan

摘要:

明代园林叠山技艺从移缩真山全貌转向再现真山一隅，假山与真山的转译关系出现显著变化。以写仿西洞庭山取胜的苏州刘珏小洞庭是15世纪后期江 南文人园林的代表，有助于揭示彼时移缩真山全貌的叠山思路。通过文献研究和田野调查对小洞庭的营建背景与基址区位进行考证，探析小洞庭与西洞庭山的转 译关系。西洞庭山以其特定的文化景观引起归隐文人的情感共鸣，刘珏撷取此山的典型意象移缩为假山，从而遥想符号意义层面的“真山”；脱胎于《草堂十志 图》的园林十景进一步深化刘珏对西洞庭山隐逸意象的感知。明中期叠山强调传达名山的符号意义，重在“取意”；明后期叠山从山水实景与绘画中广泛吸纳美 学形式，重在“拟形”。上述2种师法自然的叠山思路展现了“形”与“意”的有机联系，对理解风景与园林之间的设计转译具有启示作用

Abstract:

The Ming Dynasty is a period of significant transformation in rock-piling techniques of Chinese traditional gardens: Rockeries in the mid Ming Dynasty represented the entire mountain landscape through freehand brushwork; In the late Ming Dynasty, it was popular to realistically imitate a corner of a mountain to create rockeries. This transformation indicates a noticeable change in the translation relationship between rockeries and real mountains. The academic circles have conducted numerous studies on rockeries in the late Ming Dynasty, clarifying the aesthetic interest of using landscape painting to guide rock-piling at that time. However, the concept and techniques of rock-piling in the mid-Ming Dynasty need to be further explored through examples. Little Dongting, created by Liu Jue in Suzhou during the Tianshun and Chenghua periods, is one of the few famous Jiangnan gardens in the 15th century that has left detailed records. Its prototype is West Dongting Mountain, which helps to interpret the rockpiling ideas of Jiangnan literati in the mid-Ming Dynasty. Liu Jue chose to retire from officialdom due to growing weariness and built a suburban garden called "Little Dongting" based on the lotus pond near his old mansion. He piled up rockeries with Taihu stones and planted orange groves in the garden, recreating the beautiful scenery of West Dongting Mountain. Located on Lake Tai, West Dongting Mountain is regarded as a seclusion resort by Suzhou literati for its specific cultural landscape. Liu Jue refined typical images that can summarize the panorama of the mountain, and shaped Little Dongting into a landscape symbol of "seeing the big from the small", triggering his own reverie about the image of West Dongting Mountain. Liu Jue set up ten views in Little Dongting, which shares many similarities with Lu Hong's Ten Views from a Thatched Hut ("Caotangshizhitu") from the Tang Dynasty, subtly implying his state of mind of regarding himself as a hermit. Liu Jue's Little Dongting fully demonstrates the literati's idea of rock-piling in the mid Ming Dynasty: Real mountains provided images for literati to design gardens, and literati perceived the symbolic meaning of real mountains by touring and appreciating rockeries; Previous landscape paintings depicting famous mountains triggered the emotions of literati, and the implantation of artistic themes further deepened their perception of the images of real mountains. From this, it can be seen that in the mid Ming Dynasty, literati emphasized the symbolic meaning of famous mountains and their rockeries focused on "taking the meaning". The construction of rockeries in the late Ming Dynasty also paid attention to both real mountains and painting, but the translation relationship was different from that in the mid Ming Dynasty. Zhang Lian's biography and The Craft of Gardens ("Yuan Ye") written by Ji Cheng indicate that literati and craftsmen advocated widely absorbing the aesthetic form of rockeries from real mountains and painting, pursuing visual effects that originated from nature but were higher than nature, and emphasizing "imitating the form". The transformation of rock-piling techniques from "taking the meaning" to "imitating the form" in the Ming Dynasty interprets design languages of Chinese traditional gardens that have differences in distinct historical periods and similarities within the same historical period. These two ways of learning from landscape in rock-piling inspire us to reflect on the organic connection between "form" and "meaning" in contemporary garden design, and have enlightening effects on understanding the design translation between landscape and garden.