景观图像与园林意匠——《金瓶梅》中的晚明园林艺术呈现

Landscape Image and Garden Creation:The late Ming Dynasty Garden Art in “Jin Ping Mei”

中国传统文本在文字与图像的建构上有着"无书不图"、"左图右书"、"左图右史"的典型特征,"叙与画合"的通俗叙事的文本样式在元明已繁盛起来,尤其是明代万历之后,书坊间所刊书籍,几乎无书不图。"绣像小说"作为明清时期带有版画插图的一般通俗小说,使得语言叙事"意象空间"与图像的"可视空间"完美地融合起来,对于园林艺术家而言,《金瓶梅》等古典文学作品以及作品中的图像(插图)可为当下提供丰富的创作素材,亦是研究明代中后期园林艺术的绝佳资料。

The construction of words and pictures in Chinese traditional texts has the characteristics of ＂no book,no map＂,＂picture left,text right＂ and ＂picture left,history right＂.Popular texts with the combination of narrations and pictures flourished in Yuan and Ming Dynasty,especially after the Wanli year,Ming Dynasty,when almost every book had pictures.＂Tapestry portrait novel＂ was a general type of popular novel with illustrations in Ming and Qing Dynasty,by which ＂imagination space＂ of the language narrations were closely integrated with ＂visual space＂ of the pictures.For landscape artists,＂Jin Ping Mei＂ and other classical literature works can provide abundant creative materials for the present,and are also excellent resources for the study of garden art in the late Ming Dynasty.