从“居庸叠翠”到“琼岛春阴”——“燕京八景”景观序列背后的空间逻辑与政治意涵

From“Juyong diecui”to“Qiongdao chunyin”:The Spatial Logics and Political Connotations behind the Sequences of the“Eight Great Sights of Yanjing”

“燕京八景”脱胎于“潇湘八景”,其作为北京著名的景观文化,自元代起有大量的相关诗文存世。这些诗文不仅展现了各历史时期从皇帝到普通文人对这八处实地景观的颂扬,其中的景序也反映了元、明、清不同的空间逻辑。元代以“居庸叠翠”为首的景序是元人“内北国而外中国”观念的体现。明永乐时期同样以“居庸叠翠”为首的景序却有着与元代截然相反的内外之别,即“内华而外夷”。到清乾隆时期,“燕京八景”有了以“琼岛春阴”为中心的新秩序。元、明、清三代的统治阶层为“燕京八景”注入了完全不同于“潇湘八景”的政治意涵,其背后是时代、民族观念等因素在起作用。

The"Eight Great Sights of Yanjing"was derived from the"Eight Views of Xiaoxiang".As a famous landscape culture in Beijing,a large number of related poems have left since the Yuan Dynasty.These poems not only praise the eight sights,from emperors to ordinary literati,the sequences also reflect different spatial logics of the Yuan,Ming and Qing Dynasties.In the Yuan Dynasty,"Juyong diecui"was the first sight,which symbolizes that the rulers of the Yuan Dynasty took the north of Juyong Pass as their home country.During the Ming Yongle period,the same sequence reflects the diametrically opposed concept of the Yuan Dynasty,that was,to take the south of Juyong Pass as Huaxia(China).The"Eight Great Sights of Yanjing"had a new sequence centered on Qionghua Island during the Qianlong period of the Qing Dynasty.The ruling classes of the Yuan,Ming and Qing Dynasties injected the political connotations into the"Eight Great Sights of Yanjing"that were completely different from the"Eight Views of Xiaoxiang".Behind them were factors such as the times and national concepts.