摘要
建章宫"一池三山"的布局源于汉武帝的神仙信仰。受此影响,其中的仙山形象应是上广中狭的台状构筑物。此种台状仙山与汉代慕拟自然的假山形象并行发展,成为后世皇家园林"一池三山"的主要表达方式。通过对汉代图像资料中的仙山形象进行梳理,并结合相关的文献记载,对"一池三山"的仙山形态进行探究。进而分析了这一仙山形态在古典园林仙境景观中的发展演变,及其与汉代园林中用于迎仙的台的区别与联系,为进一步理解早期园林中的景观内容提供新的线索。
The layout of"A Pond and Three Mountains"in Jianzhang Palace originated from the immortal belief of Emperor Wu in Han Dynasty.Affected by this,the image of fairy mountain should be a platform structure with wide upper stage and narrow middle part.In this paper,by analyzing the images of immortal mountains in Han Dynasty image material and combining with relevant literature records,the form of immortal mountains in"A Pond and Three Mountains"is explored.Furthermore,it analyzes the development and evolution of this immortal mountain form in the fairy landscape of classical gardens,and the difference and connection between immortal mountain and the terrace used to welcome immortals in the garden of the Han Dynasty,which provides a new clue for further understanding the landscape content in early gardens.
出处
《中国园林》
北大核心
2020年第8期135-138,共4页
Chinese Landscape Architecture
基金
国家自然科学基金项目“基于古人栖居游憩行为的明清时期园林景观格局及其空间形态研究”(编号51778317)
福建省教育厅项目“中国早期园林中台和榭的建筑形态演变”(编号JAT160069)共同资助。
关键词
风景园林
一池三山
仙山
汉代
landscape architecture
"A Pond and Three Mountains"
immortal mountain
Han Dynasty
