画意真山与胜景无穷——北海镜清斋假山营造思路的再认识

Real Mountains with Painting Ideas and Endless Attractive Views Rethinking the Construction Idea of Artificial Mountains of Jingqingzhai at Beihai

进入更广泛的历史语境探讨清乾隆时期镜清斋假山的营造思路,追溯至晚明江南的两种假山营造来源。在整体构思上,承续了17世纪前期张南垣所创的追求画意真山的"天然"假山;而在局部营造中,则采纳了16世纪后期盛行的追求胜景无穷的"人巧"假山。除镜清斋之外,在稍晚的苏州环秀山庄假山中也有显著表达,是清代假山发展高峰的体现。清末和1970年代对该假山的两次改造,未能很好理解原初的思路取向,一定程度上损害了当初追求的山意。

The paper discusses the idea of the artificial mountain in the garden of Jingxinzhai of the Qianlong period in a broader historical context and identifies two historical sources of the mountain.For the overall design,the artificial mountain continued the“natural”effect of“real mountain with painting ideas”as the typical manner of Master Zhang Nanyuan in the early 17th century.While in the details,it adopted the“artistic”method for“endless attractive views”which had been popularized since the late 16th century.Aside from Jingqingzhai,the two methods were also present in Huanxiu Shanzhuang in Suzhou,epitomizing the achievements of artificial mountain making in the Qing.The two renovations in the 1880s and the 1970s,respectively,did not well followed the original design concepts,hence an impairment to the artistic effect of mountain to some extent.