吴门画派园林绘画中城墙的风景内涵:以《东庄图》和《拙政园三十一景图》为例

The Landscape Connotation of City Wall in the Garden Painting of the Wu School:A Case Study of Dongzhuang Paintings and Thirty-one Paintings of the Humble Administrator’s Garden

以《东庄图》和《拙政园三十一景图》中的城墙景观为研究对象,采用图像和园林历史情境互证的方法,通过由图到园和由园及城的系统分析,解译了这2套园林绘画中城墙形象出现的画理依据、造园因素和城市风景文化情结,认为城墙形象在沈周和文徵明为代表的吴门画派的园林题材绘画作品中具有指示园林地望的作用,同时城墙也是当时城内和城外园林的重要借景对象;随着城市的功能转移,城墙周围的城市边缘区域对于园林的布局起到空间的牵引作用,究其原因与被内外城河环绕区域丰富的园艺空地和良好的水运交通分不开,最终形成了半村半城的园林和城市的空间耦合关系。旨在为苏州古城历史上形成的园林和城市风貌关系的传承和保护有所助益。

Focusing on the image of city wall landscape in Dongzhuang Paintings and Thirty-one Paintings of the Humble Administrator’s Garden,the method of mutual proof of image and landscape historical context is adopted to interpret the reasons,gardening factors and cultural complex of the city wall in the two sets of landscape paintings.This research shows that the image of the city wall has the function of indicating the garden location in the landscape paintings of the Wu school represented by Shen Zhou and Wen Zhengming.At the same time,the city wall was also an important borrowed scenery of gardens.With the transfer of urban functions,the urban fringe area around the city wall plays a spatial traction role in the layout of gardens,and the reason is due to the rich horticultural space and good water transportation in the area surrounded by inner and outer rivers.Finally,the spatial coupling relationship of facing the inner and outer city walls between the garden and the city is formed.The purpose of this study is to help protect the relationship between gardens and urban landscape for the historical city of Suzhou.