论中国古代园林假山对传统绘画“理想空间观”的表达--以闽台园林为例

On the Expression of"Ideal Space View"of Traditional Painting in Ancient Chinese Garden Rockeries:Taking Fujian and Taiwan Gardens as an Example

绘画与造园都表达了古人对超越有限静态无序客观世界的理想自然的理解与追求。闽台古典园林由于其产生的历史背景及独有地理条件使其在经典庭院的空间处理上显示出了对视觉观看效果的格外重视,为此甚至不惜牺牲游园活动的舒适性,故而其表达形式与审美倾向上能够更加贴近中国传统文人绘画。在超验“理想自然观”的作用下,闽台园林掇山技法脱离了对客观世界的模拟,转而产生了具有明显平面化程式化的暗示性表现手法。借助对中国古代绘画中空间观念及其视觉图示的认识,重新审视园林空间中具有代表性的筑山作品,通过手法特征辨析其背后蕴藏的美学倾向与建造者对自然的理解。

Both painting and gardening express the ancient people’s understanding and pursuit of the ideal nature beyond the finite static disorder objective world.Due to its historical background and unique geographical conditions,Fujian and Taiwan classical gardens pay special attention to the visual viewing effect in the space processing of classic courtyards,and even sacrifice the comfort of garden activities,so their expression forms and aesthetic tendencies can be closer to the traditional Chinese literati paintings.Under the influence of the transcendental“ideal view of nature”,the techniques of mountain decoration in Fujian and Taiwan gardens deviated from the simulation of the objective world,and instead produced the suggestive expression techniques with obvious planarization and stylization.Based on the understanding of the concept of space and its visual illustrations in ancient Chinese paintings,this paper re-examines the representative mountain-building works in garden space,and analyzes the aesthetic tendency behind them and the builder’s understanding of nature through the characteristics of techniques.