一维两阀:从《筑山庭造传》中辑考日本“江户造园新体图式”

One-Dimensional Duality:An Investigation of the"Edo Gardening New Style"from Tsukiyama niwatsukuri den kōhen

长期以来,中日两国的造园理论体系被限定为一种“外师造化、中得心源”的产物,并将其视为是一种由“心”而生的艺术创造。江户时代之后,日本造园界将中国的“气象体志”理论发展总结为“技艺”“心”与“感”3个层次,后又总结成更为简化的神仙气、轮苑气、山林气、出世气、儒先气等俗理,并根据江户时代的赏析习惯,绘制出“真行草”47种规范化的造园图式,形成了“一维两阀”的造园现象,一跃成为研究日本古典造园艺术“图式”的学术途径与法门钥匙。基于对日本江户时期北村援琴的造园著作《筑山庭造传》的研究,将“美感”视作造园生发程式化设计的主要脉络,对日本“江户美感新体图式”的创新路径进行学术探讨,由此检验北村援琴所主张的内在渊源、理论谱系和路径谱系等问题,并以此充当研究中国造园文献之重要补遗。

For a long time,the garden design theories of China and Japan have been constrained to a product described as"imitating nature and capturing its essence from within".This perspective views it as an art created from the"heart",akin to a manifestation of spirit and intent.After the Edo period,the Japanese garden design community evolved this theory into three layers:"skill","heart",and"sensation".It was later simplified into more popular theories such as the spirit of immortals,the atmosphere of gardens,the essence of mountains and forests,the air of transcendence,and the aura of Confucian scholars.Forty-seven standardized gardening patterns known as"shin-gyō-sō"were drawn,becoming a leap in the academic approach and key to studying classical Japanese gardening art"styles".This paper is based on the study of Kitamura Enkin's gardening work Tsukiyama niwatsukuri den kōhen from the Edo period,regards"aesthetic sense"as the main thread of gardening's formulaic design,academically discussing the innovative path of the"Edo aesthetic sense new style patterns"in Japan.Through this,it examines issues such as the internal sources,theoretical lineages,and path lineages advocated by Kitamura Enkin,serving as an important supplement to the study of Chinese gardening literature.