中国园林的艺术特点

二、中国园林的艺术特点

(一)追求人与自然的统一、和谐

程裕祯(1998：235)认为：中国园林无一例外地都是艺术地再现自然，都是范山模水，取法天然，为生存主体的人创造一个和谐统一的客体环境。它的根本造园思想可以概括为八个字：“虽由人作，宛自天开”，反对任何牵强附会和故意雕琢。中国园林以山水为主体，山是骨骼，水是血脉，二者都是自然的主体。因此造园时特别注重山水的配置，要求山要有脉、水要有源、水随山转、山因水活。在具体的布局上，有的以水为主，有的以山为主，有的山水并重，因而中国的园林又可以叫做“山池”。如：

◆ 说着，进入石洞来。只见佳木笼葱，奇花灼，一带清流，从花木深处曲折泻于石隙之中。再进数步，渐向北边，平坦宽豁，两边飞楼插空，雕甍绣槛，皆隐于山坳树杪之间。俯而视之，则清溪泻雪，石磴穿云，白石为栏，环抱池沼，石桥三港，兽面衔吐。桥上有亭。(曹雪芹《红楼梦》第十七回)

They walked on through a tunnel into a ravine green with magnificent trees and ablaze with rare flowers．A clear stream welling up where the trees were thickest wound its way through clefts in the rocks．

Some paces further north，on both sides of a level clearing，rose towering pavilions whose carved rafters and splendid balustrades were half hidden by the trees on the slopes．Looking downwards，they saw a crystal stream cascading as white as snow and stone steps going down through the mist to a pool．This was enclosed by marble balustrades and spanned by a stone bridge ornamented with the heads of beasts with gaping jaws．On the bridge was a little pavilion in which the whole party sat down．(杨宪益、戴乃迭译)

【注】“飞楼”：形容高楼如凌空架起的一样。这里或指飞阁。“雕甍绣槛”：有雕画的栋梁和彩绘的栏杆。“甍”：栋梁，又称“屋脊”。《左传》襄公二八年：“犹援庙桷，动于甍。”唐孔颖达疏：“《说文》云：‘甍，栋梁也’……此是屋之上长材橼，所以凭依者也。今俗谓之屋脊。”《释名·释宫室》：“屋脊曰甍，甍，蒙也，在上覆盖屋也。”“槛”：殿堂四周的栏杆。

“石蹬”：山路的石级。

“三港”：指桥下的涵洞。

“兽面衔吐”：指石桥山兽面形的石雕，也称螭首，作张口状，位于桥拱侧面上端中央。(张俊等，1987：282)

园林中的人造假山，是以石、土堆堆叠而成，但山的造型和整体脉势讲究自然浑朴，要随势赋形，要有自然山脉的神韵。园林中的水景也要给人以自然天成的感觉，园中的水景要有大小之分，动静之别。山景和水景既要保留自然的生机和野趣，又要没有“人作”的斧凿痕迹，要有“天开”的神韵。如：

◆ 贾政刚至园门前，只见贾珍带领许多执事人来，一旁侍立。贾政道：“你且把园门都关上，我们先瞧了外面再进去。”贾珍听说，命人将门关了。贾政先秉正看门。只见正门五间，上面筒瓦泥鳅脊;那门栏窗槅，皆是细雕新鲜花样，并无朱粉涂饰;一色水磨群墙，下面白石台矶，凿成西番草花样。左右一望，皆雪白粉墙，下面虎皮石，随势砌去，果然不落富丽俗套，自是欢喜。遂命开门，只见迎面一带翠嶂挡在前面。众清客都道：“好山，好山!”(曹雪芹《红楼梦》第十七回)

At entrance to the garden，they found Jia Zhen with a group of stewards lined up in wait．

“Close the gate，”said Jia Zheng．“Let us see what it looks like from the outside before we go in．”

Jia Zhen had the gate closed and Jia Zheng inspected the gatehouse，a building in five sections with an arched roof of semi-circular tiles．The lintels and lattices，finely carved with ingenious designs，were neither painted nor gilded;the walls were of polished bricks of a uniform color，and the white marble steps were carved with passion-flowers．The garden's spotless whitewashed wall stretching to left and right had，at its base，a mosaic of striped“tiger-skin”stones．The absence of vulgar ostentation pleased him．

He had the gate opened then and they went in，only to find their view screened by a green hill．At this sight his secretaries cried out in approval．(杨宪益、戴乃迭译)

【注】“筒瓦泥鳅脊”是当时代表一定爵位的建筑。“筒瓦”：半圆筒状的屋瓦。也叫“瓦头”，旧名“瓦当”。清钱泳《履园丛话》卷一“秦汉瓦当”：“瓦当者，宋李好文《长安图志》谓之瓦头，盖屋瓦皆仰，当两仰瓦之际，为半规之瓦以履之，俗谓筒瓦是也。”清时，亲王大殿及宫门用绿琉璃筒子瓦，郡王则用筒子瓦。“泥鳅脊”：指屋面两坡筒瓦瓦垅过脊时，呈一种卷棚式，因其状如泥鳅，故名泥鳅脊。

“水磨群墙”：用水磨砖砌成的围墙。“水磨”：指水磨砖，一种加水精磨而成的砖，光滑精细。

“西番花样”：指一种西番莲式样的图案。“西番”：当指西番莲，又名西洋鞠，蔓生植物，有卷须，夏季开花，可供观赏。清李斗《扬州画舫录》卷十七：“墁地，……用石做细做糙，凿做华兽。”

“虎皮石”：清李光庭《乡言皆颐》卷二：“北地以余所见，则蓟州、三河墙屋，多用不方不圆者甃砌，合缝以灰钩之，谓之虎皮石，既坚且耐观。”(张俊等，1987：280-281)

(二)体现人的意趣和精神追求，诗情画意

程裕祯(1998：236)认为：中国园林虽然是艺术地再造自然，却不是无目的地再现自然，而是在自然景物中寄托一定的理想和信念，借助自然景物来表达园林主人的志向和趣味，以满足人的某种追求。因而中国园林大多借景寓情，以景明志，赋予外观的景物以丰富的文化内涵。皇家园林自古受神仙思想的影响，躲在园林中布置海上仙山，以体现帝王祈求成仙和长享富贵的愿望。如北京的中南海、北海以及水云榭就是这一思想的具体表现。私宅园林也有主人的某种寓意，如苏州的“拙政园”就是园主以“拙者为政”之意命名，寄托了其寓山水而避朝政的愿望。中国的园林还常常借助字画、楹联、碑匾描绘四周景物，表明园主的志趣。如：

◆ 宝玉道：“尝闻古人有云：‘编新不如述旧，刻古终胜雕今。’况此处并非主山正景，原无可题之处，不过是探景一进步耳。莫若直书‘曲径通幽处’这句旧诗上，倒还大方气派。”(曹雪芹《红楼梦》第十七回)

Baoyu replied，“I've heard that the ancient said，‘An old quotation beats an original saying;to recut an old text is better than to engrave a new one．'As this is not the main prominence or one of the chief sights，it only needs an inscription because it is the first step leading to the rest．So why not use that line from an old poem：

A winding path leads to a secluded retreat．

A name like that would be more dignified．”(杨宪益、戴乃迭译)

楹联中的题名、匾额、楹联等都有点景、抒情、寓意等作用。如：

◆ 一时黛玉进了荣府，下了车。众嬷嬷引着，便往东转弯，穿过一个东西的穿堂，向南大厅之后，仪门内大院落，上面五间大正房，两边厢房鹿顶耳房钻山，四通八达，轩昂壮丽，比贾母处不同。黛玉便知这方是正经内室，一条大甬路，直接出大门的。进入堂屋中，抬头迎面看见一个赤金九龙青地大匾，匾上写着斗大的三个字，是“荣禧堂”。(曹雪芹《红楼梦》第三回)

Back in the Rong Mansion，Daiyu alighted again．The nurses led her eastwards，round a corner，through an entrance hall into a hall facing south，then passed through a ceremonial gate into a large courtyard．The northern building had five large apartments and wings on either side．This was the hub of the whole estate，more imposing by far than the Lady Dowager's quarters．

Daiyu realized that this was the main inner suite，for a broad raised avenue led straight to its gate．Once inside the hall she looked up and her eye was caught by a great blue tablet with nine gold dragons on it，on which was written in characters large as peck measures：

Hall of Glorious Felicity．(杨宪益、戴乃迭译)

(三)体现了含蓄、曲折及变化，疏密相间

程裕祯(1998：236)认为中国园林在造园手法上含蓄、曲折、变化，反对僵直、单调、一览无余。顾伟列(2005：143)认为中国园林追求的是曲折含蓄、变化有致的美学品格，忌园内景观整齐划一，一览无余。在造园手法上，善于通过迂回曲折、山水相间的空间序列布局，使园中楼阁掩映，山石错落，曲水逶迤，竹木婆娑。为了使空间欲露先藏，往往用花木、围墙、假山、漏窗等略挡视线，营造出曲径通幽、柳暗花明又一村的意境。因此园林中的景物大多藏而不露，隐而不现。如：

◆ 于是，出亭过池，一山一石，一花一木，莫不着意观览。忽抬头看见前面一带粉垣，里面数楹修舍，有千百竿翠竹遮映。众人都道：“好个所在!”于是大家进入，只见入门便是曲折游览，阶下石子漫成甬路。上面小小两三间房舍，一明两暗，里面都是合着地步打就的床几椅案。从里间房内又得一小门，出去则是后院，有大株梨花兼着芭蕉。又有两间小小退步。后院墙下忽开一隙，得泉一派，开沟仅尺许，灌入墙内，绕阶缘屋至前院，盘旋竹下而出。(曹雪芹《红楼梦》第十七回)

They left the pavilion then，crossed the bridge and strolled on，admiring each rock，each height，each flower and each tree on the way，until they found themselves before the whitewashed enclosing walls of a fine lodge nestling in a dense glade of fresh green bamboos．With cries of admiration they walked in．

From the gate porch a zigzag covered walk with a cobbled path below and parallel to it wound up to a little cottage of three rooms，with the cottage door in the middle one and furniture made to fit the measurements of the rooms．Another small door in the inner room opened on to the back garden with its large pear-tree，broad-leafed plantain and two tiny side courts．Through a foot-wide opening below the back wall flowed a brook which wound past the steps and the lodge to the front court before meandering out through the bamboos．(杨宪益、戴乃迭译)

【注】“地步”：格局、尺寸。

“退步”：正屋后面的小厅舍，供临时休息之用，也叫“拖步”。清李元复《常谈丛录》：“人家造屋，或基地长有余，则于堂北壁后为夹室，穿牖(窗户)以通明，近戚好朋，可延接燕坐。予乡俗称为拖步，想即退步之义。”(张俊等，1987：283)