| 摘要: |
| 佛教源于印度，随佛教传入中国的
佛塔，吸收了博大精深的中华文化，从意义
上发生了融合转换，神圣崇拜之感逐渐褪
去，人性感悟之光逐渐明亮，从而体现于形
象之上，生成了诸多的形式和用途的变化。作
为中国古代独特的建筑语言，佛塔无不影响
着中国古典园林的设计、营造和审美。一是其
形象的体量、比例和位置对古典园林造景手
法多样性和鉴赏标准的提升，二是其意义背
后的哲学思想对古典园林中“山水”“禅境”
等高度凝练的空间想象和意境氛围做出的
补充。 |
| 关键词: 佛塔 中国古典园林 造景手法 鉴
赏标准 空间想象 意境氛围 |
| DOI：10.13791/j.cnki.hsfwest.20210214 |
| 分类号: |
| 基金项目: |
|
| From the Significance to the Form: Analysis of the Influence of Buddhist Pagodas onChinese Classical Gardens |
|
XU Jiarui,LIU Tingfeng
|
| Abstract: |
| Buddhism is originated in India. With the introduction of Buddhism into China,
pagodas have absorbed the extensive and profound Chinese culture. In the sense of integration
and transformation, the sense of sacred worship gradually fades away and the light of human
nature gradually brightens, which is reflected in the form, and has produced many changes
in use. Before the sinicization, there was an equal relationship between the pagoda and the
Buddha. As the statue of Buddha gradually replaced the pagoda and evolved into the Buddha
itself, the audience hall became the most important building in the temple. Worshiping
Buddha in the hall, just like worshiping ancestors in the ancestral hall, is more suitable for the
worship behavior of Chinese people. So the religious significance of pagoda worship gradually
declined, just continued to maintain the symbolic function of the temple. In addition, because
the geomantic theory of Kanyu thought that the temple can protect people from evil things, so
did the pagoda. So after the decline of the temple, the pagoda remained became the form of
“Zhensha” in the city.
Since the Tang and Song Dynasties, the pagoda is no longer a sacred symbol that cannot
be approached, but a place of art where people intimate contacted and expressed the heroic
spirit. The temple has become a place for people to relax, pray, consume, do business and
other secular life. The pagoda has naturally become a place for climbing, enjoying flowers and
drinking. It has completely integrated into the life of ancient people, and has also become a
“billboard” symbol and memory of cities, towns and villages.
The relationship between “significance” and “form”, that is, internal spirit and external
form, has long been used in artistic creation by Chinese ancestors. The combination and
unification of significance and form can help us have a general grasp of things. It is an important
feature of Chinese traditional garden design to set up the form to express the significance. The
creative process of “from the significance to the form” has a strong substitution and appeal.
For the creator himself, it is to borrow things to express his feelings, and for the visitors, it is
to comprehend. Therefore, “significance” is the center of gardening activities. The influence
of pagoda form on Chinese classical garden is reflected in the external. However, every inch of the space and every sequence of the garden is full of the emotion and subjective consciousness of the design subject. Once the visitor enters
the garden, he or she looks up, looks down, or ascends, through the interpretation of the “form” of the pagoda, he or she can reverse his or her
“significance” and experience the deep artistic conception of the space.
In terms of “form”, pagodas have an impact on Chinese classical gardens from the aspects of landscape design techniques and appreciation
standards. In terms of landscaping techniques, it can be divided into layout, point scenery and borrowing scenery. The first thing is the layout.
The different layout forms of temples and pagodas are “central universe”, “double tower structure” and “zang fa zhen wei”, which mainly affect
the temple garden and royal garden; the second thing is point view, which needs the sight control point for landscape design. The large or small
pagodas play this role and become the common elements in Chinese classical gardens; the last thing is the borrowing of view, pagoda expands
and extends the space and vision of Chinese classical gardens, which virtually enriches the rhythm and level of landscape. On the standard of
appreciation, it is divided into structure, proportion and geomancy. The former two tend to artistic aesthetics, while the latter tend to cultural
connotation. Those three aspects greatly promote the development of Chinese classical garden culture together.
In terms of “significance”, the influence of pagodas on Chinese classical gardens lies in the perfection of the process of landscape design and
creation from the significance to the form. In the period of Wei, Jin, Southern and Northern Dynasties, the artistic accomplishment and artistic
conception of the literati group were constantly improved after the integration of Confucianism, Buddhism and Taoism. The virtual reality of the
pagoda was no longer valued by them. If they wanted to, they would be able to fly their thoughts and ride the clouds. On one hand, the classical
garden gives the creators and viewers a space to communicate in different time and space, the same position, the same feeling and spirit. On the
other hand, the philosophical thought behind pagoda’s significance complements the highly concise space imagination and artistic atmosphere of
“shanshui” and “Zen state” in the classical garden. Different from the sacred, ethereal and Buddhist characteristics of the original temple garden,
influenced by the change of the significance of the pagoda, the Chinese classical garden is more and more close to people in the development,
gradually has the space atmosphere of “heaven, earth, Buddha and people belong to one”. |
| Key words: Buddhist Pagodas Chinese Classical Gardens Landscape-Making Techniques Appreciation Criteria Spatial Imagination Artistic
Atmosphere |
