| 摘要: |
| 山水对于中国传统文人而言，不仅
是艺术，还是信仰。本文用“看不见的”来形
容“山水”，反映的是传统山水审美在中国现
当代语境下的迷失与解构的过程，以及潜在
的寻回与重构途径。本文选取了三幅山水画
典范作品，分析画中描绘的山水景象与现存
实地风景的差异，得出三种“看不见的山水”
形式，进一步探讨风景园林视野中的现当代
国人与山水关系的变化，提出山水仅仅是“看
不见”或“被遗忘”，而非彻底消逝，是可以
被重新看见的，同时提出在风景园林领域中
寻回与重构山水审美范式的可能途径。 |
| 关键词: 看不见的 山水 审美范式 迷失与
重构 |
| DOI：10.13791/j.cnki.hsfwest.20210215 |
| 分类号: |
| 基金项目:广东省自然科学基金项目（2017A030310461） |
|
| Loss and Reconstruction of the Aesthetic Paradigm of Traditional Landscape Wisdom inLandscape Architecture Perspective |
|
GAO Wei,LIU Yin
|
| Abstract: |
| Landscape is not only an art, but also a belief for traditional Chinese literati. This
paper uses "invisible" to rhetoric "landscape", which reflects the loseness and deconstruction
process of traditional landscape aesthetics in the context of contemporary China, as well as the
potential way of recovery and reconstruction.
At the beginning, the research traces the pursuit of the core values of traditional Chinese
literati: the way to be the sage. In the analysis of Preface for Painting of Landscape, the research
found the relationship between sages, wise men and landscape, which reflects that the initial
positioning in Chinese art is not simply laid on natural beauty of any objects, but more than a
way for literati to achieve the ultimate pursuit of life. The value, as well as its profound content is
equaled by no other concept of “landscape” in western world.
With the help of early landscape works, the study obtained three traditional landscape
aesthetic paradigms from the perspective of landscape architecture. Firstly, a perfect communion
of the inner soul and the physical world is thus revealed. China emphasizes the overall blending
relationship between Chinese literati and nature, which is distinct from the aesthetic paradigm
of subject-object analysis in the west. Such point of view could be drawn from the analysis of
ancient Chinese poetry. Secondly, the viewing experience is illustrated and could be contented
wherever one may be in heart tour. Based on the view of nature, the traditional Chinese literati
formed a field of vision: “pitch and return for a wide watch, to be carefree and self-pleased”,
which is different from the concept of “isolated”, “still”, and “one-sided" perspectives. The time-
space view is thus demonstrated, integrated with time and space in cycling. Taking Poetry of
Wangchuan and Scroll Painting of Wangchuan as examples, through the comparison of text and
images, traditional literati keeps an integrated view of the landscape, space and time, that grasps
the rhythm of the whole world.
The traditional landscape aesthetic paradigm profoundly affects all aspects of Chinese
traditional culture, especially in the field of landscape architecture. In the context of landscape
architecture, the traditional landscape concept is gradually moving towards the "invisible"
state, which is also the process of the forgotten and lost relationship between the landscape
and landscape architecture. Three typical works of landscape painting were selected in the
article, describing the status and causes of the three kinds of "invisible landscape". First, the
disappearance of the real scene was discussed. With the example of Wangchuan, under the influence of factors such as the changes of landform and geomorphology, the changes of ancient ecosystem, and the preservation of ruins in the
area, the landscape shown in Poetry of Wangchuan and Scroll Painting of Wangchuan is nowhere to be found. The second on discussion is the loss of
intention of landscape. Taking the eight sceneries in Xiaoxiang as an example, the intention of traditional landscape changes according to different
space-time conditions, which belong to a kind of artistic conception and is not limited by specific locations. However, the new eight sceneries
are precisely connected to specific locations, and more emphasis is placed on the summary of the characteristics of the scenic spots, rather than
the cultural inheritance of the traditional eight scenes in Xiaoxiang. It reflects that contemporary people have forgotten the essence of traditional
landscape conception in the process of landscape management and construction. The third one is the separation of the relationship of space and time.
With The Dwelling in Fuchun Mountain, after tracing back the origin and process of the painting by Gongwang Huang, the research contrasted the
dynamic sceneries conveyed by paintings with the current status of the landscape of Fuchun, and found that the connection of space and time among
current attractions have been lost. This is a kind of unconscious “invisibility” that takes time and space away.
The above three kinds of “invisible landscape” correspond to the forgotten process of the three traditional landscape aesthetic paradigms in
modern China. The article further explores the change of the relationship between contemporary Chinese and landscape in landscape perspective,
showing that although the design model of western spatial logic plus Chinese formal symbols has certain significance, it would be a pity if Chinese
designers forgot the core of Chinese traditional landscape.
Finally, the article puts forward that landscape is “invisible” or “forgotten” rather than completely disappeared, which means that it can be seen
again. At the same time, five possible ways to find and reconstruct the landscape paradigm in the field of landscape architecture were discussed.
Firstly, from the conservation plan for a single element to the conservation plan to protect and restore the relationship between the traditional
landscape pattern. Secondly, the pursuit of landscape changes from physical form to situational image. Thirdly, it is from the creation of concrete
scenery to the creation of artistic conception. Fourthly, it is from the pursuit of viewing experience to the creation of viewing experience; Fifthly, it is
from the design of spatial sequence to the creation of a unified space-time relationship. |
| Key words: Invisibility Landscape Aesthetic Paradigm Loss and Reconstruction |
