峨眉山名山风景区景观序列研究
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摘要
在社会进程飞速发展的今天,有些人错误地将“传统”与过去划等号,把传统文化看成是一种已成型的东西,注重对新文化的开拓而忽视了对传统文化的继承。其实,传统文化决不只意味着一种既定的概念,而是流动于过去、现在、未来这整个时间维度中的一种人类的创造,具有不可逆的传承性。中国名山风景区是传统文化体系中极为重要的组成部分,它通过人工美与自然美的完美结合,采用构景艺术手法,以建筑为主要手段,对环境进行加工,创造出布局自由、曲折幽深、充满山水诗化意境的观赏、游乐和朝拜的空间。在其间所运用的各种空间处理手法和技巧,所体现的序列组织,对今天的现代景观设计仍有重要的借鉴和指导意义。
中国规划界、建筑史界和园林界历来重视对风景区名胜区的保护与研究,也积累了丰富的研究成果。但从目前的研究现状来看,对从地理特征——山地这一角度出发,结合景区的宗教文化,对景观序列进行系统的、宏观的、多尺度的理论及实践的研究与论述仍然相对缺乏。因此,笔者以峨眉山名山风景区为对象,力图对此问题提出一些拙见。
“欲知大道,必先为史”。任何事物及其发展都是处于特定的历史环境中的,其本身也是历史发展长河中的一部分。因此,研究峨眉山名山风景区的景观序列,首先应从景区的历史沿革入手。在第二章,通过对影响景区发展的多样的历史文化进行分析,理清景区的发展变迁脉络及几经角色变换后的现存格局,为后文的论述奠定了基础。
峨眉山有着天生优越的自然环境,由植被分布序列和气象景观序列综合而成的景区自然景观序列形象地显现出“时间是一种持续的秩序”①的哲理。而由于人工的介入,以寺庙建筑为主体的人文景观体系巧妙地与自然景观有机融合,形成峨眉山完整的景观系统,在游览路线的组织下呈现地串珠式的景致序列和气韵生动的寺庙建筑空间序列更如一首首完美的乐曲,让人在跳动的节奏中充分体会空间的丰富多变。这便是第三、四章的研究内容。
在对中国传统景区的创作和欣赏中,最高的美学层次并不是这一景一物的工拙妍媸,而是对“意境”的追求。第五章以峨眉山名山风景区如何鉴赏指引意境的感知为研究对象,进而重点分析佛教文化指引下的朝拜意境序列的组织,以笔代境,经由山麓报国寺至山顶华藏寺,感悟峨眉山完整的朝拜意境序列,领略“山是一尊佛,佛是一座山”的无尽禅机。最后对景区营造意境氛围的手法进行了解读。
通过前面几章的研究论述,在第六章里,对建筑空间秩序的组织原则和景区序列组织的特征进行了总结,并针对相关的方面对现代风景区景观的设计和保护开发提供了一些内在的思路和启示,点明了探讨名山风景区景观序列组织的意义所在。
In rapid social development today,some people wrongly equate "tradition" with the past. They regard traditional culture as a kind of things which have taken shape and pay more attention to new cultural development, neglecting inheriting traditional culture. Actually, the traditional culture doesn’t only mean a fixed concept, but also a kind of human creation that courses a irreversible succession, from the past through the present to the future. The landscape spots of famous mounts in Chinese are important parts of traditional culture system. They, which are well designed to be form free, poetic sightseeing or pilgrimage place, integrates the artificial and natural beauty perfectly, by laying out architecture and refining on landscape with artificial scenery accomplishments. The technique of space shaping and sequence organization is still of guidance and reference to modern landscape design nowadays.
There are achievements of protection and research of scenic and historic interest areas in abundance which are acquired by planning, architecture historiography and landscape circles. Regarding the status quo, the discourses which focus on systemic, macrocosmic and multi-dimensional theory and practice of landscape sequences research by integrating mountains as a geographic characteristic with religion culture is relatively in short still. Therefore, I try to approach the task by studying the landscape spot of Mt.Emei.
History always tell how things go. Therefore, landscape sequences research of the landscape spot of Mt.Emei should be started with historical variance. In chapter two, I straighten up the evolvement and current layout of Mt.Emei Interest Area as base for the latter by analysis the culture and history which influenced the variance.
There is predominant natural circumstance in Mt.Emei. Natural landscape sequence, which integrates vegetation distribution sequence with weather landscape sequence, visualizes the philosophy of“Time is a sort of durative order”. The artificial landscape such as temple architecture syncretize the natural landscape organically and form the whole integrated landscape system of Mt.Emei together. The architecture space sequence is presented to be in series scenery which is like a perfect rhythm composed by the sightseeing route, guiding tourist to experience the dynamic space. These are the contents in chapter three and four.
The highest aesthetics on traditional sightseeing design and admiration in China is not shaping a single piece of scene, but pursuing“artistic conception”. By researching the way to experience artistic conception of Mt.Emei Interest Area, chapter five analysis the pilgrimage sequence directed by the Buddhism. I try to comprehend the conception of this sequence, by passing through Baoguo temple at the bottom of the mount to Huazang temple on the top of it, to appreciate the Zen of“Mount as Buddha”. And finally, I unscramble the technique of refining the atmosphere of the interest area.
Chapter six summarize the organization principle and characteristic of architectural space and landscape sequence, and bring out some inner reflection and revelation of landscape design and protected development of modern interest area on some related aspect. It also point out the significance of probing into the landscape sequence organization of the landscape spots of famous mounts.
中国规划界、建筑史界和园林界历来重视对风景区名胜区的保护与研究,也积累了丰富的研究成果。但从目前的研究现状来看,对从地理特征——山地这一角度出发,结合景区的宗教文化,对景观序列进行系统的、宏观的、多尺度的理论及实践的研究与论述仍然相对缺乏。因此,笔者以峨眉山名山风景区为对象,力图对此问题提出一些拙见。
“欲知大道,必先为史”。任何事物及其发展都是处于特定的历史环境中的,其本身也是历史发展长河中的一部分。因此,研究峨眉山名山风景区的景观序列,首先应从景区的历史沿革入手。在第二章,通过对影响景区发展的多样的历史文化进行分析,理清景区的发展变迁脉络及几经角色变换后的现存格局,为后文的论述奠定了基础。
峨眉山有着天生优越的自然环境,由植被分布序列和气象景观序列综合而成的景区自然景观序列形象地显现出“时间是一种持续的秩序”①的哲理。而由于人工的介入,以寺庙建筑为主体的人文景观体系巧妙地与自然景观有机融合,形成峨眉山完整的景观系统,在游览路线的组织下呈现地串珠式的景致序列和气韵生动的寺庙建筑空间序列更如一首首完美的乐曲,让人在跳动的节奏中充分体会空间的丰富多变。这便是第三、四章的研究内容。
在对中国传统景区的创作和欣赏中,最高的美学层次并不是这一景一物的工拙妍媸,而是对“意境”的追求。第五章以峨眉山名山风景区如何鉴赏指引意境的感知为研究对象,进而重点分析佛教文化指引下的朝拜意境序列的组织,以笔代境,经由山麓报国寺至山顶华藏寺,感悟峨眉山完整的朝拜意境序列,领略“山是一尊佛,佛是一座山”的无尽禅机。最后对景区营造意境氛围的手法进行了解读。
通过前面几章的研究论述,在第六章里,对建筑空间秩序的组织原则和景区序列组织的特征进行了总结,并针对相关的方面对现代风景区景观的设计和保护开发提供了一些内在的思路和启示,点明了探讨名山风景区景观序列组织的意义所在。
In rapid social development today,some people wrongly equate "tradition" with the past. They regard traditional culture as a kind of things which have taken shape and pay more attention to new cultural development, neglecting inheriting traditional culture. Actually, the traditional culture doesn’t only mean a fixed concept, but also a kind of human creation that courses a irreversible succession, from the past through the present to the future. The landscape spots of famous mounts in Chinese are important parts of traditional culture system. They, which are well designed to be form free, poetic sightseeing or pilgrimage place, integrates the artificial and natural beauty perfectly, by laying out architecture and refining on landscape with artificial scenery accomplishments. The technique of space shaping and sequence organization is still of guidance and reference to modern landscape design nowadays.
There are achievements of protection and research of scenic and historic interest areas in abundance which are acquired by planning, architecture historiography and landscape circles. Regarding the status quo, the discourses which focus on systemic, macrocosmic and multi-dimensional theory and practice of landscape sequences research by integrating mountains as a geographic characteristic with religion culture is relatively in short still. Therefore, I try to approach the task by studying the landscape spot of Mt.Emei.
History always tell how things go. Therefore, landscape sequences research of the landscape spot of Mt.Emei should be started with historical variance. In chapter two, I straighten up the evolvement and current layout of Mt.Emei Interest Area as base for the latter by analysis the culture and history which influenced the variance.
There is predominant natural circumstance in Mt.Emei. Natural landscape sequence, which integrates vegetation distribution sequence with weather landscape sequence, visualizes the philosophy of“Time is a sort of durative order”. The artificial landscape such as temple architecture syncretize the natural landscape organically and form the whole integrated landscape system of Mt.Emei together. The architecture space sequence is presented to be in series scenery which is like a perfect rhythm composed by the sightseeing route, guiding tourist to experience the dynamic space. These are the contents in chapter three and four.
The highest aesthetics on traditional sightseeing design and admiration in China is not shaping a single piece of scene, but pursuing“artistic conception”. By researching the way to experience artistic conception of Mt.Emei Interest Area, chapter five analysis the pilgrimage sequence directed by the Buddhism. I try to comprehend the conception of this sequence, by passing through Baoguo temple at the bottom of the mount to Huazang temple on the top of it, to appreciate the Zen of“Mount as Buddha”. And finally, I unscramble the technique of refining the atmosphere of the interest area.
Chapter six summarize the organization principle and characteristic of architectural space and landscape sequence, and bring out some inner reflection and revelation of landscape design and protected development of modern interest area on some related aspect. It also point out the significance of probing into the landscape sequence organization of the landscape spots of famous mounts.
引文
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[3]周维权.山岳风景名胜区的建筑[C].风景园林.
[4]曾宇王乃香.巴蜀园林艺术[M].天津大学出版社, 2000.10.
[5]巴蜀历史文化论集[C].巴蜀书社, 2002.
[6]斯心直.西南民族建筑研究[M].云南教育出版社, 1992.10.
[7]赵光辉.中国寺庙园林环境[M].北京旅游出版社, 1987.11.
[8]赵长庚.西蜀历史文化名人纪念园林[M].四川科学技术出版社, 1989.7.
[9]单德启.天工人巧两臻其美——以黄山为例探讨风景名胜区建筑文化[C].华中建筑第21卷, 2003.
[10]余树勋.园林美与园林艺术[M].中国建筑工业出版社, 2006.
[11]彭一刚.建筑空间组合论[M].中国建筑工业出版社, 1983.9.
[12] (日)芦原义信著尹培桐译.外部空间设计[M].中国建筑工业出版社, 1988.
[13]杨震纲,诗解品.转引自王路,起承转合——试论山林佛寺的结构章法[C].建筑师(29), 1988.
[14]王其钧.中国园林建筑语言[M].机械工业出版社, 2007.
[15]赵长庚.西蜀园林研究[M].四川科学技术出版社, 1989.
[16]侯幼斌.中国建筑美学[M].黑龙江科学技术出版社, 1997.9
[17]王其钧.中国古代绘画中的建筑与环境[M].中国建筑工业出版社, 2006.
[18]王霞玉.试论风景园林的兴奋点设计[C].山西建筑,第33卷(08), 2007.
[19]谢凝高.中国的名山[M].上海教育出版社, 1987.
[20]谢凝高.山水审美[M].北京大学出版社, 1991.11.
[21]彭一刚.中国古典园林分析[M].中国建筑工业出版社, 1986.12.
[22]王毅.翳然山水:棲心中国园林之境[M].北京大学出版社, 2006.11.
[23]张家骥.中国造园论[M].山西人民出版社, 1991.
[24]彭一刚.传统村镇聚落景观分析[M].中国建筑工业出版社, 1992.12.
[25]王其亨.风水理论研究[M].天津大学出版社, 1992.8.
[26]张家骥.园冶全释[M].山西古籍出版社, 2002.8.
[27]艾定增王安民安笠铭.景观园林新论[M].中国建筑工业出版社, 1995.
[28]卢济威.山地建筑设计[M].中国建筑工业出版社, 2001.2.
[29]周维权.中国古典园林史(第二版)[M].清华大学出版社, 1999.10.
[30]俞孔坚.景观:文化.生态与感知[M].北京科学出版社.
[31]陈从周.中国园林[M].广东旅游出版社, 2004.
[32]吴宗安.中国园林曲线与直线的美感寓意[C].中国园林8卷(1), 1992.
[33]鲍诗度.中国环境艺术设计集论[C].中国建筑工业出版社, 2008.1.
[34]李泽厚.美的历程[M].天津社会科学院出版社, 2001.
[35]章采烈.中国园林艺术通论[M].上海科学技术出版社, 2004.
[36]赵春林.园林美学概论[M].中国建筑工业出版社, 1992.
[37]金学智.中国园林美学[M].中国建筑工业出版社, 2000.2.
[38]宗维城.中国园林建筑图集[M].中国书籍出版社, 1995.
[39]冯钟平.中国园林建筑[M].清华大学出版社, 2000.2.
[40]楼庆西.中国园林艺术:Art of Chinese Garden[M].艺术家出版社, 2001.
[41]吴必虎.中华文化通志——景观志[M].上海人民出版社.
[42]王毅.园林与中国文化[M].上海人民出版社, 2004.
[43]周武忠.园林美学[M].农业出版社, 1996.
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