本文選題：園林文獻(xiàn) + 《園冶》��； 參考：《山東大學(xué)》2015年博士論文

【摘要】：中國(guó)古典園林文獻(xiàn),顧名思義,指所有記錄、說(shuō)明、描寫(xiě)、歌頌中國(guó)古典園林及園林生活的文字及圖畫(huà)。依據(jù)對(duì)園林表現(xiàn)的深度和廣度的差異,園林文獻(xiàn)可分為主體性園林文獻(xiàn)和附屬性園林文獻(xiàn)。另就文獻(xiàn)體裁及內(nèi)容側(cè)重點(diǎn)的不同,主體性園林文獻(xiàn)又可細(xì)分為園論、園記、園畫(huà)三類(lèi)；附屬性園林文獻(xiàn)則分為園林詩(shī)詞、園林匾聯(lián)、花譜石譜、零散園林史料四類(lèi)�！秷@冶》并非只在明崇禎七年刊刻過(guò),在清代還曾再刊,且不止一種翻刻本；《木經(jīng)全書(shū)》和《奪天工》也并非是在日本改名出版的,而是通過(guò)商船出口到日本的。《奪天工》卷首的“華日堂藏書(shū)”“卓犖觀(guān)群書(shū)”收藏印記、《木經(jīng)全書(shū)》卷首的“隆盛堂”牌記透露了版本信息。闞鐸曾言清人只李漁見(jiàn)過(guò)《園冶》,其實(shí)不然,有清一代除李漁外,見(jiàn)過(guò)《園冶》一書(shū)的還有清代伍涵芬、謝浦泰,以及《振綺堂書(shū)錄》的撰寫(xiě)者朱文藻及振綺堂的主人汪憲及其后人�！秷@冶》中未涉及匾聯(lián),引起一些學(xué)者的猜測(cè)。有的說(shuō)是因?yàn)樨衣?lián)配合于柱、額的做法直到清代才興盛,有的則認(rèn)為在宋代的園林中題聯(lián)已經(jīng)很普遍。實(shí)際上,園林楹聯(lián)雖在宋代已出現(xiàn),但因文獻(xiàn)記載絕少,尚不能證明已普遍,但可以確定,其在元末明初已盛行。計(jì)成未提匾聯(lián),是因分工不同�！堕L(zhǎng)物志》十二卷中與園林密切相關(guān)者為室廬、花木、水石、禽魚(yú)、幾榻、器具、位置七卷�！皫组健薄捌骶摺薄拔恢谩敝薪榻B了數(shù)十種日常用具的材質(zhì)、結(jié)構(gòu)、用途及擺放位置,是《園冶》所未涉及的。書(shū)中處處標(biāo)榜“韻事”,排斥“惡俗”,重視景物的“畫(huà)意”,與《園冶》的觀(guān)點(diǎn)既有相似之處,也有相左的地方�！堕e情偶記》八個(gè)部類(lèi)中,“居室部”“種植部”涉及造園。與明清一般文人對(duì)造園僅泛泛而論不同,李漁不但有造園實(shí)踐,且在當(dāng)時(shí)及后世頗具盛名。李漁的不少觀(guān)點(diǎn)往往和計(jì)成不謀而合�！堕e情偶寄》的“聯(lián)匾”可補(bǔ)《園冶》之缺。二書(shū)不是專(zhuān)門(mén)討論造園的專(zhuān)著,文人筆墨游戲的成分居多,缺乏較系統(tǒng)的理論支撐。自唐中期至清末,園記有一千四百余篇。若以園記作者所處的時(shí)代為界,則明代園記數(shù)量最多,宋、清次之,元、唐、金、南北朝又次之,漢代數(shù)量最少；若以園林所在的地域?yàn)榻?則江蘇最多,浙江、北京、河南、安徽、河北、上海次之,其余省份數(shù)量較少。本章先就園記的概念、園記的興起及發(fā)展、園記的寫(xiě)作方法及目的、現(xiàn)存園記的概況及園記類(lèi)型作簡(jiǎn)要概述,再?gòu)膱@記對(duì)園林的描寫(xiě)與表現(xiàn)、園記對(duì)園林生活的再現(xiàn)與歌頌、園記對(duì)園林史的勾勒和梳理、園記對(duì)景觀(guān)命名方式的記錄和反映四個(gè)方面具體展開(kāi)論述,最后以園記的主題作結(jié)。園畫(huà)的主要功能在于描繪園林景色及布局、再現(xiàn)園林生活,前人對(duì)前者研究較充分,對(duì)后者關(guān)注不夠。園畫(huà)所描繪的園林生活主要有兩個(gè)主題：其一,男性的娛樂(lè),如博古、品茗、消夏、行樂(lè)；其二,女性的世界,如耕織、梳妝、乞巧、拜月、讀書(shū)、吟詩(shī)、奏樂(lè)、弈棋、博古、賞花、斗草、觀(guān)物取樂(lè)、蕩秋千、蹴鞠、捶丸等,按其性質(zhì),可以概括為宣揚(yáng)教化、祝愿祈禱、修身養(yǎng)性、休閑娛樂(lè)、活動(dòng)消遣五類(lèi)。園林詩(shī)詞中所描述的園林景象往往屬于泛指,并非寫(xiě)實(shí),但園林詩(shī)詞仍有其不可替代的文獻(xiàn)價(jià)值,詩(shī)詞中營(yíng)造的“園林意境”也不容忽視。園林匾聯(lián),是富有人文氣息的園林區(qū)別于純自然風(fēng)景區(qū)的重要標(biāo)志,對(duì)園林景物起著畫(huà)龍點(diǎn)睛的作用。在花譜類(lèi)文獻(xiàn)中,花木真正成為被關(guān)注的焦點(diǎn),有關(guān)花木的種類(lèi)、產(chǎn)地、名稱(chēng)由來(lái)、生長(zhǎng)習(xí)性、培植方法等,被以接近自然科學(xué)的方式呈現(xiàn)在讀者面前；石譜等論石著作,對(duì)歷代造園所用石材的產(chǎn)地、特性記述尤詳,可以彌補(bǔ)園記中多以“奇石”“假山”籠統(tǒng)描述石品的不足。方志是記載衙署園林的文獻(xiàn)寶庫(kù)�！遁浀丶o(jì)盛》“景物”門(mén)已有園林亭館的記載,《方輿勝覽》中涉及園林的門(mén)類(lèi)增多,崇禎年間的《太倉(cāng)州志》中出現(xiàn)“園林”條目。筆記體散文著作中不乏珍貴的園林史料,如《癸辛雜識(shí)·別集下·藥洲園館》記載的園中三副桃符,是迄今所知最早的園林楹聯(lián)。先秦史書(shū)記載苑囿僅及名稱(chēng),漢代史書(shū)中有關(guān)園林的文字仍很簡(jiǎn)約,但據(jù)其記載已約略可知皇家苑園的名稱(chēng)、數(shù)量等情況；在記載魏晉南北朝歷史的史書(shū)中,有關(guān)園林的記載有所突破,記皇家宮苑一改前代史書(shū)中“某年月幸某苑”等流水賬式寫(xiě)法,添加了場(chǎng)景描寫(xiě)及議論,所記私家園林不再僅以姓氏冠名；新、舊《唐書(shū)》中關(guān)于園林的記載顯著增多；《宋史》記帝王游幸御園的頻率遠(yuǎn)高于前朝及后代,《宋史·禮志·嘉禮》增加了“游觀(guān)”條；元明清三代史書(shū)中有關(guān)園林的記載非常罕見(jiàn)。通過(guò)史書(shū),可以大致梳理出歷代苑園管理機(jī)構(gòu)的更迭情況。小說(shuō)分文言和白話(huà),白話(huà)又分短篇和長(zhǎng)篇。文言小說(shuō)以筆記體小說(shuō)為代表,《剪燈新話(huà)》中的很多故事發(fā)生在園林閨閣之中,是“庭院式”言情小說(shuō)的較早作品,《聊齋志異》繼承了明代庭院式言情小說(shuō)的寫(xiě)作模式,并使之更為細(xì)膩、寫(xiě)實(shí),人物形象更豐滿(mǎn),故事場(chǎng)景更生活化。白話(huà)短篇以“三言二拍”、《十二樓》為代表,其中有關(guān)園林的文字,多半止于外部景觀(guān)描寫(xiě),偶爾會(huì)涉及居室布置。白話(huà)長(zhǎng)篇以《紅樓夢(mèng)》為代表,書(shū)中關(guān)于大觀(guān)園的描述,幾乎涉及造園各個(gè)方面,對(duì)園居生活描述尤詳�！都t樓夢(mèng)》中的園林既是人物活動(dòng)的背景,又是情節(jié)發(fā)展的有力推手,對(duì)人物形象的塑造、故事脈絡(luò)的起伏起到襯托、映射、暗示的作用。園林微環(huán)境與人物性格之間有著千絲萬(wàn)縷的內(nèi)在聯(lián)系。園林第一次在小說(shuō)中被賦予生命,一改短篇小說(shuō)中千篇一律的園林模式。由于作者思想深度、藝術(shù)修養(yǎng)、寫(xiě)作意圖等的差異及文獻(xiàn)體裁的不同,致使各類(lèi)園林文獻(xiàn)風(fēng)格迥異。但各種園林文獻(xiàn)之間,并不是完全孤立的,既各有分工,又相互重疊,很難明確分出楚河漢界。還原一座歷史名園,往往各類(lèi)園林文獻(xiàn)都要參考。從園林文獻(xiàn)中可以抽繹出中國(guó)古典園林的藝術(shù)特性。關(guān)于此點(diǎn),前人成說(shuō)主要著眼于園林所呈現(xiàn)的外部景觀(guān),偏重于顯性的設(shè)計(jì)層面,對(duì)古典園林隱性的思想層面的藝術(shù)特性認(rèn)識(shí)不足,尤其是物質(zhì)性、私密性方面。
[Abstract]:Chinese classical garden literature, as its name implies, refers to all the records, descriptions, descriptions, and praises of the Chinese classical gardens and the characters and pictures of the life of the garden. According to the differences in the depth and breadth of the garden performance, the garden literature can be divided into the main landscape literature and the attached attribute garden literature. Garden literature can be divided into three categories: garden theory, garden and garden painting. The attached garden literature is divided into garden poetry, garden plaque, flower stone spectrum, and scattered garden historical materials, four kinds. Not only in the seven years of Ming Chong Zhen, but also in the Qing Dynasty, and more than one kind of turning book. It is published, but through the export of the merchant ship to Japan. The book of "Hua sun halls", "the Chinese sun hall collection", "the grand view group book" collection, the "Longsheng hall" of the book of wood classics, has revealed the version information. Kan Tudor once said that only Li Yu had seen "gardening". In fact, there was a Qing Dynasty except Li Yu, and he had seen the book of "gardening >". In the Qing Dynasty, Wu Hanfen, Xie Pu Tai, and the writer of the book of Guqi hall, the author of Zhu Wenzao and the owner of the hall of Guqi, and his master Wang Xian and his posterity. There were no inscribed boards in the garden, which caused some scholars' speculation. Some said that the practice of the inscribed board combined with the column was not flourishing until the Qing Dynasty, and some thought that the title Union in the garden of the Song Dynasty was very common. Although the couplets have appeared in the Song Dynasty, there are few records of the couplets in the Song Dynasty, but they can not be proved to be common, but it can be confirmed that they are in vogue in the early Ming and early Ming Dynasty. "Position" introduces the material, structure, use and placement of dozens of daily utensils. It is not involved in the "gardening". In the book, it is all marked "affair", excluding the "vulgar" and the "picturesque" of the scenery. It is similar to the view of the garden, and there is a left place. Among the eight categories of leisure, the "residence Department" The "planting Department" involves gardening. It is different from the general literati in Ming and Qing Dynasties. Li Yu not only has the practice of gardening, but also has great fame at that time and later. Many of Li Yu's views often coincide with the plan. < "the tablet 'of the idle love" can supplement the lack of gardening. The two book is not a special Monographs on the garden, the pen and ink game of the literati. Since the middle of the Tang Dynasty to the end of the Qing Dynasty, there were more than one thousand hundred and four hundred pieces. In the period of the times of the garden writer, the number of gardens in the Ming Dynasty was the most, the song, the Qing times, the yuan, the Tang, the gold, the north and South Dynasties were the least, and the largest Jiangsu, the Zhejiang, Beijing, and the river if the garden was located. South, Anhui, Hebei, Shanghai is the second one, and the number of other provinces is small. This chapter begins with the concept of garden record, the rise and development of the garden, the writing method and purpose of the garden, the outline of the garden and the type of garden, and the description and expression of garden, the reappearance and praise of garden life, and the outline of garden history. The main function of the garden painting is to describe the landscape and layout of the garden, and to reproduce the garden life. The former study of the former is more fully and not enough to the latter. There are two main themes of garden life depicted in the garden painting: the main function of the garden painting is to describe the four aspects. First, men's entertainment, such as Bo Gu, tea, summer, music, the world of women, such as ploughing, dressing, begging, Yue moon, reading, singing, playing chess, bou Gu, flowers, grass, watching music, swing, Cuju, pounding pills and so on, according to their nature, can be summarized as enlightenment, wish prayer, body cultivation, leisure entertainment, recreational activities of five categories. The landscape poetry described in the garden poetry often belongs to the general reference, not the realism, but the garden poetry still has its irreplaceable literature value, and the "garden artistic conception" created in the poetry can not be ignored. The garden plaque is an important symbol of the rich humanistic garden which is different from the pure natural scenic area, and plays the finishing point to the garden scenery. In the anthology literature, flowers and trees have become the focus of attention. The species, origin, origin, origin, growth habits and cultivation methods of flowers and trees are presented in front of the readers in the way of natural science. "Strange stone" and "rockery" generally describe the shortage of stone goods. Square records are the treasure house of documents that record the Yamen garden. The records of the garden pavilion have been recorded in the gate of the land of public opinion, and the number of gardens involved in the garden is increased, and the "Garden" appears in the Taicang chronicles of the Chong Zhen period. There are precious gardens in the notes prose works. Historical materials, such as the three pairs of peach characters recorded in the garden of "chic miscellaneous knowledge, other collection and medicine Chau garden", are the earliest known garden couplets to date. The history secretaries of the pre-Qin period only have the gardens and their names. The characters of the gardens in the Han Dynasty are still very simple, but according to their records, the names and quantities of the royal garden have been knowable, and the records of the northern and Southern Dynasties in the Wei and Jin dynasties have been recorded. In history's history books, the records of gardens have been breakthroughs. In the history books of the Royal Palace, the story of "one year and the moon" was written in the history books of the royal palace. The description and discussion of the scenes were added, and the private gardens were no longer only named after the name of the family name. The rate is far higher than the former and the descendants, < Song Shi, Li Zhi and Jiali > increases the "tour view". The records of gardens in the three dynasties of the yuan, Ming and Qing Dynasties are very rare. Through the history books, we can roughly comb out the changes of the management institutions of the gardens of the dynasties. The novels are divided into classical and vernacular, and the vernacular is also short and long. Many of the stories in the new story of the lantern cut took place in the gardening boudoir, the earlier works of the "courtyard" romance novels. The story of "Liao Zhi Yi" inherited the writing mode of the courtyard style novels of the Ming Dynasty, and made it more delicate, realistic, the figure more plump and the story scene more living. The vernacular short stories were "three words, two beat" and the twelve building. For the representative, the characters of the garden are mostly stopped in the external landscape description, and occasionally involved in the bedroom layout. The vernacular is represented by the dream of the Red Mansion. The description of the Grand View Garden in the book almost involves various aspects of the garden and the description of the life of the garden. The garden in the dream of Red Mansions is both the background of the character activities and the development of the plot. In the first time, the garden has been endowed with life in the novel and changed the pattern of garden forest in the short story. Because of the depth of the author, the artistic accomplishment, the writing of the writer. The differences in intention and the difference of literature genres lead to different styles of garden literature. But among the various garden literature, it is not completely isolated. It is difficult to distinguish the Chu River and Han Dynasty. It is difficult to distinguish the Chu River and Han Dynasty. The restoration of a famous historical garden is often referred to by all kinds of Yuan Linwen. The artistic characteristics of classical gardens. On this point, the predecessors mainly focus on the external landscape presented in the garden, emphasizing the explicit design level, and lack the understanding of the recessive artistic characteristics of the classical garden, especially in the material and private aspects.
【學(xué)位授予單位】：山東大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2015
【分類(lèi)號(hào)】：TU986.1

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