本文選題：風(fēng)景園林 + 中國園林史�。� 參考：《中國園林》2016年12期

【摘要】：在中國園林的歷史和遺存的認識中,以"九獅山"為代表的動物象形疊山所受評價頗有爭議。進入歷史與文化語境進行理解,"九獅山"等疊山與源遠流長的動物象形賞石密切相關(guān),是一種關(guān)注動勢的疊山傳統(tǒng),重點在于從動勢中獲得生命感。而差異的觀念則溯自晚明時出現(xiàn)的畫意疊山,以張南垣的"張氏之山"為代表,注重自然真山的整體效果,同時也有內(nèi)在生命活力的追求。后者在明末成為主流,其后成為另一種疊山傳統(tǒng),影響直至今日;但在清代仍然有多樣性的存在,"九獅山"這樣的動勢疊山仍然活躍。對動勢疊山傳統(tǒng)的了解,以及2種疊山傳統(tǒng)的差異及關(guān)聯(lián)的認識,將有助于對歷史多樣遺存的合理理解和評價,進而為遺產(chǎn)保護及營造實踐提供有效指引。
[Abstract]:In the history and remains of Chinese gardens, the evaluation of the animal pictographs represented by Jiushi Mountain is controversial.In the context of history and culture, Jiushi Mountain is closely related to the ancient animal pictographs and stone appreciation. It is a tradition of overlapping mountains which pays close attention to the dynamic, and the emphasis is to obtain the sense of life from the motility.The concept of difference dates back to the late Ming Dynasty, represented by Zhang Nanyuan's "Mountain of Zhang", focusing on the overall effect of the natural mountain and the pursuit of inner vitality.The latter became the mainstream in the late Ming Dynasty, and later became another kind of overlapping mountain tradition, which influences to this day. However, in the Qing Dynasty, there is still diversity, such as "Jiushi Mountain" is still active.The understanding of the tradition of dynamic overlapping mountain and the difference and relation of the two kinds of overlapping mountain tradition will be helpful to the reasonable understanding and evaluation of various historical relics and thus provide effective guidance for the protection of heritage and the practice of building.
【作者單位】： 東南大學(xué)建筑學(xué)院景觀學(xué)系;
【基金】：國家自然科學(xué)基金青年科學(xué)基金項目(編號51308103)資助
【分類號】：TU-098.4

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