摘要
通过回溯明末至清代有关张南垣造园风格的文人记载,在对关键文本—吴伟业《张南垣传》进行细致分析的基础上,指出了其背后所包含的清初文人遗民的主观意图,辨析了其所反映出的张氏之山的实际面貌,认为传统文献中出现的对张南垣造园风格进行"多样画意"解读存在两个重要原因:一方面是张南垣自身所体现出的造园活动的高度职业化、造园风格的多样性;另一方面,也直观地反映了传统文人主动运用文人画论构建有关"园林"的艺术话语体系的意图。
Through a historic review of traditional Chinese literati’s texts on garden practices about Zhang Nanyuan(1587-1666) from late Ming to Qing dynasties, especially The Biography of Zhang Nanyuan by his contemporary Wu Weiye(1609-1672), this paper reveals behind the texts the subjective intentions of surviving literati in the early Qing, disclosing the actual appearance of Zhang’s mountains. It explicates the two major reasons of interpreting Zhang’s garden-making as multiple landscape pictorial styles in the existing literature: the highly professionalized and diversified garden practices as conducted by Zhang himself on the one hand, and the literati’s intention to construct the discourse of ‘garden’ as an art by using the theory of literati landscape painting on the other.
出处
《建筑学报》
CSSCI
北大核心
2021年第11期116-123,共8页
Architectural Journal
关键词
张南垣
造园风格
文人画论
遗民心态
Zhang Nanyuan
pictorial styles of garden-making
theory of literati painting
the mentality of adherents of Ming dynasty
