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萧驰博士现任教于新加坡国立大学中文系,长期从事中国文学和比较文学研究,专注于魏晋思想与中国诗学、中国古典诗学与思想史、中国诗学与佛教以及明清文人文化与小说,特别是《红楼梦》的研究。已发表多部中英文专著,包括:《佛法与诗境》(北京:中华书局,2005)、《中国抒情传统》(台北:允辰文化事业股份公司,1999)、《中国诗歌美学》(北京:北京大学出版社,1986)。本文选自他的英文版著作《中国园林作为诗意的归所:石头记通考》(密西根州立大学,2001)第六章“大观园——美人繁花的乐土”。尽管《红楼梦》中的大观园是虚构的,但它依然是世界园林史中不可或缺的一部分。它不仅为人们展示了明清园林构筑规划的详情,更为重要的是传达了园林中日常起居的生活信息。在今天关于中国园林价值的大讨论中,我们已经对文人园的视觉、空间和建筑特色有了很多研究,但对传统中国园林的生活、日用和功能性价值的研究做得还远远不够。中国文人们在园林里除了休闲活动以外到底还做些什么?山石、花木、流水、亭台是不是就是中国园林艺术的全部?丰富的中国艺术和文学史料已经促使许多在西方的艺术史学家和汉学家们对中国花园景观文化进行更为全面的审思。略举两例:士大夫们的“园记”中关于园林别业的描写常常涉及到乡村景色和农业生产,以山水见长的文人画(比如明代文徵明的31景《拙政园图》)描画了许多现存苏州园林中见不到的丰富的自然景象。这些不仅令人想到山水观与城市化进程之间的互动,同时更强调了园林不仅仅是设计和园艺,而且与历史上一人一地文化传统和社会经济的演变有着千丝万缕的联系。明清是江南文人园林的兴盛期。萧博士对大观园的研究将花园的兴衰放到皇朝末年危机四伏的士大夫文化的大背境下,通过对大观园与另外两种中国古典文学中常见的园林类型——女性化的才子佳人园和男性化的高人逸士园——的比较,作者指出大观园既是二者的综合,在价值论上又是对二者的超越。最后,文章向读者进一步提出:“美人繁花的大观园是如何成为男性诗人遁隐园的象征呢?在这种性别转换的表象之下的文化架构又是什么呢?”
Dr. Xiao Chi currently teaches at the Department of Chinese at the National University of Singapore and has long been engaged in the study of Chinese literature and comparative literature. He focuses on the thoughts of Wei and Jin Dynasties and Chinese poetics, the history of Chinese classical poetics and ideology, Chinese poetics and Buddhism, and the literati culture and the Ming and Qing dynasties Novels, especially the study of A Dream of Red Mansions. He has published several books in both English and Chinese, including Buddhist and Poetic Environments (Beijing: Zhonghua Book Company, 2005), Chinese Lyric Tradition (Taipei: Yunchen Cultural Corporation, 1999), Chinese Poetry Aesthetics (Beijing Peking University Press, 1986). This article is taken from his English book, The Chinese Garden as a Poetic Home: The Book of Stone Records (Michigan State University, 2001), Chapter 6, Grand View Garden - Beauty of the Beautiful Flowers. Although Grand View Garden in A Dream of Red Mansions is a fictional, it is still an integral part of the world history of landscape architecture. It not only shows people the details of the plan for the construction of gardens in the Ming and Qing dynasties, but more importantly, it conveys the daily living information in the gardens. In today’s discussion of the value of Chinese gardens, we have done a lot of research on the visual, spatial and architectural features of the Chinese scholars’ gardens. However, the study on the life, daily life and functional value of traditional Chinese gardens is far from enough . Chinese literati in the garden in addition to leisure activities outside what to do? Rocks, flowers, water, pavilions is not all Chinese garden art? Rich Chinese art and literary history has prompted many in Western art historians and Sinologists carry out a more comprehensive examination of the Chinese garden landscape. To give a brief account of two cases: Scholar-officials’ “Park Records” on the description of gardens of other industries often related to the rural scene and agricultural production, landscapes literary painting (such as the Ming Dynasty Wen Zhengming 31 King “Humble Administrator’s Garden ”) Depicts the rich natural beauty that many existing Suzhou gardens can not see. These are not only reminiscent of the interaction between landscape and urbanization, but also emphasize that gardens are not only designed and gardening but also inextricably linked with historical cultural traditions and socio-economic evolution. Ming and Qing Dynasties is the flourishing period of gardens in the south of the Yangtze River. Dr. Xiao’s study of Grand View Garden put the rise and fall of the garden under the background of the crisis-ridden culture of imperial scholars at the end of the imperial dynasty. Through the analysis of the landscape types common to Grand View Garden and two other classical Chinese literatures, the feminine genius and masculinity The Supreme People’s Park - the comparison, the author pointed out that the Grand View Garden is both a synthesis of the value theory is the two beyond. Finally, the article goes further to the reader: “How does the Grand View Garden with Beauty and Flowers become a symbol of a male poet’s escape to seclusion? What is the cultural structure under the appearance of this gender transition?” "