中国古代名胜景观的生成与传承
作者:
中图分类号:

K928.7

基金项目:

北京市社会科学基金重点项目“北京西山文化景观的形成与演变研究”(20LSA002);首都师范大学2020年度美育研究课题


The generation and inheritance of ancient Chinese scenic spots
Author:
  • 摘要
  • | |
  • 访问统计
  • |
  • 参考文献 [27]
  • |
  • 相似文献 [20]
  • | | |
  • 文章评论
    摘要:

    中国古代景观游赏经历了从自然景观走向人景合一的名胜景观的过程。名胜景观作为景观之有“名”者,是无数文人士大夫、知名人士共同参与的自然与人共生的结果。“名胜”最初指“人物”,常有交游、赏景、文学、学问等特征,属于名流群体,与山水及景物游赏多是相关的。“景物”之“名胜”,起源于魏晋名士与山水之间的相互作用,伴随着魏晋至唐宋怀古情绪的进一步发酵,山水景物因“名胜”人物的参与,逐渐成为知名景观,宋至明清时期,“前贤”影响下的“胜迹”发展为“景物”之“名胜”,“名胜”具有了“人”与“景”的双重含义,人景合一的“名胜”景观成为士人游赏追寻的目标。中国古代名胜景观的传承集中体现了古代景观文化中的“慕古”与“述古”传统,这是以人及与人相关的故事为核心的传统,具体表现在基于“名人”及“文献”的景观文化传承,具有层累的特征。历代诗文、志书等文献有效传播并保存了古代景观的文化和历史信息。士人游赏名胜,往往根据以往的诗文或志书追溯名胜的历史及相关人物,并以自己的创作或记述继续丰富名胜的文化史。地志类文献亦在前人撰述的基础上考证并记述景观文化的传承脉络,形成丰富的景观记述体系。这一传承模式影响了古代名胜景观物质形态的复兴与遗产的保护,中国古代建筑多为木构建筑,其物质形态较难长期保存,古代名胜景观的复建,并非要完全恢复景观的物质形态,而是根据前贤诗文和文献中的景观叙述,进行文化和地点上的考证,重构描述或想象中的景观,表达追慕之情,传承景观文化。

    Abstract:

    The ancient Chinese scenic spots(Mingsheng) has experienced the process of moving from natural landscape to the famous landscape. The famous landscape embodies extremely rich cultural connotations. It is the result of the symbiosis of nature and human with the participation of countless literati and celebrities. "Mingsheng" originally referred to "characters", often featuring features such as socializing, appreciating scenery, literature, and learning. They belong to the group of celebrities and are often related to landscape and scenic tours. "Mingsheng" of "scenery" originated from the interaction between famous scholars in the Wei and Jin dynasties and mountains and waters. With the further fermentation of nostalgia from the Wei and Jin dynasties to the Tang and Song dynasties, mountain and water landscapes gradually became well-known landscapes due to the participation of "Mingsheng" characters. During the Song, Ming, and Qing dynasties, "well-known landscapes" under the influence of "predecessors" developed into "Mingsheng" of scenery. "Mingsheng" has a dual meaning of "people" and "scenery". "Mingsheng" that combines people and scenery became the goal pursued by literati during their travels. The inheritance of ancient Chinese scenic spots and landscapes reflects the tradition of "admiring and narrating the past" in ancient landscape culture. This is a tradition centered around people and stories related to them, specifically manifested in the inheritance of landscape culture based on "celebrities" and "literature", with a layered feature. The cultural and historical information of ancient landscapes has been effectively disseminated and preserved through literature such as poetry, literature, and Geographical Records throughout history. Literati often trace the history and related figures of famous scenic spots based on past poems or historical records, and continue to enrich the cultural history through their own creations or descriptions. Geographical literature also verifies and records the inheritance of landscape culture based on previous writings, forming a rich system of landscape description. This inheritance model has influenced the revival of the material form of ancient scenic spots and the protection of heritage. Many ancient Chinese buildings were made of wooden structures, and their material form was difficult to preserve for a long time. The reconstruction of scenic spots and landscapes in ancient times did not aim to completely restore the material "form" of the landscape from the past, but rather to conduct cultural and geographical research based on the landscape descriptions in the poetry and literature of the past, reconstruct the described or imagined landscapes, express admiration, and inherit landscape culture.

    参考文献
    [1] WYLIE J.Landscape[M].London;New York:Routledge,2007:1-10.
    [2] 阿雷恩·鲍尔德温.文化研究导论(修订版)[M].陶东风,等译.北京:高等教育出版社,2004:145.
    [3] 阿莱达·阿斯曼.回忆空间:文化记忆的形式和变迁[M].潘璐,译.北京:北京大学出版社,2016.
    [4] 鲁西奇.空间的历史与历史的空间[J].澳门理工学报,2021(1):11-13.
    [5] 阿诺德·伯林特.环境美学[M].张敏,周雨,译.长沙:湖南科学技术出版社,2006:11-13.
    [6] 曾繁仁.美育十五讲[M].北京:北京大学出版社,2012:144.
    [7] 米歇尔·柯南.穿越岩石景观:贝尔纳·拉絮斯的景观言说方式[M].赵红梅,李悦盈,译.刘珂兰,陈李波,校.长沙:湖南科学技术出版社,2006:5.
    [8] 夏征农,陈至立.辞海[M].6版.上海:上海辞书出版社,2010:2742.
    [9] 中国社会科学院语言研究所词典编辑室.现代汉语词典[M].7版.北京:商务印书馆,2019:912.
    [10] 刘成纪.地理·地图·山水:中国美学空间呈现模式的递变[J].文艺争鸣,2020(6):64-77.
    [11] 林文月.山水与古典[M].北京:生活·读书·新知三联书店,2013:5-6.
    [12] 葛晓音.山水·审美·理趣[M].香港:三联书店(香港)有限公司,2017.
    [13] 宇文所安.追忆:中国古典文学中的往事再现[M].郑学勤,译.北京:生活·读书·新知三联书店,2014:32-33.
    [14] 巫鸿.时空中的美术:巫鸿中国美术史文编二集[M].梅枚,肖铁,施杰,等译.北京:生活·读书·新知三联书店,2009:55,77.
    [15] 刘成纪.中国古典美学中的时间、历史和记忆[J].北京大学学报(哲学社会科学版),2020(4):41.
    [16] 葛兆光.中国思想史(第二卷)·七世纪至十九世纪中国的知识、思想与信仰[M].上海:复旦大学出版社,2019:116,117,124.
    [17] 刘成纪.论中国中古美学的"天人之际"(下)[J].文艺研究,2021(2):29-45.
    [18] 吉川幸次郎.宋诗概说[M].3版.郑清茂,译.台北:联经出版事业股份有限公司,2012:58.
    [19] 杨治宜."自然"之辩:苏轼的有限与不朽[M].北京:生活·读书·新知三联书店,2018:191,194,197.
    [20] 潘晟.宋代地理学的观念、体系与知识兴趣[M].北京:商务印书馆,2014:407,411.
    [21] 王象之.舆地纪胜[M].北京:中华书局,1992:19.
    [22] 祝穆.方舆胜览[M].祝洙,增订.施和金,点校.北京:中华书局,2003.
    [23] 潘晟.地图的作者及其阅读:以宋明为核心的知识史考察[M].南京:江苏人民出版社,2013:86-88.
    [24] 陆时雍.诗镜[M].任文京,赵东岚,点校.保定:河北大学出版社,2010:552.
    [25] 唐五十家诗集(明铜活字本)[M].上海:上海古籍出版社,2012:160.
    [26] 张丑.清河书画舫[M].徐德明,校点.上海:上海古籍出版社,2011:193.
    [27] 叶朗.美学原理[M].北京:北京大学出版社,2009:55.
    引证文献
    网友评论
    网友评论
    分享到微博
    发 布
引用本文

何峰.中国古代名胜景观的生成与传承[J].重庆大学学报社会科学版,2024,30(2):133-146. DOI:10.11835/j. issn.1008-5831. rw.2024.02.001

复制
分享
文章指标
  • 点击次数:368
  • 下载次数: 711
  • HTML阅读次数: 874
  • 引用次数: 0
历史
  • 在线发布日期: 2024-05-08
文章二维码