論中國園林借景―園林與所在環境的景觀聯繫

"Borrowed Scenery" (Jiejing) in the Chinese Garden: The Scenic Relationship between the Garden and Its Surroundings

楊鴻勛(Hong-Xun Yang)

《城市與設計學報》 20期 (2008/09) Pp. 165-178

https://doi.org/10.30008/CD.200809.0006

摘要

源于黃河與長江兩河流域的東方文明以及源於幼發拉底和底格裹斯兩河流域的西方文明，是人類互補文明的兩大體系。屬於束方文明的中國傳統園林不同于西方傳統的花園(garden)，也不同于林園(park)。被西方稱做“自然式”或“風景式”的中國園林，是再現自然風景的時空藝術，是有主題的“立體的畫、凝固的詩”－一種人爲環境與自然環境相融合的詩情畫意的休閒空間。就園林的觀賞而言，其藝術的感受在於它不只是靜觀的，園林藝術效果的展現（諸如“曲徑通幽”、“豁然開朗”等）在運動中，即通常所謂的“進覽”。進園的連續與不連續觀賞過程是一個時間組織的藝術，因此中國造園藝術不僅是空間經營的藝術，同時也是時間經營的藝術―一種具有實用價值的時空藝術。
中國園林有一套深奧的理論，“借景”就是其中的一個很重要的理念和技法。借景即“借來的景象”，其原意是將本來不屬於本園林的園外景致組織到園林當中，因此它體現出園林與所在環境的組織關係。借景可分爲“鄰借”、“遠借”和“應時而借”三大類。“鄰借”是指對園外相鄰美景的借用，也就是“近借”；“遠借”是把遠處的美景例如遠山、遠處的佛塔等等作爲園中的背景組織到園林觀賞景象當中來；“應時而借”是指四季、晨昏、晴晦、雨雪，乃至浮雲、明月、飛鳥、昆蟲等等自然因素與園林景象的借用關係。
實際上，“借景”的意義超出了園林本身，而是一個大環境設計的理念。在當前以及未來園林化、生態化人居環境的建設中，“借景”的理念和規劃設計技巧具有重要的參考價值。

關鍵字

時空藝術 ； 景象 ； 景面 ； 借景 ； 鄰借 ； 遠借 ； 應時而借

並列摘要

The traditional Chinese garden-yuanlin (園林)-differs from the ”garden” or ”park” in the Western tradition. Described by the West as the ”natural-style” or ”landscape-style” garden, yuanlin is an artful recreation of natural landscapes. Similized to a ”three-dimensional painting” and ”solidified poem,” the Chinese garden is a space of leisure and relaxation that has ”poetic and pictorial” quality where the artificial and natural environments are integrated.
The art of Chinese garden making is lot only an art of spatial composition but also that of time planning. From the perspective of garden viewing, the aesthetic experience with a yuanlin does not end at the static observation as with a painting the yuanlin's artistic impact is released through the viewer's physical movement. which is often referred to as youlan (遊覽), or perambulatory viewing. The sequential and non-sequential progression of garden viewing is an art of time coordination. Suffice it to say that the classic Chinese garden is an art of time and space that has functional value.
There is a whole set of profound theories conventional to Chinese garden making, among which jiejing (借景) is an important concept and technique. Jiejing, or borrowed scenery, originally refers to drawing on the extramural views that do not ”belong” to the garden proper and incorporating them into the garden's own scenic arrangement. Borrowed scenery embodies a structural relationship between the garden and its surroundings.
Basically, there are three types of borrowed scenery: yuanjie (遠借)-distant scenery. linjie (鄰借)-nearby scenery, and yingshi erjie (應時而借)-opportune scenery. Yuanjie is to take in a view that is in the distance (a distant mountain or a distant pagoda, for instance) and incorporate it into the background of the garden's scenery. Linjie is to ”borrow” an adjacent view that happens to be on the ulterior side the garden w all and integrate it with the garden's scenery. Yingshi erjie refers to the ”loan” relationship between the garden and the transient or varying scenic factors brought about by natural dynamics, namely the four seasons, different times of the day, or climatic variations: rain, snow, dawn, dusk, sunshine, moonlight, clouds, and even flying birds and chirping insects can all be ”borrowed”-however momentarily-and incorporated into the garden's scenic ensemble. In point of fact, the significance of jiejing has far transcended the realm of garden making itself and become a design concept for a greater undertaking. The concept ofjiejing and its design and techniques hold great referential value for the human race in its present-day as well as future constructions of a gardenized, ecological living environment.

並列關鍵字

the art of time and space ； scenery ； scenic plane ； borrowed scenery jiejing ； borrowing of distant scenery yuanjie ； borrowing of nearby scenery linjie ； borrowing of opportune scenery yingshi erjie