中西浪漫景觀意涵之比較

A Comparative Study of Romantic Landscape between China and the West

雷戈月(Ge-Yue Lei)

指導教授 ： 陳惠美

國立臺灣大學/生物資源暨農學院/園藝暨景觀學系/碩士(2016年)

https://doi.org/10.6342/NTU201602248

摘要

浪漫是人生不可缺少的一種情感體驗，它無處不在且永無止境。一直以來，人們對浪漫的事物總是持有濃厚的興趣，自然景觀的美學特質總是吸引人們去追求浪漫的體驗。在中國文化中，「浪漫」的含義著重體現在精神的自由及隱逸思想上。唐宋時期社會安定富足，經濟發展，科舉制度確立，文化繁榮昌盛，作為文化傳承與藝術創作主體的士人，社會地位不斷提高，精神風貌開放且積極，禪宗思想成為當時主要哲學思潮，禪宗教義在對待自然的態度上要求自身與自然合二為一。西方romance（浪漫）的意涵在18世紀以後開始被用來描述自然景觀，表達那個時代的人們對自然的依戀和崇拜之情；18世紀末到19世紀中浪漫主義時期，藝術作品以浪漫為主要特徵，浪漫的意涵最為豐富且正面積極。本研究主要目的在於根據浪漫之不同意涵，探索中西方浪漫景觀之元素組成、景觀意境與美學內涵以及帶給人的情感體驗和價值追求，最後比較其異同點。
研究方法採用Zube & Taylor (1982)經驗模式之文獻回顧法，主要透過瞭解藝術家和文學家的代表作品，理解和分析文學畫作等藝術創作的時代背景脈絡、作品傳達的意喻、與景觀的聯繫等，來探討比較浪漫景觀之美學意涵，同時此研究方法也適合做歷史溯源研究。研究選取中國唐宋時期、歐洲浪漫主義時期，這兩個中西方「浪漫」最為輝煌的階段作為切入點，以藝評家的評論為參考依據，結合當時社會經濟文化背景，先挑選出這兩個時期浪漫代表藝術家，再挑選其與「浪漫」意涵相契合且最具代表性的作品。唐宋時期挑選出以李白、孟浩然、王維、岑參、范寬、郭熙為代表的藝術家共17部作品，歐洲浪漫主義時期挑選出以華茲華斯、貝多芬、舒伯特、白遼士、傑里柯、佛烈德利赫、透納、康斯坦布爾為代表的藝術家共15部作品。在藝術作品的分析比較上，參考藝評家的評論，內容結合形式，从技——表現手法、表達方式和作品內容，景——景觀意境與美學內涵，情——帶給人的情感體驗，道——精神和價值追求，这四个方面分析探讨中西方浪漫景觀的意涵。
研究結果表明，中西方浪漫意涵的相似性表現在情和道，這些人類共通的情感層面。除了浪漫之對愛情的渴望是西方文化獨有的，浪漫之俠義、冒險、自然崇敬、心靈慰藉、對自然的讚美這五種自上而下不同層級的意涵則是人類共同追求的。在空間塑造上，前兩種意涵多選用大尺度、大起大伏的元素來塑造出艱苦險惡的環境氛圍，後三種則多運用田園風光等平靜熟悉的元素塑造出寧靜祥和、閒適愉悅的環境氛圍，最終都表現出追求幸福美好的生活這一共通的美學精神和人文關懷。中西方浪漫景觀美學意涵的差異性則主要表現在技和景的不同。

關鍵字

浪漫主義 ； 經驗模式 ； 文獻回顧法 ； 藝術作品 ； 情感體驗

並列摘要

Romance is a kind of precious emotional experience in life. People are always interested in romantic things because of its ubiquity and endlessness. In all ages, aesthetics of natural landscapes inspire people to pursue romantic experiences. In Chinese culture, the meaning of "romantic" was embodied in the spirit of freedom and reclusion in thought. Social stability and prosperity, economic development, the imperial examination system's establishment, cultural prosperity were the main features in Tang and song dynasties. As a tower of strength in cultural heritage and artistic creation, traditional Chinese scholar-officials had constantly improved their social status, along with their spirit being open and positive. Zen Buddhism thought was the main philosophical ideological trend at that time. The attitude of it towards nature requested itself to stay together with nature. After the 18th century in Europe, the meaning of romance began to be used to describe the natural landscape, expressing people's attachment and worship of nature at the time. During the Romanticism movement in the 18th and middle 19th century, romance was the main characteristics of art works. What's more, the implications of romance was most abundant and positive. Based on the different implications of romance, the purpose of this study is to explore the elementary composition of romantic landscape in the east and the west, the landscape artistic conception and the aesthetic connotation, the people's emotional experience and value pursuit that romance brought, at last compare their similarities and differences.
In this research, based on Zube & Taylor's (1982) experiential paradigm, the method of literature review was adopted to study the characteristics of art works, to analyze their background context, meaning and links with landscape. Then, compare the aesthetic implications of romantic landscape. At the same time, this method is also suitable for historic research. This paper chooses the Tang and Song dynasties, European romantic period as an entry point, both of which are the most glorious period. According to art critics' comments, combined with social, economic and cultural background, I first pick out the most significant artists in this two periods. Then I choose the most representative works which conform to the implications of romance. In the Tang and Song dynasties, select Li Bai, Meng Hao-jan, Wang Wei, Cen Shen, Fan Kuan, and Guo Xi as the representative artists, and I discuss their 17 art works. In the European Romantic Era, I choose William Wordsworth, Beethoven, Franz Schubert, Hector Louis Berlioz, Theodore Gericault, Caspar David Friedrich, William Turner, John Constable as the representative artists, and I totally include their 15 art works. On the analysis and the comparison of art works, this research consult art critics' comments, combine content and form. From four aspects, explore romantic landscape of China and the west. First, Skill——expression methods and content of works. Second, Landscape——landscape artistic conception and the aesthetic connotation. Third, Emotion——emotional experience and value pursuit. Fourth, Value——spirit and value pursuit.
The research’s results showed that, on Emotion and Value, these all common human emotional level, romantic implications of China and the west demonstrate a high degree of consistency. Besides, romantic of longing for love only appearing in the western culture, chivalrous, adventure, nature worship, soul comfort and praise for nature of romance, these five different levels are common pursuit of mankind. On the shaping of landscape space, the former two meanings are mostly representational elements which are large-scale and changing ups and downs to create a hard sinister atmosphere. The latter three kinds are always shown in pastoral scenery which are quiet and familiar to daily life to create a serene, leisure, comfortable and cheerful atmosphere. At last, all show the pursuit of happiness and sweet life. The difference of romantic landscape between China and the west is reflected in Skill and Landscape. At last, all show the pursuit of happiness and sweet life. The difference of romantic landscape between China and the west is reflected in Skill and Landscape.

並列關鍵字

Romanticism ； experiential paradigm ； literature review ； art works ； emotional experience

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