臺灣板橋林本源花園空間之詩情畫意與閩南傳統

臺灣傳統園林乃為文人萃聚，以詩會友之場所。因此，「詩情」、「畫意」成為這個場域，賓主間的主要溝通語言。建築界過去的研究強調了實質空間的「畫意」，強調佈局、掇山、理水等等的景象創造方式，並透過借景、障景、框景等手法，組織景象引導。然而園林之美不是走逛於建築迷宮中即可感受得到，常規的空間性研究，卻無法說明「美」從何處尋。但無論如何，整個板橋林本源花園的景象創造與引導，強調了居住期間的賓主間的主體感受，反覆再現的主體經驗，成為園林「畫意」構成的主要骨幹。而臺灣傳統園林建築大抵成諸於明清，繼承著閩南園林傳統，也成「畫意」主體經驗來源之一，部份「畫意」源自於故鄉閩南的生活經驗與造園經驗。然而，美感的延伸有賴於語言性的「詩情」，經由詩詞提聯的點染引介，帶出賓主之主體性經驗，延伸了實質空間之外的情懷、心境、慾望與處境，美感油然而生。「詩情」與「畫意」的結合，更成為重塑空間形式的推手，讓空間成為凝固的詩句。

關鍵字

園林；板橋林本源花園；臺灣；閩南；詩情；畫意

並列摘要

The Taiwan traditional gardens that had been built dulling 1661 to 1895 AC., would be very different from gardening of modern Landscape's territory, which was well established by agriculture and ecology. A traditional garden was a place for poetic parties, therefore poetry and picturesqueness would be the major language between the master and guests. The architectural studies in traditional gardens, always emphasized spatial picturesqueness. But the real aesthetics cannot be got by nether walking around in the architectural labyrinth, nor conventional spatial study. The ＂Picturesqueness＂ would be main part of Banchau Lin Family Garden, since the scenery and leads were built by the sensation between masters and guests, and their subjective experience recurrently. Certain ＂Picturesqueness＂ came from the experience both of the daily life and gardens management in South Fujen. The aesthetics would be introduced by the ＂Poetry＂ in language, which came out from personal experience between masters and guests represented by poetics, which extended their feeling, mind, desire and situation. The ＂Poetry＂ and the ＂Picturesqueness＂ interweave the aesthetics of traditional gardens, which mad the space became a frozen poem.