二、中國(guó)園林的藝術(shù)特點(diǎn)

(一)追求人與自然的統(tǒng)一、和諧

程裕禎(1998：235)認(rèn)為：中國(guó)園林無(wú)一例外地都是藝術(shù)地再現(xiàn)自然，都是范山模水，取法天然，為生存主體的人創(chuàng)造一個(gè)和諧統(tǒng)一的客體環(huán)境。它的根本造園思想可以概括為八個(gè)字：“雖由人作，宛自天開(kāi)”，反對(duì)任何牽強(qiáng)附會(huì)和故意雕琢。中國(guó)園林以山水為主體，山是骨骼，水是血脈，二者都是自然的主體。因此造園時(shí)特別注重山水的配置，要求山要有脈、水要有源、水隨山轉(zhuǎn)、山因水活。在具體的布局上，有的以水為主，有的以山為主，有的山水并重，因而中國(guó)的園林又可以叫做“山池”。如：

◆ 說(shuō)著，進(jìn)入石洞來(lái)。只見(jiàn)佳木籠蔥，奇花灼，一帶清流，從花木深處曲折瀉于石隙之中。再進(jìn)數(shù)步，漸向北邊，平坦寬豁，兩邊飛樓插空，雕甍繡檻，皆隱于山坳樹杪之間。俯而視之，則清溪瀉雪，石磴穿云，白石為欄，環(huán)抱池沼，石橋三港，獸面銜吐。橋上有亭。(曹雪芹《紅樓夢(mèng)》第十七回)

They walked on through a tunnel into a ravine green with magnificent trees and ablaze with rare flowers．A clear stream welling up where the trees were thickest wound its way through clefts in the rocks．

Some paces further north，on both sides of a level clearing，rose towering pavilions whose carved rafters and splendid balustrades were half hidden by the trees on the slopes．Looking downwards，they saw a crystal stream cascading as white as snow and stone steps going down through the mist to a pool．This was enclosed by marble balustrades and spanned by a stone bridge ornamented with the heads of beasts with gaping jaws．On the bridge was a little pavilion in which the whole party sat down．(楊憲益、戴乃迭譯)

【注】“飛樓”：形容高樓如凌空架起的一樣。這里或指飛閣?！暗褫C檻”：有雕畫的棟梁和彩繪的欄桿。“甍”：棟梁，又稱“屋脊”?！蹲髠鳌废骞四辏骸蔼q援廟桷，動(dòng)于甍?！碧瓶追f達(dá)疏：“《說(shuō)文》云：‘甍，棟梁也’……此是屋之上長(zhǎng)材櫞，所以憑依者也。今俗謂之屋脊?！薄夺屆め寣m室》：“屋脊曰甍，甍，蒙也，在上覆蓋屋也?！薄皺憽保旱钐盟闹艿臋跅U。

“石蹬”：山路的石級(jí)。

“三港”：指橋下的涵洞。

“獸面銜吐”：指石橋山獸面形的石雕，也稱螭首，作張口狀，位于橋拱側(cè)面上端中央。(張俊等，1987：282)

園林中的人造假山，是以石、土堆堆疊而成，但山的造型和整體脈勢(shì)講究自然渾樸，要隨勢(shì)賦形，要有自然山脈的神韻。園林中的水景也要給人以自然天成的感覺(jué)，園中的水景要有大小之分，動(dòng)靜之別。山景和水景既要保留自然的生機(jī)和野趣，又要沒(méi)有“人作”的斧鑿痕跡，要有“天開(kāi)”的神韻。如：

◆ 賈政剛至園門前，只見(jiàn)賈珍帶領(lǐng)許多執(zhí)事人來(lái)，一旁侍立。賈政道：“你且把園門都關(guān)上，我們先瞧了外面再進(jìn)去?！辟Z珍聽(tīng)說(shuō)，命人將門關(guān)了。賈政先秉正看門。只見(jiàn)正門五間，上面筒瓦泥鰍脊;那門欄窗槅，皆是細(xì)雕新鮮花樣，并無(wú)朱粉涂飾;一色水磨群墻，下面白石臺(tái)磯，鑿成西番草花樣。左右一望，皆雪白粉墻，下面虎皮石，隨勢(shì)砌去，果然不落富麗俗套，自是歡喜。遂命開(kāi)門，只見(jiàn)迎面一帶翠嶂擋在前面。眾清客都道：“好山，好山!”(曹雪芹《紅樓夢(mèng)》第十七回)

At entrance to the garden，they found Jia Zhen with a group of stewards lined up in wait．

“Close the gate，”said Jia Zheng．“Let us see what it looks like from the outside before we go in．”

Jia Zhen had the gate closed and Jia Zheng inspected the gatehouse，a building in five sections with an arched roof of semi-circular tiles．The lintels and lattices，finely carved with ingenious designs，were neither painted nor gilded;the walls were of polished bricks of a uniform color，and the white marble steps were carved with passion-flowers．The garden's spotless whitewashed wall stretching to left and right had，at its base，a mosaic of striped“tiger-skin”stones．The absence of vulgar ostentation pleased him．

He had the gate opened then and they went in，only to find their view screened by a green hill．At this sight his secretaries cried out in approval．(楊憲益、戴乃迭譯)

【注】“筒瓦泥鰍脊”是當(dāng)時(shí)代表一定爵位的建筑?！巴餐摺保喊雸A筒狀的屋瓦。也叫“瓦頭”，舊名“瓦當(dāng)”。清錢泳《履園叢話》卷一“秦漢瓦當(dāng)”：“瓦當(dāng)者，宋李好文《長(zhǎng)安圖志》謂之瓦頭，蓋屋瓦皆仰，當(dāng)兩仰瓦之際，為半規(guī)之瓦以履之，俗謂筒瓦是也?！鼻鍟r(shí)，親王大殿及宮門用綠琉璃筒子瓦，郡王則用筒子瓦?！澳圉q脊”：指屋面兩坡筒瓦瓦垅過(guò)脊時(shí)，呈一種卷棚式，因其狀如泥鰍，故名泥鰍脊。

“水磨群墻”：用水磨磚砌成的圍墻?！八ァ保褐杆ゴu，一種加水精磨而成的磚，光滑精細(xì)。

“西番花樣”：指一種西番蓮式樣的圖案?！拔鞣保寒?dāng)指西番蓮，又名西洋鞠，蔓生植物，有卷須，夏季開(kāi)花，可供觀賞。清李斗《揚(yáng)州畫舫錄》卷十七：“墁地，……用石做細(xì)做糙，鑿做華獸?！?/p>

“虎皮石”：清李光庭《鄉(xiāng)言皆頤》卷二：“北地以余所見(jiàn)，則薊州、三河墻屋，多用不方不圓者甃砌，合縫以灰鉤之，謂之虎皮石，既堅(jiān)且耐觀?！?張俊等，1987：280-281)

(二)體現(xiàn)人的意趣和精神追求，詩(shī)情畫意

程裕禎(1998：236)認(rèn)為：中國(guó)園林雖然是藝術(shù)地再造自然，卻不是無(wú)目的地再現(xiàn)自然，而是在自然景物中寄托一定的理想和信念，借助自然景物來(lái)表達(dá)園林主人的志向和趣味，以滿足人的某種追求。因而中國(guó)園林大多借景寓情，以景明志，賦予外觀的景物以豐富的文化內(nèi)涵?；始覉@林自古受神仙思想的影響，躲在園林中布置海上仙山，以體現(xiàn)帝王祈求成仙和長(zhǎng)享富貴的愿望。如北京的中南海、北海以及水云榭就是這一思想的具體表現(xiàn)。私宅園林也有主人的某種寓意，如蘇州的“拙政園”就是園主以“拙者為政”之意命名，寄托了其寓山水而避朝政的愿望。中國(guó)的園林還常常借助字畫、楹聯(lián)、碑匾描繪四周景物，表明園主的志趣。如：

◆ 寶玉道：“嘗聞古人有云：‘編新不如述舊，刻古終勝雕今?！瘺r此處并非主山正景，原無(wú)可題之處，不過(guò)是探景一進(jìn)步耳。莫若直書‘曲徑通幽處’這句舊詩(shī)上，倒還大方氣派。”(曹雪芹《紅樓夢(mèng)》第十七回)

Baoyu replied，“I've heard that the ancient said，‘An old quotation beats an original saying;to recut an old text is better than to engrave a new one．'As this is not the main prominence or one of the chief sights，it only needs an inscription because it is the first step leading to the rest．So why not use that line from an old poem：

A winding path leads to a secluded retreat．

A name like that would be more dignified．”(楊憲益、戴乃迭譯)

楹聯(lián)中的題名、匾額、楹聯(lián)等都有點(diǎn)景、抒情、寓意等作用。如：

◆ 一時(shí)黛玉進(jìn)了榮府，下了車。眾嬤嬤引著，便往東轉(zhuǎn)彎，穿過(guò)一個(gè)東西的穿堂，向南大廳之后，儀門內(nèi)大院落，上面五間大正房，兩邊廂房鹿頂耳房鉆山，四通八達(dá)，軒昂壯麗，比賈母處不同。黛玉便知這方是正經(jīng)內(nèi)室，一條大甬路，直接出大門的。進(jìn)入堂屋中，抬頭迎面看見(jiàn)一個(gè)赤金九龍青地大匾，匾上寫著斗大的三個(gè)字，是“榮禧堂”。(曹雪芹《紅樓夢(mèng)》第三回)

Back in the Rong Mansion，Daiyu alighted again．The nurses led her eastwards，round a corner，through an entrance hall into a hall facing south，then passed through a ceremonial gate into a large courtyard．The northern building had five large apartments and wings on either side．This was the hub of the whole estate，more imposing by far than the Lady Dowager's quarters．

Daiyu realized that this was the main inner suite，for a broad raised avenue led straight to its gate．Once inside the hall she looked up and her eye was caught by a great blue tablet with nine gold dragons on it，on which was written in characters large as peck measures：

Hall of Glorious Felicity．(楊憲益、戴乃迭譯)

(三)體現(xiàn)了含蓄、曲折及變化，疏密相間

程裕禎(1998：236)認(rèn)為中國(guó)園林在造園手法上含蓄、曲折、變化，反對(duì)僵直、單調(diào)、一覽無(wú)余。顧偉列(2005：143)認(rèn)為中國(guó)園林追求的是曲折含蓄、變化有致的美學(xué)品格，忌園內(nèi)景觀整齊劃一，一覽無(wú)余。在造園手法上，善于通過(guò)迂回曲折、山水相間的空間序列布局，使園中樓閣掩映，山石錯(cuò)落，曲水逶迤，竹木婆娑。為了使空間欲露先藏，往往用花木、圍墻、假山、漏窗等略擋視線，營(yíng)造出曲徑通幽、柳暗花明又一村的意境。因此園林中的景物大多藏而不露，隱而不現(xiàn)。如：

◆ 于是，出亭過(guò)池，一山一石，一花一木，莫不著意觀覽。忽抬頭看見(jiàn)前面一帶粉垣，里面數(shù)楹修舍，有千百竿翠竹遮映。眾人都道：“好個(gè)所在!”于是大家進(jìn)入，只見(jiàn)入門便是曲折游覽，階下石子漫成甬路。上面小小兩三間房舍，一明兩暗，里面都是合著地步打就的床幾椅案。從里間房?jī)?nèi)又得一小門，出去則是后院，有大株梨花兼著芭蕉。又有兩間小小退步。后院墻下忽開(kāi)一隙，得泉一派，開(kāi)溝僅尺許，灌入墻內(nèi)，繞階緣屋至前院，盤旋竹下而出。(曹雪芹《紅樓夢(mèng)》第十七回)

They left the pavilion then，crossed the bridge and strolled on，admiring each rock，each height，each flower and each tree on the way，until they found themselves before the whitewashed enclosing walls of a fine lodge nestling in a dense glade of fresh green bamboos．With cries of admiration they walked in．

From the gate porch a zigzag covered walk with a cobbled path below and parallel to it wound up to a little cottage of three rooms，with the cottage door in the middle one and furniture made to fit the measurements of the rooms．Another small door in the inner room opened on to the back garden with its large pear-tree，broad-leafed plantain and two tiny side courts．Through a foot-wide opening below the back wall flowed a brook which wound past the steps and the lodge to the front court before meandering out through the bamboos．(楊憲益、戴乃迭譯)

【注】“地步”：格局、尺寸。

“退步”：正屋后面的小廳舍，供臨時(shí)休息之用，也叫“拖步”。清李元復(fù)《常談叢錄》：“人家造屋，或基地長(zhǎng)有余，則于堂北壁后為夾室，穿牖(窗戶)以通明，近戚好朋，可延接燕坐。予鄉(xiāng)俗稱為拖步，想即退步之義?！?張俊等，1987：283)