風(fēng)景園林的認(rèn)知與感知

對風(fēng)景的審美與感知，是人與自然相融合的互動體驗。李白說：“相看兩不厭，只有敬亭山?！碧諟Y明筆下“藹藹停云，濛濛時雨”，各種自然景色都充滿了生命和情意。登泰山前，山腳入口有“登高必自”碑，到了山頂可以“一覽眾山小”，人的體驗與自然風(fēng)景變化形成“物我交融”。在城市園林中的感知給與人們精神的寄托與歸宿，網(wǎng)師園的“可以棲遲”，退思園的“云煙鎖鑰”，“景面文心”的立意理法方式增加了對“景”與“境”的體驗與遷想。

王國維說：“有有我之境，有無我之境。有我之境，以我觀物，故物我皆著我之色彩。無我之境，以物觀物，故不知何者為我，何者為物……。詩人對宇宙人生，須入乎其內(nèi)，又須出乎其外。入乎其內(nèi)，故能寫之。出乎其外，故能觀之。入乎其內(nèi)，故有生氣。出乎其外，故有高致?！保ā度碎g詞話》）郭熙說：“山水有可行者、有可望者、有可游者、有可居者……但可行可望不如可游可居之為得。”（《林泉高致》）

中國風(fēng)景園林的立意與山水詩畫關(guān)聯(lián)緊密，蘊(yùn)含人文內(nèi)涵。孟兆禎先生強(qiáng)調(diào)園林營造追求“賞心悅目”，“賞心”是首要的，即對景物的感知與體驗，先要達(dá)到賞心，而達(dá)到“意”與“象”的統(tǒng)一為“悅目”，也就是不追求單一的視覺刺激。對風(fēng)景園林的認(rèn)知有助于感知和體驗從“象”到“意”的境界。

感知源自更好的認(rèn)知，風(fēng)景園林不僅研究城鄉(xiāng)人居環(huán)境，而且研究自然規(guī)律與生態(tài)系統(tǒng)，融匯自然和人文科學(xué)。風(fēng)景園林的領(lǐng)域連接著人工營建與自然體系，核心目標(biāo)是實現(xiàn)人工建造與自然之間的持續(xù)和諧與平衡，強(qiáng)化自然與人文體系的交織。主要包括建成環(huán)境和自然區(qū)域2個層次。

第一個層次，“人化的自然”——建成環(huán)境中的人文自然生態(tài)系統(tǒng)營建。在城鄉(xiāng)聚落中保留和延續(xù)完整的自然系統(tǒng)，對受損的城鄉(xiāng)環(huán)境進(jìn)行生態(tài)修復(fù)；在建成環(huán)境中營建人工化的自然，提供高品質(zhì)的生活空間，創(chuàng)造適合人類使用和生態(tài)平衡的、更具有美學(xué)與藝術(shù)價值的人類生活境域，使得人居環(huán)境具有韌性、可持續(xù)。

第二個層次，“自然的人化”——自然區(qū)域的人工干預(yù)、科學(xué)管理和利用。在山水環(huán)境中進(jìn)行風(fēng)景營建，形成名山大川、風(fēng)景名勝，在農(nóng)業(yè)系統(tǒng)中對水網(wǎng)灌溉排澇系統(tǒng)進(jìn)行風(fēng)景化營造，塑造美麗與韌性國土景觀。對有自然歷史價值的、生態(tài)敏感和脆弱的自然區(qū)域進(jìn)行有效的保護(hù)。

中國風(fēng)景園林依托獨樹一幟的“人與天調(diào)”“天人合一”的宇宙觀和文化總綱，通過認(rèn)知和掌握自然系統(tǒng)的演變規(guī)律；“師法自然，因地制宜”的土地利用及地表塑造的智慧，在自然格局中定位和發(fā)展人居環(huán)境和人工設(shè)施，形成“雖由天開，似有人意”的意境（《園衍》），在人工聚落中營建自然系統(tǒng)，塑造“雖由人作，宛自天開”的景境（《園冶》）。實現(xiàn)服務(wù)于詩意棲居的人居環(huán)境與美麗國土體系塑造的價值。

Cognition and Perception of Landscape Architecture

The aesthetic appreciation and perception of scenery is an interactive experience featuring the integration of man and nature. As the ancient poet Li Bai said, “Leaving us to look at one another, Jingting Mountain, and me.” The poet Tao Yuanming said, “Clouds gather in the air without dispersing,the misty spring rain fell without pause.” All natural scenes are full of life and sentiments. At the foot of the Mount Tai stood a stele saying “climbing to the mountaintop must begin at the first step.” Reaching the mountaintop, one will find the mountain “dwarf all other hills”, so the human experience blends with the changing of the natural landscape. Perception of urban landscape offers people spiritual substance and destination. For instance, a horizontal inscribed board in Master of the Nets Garden reminds you “it’s a good place to rest hidden in the rural area.” One door in the Retreat ＆Reflection Garden carries the inscription, “Hazy beauty is locked out of the door.” Such examples of taking advantage of a scene to express emotions enhanced perception and imagination of “scene” and “mood”.

The Chinese scholar Wang Guowei proposed “egoinvolved realm” and “ego-absent realm”. In the former realm, objects are observed in the perspective of a person,so all things are subjective. In the latter realm, since objects are described in terms of objective correlatives, it is hard to distinguish the self from objects... Facing the universe and life, poets should go into the thick of life, which helps you write, but should also get beyond space, which helps you observe. So, immersing yourself in the life endow you with vigor and vitality. Get beyond space, you will develop elegant temperament and interest (The Notes and Comments on Ci Poetry). Guo Xi remarked, “there exist landscapes where you could take a stroll, or take a far-sighted view, or move around or live pleasantly and contentedly...while the first two are inferior to the last two.”(Lin Quan Gao Zhi)

The concept of Chinese landscape architecture is closely related to landscape poetry and painting, containing humanistic connotation. Mr. Meng Zhaozhen once said that garden pursues “feast the heart and eyes”. The former is the primary consideration, meaning perception and experience of scenery must be pleasing to the mind first and then the unification of “ideas” and “images” can be pleasing to the eye. That is to say, the pursuit of only visual stimulation is not enough. Cognition of landscape architecture helps to transfer the perception and experience from the state of “image” to that of “idea”.

Perception stems from better cognition. Landscape architecture studies not only urban and rural human settlements, but also natural laws and ecological systems,integrating nature and humanities. The field of landscape architecture connects artificial construction and the natural system. Its core goal is to achieve continuous harmony and the balance between artificial construction and the nature, strengthening the interweaving of the natural and humanistic systems. It mainly includes two levels: built environment and natural area.

The first level, namely humanized nature, is the construction of the ecosystem for humanistic nature in built environment. It means preserving and retaining the complete natural system in urban and rural settlements, and restoring the damaged urban and rural environment. It also means building humanized nature in built environment,providing high-quality living space, creating a humanoriented, environmental balanced living space with aesthetic and artistic value, and thus making the the living environment resilient and sustainable.

The second level, namely the humanization of nature,is human intervention, scientific management and utilization of natural areas. It means constructing landscapes among mountains, rivers, and scenic areas, as well as introducing scenic elements to the agricultural irrigation and drainage system, thus shaping beautiful and resilient landscape of our country. It also means effective protection of ecologically sensitive and fragile natural areas of natural historical value.

Chinese landscape architecture, which relies on the unique cosmic view and general principles of culture like“harmony between man and nature”, “man is an integral part of nature”, grasps the evolution law of the natural system through cognition; By learning from nature,adapting to local conditions and shaping the land surface,Chinese landscape architecture focuses on developing human settlements and artificial facilities based on nature,forming an artistic conception that “natural scenery seems to be created by man” (Yuan Yan) and also on building natural systems in artificial settlements, creating the imagery of “being artificial, yet comparable to a natural wonder”(Yuan Ye), then to realize the value of serving poetic dwelling and shaping the beautiful land.

Editor-in-chief: Professor ZHENG Xi

September 1, 2022