| 摘要: |
| 【目的】壶园在造园艺匠上延续了中国传统园林的典型风格，在广州乃至岭南衙署园林中颇具代表性，其造园思想有待深入了解。【方法】以清末广州将军府长善壶园为例，通过考察长善之作《芝隐室诗存》，梳理他早年的园居历程，在对其营园思想有一定了解的基础上，结合首都博物馆馆藏《清广东军署图轴》及一些中西人士的摄影照片，探讨广州将军府空间格局，进一步推测复原府内壶园布局平面及鸟瞰图，分析壶园的营造特色并梳理园中发生的交游活动。【结果】1）广州将军府壶园的营建遵循了中国传统“壶中天地”的布局模式；2）壶园以水池为中心，围绕水池布置着纷繁的石景、多处建筑及与早年池上草堂相似的林木花卉；3）壶园内呈现出多样化的交游活动。【结论】壶园与同时期岭南行商园林中西混合的艺术特征有所不同，而又因岭南早开风气，壶园表现出异于传统的开放性，反映出清末岭南园林变革的趋势。 |
| 关键词: 岭南园林 衙署园林 园林复原 广州将军府 壶园 长善 |
| DOI：10.12409/j.fjyl.202209190543 |
| 分类号:TU986 |
| 基金项目:国家自然科学基金“基于二维历史图像三维重建的清末岭南私园空间形态与构成规律研究”（编号 51978271） |
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| Landscape Construction of Chang Shan’s Hu Garden in the Governor-General’s Yamun in Canton in Late Qing Dynasty |
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WANG Yanting, PENG Changxin
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South China University of Technology
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| Abstract: |
| [Objective] As one of the main types of classical Chinese gardens, government office gardens are usually built by government officials with their personal preferences, such as the Hu Garden in Governor-General’s Yamun in Canton in Late Qing Dynasty. Chang Shan (1829 –1889) served as Tartar General of Canton in 1869 and subsequently built a Hu Garden as part of his residence. Chang Shan visited many gardens throughout his life and accumulated rich garden residence and garden tour experience, gradually forming his preference for traditional classical gardens, which contributed to his construction of the Hu Garden in his later life. The Hu Garden is centered on a pond, around which intricate stone scenery and many buildings, trees and flowers similar to those of the early Chishang Thatched Cottage are arranged. The Hu Garden inherits the typical style of traditional Chinese classical gardens in terms of gardening technique and is quite representative of the government office gardens in Canton and even in Lingnan area. Although some of the government office spaces were forcibly occupied by the British as consular offices after the Second Opium War, the site of the Hu Garden was still visited by many Chinese and Westerners in the mid-to-late 19th century, leaving behind precious historical materials, including the Scroll of Governor-General’s Yamun in Canton in Late Qing Dynasty, and the earlier images taken by William Floyd, John Thomson, and Afong, which makes it possible to review the spatial pattern of the Hu Garden and provides the basis for a deeper understanding of the garden’s construction ideology. [Methods] The rich garden residence and garden tour experience of government officials is crucial to the trace of the interest of government office gardens. However, at present, the scholars on government office gardens mostly focus on the discussion of their gardening concepts and relationship with urban space, and the research on their gardening elements, characteristics and heritage conservation, while seldom analyzing the source of their creation knowledge from the perspective of officials, thus hindering our in-depth understanding of the artistic connotation of government office gardens. In addition, due to the difficulty of finding relevant historical materials, there are only a few research findings about the Governor-General’s Yamun in Canton in Late Qing Dynasty, resulting in our limited understanding of the government office gardens in Canton. In view of this, this research reviews Chang Shan’s book titled Poems Written in Zhiyin Room (pronounced as “Zhiyinshishicun” in Chinese), traces his early garden life, discusses the spatial pattern of the Governor-General’s Yamun, and further recovers the layout plan of the Hu Garden. Besides, the research also analyzes the characteristics of the Hu Garden and sorts out activities ever taking place in this garden. [Results] The spatial pattern of the Governor-General’s Yamun is based on the “office” space in the central part and the “living” space in the west. The establishment of the Hu Garden undertakes the function of feasting and recreation, reflects Chang Shan’s consideration of closely linking “garden” space with the two functions of “administration” and “residence”. In the Hu Garden, Chang Shan integrated mountains and rocks, water and trees as well as pavilions into one, skillfully penetrating the miniature nature of the imagery of “Heaven and Earth in a Pot” and the imagination of embracing all things. The layout of “Heaven and Earth in a Pot” reflects the way that Chang Shan followed the traditional gardening method, and also shows the high-level gardening technique of Chang Shan. The functions of leisure and relaxation, educating relatives, an敤†浨潯摬敤物湮琠牡慣湴獩晶潩牴浩慥瑳椠潣湯灳牴潩捴敵獴獥†潴晨䰠楴湨杲湥慥渠来慶牥摬敳渠獯椠湃污慮瑧攠⁓全楡湮朙䐠祧湡慲獤瑥祮⸠life. The social activities in the garden are diversified, and this diversification represents the transformation of the target audience from individuals to the public. This is a strong reflection of Chang Shan’s gentlemanly ideology of “happiness with people”. Although the Hu Garden was mainly used by local officials and gentries, the visits of westerners to the garden also shows Chan Shan’s openness to the world. [Conclusion] The construction of Hu Garden in Governor-General’s Yamun in Canton in Late Qing Dynasty presents a different technical line from the Thirteen Hongs Merchants’ gardens during the same period. Due to the early trade between China and the West, the prosperity of garden construction in Canton in late Qing Dynasty promoted the collision and intermingling between the East and the West in terms of of garden arts, and also promoted the emergence of new garden forms such as Thirteen Hongs Merchants’ gardens and public gardens. Supported by the knowledge system of traditional Chinese classical gardens, the construction of the Hu Garden reflects the typical characteristics of traditional Chinese classical gardens, which means using a highly sophisticated spatial model to respond to the spatial needs of garden owners. Chang Shan adopted the layout pattern of “Heaven and Earth in a Pot” to create a “pot-like” wonderland while implying a sense of helplessness and avoidance of the military regime. Unlike the earlier government office gardens, which were mainly for self-enjoyment, the service targets and functions of the Hu Garden are diversified. It not only served Chang Shan himself, but also treated Westerners from time to time. With the records of Chinese and Western painters and photographers, the images of the Governor-General’s Yamun in Canton and it’s Hu Garden in Late Qing Dynasty have been widely disseminated as public visual products. In a sense, through image dissemination, the Hu Garden completes its historical positioning in th |
| Key words: Lingnan garden government office garden garden restoration Governor-General’s Yamun in Canton Hu Garden Chang Shan |
