(4.5.1)--14-Lesson14：ExquisiteandHumble——.pdf

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1、Exquisite and HumbleThe GardeningArt of the CanglangPavilionHello,everyone.Last class,we have talked about Su Shunqin used a song of Canglang toexpress his political ideal of sticking to his faith with a song of vicissitudes,and refusing to minglewith others in the political struggle and finally cho

2、se to exile himself and abandoned himself tonature.Today,I am going to combine the existing scenic spots of the Canglang Pavilion to sharewith you how Chinese literati abandon himself to nature.This class focuses on three gardenfeatures of the Canglang Pavilion:.Enter the garden by crossing the brid

3、ge to enjoy the scenery before entering the garden.We say that Chinese garden is also called landscape garden.In the garden,there should benot only mountains but also water.It requires not only water,but also running water.Therefore,Chinese classical gardens often emphasize water diversion.However,t

4、he Canglang Pavilion isquite different.Instead of water diversion,the Canglang Pavilion borrows water which brings thegardening technique of borrowing scenery in classical garden into full play.First of all,it adoptsa unique way of entering the garden by crossing the bridge which makes the Feng Cree

5、k outsidethe garden naturally become an important view in the entrance area of the garden.In contrast tothe closed-type landscaping style of Chinese garden that building a landscape in the garden,andthe center is also in the garden.But in an open manner,close to the Feng Creek,from the west tothe ea

6、st,it successively presents four landscapes,is the Lotus Waterside Pavilion,the Water Bridge,the Face Water Pavilion and the View Fish Terrace.The four scenic spots are closely related to thetheme of Canglang,that is water,but the specific presentation styles are in completelydifferent ways.Lets tak

7、e a look at it in detail.First of all,the Lotus Waterside Pavilion is located on the north side of the river.It is namedas the Lotus Waterside Pavilion because of the lotus planted in the stream.Going eastwards alongthe compound corridor,we can see the Water Bridge,that is,the entrance of the garden

8、.And atthis end of the bridge,you are facing the garden gate,separated by the water.Doesnt it have aunique charm?Continue to walk eastwards along the compound corridor,and you will arrive at the FaceWater Pavilion.The name of the pavilion comes from Du Fu s poemall the pavilions are facingthe water

9、which csoincides with the identity of Su Shunqin,the master of the garden,as a greatpoet of the northern Song Dynasty.The Face Water Pavilion was by the water on both sides andthere are ancient trees setting off in front of the pavilion.which is full of interests of mountainsand nature.Now,lets take

10、 a look at the building.The whole building of the Face Water Pavilionhas a wide area of five rooms,and adopts the form of four halls,surrounded by ambulatories,witha typical gable and hip roof.Finally,lets take a look at the View Fish Terrace,which is located in the northeast corner ofthe garden and

11、 at the end of the compound corridor.It is also called View by the Hao River.Itsobvious that the pavilions name comes from the allusion of Zhuang Zi and Hui Zi watch fish onHao Bridge.The sayings you are not a fish,how you know the happiness of the fish(Hui Zi)and“you are not me,how you know I dont

12、know the happiness of the fish”(Zhuang Zi)are justfrom this allusion.Next lets look at the specific shape of the View Fish Terrace.It is a squarepavilion with four corners by the water on three sides.We can see that there is a stone tabletengraved with Canglang Pavilion Review by Su Shunqin on the s

13、ide of the pavilion close to thecompound corridor.Then I connect the landscape and the conception through the landscape ofthe pavilion and the conception expressed in the name of View by the Hao River.Its not hardto see that the View by the Hao River actually uses the landscape to express Su Shunqin

14、 slifestyle of pursuing water clear and fish happy and his determination not to be enslaved byfame and wealth.This is the typical way of Chinese literati abandoning himself to nature.Whatthey see is the scenery,but what they appreciate is the feelings.This is what we often call theartistic conceptio

15、n.Here,it is not difficult to find that the four scenic spots are all distributed along the FengCreek,so that visitors can enjoy four very wonderful landscapes before entering the garden.At thesame time,they are cleverly connected by the compound corridor,which effectively connects thefour scenic sp

16、ots as one.It is also a moving tourist line.This is also the second gardening featureof the Canglang Pavilion that I want to share.2.The unique characteristic of the compound corridor is to combinate the mountain,corridorand water in one going.First of all,lets read a passage:Corridors,a step out of

17、 the wing-room,win by tortuosityand stretch.Bend and form according to natural shape.Either coil on the mountainside,or stretchealong the water until the end.Wriggle through blossom and gully endlessly.Art of Garden-BuildingThis is Ji Chengs description of the corridor in Art of Garden-Building.In C

18、hineseclassical garden,the corridor is a very important landscape element.We say that the corridor oftenfollows along the mountain and water,and wins by winding and continuous.At the same time,thecorridor also often connects all scenic spots in the garden with tourists tour routes.In fact,theancient

19、s divided space and organized tour routes through corridors.Due to different constructionpositions,the corridor is divided into the corridor along the wall,empty corridor,ambulatory,gallery,climbing mountain corridor,water corridor and compound corridor.And the Canglang Pavilion we are talking about

20、 today adopts the compound corridor.We canbrowse the drawings.In fact,the compound corridor is a combination of two corridors into to one.We can see that it is separated by a wall in the middle and the wall is equipped with a leakywindow,which seems to be separated but not separated,so that the land

21、scape on both sides canpenetrate each other.The compound corridor of the Canglang Pavilion is located on the north sideby the water.The south of the compound corridor is the mountain.The mountain and water,themost important elements in Chinese garden,are separated and connected by the compoundcorrid

22、or.Isnt it very interesting？The compound corridor of the Canglang Pavilion is very unique in the whole Suzhou gardens.There are numerous other gardens in Suzhou that also use the compound corridor.For example,inthe following courses,we will talk about the Lion Grove Garden and Garden of Harmony.Lets

23、 tryto think about it.If it adopts the common closed wall,we wont be able to appreciate the scenerybefore entering the garden by borrowing scenery the Feng Creek we just talked about,becausethere is no contact point inside and outside the garden.How is it if we adopt an empty gallery?There is a conn

24、ection,but the garden is too open,lacking the implicit beauty of Chinese garden.This is what we often call grey space.You can see the landscape in the garden,but you cant see itcompletely,so that it can arouse peoples desire to view it.We have just said that the corridor has two important functions

25、in landscape architecture.Oneis to divide space,the other is to organize tour routes.The south side of the complex corridor of theCanglang Pavilion is the one connected with the mountain,and it is also connected with thecorridor in the garden.While forming a 360 degree tour route around the central

26、scenic area,italso forms the core space courtyard of the Canglang Pavilion,which is dominated by mountains.This is the third garden feature of the Canglang Pavilion3.The interests of mountains and nature bring poetic and picturesque blending into thegarden viewLets talk about the rockery first.As we

27、 said last time,the Canglang Pavilion is actually agarden with the theme of reclusion.We can see that the rockery area of the Canglang Paviliongives us a sense of simplicity and nature interest which is totally different from the rockery wesaw in the mountain villa with embracing.Why is that?Lets th

28、ink deeply.“Seclusion,Seclusion”Where are you retreats?It must be in the nature with mountains.Arent the simplicity and natureinterests of the rockery area closely related to the conception of gardening?The rockery in theCanglang Pavilion is a typical earth rock mountain,which is often referred to a

29、s earth wrappedstone with more soil and less stone.Rockery is located in the central area of the garden,which isnot only a barrier to the visitors view,but also divides the large space into several smaller spaces.Often in such a large space,we want to create the beauty of the interest of mountains a

30、nd nature.Rockeries are often craggy,ravines crisscross,so it is easy to give people a sense of disorder.Howis the Canglang Pavilion handled?Lets have a look.First of all,it places the Canglang Pavilion onthe top of the hill,where we can overlook the whole garden and command the whole situation inth

31、e field of vision.Then,the whole rockery tour path was presented about the Canglang Pavilionavoiding the sense of clutter clearly and effectively.After the rockery,Lets talk about the pavilion.The pavilion,means stopping.It is a gatherarea for people to stop.recorded in Art of Garden-Building.From t

32、his passage,we can knowthat the pavilion is the place for us to have a rest when we are tired.There are many types aboutancient Chinese pavilions,including Road Pavilion,Street Pavilion,Well Pavilion,Tablet Pavilion,Bell Pavilion,drum Pavilion,etc.In Chinese classical gardens,pavilion is not only a

33、place to restand view,but also an important finishing touch.It is often set on the mountain top,by the water,atthe roadside and in forests,forming a landscape relationship with the buildings in the garden,andits style and size were determined according to the surrounding environment.Next,lets take a

34、 look at the Canglang Pavilion.The plane of the Canglang Pavilion is squareand its shape is simple.All the pavilions are made of stone columns,stone beams.There arebrackets under the eaves and carved angle braces under the beams.The eaves are far-reaching,thecorners are high and the shape is elegant

35、.It adopts the gable and hip rolling roof with grey tile andadopts four flat hanging columns as the back roof of three boundary.The decoration is extremelyexquisite.We can see such a couplet on the stone pillars of the Canglang Pavilion The breeze andthe moon are everywhere,but for ordinary people,t

36、hey cant buy it with money.Water andmountains are ruthless things,but in the eyes of poets,they have become sentimental things.which can be said to be the prefect couplet in the Suzhou Garden.It is selected by latergenerations combining the scenery of the Canglang Pavilion from Ouyang Xiu s poem The

37、breeze and the moon are priceless and Su Shunqin s poem Water and mountains are sentimentalthings.There are many poems left by literati in the Canglang Pavilion.Why do they choose thesetwo sentences?This is relative to a background story.Ouyang Xiu and Su Shunqin are not onlypolitical friends,but al

38、so literary friends.After building the Canglang Pavilion,Su Shunqinwrote the Canglang Pavilion Review and sent it to Ouyang Xiu to invite him to recite it together.At the beginning of Ouyang Xiu s Canglang Pavilion,he wrote the poem Zimei sent me theCanglang chant and invited me to write Canglang Pa

39、vilion Review together.It explains theabove-mentioned clearly.Ouyang Xiu also expressed deep sympathy for the unfortunate politicalencounter of Su Shunqin in the Canglang Pavilion.The poem The breeze and the moon arepriceless,but it only sold for 40000 yuan!in it is also widely spread,making the Can

40、glangPavilion very famous.And the sentence Water and mountains are sentimental things is writtenby Su Shunqin when he first came to Suzhou.He was touched by Suzhou,a water town in thesouth of the Yangtze River,which calmed the inner depression of great aspirations difficult tofulfill and wrote this

41、poem sentence.Now lets read this couplet again.It actually cherishes the memory of the ancient literati suchas Ouyang Xiu and Su Shunqin,who know each other mind to mind,and once again points out theintention of Canglang Pavilion.This is what we often say about the artistic conception of Chineseclas

42、sical gardens.It requires a lot of background knowledge.When you possess these backgroundknowledge,while enjoying the scenery,you will think deeply.And the process of thinking is alsothe process from view to understanding so as to realize the promotion of the view to your ownideological realm.And yo

43、ur aesthetic appreciation also rises from the visual level to the spirituallevel.This is the beauty of this unspeakable artistic conception in our Chinese garden.Next!Lets review the knowledge of this lecture!Thank you.Ill see you next!精精兮拙兮兮拙兮沧浪亭造园艺术沧浪亭造园艺术各位同学大家好，上一讲我们讲了：“苏舜钦借一曲沧浪之歌表达自己在政治斗争中，坚守信念

44、不愿同流合污的政治理想，并最终选择了自我放逐，寄情山水。”这样的一个建园立意。那今天这一讲呢，我们就要结合沧浪亭现存景点，来和同学们一起来领略一下中国文人是如何寄情山水的。我们这一讲主要讲沧浪亭的三个造园特色：一、渡桥入园未入园先赏景我们说中国园林又称为山水园林，园中不仅要有山更要有水。那不仅要有水，而且还要求水是活水，所以，中国古典园林往往很强调引水入园。但沧浪亭却截然不同，它不是引水而是借水，将古典园林中“借景”这一造园手法发挥到极致。首先，它采用了渡桥入园这一别具一格入园方式，使园外的葑溪很自然成为园林入口区域重要的观赏景致。一反中国园林园内成景，造园重心在园内的这种封闭式造景方式。而是

45、以一种开放式的态度紧依葑溪，沿溪由西至东依次展开藕花水榭、水桥、面水轩、观鱼台四个景点，四个景点造景主体紧扣“沧浪”也就是“水”这一主题，但在具体呈现方式又完全不同。下面我们具体来看一下，首先，是藕花水榭它是北侧临水，由于溪中种植了荷花而得名；沿复廊东行，我们就可以看到一座水桥，也就园林的入口，你在桥的这一头与园门了，隔水相望，是不是别具一番韵味呢；继续沿复廊东行，就到了面水轩，轩名取自杜甫的：“层轩皆面水”的诗句，暗合园主人苏舜钦北宋大诗人的身份。面水轩双面临水，轩前更有古树掩映，极富山野之趣。我们再来看一下建筑，面水轩整个建筑面阔五间，采用四面厅形式，四周又设回廊，屋顶为典型的歇山式；最后

46、，我们来看一下位于园林东北角，也是复廊的尽头的观鱼台，它又名濠上观，很明显亭名出自“庄子与惠子观鱼于濠梁之上”的典故，我们常说的“子非鱼，安知鱼之乐？”（惠子），“子非我，安知我不知鱼之乐”（庄子）就是出自这个典故。接下来我们具体来看一观鱼台的具体形制，它是一座三面临水的四角攒尖方亭，我们可以看到亭子紧靠复廊的那一侧，有一块刻有苏舜钦沧浪亭记的石碑。那我通过亭的“景”与濠上观这个亭名所表达的“境”，将景与境联系到一起，我们不难看出建濠上观其实是借景来表达苏舜钦追求水清鱼乐的生活，以及不为功名利禄所奴役的决心。这就是中国文人的寄情山水典型表达方式，看的是景，赏的却是情，这也就是我们常说的意境。讲

47、到这里我们不难发现，四个景点均沿葑溪而布，使游人还没入园就已经赏到四个非常精彩的景观，同时呢，它们又非常巧妙的被一条复廊串联起来，复廊即有效的使四个景点连为一体，其本身也是游人的游览动线。这也是我们要讲的沧浪亭的第二个造园特色。二、复廊一绝山、廊、水一气呵成首先我们来看一段话：“廊者，庑出一步也，宜曲宜长则胜随形而弯，依势而成。或蟠山腰，或穷水际，通花渡壑，蜿蜒无尽，”园冶这是计成在园冶中的一段对廊的描述，廊在中国古典园林中是一个非常重要的造景元素，我们说廊往往随山就水，以曲折蜿蜒、绵绵不断取胜，同时廊也往往将游人的游览路线将园内各个景点串联起来，古人其实是通过廊来划分空间和组织游览路线。廊又

48、由于建造位置的不同而分为沿墙的走廊、空廊、回廊、楼廊、爬山廊、水廊以及复廊。而我们今天讲的沧浪亭采用的就是复廊，我们可以看一下图纸。复廊其实就是两廊并为一体，我们可以看到中间以一道墙相隔，墙上又设有漏窗，似隔非隔，使两侧景观互为渗透。沧浪亭的复廊位于北侧临水处，复廊以南为山，中国园林中最重要的山与水，就被这一段复廊相隔而又相连，是不是很有趣。沧浪亭的复廊在整个苏州园林中都是非常有特色的，苏州也有很多其它园林也采用了复廊，比如说我们在后面课程会讲到的狮子林与怡园。我们试想一下。如果采用常见的封闭性的围墙，我们刚刚讲的借景“葑溪”未入园先赏景也就不成立了，因为，园内园外没有联系的点。那如果用空廊呢

49、？是有联系了，但园内又显得过于开敞，缺少中国园林那份含蓄内敛之美。这就是我们常说的灰空间，你可以看到园内之景，但你看不全，进而勾起人的观赏欲望。我们刚刚说了，廊在园林造景中有两个重要的功能，一个是划分空间，另一个则组织游览路线。那沧浪亭复廊的南侧就是与山联系的那一侧，又与园内回廊相连，在形成一个环绕中部景区 360 度的游览路线的同时，也围合形成了沧浪亭以山林为主的核心空间院落。这就是我们要讲的沧浪亭的第三个造园特色：三、山林野趣诗情画意融于园景之中我们先讲假山，上一讲我们讲过，沧浪亭其实是一个以归隐为主题的园林。我们可以看一下沧浪亭的假山区域，它与我们在环秀山庄中看的假山完全不同，给人一个古

50、朴、野趣之感。这是为什么呢？我们再想想，归隐归隐，你在哪归隐？肯定是山野之间，你再看假山区域的朴拙、野趣是不是紧扣造园立意。沧浪亭的假山是典型的土石山，也就是我们常说的土多石少的“土包石”，假山位于园内中心区域，即作为屏障阻隔了游人的观赏的视线，也将园内的大空间划分为若干个较小的空间。往往在这种大空间中，我们要营造山林野趣之美，假山往往是峰峦嶙峋、沟壑纵横，那这样就很容易给人凌乱之感。那沧浪亭是怎么处理的呢？我们可以看看，首先，它将沧浪亭置于山丘之巅，登亭可俯瞰全园之景，在视野上统领全局。接着，整个假山游览路径围绕沧浪亭展开，脉络清晰有效的避免凌乱之感。讲完假山我们来讲亭，“亭者，停也。人所停