風(fēng)景園林專業(yè)英語lesson8

1、Chinese garden concepts arrived in Japan along with Buddhism in the sixth century. Although sharing a similar aesthetic approach, the gardens built in the small, Well-watered island nation of Japan would ultimately differ from those of China, a country of vastly greater dimensions, a land of contras

2、ting wide plains and mountainous precipices. After appropriating Chinese garden concepts, instead of continuing to create "recollections" of famous scenes in nature in the Chinese manner, Japanese garden designers increasingly sought a generic ideal of nature in conformity with the scale a

3、nd topography of their own natural landscape.中國的園林概念跟隨著佛教在第六世紀(jì)抵達日本。雖然兩國的審美方式很相近，但日本作為三面環(huán)海的小島國，園林形式終將不同于中國，中國是一個更大規(guī)模的國家，土地廣闊的平原和山區(qū)懸崖峭壁的對比。在挪用中國園林的概念，而不是繼續(xù)創(chuàng)造“回憶”在中國的方式自然著名的場景，日本園林設(shè)計師越來越多地尋求與他們自己的自然景觀的規(guī)模和地形相一致的自然的理想。The eleventh-century treatise known as the Sakuteiki, presumably written by Tachibana n

4、o Toshitsuna(10281084) , is Japan's earliest known manual of garden rules.In it one finds prescriptions for the handling of stones set within moving water in the socalled "large river style." The Sakuteiki counsels that, in order to make a proper garden, one should travel widely and be

5、come acquainted with beautiful scenes in nature, indicating that by this time the Japanese had singled out various famous views as prized components of their country's natural landscape .Besides giving precise instructions for building water-falls and other garden features, the author encourages

6、 gardeners to orient their buildings to the south according to the principles of geomancy. Logically, streams should be placed on this, their most open, side. He prescribed that these flow from east to west in order to cleanse the evil air emanating from the northeast and ward off demons. In additio

7、n to following these prescriptions of the Sakuteiki, Japanese garden designers often incorporated a distant vista in their designs in order to enlarge the visual sphere of the usually quite small garden and to reinforce its connection with the natural world. They referred to this technique of borrow

8、ing scenery as shakkei.第十一世紀(jì)的論文稱為作庭記，大概是橘俊崗寫的（1028 1084），是日本最早的園林的規(guī)則手冊。在這里面我們會發(fā)現(xiàn)處方中在所謂“大河風(fēng)格”流水置石的做法。作庭記建議，為了作出適合的園林，人們應(yīng)該廣泛的旅行和認(rèn)識大自然美麗的景色，這表明，此時，日本已經(jīng)把各種著名的風(fēng)景作為其國家自然景觀的珍貴組成部分。除了對建筑瀑布和其他園林的特點明確的指示，筆者鼓勵造園家根據(jù)風(fēng)水的原則將建筑物布局在南部。從邏輯上講，溪流應(yīng)該放在最開放的一邊。他規(guī)定，這些從東到西流，以凈化從東北散發(fā)出來的邪惡空氣，驅(qū)除惡魔。他規(guī)定，這些從東到西流，以凈化從東北部散發(fā)出來的邪惡空氣和驅(qū)

9、除惡魔。除了下面這些處方的作庭記，日本園林設(shè)計師經(jīng)常在他們的設(shè)計中引入一個遙遠的遠景，以擴大通常相當(dāng)小的花園的視覺領(lǐng)域，并加強與自然世界的聯(lián)系。他們稱這種技術(shù)為借景（shakkei）。 Buddhist creation mythology and Daoist belief in the paradisaical Isles of the Blest furnished the lakeand-islands motif that underlies the composition of many Japanese gardens,even those compressed visions

10、of a Zen Buddhist universe known as kare sansui,or dry landscapes. Beginning in the thirteenth century, members of the newly imported Zen sect designed these spare, almost austere, gardens as aids to meditation. These are minimalist compositions of carefully positioned stones, which are meant to be

11、read as islands in a dry “river” of carefully raked gravel or sand or as mountains in a landscape of mosses.Such Zen-inspired gardens played an important role among members of the ruling classes; certain emperors and even some shoguns-powerful military dictators who ruled under the nominal authority

12、 of the emperor-found garden-making to be a satisfying escape from court politics and civil strife .The tea ceremony, developed in the late fifteenth century,was not a religious exercise,but it nevertheless provided a disciplined experience of concentration and aesthetic and spiritual refreshment fo

13、r which passage along a garden path of moss and stones offered a prescribed prelude and conclusion. 佛教所創(chuàng)造的神話及道教福地仙島的信念形成的湖-島主題成為很多日本園林的基本構(gòu)成，即便是被廣泛認(rèn)知的禪宗凝練視覺的枯山水也是如此。從十三世紀(jì)開始,新傳入的禪宗教派的成員幾乎簡樸地設(shè)計這些空余的,園林助于冥想。這些都是精心安置的石頭，這意味著可以被解讀為精心傾斜碎石或沙子干“河”的島嶼或苔蘚景觀。這樣充滿靈感的禪宗花園在統(tǒng)治階級的成員中起了重要的作用；某些皇帝甚至一些幕府強大的在皇帝的名義權(quán)力下統(tǒng)治的

14、軍事獨裁者，發(fā)現(xiàn)造園是一個令人滿意的擺脫宮廷政治內(nèi)亂。茶道，在第十五世紀(jì)末發(fā)展起來的，并不是一個宗教的運動，但它提供一個有經(jīng)驗的濃度和審美和精神恢復(fù)，沿著青苔和石頭花園路徑通道提供規(guī)定的前奏和結(jié)論。 The Japanese combined their penchant for cultural appropriation with a talent for reinvention. Japan's island geography and a semi-isolationist policy during much of its history fostered the assim

15、ilation and transformation of those ideas and forms that were adopted from the outside into a vigorous native expression. The arrival of Commodore Matthew Perry's American ships in Tokyo Bay in 1853 1954 ended the country's previous two centuries of closure to all but Dutch and Chinese trade

16、rs, whose access was strictly limited. Increasing transactions with the West started Japan on a path of profound change. Without some degree of cultural isolation and the focused aestheticism that matured the Japanese garden into a great art form, the slow but creative evolution that counts as devel

17、opment within a traditional artistic idiom came to a standstill. Its assimilative energies directed toward building a powerful economy and its political life reshaped since 1945 as a capitalist democracy, Japan has become today a conservator of its cultural heritage. As in other countries where the

18、government and cultural institutions protect a "golden age" of previous artistic accomplishment, in Japan the state and the religious establishments of Kyoto maintain the incomparable imperial and Buddhist temple gardens as much-appreciated heritage icons and tourist attractions.日本文化撥款然后結(jié)合

19、自己的愛好再造人才。日本的島國地理和半孤立主義政策的歷史中培育了同化的思想和形式，通過從外界進入了蓬勃的母語表達轉(zhuǎn)化。對佩里在東京灣的美國軍艦的到來在1853 1954結(jié)束該國的前兩世紀(jì)關(guān)閉所有但荷蘭和中國商人，其訪問被嚴(yán)格限制。隨著西方的日益增長，日本在一條深刻變革的道路上。沒有一定程度的文化隔離和集中的唯美主義，成熟的日本花園變成了一個偉大的藝術(shù)形式，緩慢但創(chuàng)造進化，算是在一個傳統(tǒng)的藝術(shù)風(fēng)格發(fā)展停滯不前。其同化的能量朝著建設(shè)強大的經(jīng)濟和政治生活的改變從1945作為資本主義民主，日本已成為今天的保護文化遺產(chǎn)。像在其他國家，政府和文化機構(gòu)保護的“黃金時代”的以前的藝術(shù)成就，在日本，京都的國家和

20、宗教機構(gòu)保持無與倫比的帝國和佛教寺廟園林一樣多的欣賞遺產(chǎn)的圖標(biāo)和旅游景點。 The talents of Japanese landscape designers today contribute to the pluralistic internationalism of garden art rather than to the continued development of a specifically indigenous style. The vocabulary of Japanese garden design-its abstract compositional harmon

21、ies, its elegant rusticity, its "borrowed" views, its asymmetrical configuration of design elements, its attention to ground plane patterns and textures in the arrangement of moss and stones-has furnished inspiration to modern garden designers in other countries. To appreciate more fully t

22、he richness of simplicity in this carefully matured language of landscape, we must now review the history of Japanese gardens.今天的日本景觀設(shè)計師的人才有助于園林藝術(shù)的多元性而不是一個具體的本土風(fēng)格的持續(xù)發(fā)展。日本園林設(shè)計的抽象構(gòu)圖和諧的詞匯，其典雅質(zhì)樸，其“借”的觀點，其對稱結(jié)構(gòu)的設(shè)計元素，在青苔和石頭安排到地平面的圖案和紋理的關(guān)注提供了靈感，現(xiàn)代園林設(shè)計師在其他國家。為了更充分地欣賞這一精心成熟的景觀語言的簡潔性，我們現(xiàn)在必須回顧一下日本園林的歷史。IHE NARA

23、 AND HEIAN COURTS Buddhism was introduced from China into Japan in 552. Under the regent, Prince Shotoku(573-621) , who promoted it and built temples, it gained the kind of institutional status enjoyed by Christianity in the West after the reign of Constantine the Great. The acceptance of Buddhism,

24、together with contacts with Korea and the first official Japanese embassy to China in the early seventh century, stimulated the adoption of Chinese artistic and architectural forms Formerly， rulers had constructed their dwellings in the vernacular style of the structures at the Ise Shrine. Moreover，

25、 because of the premium put upon spatial purification and ritual rebuilding, the capital was moved at the beginning of each new reign In 710, however, the court was established at Nara, and there it remained for thenext seventy-five years through several reigns.佛教在552年從中國傳入日本。攝政王圣德太子（573-621）推動了佛教發(fā)展

26、并建設(shè)了寺廟，在西方君王坦丁大帝執(zhí)政后，它在基督教獲得了一種制度地位。在七世紀(jì)初，佛教的傳入，連同接觸韓國和第一個正式的日本駐中國大使館的成立，促進中國的藝術(shù)和建筑形式的采用。以前，統(tǒng)治者在伊勢神宮已經(jīng)修建了有鄉(xiāng)土特色結(jié)構(gòu)的住所。710年，在每個新君主統(tǒng)治前期，首都會變更，因為需要用資金進行空間凈化與儀式重建中。但是，在接下來75年里，統(tǒng)治者幾經(jīng)易主，奈良已建成的庭仍保留了下來。 The plan of the city, with its hierarchical ordering of space within a grid layout,was, at a lesser scale, a

27、 conscious imitation of that of Chang'an, the Chinese Tang dynasty capital. The temples constructed to house large images of Buddha were unlike any previous Japanese architectural forms. The spatial layout of their surrounding compounds also followed Chinese models.在網(wǎng)格中分層有序的空間布局的城市規(guī)劃，在小程度上，是有意識地

28、模仿唐朝的首都-長安。寺廟中，用于擺放大佛像的房子不同于任何以前的日本建筑形式。房子周圍場地的空間布局也繼承了中國的布局模式。 Korean craftsmen were brought to Nara to help develop imperial gardens in the Chinese manner, with lakes and rock arrangements farming islands. From archaeological excavations, as well as from paintings and poetry of this period, we sur

29、mise that these were similar to the Tang models they sought to imitate, being yarimizu, or river-style gardens. Their meandering streams furnished the opportunity to organize poetry competitions like the ones popular in contemporary Chinese gardens.韓國工匠被帶到奈良以中國的形式建造皇家園林，并在其中用湖泊和巖石建造農(nóng)業(yè)島。根據(jù)考古發(fā)掘，以及這一時期

30、的繪畫和詩歌，推測可知這些類似于他們試圖模仿的唐代的形式、鑓水或者池泉園。那些蜿蜒的溪流為組織詩歌比賽提供了場所，像在當(dāng)時中國園林流行的那些曲水流觴。 Upon ascending the throne in 781, Emperor Kamm decided to move the capitalonce more, probably in order to separate the government from the influence of priests at Nara, who, to his distress, had amassed considerable politica

31、l power. After ten years of building this new capital, Nagaoka-kyo, the not-yet-finished city was abandoned in favor of another site nearby, Heian-kyo, meaning the Capital of Peace and Tranquility, the original name of Kyoto. Once established, Kyotol became the imperial capital of Japan for more tha

32、n a thousand years until the Meiji Restoration in 1868, when Tokyo was made the capital.在781即位后，皇帝卡姆決定再次遷都?？赡苁菫榱藢⒛瘟嫉恼畯募浪镜挠绊懼蟹蛛x出來。但讓卡姆難過的是，他已經(jīng)在那積累了相對大的政治權(quán)力。經(jīng)過十年的新都建設(shè)，尚未完成的長岡京被被遺棄了，在它附近的平安京受到了人們的青睞。平安京是意味著和平與安寧的首都，京都原來的名字。京都成立之后，成為日本帝都超過了一千多年，直到1868年明治維新，東京成為首都。 In Kyoto, as at Nara, the gridiron pla

33、n of Chang'an formed the model for a new city roughly half Nara's size, or 3. 5 miles(5. 6 kilometers) north to south by 3 miles(4.8 kilometers)east to west. Also, as at Nara, the imperial enclosure, known as the Daidairi, was placed at the end of a broad axis at the city' s northern end

34、. The surrounding city was subdivided into 76 large squares, measuring approximately 400 feet (122 meters) to a side. The eastern half of this residential grid became the location of choice for the nobility; however, the western half was never developed in accordance with its original outlines. In a

35、n attempt to avoid the political tensions that had existed at Nara, the emperor mandated that new temples he sited outside the city, and these were therefore built on the lower slopes of the surrounding hills, as were estates of the powerful nobility.在京都，如長安格狀平面圖形成的新城模型為一個奈良一半大小，從北到南有3.5英里（5.6公里），從東

36、到西為3英里（4.8公里）。另外，在奈良，帝國的外殼，被稱為daidairi，是放置在一個廣闊的軸的一端在城市的北端。周圍的城市被細分為76個大廣場，測量約400英尺（122米）的一方。這一住宅網(wǎng)格的東部，成為貴族的首選位置，然而，西方的一半是從來沒有按照它的原始輪廓。為了避免存在在奈良的政治緊張局勢，皇帝下令新寺廟他位于城市之外，這些都是建立在周圍的丘陵低坡，是強大的貴族莊園。 In the Heian period(781- 1185), a golden age for Kyoto, all the arts, including landscape design, were held

37、in high esteem Gardens in this period were ampler than later ones, and the lakes in them were generous in size. Fortunately for posterity, Murasaki Shikibu(970 -1026), a lady of the court, chronicled the aesthetic pursuits of the elite during the Heian era in The Tale of Genji, a nove1 written aroun

38、d the year 1000. In it we read of Prince Genji in many beautiful garden settings as he enjoys such pastimes as rowing in Chinese-style boats around the islands in the lake or going on an outing to admire the fall foliage Inspired by Chinese models, these islands consisted of arrangements of rocks, s

39、ome intended to suggest the form of a symbolically meaningful tortoise or crane. Pavilions in the style known as shindenzukuri stood at the edge of the water. These structures, derived from Chinese architectural norms, were elegant in their lines but rustic in character, with reticulated two-part sh

40、utters that could be raised in summer. Their floors were polished wood, as tatami mats and other specifically Japanese conventions had not yet become established. These viewing platforms were actually projecting wings of a large central pavilion, or shinden, that faced the lake. A swath of white san

41、d at the lake's edge served as a stage for mime and dance performances, which could be enjoyed from a shindenzukuri pavilion. Raised covered passages linked the separate pavilions with each other and with the shinden.在平安時代（781 - 1185），京都的黃金時代，所有的藝術(shù)，包括園林設(shè)計，是這一時期高自尊花園舉行的高度比后來者，和他們的湖泊是慷慨的大小。幸運的是，后人

42、，紫式部（970 - 1026），一個宮女，記敘了精英的審美追求平安時期源氏物語，一種寫1000年左右。在這我們看到許多美麗的花園設(shè)置源氏王子他喜歡劃船中國風(fēng)格的船在湖上的島嶼或去欣賞秋天的落葉受到了中國模式的郊游這樣的消遣，這些島嶼包括安排一些巖石，意在提示一個象征意義的烏龜或起重機形式。在風(fēng)格被稱為shindenzukuri站在水邊亭。這些結(jié)構(gòu)中，來自中國的建筑規(guī)范，是優(yōu)雅的線條而質(zhì)樸的性格，與網(wǎng)狀部分百葉窗，可提高夏季。地板是拋光的木材，如榻榻米等具體日本公約尚未成為建立。這些觀景平臺實際上是一個大的中心展區(qū)，突出的翅膀或?qū)嫷?，臨湖。在湖的邊緣一片白砂作為MIME和舞蹈表演的舞臺，可以享

43、受從shindenzukuri亭。提出的走廊相連的獨立展館彼此與寢殿。 Within Japan's feudal social structure, the powerful Fujiwara clan had gained supremacy by 850, and in their role as regents for emperors in their minority, members of this family gradually appropriated much of the imperial power and married into the imperial

44、family. Their chief, Fujiwara no Michinaga(9661027), held the title of kampaku, a high governmental position in which he mediated between the emperor and court officials in affairs of state. As respected but powerless figureheads, emperors typically spent their lives engaged in cultural pursuits. Ma

45、king a virtue of their relatively raduced circumstances, they refined their chosen style, which was derived from rustic vernacular architecture, into a vocabulary of elegantly crafted details and beautifully proportioned parts. By contrast, the Fujiwara, like the shoguns who followed them, liked to display their power in works of magnificence. The splendor of the Heian period is found in the Byodo-in, built as a villa by the kampaku Fujiwara Yorimichi(992-l074) on his estate south of Kyoto and converted into a temple in 1052. The pond garden(now severely compromised in size)and seren