唐代園林建物記的遊觀書寫

Abstract

唐代文士在遷徙流動的仕宦生涯中，對於罕有人至的奇山異水展現出強烈的探索意願，他們常於所到之處進行環境整治，更興設園林建物，呈現出園林遊觀活動情態。園林作為人為創設的第二自然，在唐人興造人工園林建物之下，顯示環境從山水至園林的空間性質轉變。此行動不僅讓勝景從荒僻蓁莽中脫穎而出，並在園林建物的興設下，使人能在此展開更長時間的遊觀賞鑒活動。這種園林遊觀經驗顯示出嶄新的人地關係，同時亦擴大了園林書寫的題材與內容，逐漸形成唐人將山水轉化為園林的營造審美觀念。故本文以「園林建物記」為對象，希能凸顯唐人透過興設園林建物所進行的遊觀型態。 遊觀並非自唐代才開始，本文第二章旨在溯回唐以前遊觀議題的發展歷程。本章分為兩部分，其一是說明「遊觀」的詞意與概念發展之分析，並舉出早期先秦儒家思想出現的君子遊觀之情境作為一種後來發展的基本型態和儒者情懷。其二是闡釋自魏晉六朝以來對於山水美感的發現，透過追述中國園林發展的脈絡，觀察在士人遊觀山水的時代風氣之下，如何從貴族莊園、公共園亭與文士園田等營造經驗中，逐漸累積遊觀的審美意識、人地關係的深拓，逐步朝向唐代文人園林邁進。 第三章則聚焦在唐代由官方主導興建的園林建物書寫情境上，此類公共園林書寫可分為兩種情況，其一起於公共民生建設工程，並往往在施造完成後特立新亭以觀風景，展現出實用利生目的之外，提供遊觀山水的審美功能；其二為更常見的園林興造書寫，起於地方官吏從蓁莽中發現異境，進而整治水土、興設遊觀建物的過程。這二類情況中，書寫者往往著意表現官吏發現殊異之能，且在官吏行政資源的開發與規劃下，才能使原始山水野地成為官民共遊的公共園林景區。這種書寫蘊含著山水之美有待人為開顯的意識，並在描述整治景觀的過程中展現愈趨細緻的美感思維。再者，本文嘗試闡述在此階段逐漸形成的價值觀念：遊觀成為一位滿足為政者必要的、重要的心理需求，在亭、臺上感受顥氣清風，徘徊旦暮，透過建物遊觀四季美景，觀望悠長，不僅使為政者能常保思緒清明，在體閑心逸之餘，官吏更能推己及人，行清靜為政之道。最後，本文指出此類園林建物記的敘事方式，往往透過記述者對於建造者的觀看肯定，以傳達出為官之人的儒者志向。這些文字或石刻傳述著「無廢後觀」的意志，成為召喚後代官吏與文士傳續此精神之標的。 第四章則關注唐代私人園林建物記的書寫情境及造園理念，並分為由他人記寫及由文人自書此二種型態。首先，在由他人記寫的情況中，這類私人園林記呈現出唐人更追求在選址上與人寰不相遠，並存在著以園居小景為家的悅納之情，透過在仕宦遷徙流動中進行園居環境的營造，滿足他們安居與遊觀的心理需要。其次，在由文人自書的情況中，本文討論柳宗元的愚溪園居、白居易的廬山草堂二例，探究唐代文人園林經驗中的兩個面向。透過關注柳宗元築居愚溪及其命名行動的意義，可凸顯他自為園主的書寫情態有別於一般山水出遊活動。透過命名為「愚」，顛倒與取消外界世俗認可的價值，重新定義所家之處特別專屬於己的美的價值，以建構人與園林的內在聯繫。白居易則透過營造草堂空間，具體表現出造園的審美理念，以及清晰的為主意識，使草堂記成為文人自我形象營構的書寫。整體而言，本章探究唐代文人如何呈現異地園居的自我安頓，以及遊觀活動如何使文人在目不暇給的山水世界中，進入寧靜閒適的心靈空間；同時在此私人天地之中，向外展演著士君子生命自主、安時處順的意志，以書寫行動面向著社會進行價值建構，展現出唐人獨特的園林生命風景。 透過上述的研究成果，本文旨在開顯唐代文人園林發展中，透過園林建物的興造行動與書寫，呈顯出唐人遊觀獨特的人地關係。本文以遊觀牽涉到的美政理想與安身之道，分別彰顯唐人在公共與私人之中同步開發著山水書寫的新境界，而此類建物遊觀書寫乃下啟宋代觀者自覺、情懷各異且更為興盛的亭臺樓閣建物書寫。本文欲在遊觀發展的脈絡意義下，闡明唐代在階段性前有所承與開展新變的關鍵位置。

During their migratory career, Tang Dynasty scholars showed a strong desire to explore the rare and exotic wilderness , and they often carried out environmental improvement in the places they visited, and even built garden-architecture , which showed the mood of gardening and sightseeing activities. As the second nature created by human beings, garden-architecture, under the artificial garden constructed by the Tang people, showed the change of spatial nature of the environment from landscape to garden-architecture. Not only did this action make the landscape stand out from the wildness of the countryside, but also, with the construction of the garden structures, it enabled people to spend longer periods of time in the landscape. The experience of the inner-landscape-visualized revealed a new relationship between people and land, and at the same time expanded the subject matter and content of garden writing, gradually forming the Tang's aesthetic concept of transforming wilderness into garden. Therefore, this paper takes the " Writing of Garden-architecture " as the target, hoping to highlight the type of sightseeing that the Tang people carried out through the construction of garden buildings. The experience of the inner-landscape-visualized did not only begin in the Tang Dynasty, and the second chapter of this paper aims to trace the development of the topic of tourism before the Tang Dynasty. This chapter is divided into two parts. First, it explains the meaning of the term "inner-landscape-visualized " and analyzes the conceptual development of the term, and cites the early pre-Qin Confucianism as a basic model for the development of the Confucian sentiment and the situation of the gentleman's Tourism. The second is to explain the discovery of the aesthetics of landscape since the Wei, Jin and Six Dynasties, and through tracing the development of Chinese gardens, to observe how, in the era of scholarly landscapes, the aesthetic sense of touring and the deepening of human-earth relations were gradually accumulated from the experiences of the nobility's manor houses, the public gardens and pavilions, and the scholar's gardens, and how they gradually advanced towards the Tang Dynasty's literati gardens. The third chapter focuses on the official-led construction of gardens in the Tang dynasty, which can be categorized into two types of public gardens: first, they were built as part of public construction projects for people's livelihoods, and new pavilions were often erected after the construction was completed in order to view the landscape, demonstrating the aesthetic function of touring and viewing the wilderness in addition to the purpose of utilizing the facilities for livelihoods; and second, they were written on the construction of gardens, which is more common, and started with the process of the local officials discovering a strange place. The second, more common, is the writing of gardens, which began when local officials discovered an exotic place in the natural landscape and then built tourist attractions and structures. In both cases, the writers often focused on the ability of the officials to discover the extraordinary, and it was only through the development and planning of the officials' administrative resources that the pristine landscapes and wildernesses were transformed into public gardens and landscapes for the public and the people to visit. This kind of writing implies the realization that the beauty of landscape has to be revealed by human beings, and in the process of describing the improvement of the landscape, the aesthetic thinking becomes more and more delicate. Furthermore, this paper attempts to elaborate on the values that were gradually formed at this stage: Tourism and observation became a necessary and important psychological need to satisfy the politicians, to feel the fresh air and wind in the pavilions and platforms, to wander around from dawn to dusk, and to see the beauty of the four seasons through the buildings, and to look around for a long period of time, which not only enabled the politicians to keep their minds clear, but also made them more capable of promoting themselves as well as others in the path of quiet government while they were in a leisurely state of mind and ease of mind. Finally, this paper points out that the narrative of such garden relics often conveys the Confucian aspirations of the official through the narrator's affirmation of the builder's view. These writings or carvings conveyed the will of builder and became the standard that called upon future generations of officials and scribes to carry on this spirit. The fourth chapter is concerned with the writing situation and gardening concepts of private garden records in the Tang Dynasty, which are categorized into two types: those written by others and those written by the literati themselves. First of all, in the case of writing by others, this kind of private garden records shows that the Tang people pursued not to be far away from the human world in terms of site selection, and there existed the feeling of being pleased with the small landscape of the garden as their home to satisfy their psychological needs of living in peace and touring through the creation of a garden environment during the migration of the eunuchs and bureaucrats. Secondly, in the case of the literati writing their own books, this paper discusses the examples of Liu Zongyuan's(柳宗元) Yu Xi(愚溪) Garden and Bai Juyi's(白居易) Lushan Cao Tang(廬山草堂), exploring two aspects of the Tang literati's experience of gardens and forests. By focusing on the significance of Liu Zongyuan's residence at Yu Xi and his action of naming it, we can emphasize that his writing mood as a garden owner was different from that of ordinary landscape excursions. By naming the garden "Yu,(愚)" he subverted and eliminated the values recognized by the outside world, and redefined the value of the beauty of the place where he lived as his own, in order to construct an intrinsic connection between man and the garden. Bai Juyi, on the other hand, through the creation of the space of the Cao Tang, specifically expresses the aesthetic concept of gardening and a clear sense of purpose, making the Cao Tang a literati's self-image construction in writing. Overall, this chapter explores how the Tang literati settled themselves in a garden in a different place, and how sightseeing activities enabled the literati to enter a quiet and relaxing space of the mind in the dazzling world of landscapes; at the same time, in this private world, they demonstrated outwardly the will of the scholarly gentleman to be autonomous in life, to be at peace with the times, and to construct values for the society through their writing actions, thus demonstrating the Tang literati's unique landscape of the gardens and the forests of their lives. Overall, this paper demonstrates that the Tang literati developed a new realm of landscape writing in the public and private domains through the ideals of beauty and governance involved in landscape architecture and the way to live in peace and security, and that this kind of landscape writing was the inspiration for the Song Dynasty's more flourishing writing of pavilions and courtyards, which were consciously made by the observers with different sentiments. In this paper, I would like to illustrate the key position of the Tang Dynasty in the stage of the development of landscape painting in the sense of the development of tour and landscape painting, and the key position of the Tang Dynasty in the stage of the previous inheritance and the development of new changes.