| 摘要: | 中國、日本傳統庭園，在世界庭園發展上，皆具有其獨特的地位。在同屬於東方文化的中、日庭園藝術上，兩者因歷史文化發展的不同，存在著不同的庭園美學思想。 中國上古流傳著豐富的神仙思想、傳說，先秦諸子百家爭鳴，哲學思想大放異彩。由於佛教的傳入，中世紀時，儒釋道合ㄧ的思想，豐富了文學、藝術的內涵。而士大夫文人寄情山水，將追求隱逸生活的理想，在庭園中實現。日本曾受中國文化思想的影響，在庭園中存有與中國同樣的創作思想及空間手法，然而日本文化對轉化外來文化有其獨特的專長，進而創造出日本風格的庭園特質。 從中、日庭園的歷史發展過程，探討庭園在各時代的藝術表現，及其受社會文化影響下的各自特徵，並在其不同的庭園意境所蘊含的哲學、人文傳統等思想中，探究其呈現在實用層面、觀賞層面的不同表現方式。 中、日庭園的元素，皆以自然岩石為重心，岩石為庭園之骨，庭園之心。東方庭園藝術的骨架為庭園岩石，中、日兩國庭園岩石皆受其岩石文化的影響，但在不同的自然環境、人文風俗、社會、政經等條件影響下，呈現極為不同的庭園岩石藝術表現。從庭園岩石的分析探討，可了解庭園藝術的創作手法、空間意涵及整體庭園美。 本論文即藉由中、日兩國岩石文化發展及傳統庭園岩石的藝術創作形態之比較，來說明岩石在不同的文化體系下，如何被賦予意義及功能，並由人與自然環境、文化背景、社會、政經等關係的發展，所表現在庭園岩石的藝術創作形式，來分析其庭園藝術的風格。 研究結果：中國庭園建立在一個文學意境的追求上，其庭園岩石組構手法為「有法而無式」，所謂「法」者，是指脈絡氣勢，與畫理是相通的。中國疊石轉化自於山水畫中的疊石形式，強調富變化、多曲線的彎曲線條美，愛好具神祕感的岩石。日本庭園中受諸宗教信仰的影響極深，蓬萊、神仙思想與佛教思想，對石組的組構有強烈的支配性。日本庭園岩石組構手法有固定形式，講求安定素直的線條美，創造含有枯寂、寂靜的精神意涵的意境。較具強烈的抽象性、象徵性的表現，如庭園中對砂的應用。中國追求的是一種心中情景的「意境」，而日本則在要求一種嚴格的區位劃分。 在中國，庭園是一個獨立的項目，在發展上成為與一般建築相平行的另一個體系。而在日本，較不具有獨立的性格，庭園往往成為附屬於某種特殊用途的功能。此乃中日兩國庭園空間屬性上的差異。 中國庭園空間藝術表現是可居、可行、可望、可遊，是一種疊積的空間佈局手法，創作一種詩情畫意的意境之美。庭園岩石藝術講求活動視點的美，為動態的時間觀照形式，追求永無止境、生生不息的空間轉換。 日本庭園的創作，是表現一種凝視的空間觀照，具有濃厚的宗教意涵，以靜觀為重點，一種縮小導向的空間概念，以淨化的空間手法，達到枯淡、寂靜的美，不追求永恆，歌誦乍現的美感，珍惜瞬間燦爛的片刻。
Traditional Chinese and Japanese garden art have their extraordinary position in the field of global garden art. Though both of them are derived from oriental culture, they have prospered and become two different concept of beauty due to their individual historical and cultural development. Abundant ancient Chinese myth and legends plus widely diverse thoughts of ancient scholars had nurtured Chinese philosophy. The merging of Confucianism, Buddhism and Taoism, furthermore, enriched the inner connotation of Chinese art and literature. Scholars and officials abandoned themselves to nature. The garden art conveyed their ideal of living in seclusion. Japan is indeed influenced by Chinese culture and in some way, has similar idea and artistry in garden art. But Japan has its specialty in absorbing foreign culture and then creates its own style. This makes Japanese garden become unique and outstanding. The basic element of oriental garden is rocks. Rocks play an important part. They are the bone and core of oriental garden structure. Sino-Japanese garden are both affected by the custom of placing natural rocks in gardens, but with different environment, society, economy and politics, each country shows a very different artistry in rock art. This asset aims at comparing the development of rock culture and art in China and Japan, in order to explain how different culture system gives rocks different function and meaning and then derive different style and artistry in garden art. We also want to study how Sino-Japanese people at different time present their garden in a practical way or a pure appreciating way. The outcome of this research: Chinese garden art is founded on seeking a literature imaginary. Chinese rock art emphasizes on the variety, the curving lines and the mystery of rocks and has rules but no forms. It’s the same way rocks appear in Chinese paintings. Japanese garden art is affected by several religious belief which include Buddhism, immortal beings etc.. Japanese rock art has a fixed form requesting a stable beauty of lines, creating a state of drought, loneliness, stillness and strongly showing its abstract and symbolism, for instant: using sands in garden. Japanese garden demands a very strict boundary division. In China, garden art is independent of the development of building construction system and has its own developing system. Chinese garden is a space people can watch, live in, walk on and wander around. It’s a piling up space arrangement pursuing the imaginary beauty existing in Chinese poetry and paintings. Rock art is focusing on “time”. It’s a moving form according to the change of time and seeks the lively beauty and the eternal space transforming. While in Japan, garden doesn’t have an obvious character. Often it’s only an attachment for specific purposes. This is a big difference between Chinese and Japanese gardens. Not like Chinese garden, Japanese garden emphasizes the “space” and praises beauty of temporariness and glorious moment of instant. Through the way showing motionless, simplicity and miniaturing, it presents beauty of plainness, loneliness and stillness. |
