WANG Xiangrong

宋徽宗酷愛書法和繪畫，在位時曾建立宮廷畫院，并通過以詩詞命題進(jìn)行創(chuàng)作的方式來篩選畫師。據(jù)傳說，某年的試題是“深山藏古寺”，然而，奪得第一名的畫作上根本見不到古寺，只有一和尚在崇山峻嶺前的溪水邊擔(dān)水，一條小路隱約從山腳引入深山，如此，“藏”的意境表現(xiàn)達(dá)到了極致。

深邃、空靈、委婉、含蓄是中國繪畫普遍的藝術(shù)特征，不過絕大多數(shù)中國的山水畫并不會將建筑完全隱藏起來，更多地表現(xiàn)為一種在山水間的若隱若現(xiàn)?；蚴菢桥_屋宇掩映在峰巒聳立、云霧縹緲的山間；或是數(shù)間房舍散布在巉巖茂林、小徑幽深的山谷中；或是雅致的宅邸隱現(xiàn)在層巒疊翠、老樹蒼勁的山林中；抑或是一方草廬點綴在飛瀑曲溪、江岸水渚之旁。幾乎所有的建筑都與山巒、巖石、江河、溪流、樹木相伴相隨、渾然天成。風(fēng)景畫中都有人物，或是把酒相聚，或是伏案讀書，他們的行為及精神似乎也都融入了廣闊的風(fēng)景之中。畫面所表現(xiàn)的建筑與風(fēng)景的關(guān)系反映了天地之間人與自然的和諧共生。

從中國傳統(tǒng)的山水畫作中我們又能體會出另一層含義，那就是中國人欣賞的風(fēng)景更多的是一種可望、可行、可游、可居的山水——山水是生活之地、游玩之境、聚友之所和冥思之處。在人與自然的關(guān)系上，中國美學(xué)強(qiáng)調(diào)的是二者間的親密關(guān)系。中國人追求的自然是人化的自然，人是自然的朋友。所以在中國，最美的風(fēng)景中一定會有建筑，建筑賦予了風(fēng)景以情感和心靈。

山水畫是現(xiàn)實風(fēng)景的理想化，反過來，山水畫又影響了中國人認(rèn)識風(fēng)景、欣賞風(fēng)景、經(jīng)營風(fēng)景的方式。山水畫里的建筑，就是中國人理想中風(fēng)景建筑的形式。在現(xiàn)實的風(fēng)景世界里，風(fēng)景中建筑的設(shè)置都是符合山水畫的畫理的。與無際的風(fēng)景相比，建筑的規(guī)模都非常小，但設(shè)計這些建筑時所考慮的范圍卻遠(yuǎn)遠(yuǎn)超越了視野所及。建筑與環(huán)境的關(guān)系就如同山水畫所描繪的那樣，建筑不是風(fēng)景的主角，在畫中只占很小的比例，畫幅多數(shù)的空間都留給了山水。建筑自身的尺度和形態(tài)都是非常恰當(dāng)?shù)匾郎剿h(huán)境而定，建筑與風(fēng)景互相交融，建筑的存在使得風(fēng)景既可望可行，又可居可游。

建筑與風(fēng)景互相接納、相得益彰并非中國所獨有，自古以來，世界各地在自然風(fēng)景中都有成功的建筑實踐，也都有各自風(fēng)景建筑的營建思想。不過，中國還有另一種特有的風(fēng)景中的建筑，還存在一種特有的風(fēng)景與建筑的關(guān)系，即人造山水與建筑，這就是中國園林。宋徽宗在“艮岳記”中描繪了艮岳以及這座園林中的數(shù)十處建筑：“巖峽洞穴，亭閣樓觀，喬木茂草，或高或下，或遠(yuǎn)或近……若在重山大壑，幽谷深崖之底，不知京邑空曠坦蕩而平夷也……真天造地設(shè)，人謀鬼化，非人力所能為者?！睂嶋H上遠(yuǎn)在艮岳之前，在遠(yuǎn)離自然山水的城市園林中，中國人就開始模擬自然風(fēng)景，寫意地建造出人工的山水林泉，力求“雖由人作，宛自天開”，然后再在這樣的人造山水中營建建筑。園林中的建筑依“山”就勢、自然隨性、或藏或露、宜亭斯亭、宜榭斯榭，都融合在人造的山水之間，宛若天然圖畫。

無論是位于天然風(fēng)景還是人造山水之中，建筑必然不能是孤立的房子。風(fēng)景中的建筑應(yīng)該是風(fēng)景的一部分，生長在風(fēng)景之中，被風(fēng)景接納，與風(fēng)景產(chǎn)生共鳴。同時，風(fēng)景中的建筑也應(yīng)該與風(fēng)景相輔相成——它們往往位于風(fēng)景序列的重要節(jié)點上，這些建筑不僅為人們提供了停留體驗觀賞風(fēng)景的場所，也能夠重塑風(fēng)景，強(qiáng)化風(fēng)景的特質(zhì)。

Emperor Huizong of the Song Dynasty loved calligraphy and painting. During his reign, he established a court painting academy and screened the artists by creating with the given poetry. According to legend, the test title of a certain year was "the ancient temple in the deep mountain". However, the ancient temple was not seen at all in the painting that won the first place. Only one monk was carrying water in the stream before the mountains, and a small road was looming from the foot of the mountain to the deep mountain. In this way, the artistic conception of "concealing" has reached an extremely high level.

Being deep, ethereal, euphemistic, and implicit is the common artistic feature of Chinese painting, but most Chinese landscape paintings do not completely conceal the buildings, while more of them are slightly shady in landscape. The terraced houses are hidden in the mountains with peaks and clouds, the houses are scattered in the valleys of steep rocks and thick wood, the elegant mansions are hidden in the mountains and the green trees, or the thatched cottages are dotted along waterfalls, streams, or rivers. Almost all buildings are accompanied by mountains, rocks, rivers, streams, and trees, perfectly and naturally formed. There are people in landscape paintings, gathering with wine or reading books at desks, and their behaviors and spirits seem to be integrated into the vast landscape. The relationship between architecture and landscape represented by the picture reflects the symbiotic harmony between man and nature between heaven and earth.

From the traditional Chinese landscape paintings, we can experience another layer of meaning, which is, the scenery that Chinese people appreciate is more of a landscape that can be viewed, accessed, visited, and lived. Landscape is the place to live, play, gather with friends and meditate. In the relationship between man and nature, Chinese aesthetics emphasizes the intimacy between the two. The nature that Chinese people pursue is the humanized nature, and human beings are friends of the nature. Therefore, in China, there must be architecture in the most beautiful scenery, and the architecture gives scenery an emotion and a heart.

Landscape paintings are the idealization of realistic sceneries. In turn, landscape paintings have influenced the way Chinese people understand, appreciate, and operate sceneries. The architecture in landscape painting is the ideal form of landscape architecture for Chinese people. In the realistic landscape world, the settings of buildings in landscape are in line with the logic of landscape paintings. Compared to the endless landscape, the scales of the building are very small, but the scopes of consideration when designing these buildings far exceed the scope of vision. The relationship between architecture and environment is as depicted by landscape painting that architecture is not the protagonist of the landscape, it only accounts for a small proportion in the painting, and most of the space in the painting is left for landscape. The scale and shape of architecture itself are very appropriate depending on the landscape environment. Architecture and landscape blend together. The existence of architecture makes landscape both viewable and accessible, as well as livable and touristy.

Architecture and landscape embracing and complementing each other is not unique to China. Since ancient times, there have been successful architectural practices in natural landscapes around the world, and they all have their own ideas for building landscape architecture. However, there is another unique architecture in landscape in China, and there is also a unique relationship between landscape and architecture, namely artificial landscape and architecture, which is the Chinese garden. In Genyue Ji (Notes on Genyue), Emperor Huizong of the Song Dynasty portrayed Genyue and dozens of buildings in the garden: "The rocks, cliffs and caves, pavilions and buildings, arbors and grasses, are high or low, or far or near… when in the bottom of cliffs and valleys of the rang upon range of mountains, you don't know that the capital city is broad and flat. It's really heavenly made, and human cannot make it." In fact, far before the creation of Genyue Garden, in urban gardens that were far away from the natural landscape, the Chinese began to simulate natural sceneries, freely constructing artificial mountains, forests and springs, striving to "be unnaturally natura", and then building architecture in such artificial landscape. Architectures in landscape follow the terrains, are natural, conceal or show, in the forms of pavilions or sheds with suitable conditions, and all blend in the artificial landscape, like natural pictures.

Whether it is located in a natural landscape or in an artificial landscape, the architecture must not be an isolated house. Architecture in landscape should be part of the landscape, growing in the landscape, embraced by the landscape and resonating with the landscape. At the same time, architectures in landscape should complement landscape—they are often located at important nodes of the landscape sequence. These architectures not only provide a place for people to experience the landscape, but also reshape the landscape and enhance the characteristics of the landscape.