陳 薇

我開展中國古典建筑、城市、園林景觀的關聯(lián)性研究已經(jīng)20余年，而其中主持的3項國家自然科學基金項目均和水環(huán)境相關。20世紀90年代在文章“為什么要研究長江中下游沿江景觀”[1]中，第一次提出對于中國古典園林景觀研究的角度宜從“城-景、地-景、人-景”的相互關照和聯(lián)系進行，并依此完成了沿江景觀的研究；后來我和我指導的研究生們合作完成的《走在運河線上——大運河沿線歷史城市與建筑研究》(上、下卷)[2]，依然延續(xù)關聯(lián)性思想；近年我主要聚焦在“江南古典園林與城市水系的關聯(lián)研究”，從特殊區(qū)域的角度更深入地發(fā)掘古人在古典園林方面的創(chuàng)造性智慧。

另一方面，在研究的同時，我一直從事遺產(chǎn)保護方面的實踐工作，譬如2002年進行的“揚州子城保護與發(fā)展規(guī)劃”及2007—2009年主持的“全國重點文物保護單位揚州城址(隋—宋)保護規(guī)劃”①、2005年開始以及2011—2012年拓展的“全國重點文物保護單位臨安城遺址(南宋)總體保護規(guī)劃”②，都接觸到對于江南城市與園林的價值判斷問題，尤其通過古典文獻閱讀和現(xiàn)場考察，使我洞悉并進一步確定古人是沒有我們今天建筑、城市、園林景觀的學科分野的，在整體性的思考和實踐方面，取得很高的成就。2009年11月在南京林業(yè)大學舉行的陳植造園思想國際研討會上，我報告了研究成果“城河湖水一帶 綠楊城郭一體——揚州瘦西湖研究二則”[3]，第一次提出瘦西湖的形態(tài)形成與城市護城河興廢的關系，現(xiàn)在這個結論被普遍認可。

本篇系應《中國園林》邀請為“城鄉(xiāng)水環(huán)境”主題之作，既是我近期進一步深入研究的成果，也是對于20余年前提出關聯(lián)性研究構想的延續(xù)，2個西湖是指曾經(jīng)均負郭而西的杭州西湖和揚州瘦西湖，還是京杭運河線上2個很有典型意義的園林，因此，對于2個西湖蘊含的中國古典智慧的揭示，也可以理解為我主持的3個研究課題的一種貫穿。

此外，2個西湖，古今時有人進行對比或聯(lián)系，如《揚州畫舫錄》載汪坤《題畫舫錄》：“綠楊城郭比西湖，自古繁華入畫圖，六柱船分三尺水，縱然風雨不曾無。③[4]”這種比較，多從審美角度考察，影響了后人對2個西湖的認知，淡化或者漠視了真實的西湖和瘦西湖能夠存留下來的真諦和規(guī)律。本文希望做些補充、修正、發(fā)現(xiàn)和揭示的工作，對它們形成的過程和呈現(xiàn)的形態(tài)及景色，我概括為：“留得”和“拾得”。將從“城-景”“地-景”“人-景”3個方面進行探索和分析。

1 “留得”vs“拾得”之一：城市發(fā)展的角度

1.1 牙城舊址擴籬藩，留得西湖翠浪翻

西湖現(xiàn)在無疑成為杭州最重要的城市組成，而自隋代到清代西湖始終偏居城市西側，是名副其實的西湖(圖1)。民國初年因建設之需，政府有計劃地拆除城墻，納西湖與城市一體：先拆西墻開路、后拆北和南墻開辟新市場；1959年建環(huán)城東路，東側最后一段城墻被拆除，如此改變了原有的城市山水格局，城與湖的界限、城與錢塘江的界面被破除。最重要的是原來于東錢塘江與西湖之間長時間呈南北向發(fā)展的城市及其內(nèi)在動力都在改變，西湖成為杭州最大的消費平臺之源泉。而在歷史上，西湖始終是城市的內(nèi)存和主動創(chuàng)造。

西湖筑得：西湖位于錢塘江之西北隋杭州西側。秦時現(xiàn)在的杭州尚為江海潮出沒的地區(qū)，只在靈隱山麓設縣治，稱錢塘屬會稽郡；東漢隸吳郡，興修水利發(fā)展農(nóng)田，修筑一條海塘與海隔斷而成內(nèi)湖，形成“明圣湖”又曰“金牛湖”④；隋開皇九年(589年)廢郡，倚江帶湖筑城，南設州治于鳳凰山，北以平陸為城市，呈南北長、東西狹的帶狀，遂“明圣湖”或“金牛湖”成為西湖。

西湖留得：唐代城址仍因其舊，對于西湖，白居易修堤蓄水，以利灌溉，舒緩旱災危害。后梁開平元年(907年)錢鏐封為吳越王，以杭州為都，先后進行3次擴建，但均延續(xù)隋杭州城“南宮北市”的基本格局，確立了以北部作為城市發(fā)展方向而未填湖建房。錢鏐還設置了7000名“撩淺軍”，專事西湖的疏浚工作，以保持湖水清澈。后來有書生歌頌錢镠的大格局思想：“牙城舊址擴籬藩，留得西湖翠浪翻；有國百年心愿足，祚無千載是名言”⑤。

西湖兩得：宋太宗太平興國三年(978年)“錢俶始事貢獻”⑥[5]，吳越獻兩浙諸州地，國除。北宋仍為杭州州治。建炎三年(1129年)宋高宗詔升杭州為臨安府曰行在所，以州衙為行宮。紹興八年(1138年)正式以杭州為都城，稱臨安，紹興二十八年(1158年)增筑皇城東南外城，但沒有動用西湖用地。整個宋代，西湖的最大發(fā)展為繼前朝修堤壩，并將水利工程和景觀相結合，是非常獨特的創(chuàng)造。“誰立西湖造化功？峰分南北境相通。四時風物弦歌里，兩岸人家圖畫中。堤柳送迎忘爾汝，棹聲來往自西東。風波便作恩波看，此樂君王與眾通”⑦。元明清時期，或平城或筑城，但西湖始終保持相對獨立的負城角色，直到民國以后改變。

1.2 二十四橋空寂寂，綠楊摧折舊官河

揚州最輝煌的時候是唐代，其時除了長安和洛陽兩京，揚州是第一大都會，有“揚一益二”⑧之稱。之所以有如此都會，源于所在的特殊位置，是古代水路交通要道，東通黃海，北連運河，南接長江，東北為蜀岡高地可防守。揚州城自春秋末年在蜀岡建城到向南發(fā)展成大都會，從縮減規(guī)模于宋代形成三城格局以防守，至明清繼續(xù)放棄北部而僅將宋大城的東南部作為城圈生活，很重要的原因是水道的改變(圖2)。

新水道勝出，舊水道便廢用，而揚州瘦西湖乃在擅用舊水道的“拾得”過程中發(fā)展起來。

架橋官河：揚州城始建于春秋末年，吳王夫差開鑿邗溝以通長江和淮河的同時，在蜀岡修筑邗城，即揚州城的前身。邗溝為揚州運河的起源，南方物資經(jīng)此運往北方或者東南貨物由此運往兩京。漢代以降，長江南退，連接長江的河道多有疏通和修筑，楚懷王、漢吳王劉濞先后筑廣陵城，隋時建江都宮城、東城，并進一步開鑿貫通了運河。由于交通繁忙、人口增多，蜀岡至長江之間的河灘地聚落形成，此便是蜀岡上繼續(xù)的子城與蜀岡下發(fā)展的羅城，在隋唐完成。這樣，原來運輸?shù)内鯗虾凸俸颖Ｕ虾?，便成為唐羅城的內(nèi)河，為方便官河東西兩側的交流，建橋二十四溝通⑨，但畢竟穿城運輸不便，且“城內(nèi)漕河又苦水淺，不得不思變”⑩，實際上唐羅城東側的城河發(fā)揮了主要運河的作用而替代了官河，以至于唐末韋莊《過揚州》有“二十四橋空寂寂，綠楊摧折舊官河”[11]的詩句。

圖2 瘦西湖與揚州歷史城市(2-1：瘦西湖為聯(lián)通唐羅城西北段護城河與宋大城西北段護城河形成；2-2：唐代大揚州與后來揚州歷史城市變化，陳薇繪)Fig. 2 Slender West Lake and Yangzhou historical city (2-1: Slender West Lake is built on the northwestern moat section in the Luo City (Tang) and the northwestern moat section of the Large City (Song); 2-2: The historical changes of the Great Yangzhou during the Tang Dynasty and later Yangzhou)

利用城河：在唐大揚州的基礎上，后來的揚州城就是不斷縮小規(guī)模、利用前朝城的壓縮過程。后周時期利用羅城東南角筑周小城；北宋沿用周小城；南宋為適應抗金需要，建置堅固的軍事防御城市，由寶祐城、夾城、大城三城組成。如此范圍，便是不斷利用舊城的過程，尤其可以發(fā)現(xiàn)，宋大城和夾城的西城壕就是原來唐代羅城內(nèi)的官河保障河，宋大城的東南更是原封不動地沿用唐羅城的東南部，只是北緣進行了加筑。

連接城河：元代沿用宋大城，北部逐漸荒廢。明、清揚州城繼續(xù)緊縮，集中在宋大城的東南部發(fā)展，而宋大城的城壕北部包括夾城一帶成為廢墟，水系棄用，好在嘉靖十八年(1539年)疏浚[6]，變成水面略寬的保障湖，即明代揚州的西湖；萬歷間“砲山河小志，一名保障河，一名保障湖，在平山堂下歲久淤淺”[12]；清代“國朝雍正十年(1732年)郡守尹會一募捐重浚，揚州西山諸水萃于四塘”[12]，其實就是將平山堂下唐羅城西護城河北段和唐代官河保障河(湖)被宋代護城河使用的北段進行了東西向的聯(lián)系，此乃構成揚州西湖之所以“瘦”的緣由?！笆菸骱敝钤缫娪谖墨I記載為清初吳綺《揚州鼓吹詞序》：“城北一水通平山堂，名瘦西湖，本名保障湖?！盵13]揚州瘦西湖的基本形態(tài)便是順應城河并對廢棄的城河進行整治連通的一種方式，沒有事先的謀劃和規(guī)劃，卻對現(xiàn)實有慧眼識珠的敏銳和審時度勢的操作。這種思維和能力在揚州瘦西湖的后續(xù)建設也有相應的表達。

兩湖的“城-景”，為古人依據(jù)城市發(fā)展的進程，或策劃大局或順勢而為，是對于城市依存或遺存的水體加以保護和利用的過程。

2 “留得”vs“拾得”之二：水利開發(fā)的角度

2.1 “匯水”與長堤

杭州有兩湖：上湖和下湖。上湖即西湖，“西湖周繞三十里，三面環(huán)山，溪谷縷注，下有淵泉百道，潴而為湖”[7]；下湖“在錢塘門外，其源出于上湖”[5]，是一片泛水地。此為杭州南高北低地勢所致。

上湖西湖水體特點是：水源豐潤，同時連江帶湖，為活水，水質(zhì)好。第一個認識到西湖作用的是吳越王，當時“湖葑蔓合，乃置撩兵千人以芟草，浚泉水”[7]。

第二位是唐代李泌刺史，考慮“市民苦江水之鹵惡也，開六井、鑿陰竇，引湖水以灌之，民賴其利”。后來“重修六井，甃函筧，以蓄泄湖水，溉沿河之田”[7]。西湖水可以直接內(nèi)通城市溝渠和井水，為民所用；向北流入下湖以灌溉農(nóng)田。

第三位和西湖有關的重要人物為唐代杭州刺史白居易，“白居易《開湖記》云，蓄泄及時可溉田千頃，今縱不及此數(shù)而下湖數(shù)十里茭菱禾麥仰賴不貲，此西湖不可廢者三也”[7]，為了保證西湖水不竭，遂通過水利工程筑堤防蓄泄，白居易在穆宗時“乃取葑泥積湖中南北徑十余里，為長堤”[7]，地面鋪白沙，人稱“白堤”，堤上有斷橋，又稱為“斷橋堤”，這樣控制上下湖的東西向長堤由此而生，位于西湖北部。白居易不僅是一位懂工程的官員，“始筑堤捍錢塘湖，鐘泄其水，溉田千頃，復浚李泌六井，民賴其汲”[5]，也是一位極具審美能力的詩人，“孤山寺北賈亭西，水面初平云腳低，幾處早鶯爭暖樹，誰家新燕啄春泥。亂花漸欲迷人眼，淺草才能沒馬蹄，最愛湖東行不足，綠楊陰里白沙堤。[5]”將孤山與湖水、嫩樹與泥土、飛花與淺草、綠楊與沙堤，進行了高低、冷暖、動靜、色彩、橫豎等對比，呈現(xiàn)一幅多姿的美景。到后來南宋淳祐丁未時，上湖枯竭，便通過筑壩截水，將包括下湖在內(nèi)的諸多水源“每壩用車運水而上，從尉司畔，流入上湖。[5]”可見西湖的重要作用是匯水，相應的主要水利工程一為捍江，一為維持湖水豐沛。

第四位是宋人蘇軾，不僅“開西湖，疏茆山鹽橋河，修治堰閘，浚城中六井”[5]，而且將“蘇公堤”橫截湖中，這就是南北向的長堤?！霸v中，蘇公軾既開湖內(nèi)，積葑草為堤，相去數(shù)里，橫跨南北兩山，夾植花柳，詩云：‘六橋橫絕天漢上，北山始于南屏通。忽驚二十五萬丈，老葑席卷蒼云空’”[5]，中為六橋，橋上有亭，將用作水利的南北堤壩和造景結合一體。

唐宋兩道長堤也構成西湖的最大特色，并形成西湖的主要分區(qū)要素，他們和孤山等山體構成的西湖地景特色，由此而生(圖3)。重要的是，西湖作為杭州所在最大的水體，匯山泉、接運河、通江水、連井水，為城市生態(tài)活水，既保障了市民日常食用、養(yǎng)殖、灌溉，也因水利所需筑堤壩、修橋洞、治堰閘等，將湖水高程控制工程“留得”為地景分區(qū)，聰慧無比。所謂“開浚西湖，以壯風水，以便民利”[5]。

圖3 西湖地景與杭州格局(3-1引自《西湖游覽志》西湖游覽志圖；3-2由Fig. 3 West Lake landscape and Hangzhou

圖4 瘦西湖與揚州水系(4-1引自《平山堂圖志》名勝全圖圖一：蜀岡保障河全景；4-2由陳薇攝)Fig. 4 Slender West Lake and the Yangzhou water system

2.2 “泄水”與長溝

揚州位于蜀岡高地，“運河高江淮數(shù)丈”[14]，往北在唐代便注重置堰、治陂塘；往南水系較多，位于西側的水系主要為補水和泄水，發(fā)展至明清瘦西湖一帶便是位于蜀岡和運河及長江之間的一條折彎的泄水長溝，“蜀岡諸山之水，細流縈折，潛出曲港，宣泄歸河”[15][4]。

“柂以漕渠，軸以昆岡?！盵16]是說蜀岡和水系密切相關，漢晉時蜀岡隔長江與金陵相對，隋唐以后長江南退，蜀岡東與邗溝古運河一脈相連，繞隋唐揚州羅城東南入江，蜀岡西其南一線河路，通保障湖。其時，長江運輸物資到邗溝主要是走城內(nèi)官河和東城河，這西一路主要為補給和泄水。

后來形成瘦西湖伊始，也主要是城市的水利工程湖，由于它位于蜀岡與運河及長江之間，旱時通過它，從蜀岡西側的雷塘[17]得到補給并傳輸給運河，澇時通過它將山洪進行排泄，清《揚州營志》便有這樣的圖示和說明[18][8]。在防汛和守衛(wèi)層面，這一帶倍加重視，“西南汛，迢遞崇山，遠通陜豫；便北汛，域限蕪城，雖屬彈丸之汛，脈綿蜀阜，洵增營，鎮(zhèn)之雄”[19][8]。均說明瘦西湖是重要的城市功能湖。

瘦西湖南部，“又分為二：即揚州城西北濠，其一東流經(jīng)芍園，……繞鎮(zhèn)淮門迤邐，以達于運河；其一南流繞倚虹園，東歷通泗門，至古渡橋稍折而西，又南與硯池合池，之北為九峰園，園之景曰硯池染翰河，由硯池再折而東至響水橋，以達運河”[20][9]。有了瘦西湖，揚州明清城的水系便與外部的江河塘水連通起來。陳章《重浚保障湖》說明瘦西湖貫通之要害：“舉臿如云集水工，五塘分溜百泉通，莫言開浚無多地，也有星辰應鼈東”[21][9]。

只是到康乾南巡，才逐步造景，尤其是乾隆年間，將工程建設和造園融為一體，“疊經(jīng)挑浚加深廣，曲折點綴園亭，栽植桃柳”[22][9]，形成長溝婉轉(zhuǎn)、水流直下、秀美旖旎的勝景和美景(圖4)。

兩湖的“地-景”，乃古人根據(jù)湖的規(guī)模、水體形態(tài)及地理位置及高程情況進行的充分經(jīng)營，使得各自重要的水利功能和作用得以發(fā)揮，并形成特殊的地景形態(tài)。

3 “留得”vs“拾得”之三：人文影響的角度

3.1 集景品題而佳境彌彰

“西湖巨麗唐初未聞也”[10]，盛唐及宋以后西湖發(fā)展起來，很重要原因之一是人們對江山風月喜歡品題。尤其南渡以后，英俊叢集，府庫充盈，禪林日多，道院繁盛，都城內(nèi)外皇室、官員、僧人、文人等，出入或者居住于西湖附近，人工建設逐步增多，題名詩詠，更喜和植物相配，逐漸形成西湖景觀。著名的有“西湖十景”：蘇堤春曉、斷橋殘雪、曲院風荷、花港觀魚、柳浪聞鶯、雷峰夕照、三潭印月、平湖秋月、雙峰插云、南屏晚鐘。從形成過程看，“西湖十景”大致分為3類。

皇家工程之用得：如蘇堤春曉(圖5)、斷橋殘雪、三潭印月、平湖秋月。最大特色就是將筑堤葑田的堤壩和疏浚堆土而成的島嶼，留得下來，加上造橋(蘇堤上建有六橋，自南向北依次為：映波、鎖瀾、望山、壓堤、東浦、跨虹[11]；白堤和斷橋完美結合)或傳承蓬萊島求神仙做法(三潭印月)，形成較大尺度的景觀、意境和格局。從唐宋筑長堤，到南宋慶元初“以西湖為放生池作亭”“有鳥獸魚龜”[10]，再到明代萬歷間小瀛洲島浚湖堆土呈湖中有島、島中有湖的“田”字形，是西湖水平面不斷完善分區(qū)的過程。

坊墅花園之轉(zhuǎn)得：如曲院風荷、花港觀魚、柳浪聞鶯?；蚴堑鼐品伙h香、荷香四溢；或別墅地處花港、鑿池養(yǎng)魚；或御花園內(nèi)柳絲弄姿、鶯歌燕舞，均是南宋時圍繞西湖和日常生活活動相關的場所。由于西湖水體還有實用功能，如“濱湖多植蓮藕菱芰芡之屬，或蓄魚鮮日供城市”，或“畫閣東頭納晚涼，紅蓮不及白蓮香”[10]，因而西湖周邊形成一些市坊、園墅、花園。后來有些建筑功能已轉(zhuǎn)變或者泯滅，但由于品題優(yōu)美而流傳下來。

宗教建筑之借得：如雷峰夕照、雙峰插云(圖6)、南屏晚鐘，最大特點為借得——借遠景、借遠聲，陸游有詩：“舉手邀素月，移舟來青萍，鐘從南屏來，殷殷浮煙津”[23][12]，便是借得的意境。遠處吳越國時期(977年)建造的雷峰塔(1924年殘毀后為遺跡，2004年建成覆蓋于遺址的新塔)、更遠處西湖西側南北山峰的唐宋塔[24][5]、西湖南側南屏山的寺廟鐘聲，加上西湖水煙氤氳，形成曠遠的禪意，恍若云天。

“西湖十景”是古人集景品題的文化創(chuàng)意，也反映出古人對于西湖資源在“中景”——皇家工程、“近景”——坊墅花園、“遠景”——宗教建筑，在不同尺度空間方面的認知和領悟。到《南巡盛典》時，景點增加，范圍擴大，但是諸如西湖西側南北山峰的唐宋塔已無存，視域感受縮小許多。

3.2 布景模式游畫舫十里

揚州瘦西湖的位置與功能、水體和形狀，明代基本形成，但形成畫舫十里的美景畫面，在歷史長河則是瞬間，和2個重要的事件相關聯(lián)，即康熙、乾隆六下江南，而瘦西湖全盛只在乾隆四五十年間(1775—1785年)。

“霧起來了”：揚州是隋代運河和元明清大運河的中點，樞紐之重要有著悠久的歷史，又有唐代都會的基礎，所以清代康熙、乾隆六下江南，每次都從運河乘龍舟到揚州駐蹕，皇帝御駕光臨，揚州便“忙得霧起來了”[25]。一是興修水利，以便行舟，康乾盛世對于揚州段水系經(jīng)常開浚或者深浚，如“乾隆八年，詳籌河工案內(nèi)議準”，挑浚河身深通、建閘，“于通江河道有益。得旨：允行。下部知之”[13]。二是造景，康熙年間 “修褉紅橋，有紅橋倡和集”“諸名士修褉紅橋，有冶春詩”[26][9]；到乾嘉年間，城外名勝26處，共39個風景點，《揚州畫舫錄》二跋中指出：“揚州全盛，在乾隆四、五十年間。翠華南幸，樓臺畫舫十里不斷”[27][4]。主要是為南巡時游線沿途需求所設：呈現(xiàn)布景式沿途景致，如“北郊諸園皆臨水，各有水門，而園后另開大門，以通往來”[28][4]?！镀缴教脠D志》的畫法亦印證這特殊性(圖7)，就是沿河平視諸景致；或者為駐蹕改造寺廟庭院，如“大營因天寧寺增建，行宮乃改是為”[29][4]，加建御道，增設華表(牌坊)，屹然形成行宮。

快速模仿：繼康熙南巡之后，乾隆皇帝法祖省方，亦六度巡幸江南，其間，徽州鹽商為了供邀宸賞，竭盡獻媚邀寵之能事。皇室為酬答輸誠，“時邀眷顧，或召對，或賜宴，賞賚渥厚，擬于大僚”[14]。經(jīng)過幾番眉來眼去，投桃報李，徽商遂牢牢控制了清代兩淮鹽務的運作。對于皇帝到來，當時鹽務衙門附屬有“匠作、結彩、涼篷、聯(lián)額、作坊、坐船、浴堂、橋旗、撲戳、掉轎、廚夫、藥匠、鐘表、裝潢匠等項”[15]。衣食住行各類伺候人等，一應俱全。為快速解決應時之作，模仿便是一條捷徑，如瘦西湖的蓮花橋和“白塔晴云”景點仿自北京白海五龍亭和白塔(圖8)、“小金山”濃縮鎮(zhèn)江金山之形勝等，為滿足功能需求，沿途茶社、酒肆等商業(yè)建筑也多，出資者多為徽商，“虹橋”(即康熙年“紅橋”)一帶猶如宋代開封“虹橋”，熱鬧非凡，有畫境也有香風[30]。

消融育得：瘦西湖的應時建設非常明顯，其前后的變化在《揚州畫舫錄》袁枚序中表達十分清楚：“記四十年前，余游平山，從天寧門外，拕舟而行，長河如繩，闊不過二丈許，旁少亭臺，不過堰渚細流，草樹峁歙而已。自辛未歲天子南行，官吏因商民子來之意，賦工屬役，增榮餙觀，奢而張之，水則洋洋然回淵九折矣，山則峨峨然隥約橫斜矣”[31][4]；而皇帝走后又40年，樓臺傾毀，花木凋零，而天寧寺“駕過后各門皆檔木柵游人不敢入”[32][4]。雖然皇帝走后建筑等物質(zhì)的東西會被棄用，但是由于經(jīng)過大批建設歷練的鹽商，尤其他們自明代成化、弘治以后伴隨著兩淮鹽政制度的重大改革已獲得較高的地位和實力，最終孕育出獨具特色的封建晚期揚州城市文化：譬如歙縣人程夢星翰林事跡載于筱園中、歙縣人汪玉樞事跡載于九峰園中[33][4]，園林摻以徽州人文色彩；又如為駕迎建設的“買賣街前后寺觀皆為大廚房以備六司百官食次第一”[34][4]，皇帝走之后則形成揚州飲食文化昌盛。

兩湖的“人-景”，差異很大：西湖造景士大夫多、僧人多，且經(jīng)歷長期過程和積淀，同時對大尺度的山水空間運籌帷幄。瘦西湖造景則主要是鹽商，快速而有效，有沿湖布景之特點，誠如當?shù)?5歲才子云：“畫船搖過綠楊灣，水凈花明兩岸間，多少樓臺看不盡，更煩添寫隔江山”[35][4]，一個“隔”字，便表達出瘦西湖和西湖的迥異；而對寺廟或書院則加以改造以駐蹕急用，“拾得”而為。但兩湖的“人-景”，也有共同之處，如西湖的湖船和瘦西湖的畫舫，能夠主動組織人的視線，引導入畫，沿用至今。

4 結語

圖5 蘇堤春曉(引自《西湖志》卷三)Fig. 5 The spring dawn on Su causeway

圖6 雙峰插云(引自《西湖志》卷三)Fig. 6 Dual cloud piercing pinnacles

圖7 瘦西湖沿湖列景(引自《平山堂圖志》名勝全圖部分)Fig. 7 Slender West Lake scenes

圖8 蓮性寺白塔與蓮花橋(引自《平山堂圖志》名勝全圖部分)Fig. 8 White Pagoda at Lotus Temple and Lotus Bridge

上述從城市發(fā)展、水利開發(fā)、人文影響的角度，對杭州西湖和揚州瘦西湖在“城-景”“地-景”“人-景”的形成方面進行了剖析與對比，可以發(fā)現(xiàn)其思路、動因、操作手段也迥然而異，可以概括為：西湖是“留得”的杰作，瘦西湖是“拾得”的妙作。

“留得”就是大局優(yōu)先和高瞻遠矚、留有余地和注重控制，其中也包含想象和預見、節(jié)制和精明[36][5]之審美與心思，在杭州甚至浙江其他景觀中也存有這樣的傳統(tǒng)。如杭州郭莊私園，地處杭州西湖西山路臥龍橋北，濱里西湖之西岸，最有特色的是東邊沿湖的布局和沿湖的建筑設置，有的設墻開洞，有的平臺臨水，有的山石為界，有的水洞通湖，以最簡約的方式，遠可借蘇堤，近可瞰湖波，獲得豐富景色。又如紹興柯巖，古人在采石時不是盡快開采完工，而是獨到精準地留下如云骨秀峰、摩崖石壁等，以便后人發(fā)揮，后來成就了著名的柯巖石景。

“拾得”就是審時度勢和順應變化、化腐朽為神奇，草率上陣或者衰敗的遺址甚至是感悟，之后也能內(nèi)化為一種資源和特色甚至文化，十分有趣和突出。如“二十四橋”原來是唐代官河上的橋，但到了瘦西湖建設期，原來的“分布阡陌別立橋梁，所謂二十四橋者，或存或廢不可得而考”[37][9]，但卻成就了瘦西湖具遙想意味的一處著名景致；又如南巡沿途的酒肆、茶莊，后來轉(zhuǎn)化為揚州人的典型生活和消費場所傳承下來。

如果用今天的思維理解，從宋代形成的“西湖十景”能保留到后世甚至發(fā)展，是保護和節(jié)制的結果；而清代一舉成名的瘦西湖則是不斷利用各種條件的速成。但有一點是肯定的，就是水體與城市生活、水利功能、人為作用等關系，古人是整體思考和發(fā)展的，而不同于今天水利工程無視審美、景觀水體和城市活水相互分離的狀態(tài)。從這個意義上講，古人的創(chuàng)造智慧和成就來自于整體大于局部之和的系統(tǒng)思想和節(jié)約自然的生態(tài)意識、高超的審美水平以及對于大尺度的城市空間進行運作的能力。至于如何將植物和疏浚的堤壩結合、可食用的水生動植物和觀賞環(huán)境結合、利用畫船或畫舫在流動中推進人的感受等，2個西湖均有非凡而獨特的做法，從而持續(xù)散發(fā)著如“錢塘帝都會，西湖地靈杰”[38]“最是揚州勝，紅橋帶綠楊，著名同廿四，佳話自漁洋，去住笙歌接，空濛煙水長，幾回憑吊處，詩思寄斜陽”[39][9]的自豪和意境。

“留得”和“拾得”——2個西湖之中國古典智慧，其實也存在于中國許多歷史城市-建筑-園林的創(chuàng)造中，發(fā)掘之，便可以傳承和潤澤后代，也可以啟迪我們今天的實踐。

注釋：

① 江蘇揚州子城保護與發(fā)展規(guī)劃，2002；全國重點文物保護單位揚州城址(隋—宋)保護規(guī)劃，2007.10—2009.12，項目負責人：陳薇，甲方：揚州市文物局。

② 浙江杭州國保單位南宋臨安皇城保護和綜合發(fā)展利用規(guī)劃，2005；全國重點文物保護單位臨安城遺址(南宋)總體保護規(guī)劃，2011.3—2012.3，陳薇為負責人之一，甲方：杭州市園林文物局、杭州市規(guī)劃局。

③ 《揚州畫舫錄》揚州畫舫錄題詞第九頁，見參考文獻[4]。

④ (明)田汝成.“西湖總敘”，(清)李衛(wèi)，程元章，等.《西湖志》，雍正十二年：卷三十二，藝文二：七。

⑤ 明末清初文學家、史學家張岱的《西湖夢尋·錢王祠》寫道:“時將筑宮殿，望氣者言:‘因故府大之，不過百年：填西湖之半，可得千年。’武肅笑曰:‘焉有千年而其中不出真主者乎？奈何困吾民為!’遂弗改造?！焙笕藶榧o念錢王，在西湖邊上建起了錢王祠，并撰文書碑，頌揚功德。與傳說布衣書生此詩可以比對，即錢镠有逾千年的思考，乃為史實。

⑥ (宋)周淙.乾道臨安志，臨安志卷第二，“歷代沿革”條載，“宋興，錢俶始事貢獻，太平興國三年，朝于京師，遂納土焉?！币妳⒖嘉墨I[5]，第17頁。

⑦ (宋)朱南杰.“同劉明山游湖邊作”，(清)李衛(wèi)，程元章，等.《西湖志》，雍正十二年，卷三十六，藝文六：二十。

⑧ 指唐代揚州和益州(成都)，時為兩大商業(yè)中心。(唐)李吉甫，《元和郡縣志》：“揚州與成都號為天下繁侈，故稱揚、益”。

⑨ “所可紀者有二十四橋”，(清)劉文淇.《揚州水道記》，淮南書局補刊，道光戊戌四月：卷二，江都運河：六。

⑩ (清)劉文淇.《揚州水道記》，淮南書局補刊，道光戊戌四月：卷一，江都運河：四三(吳養(yǎng)源校字)。

[11]韋莊.《過揚州》：“當年人未識兵戈，處處青樓夜夜歌?；òl(fā)洞中春日永，月明衣上好風多?；赐跞ズ鬅o雞犬，煬帝歸來葬綺羅。二十四橋空寂寂，綠楊摧折舊官河?！?/p>

[12]《平山堂圖志》卷一第十七頁，見參考文獻[9]。

[13]詳見早稻田大學圖書館藏民國本《揚州叢刻》第五本《揚州鼓吹詞序》第七頁“小金山”條。

[14](清)劉文淇.《揚州水道記》，淮南書局補刊，道光戊戌四月：卷二，江都運河：四。

[15]《揚州畫舫錄》卷一第二十六頁，見參考文獻[4]。

[16]《嘉慶重修一統(tǒng)志》三二，卷九十六，《大清一統(tǒng)志》揚州府一，形勢：五(前提調(diào)官臣張日章恭纂輯，提調(diào)官臣賈克慎恭覆輯，校對官臣賀式韓恭校恭覆校)。

[17]雷塘漢時稱雷陂?！都螒c新志》曰：“雷塘在城西北十五里；上塘長廣共六里余；下塘長廣共七里余，小新塘接連。上雷塘東西闊一百丈，其水注上雷塘，轉(zhuǎn)入下雷塘，由槐子河東流入官河，長廣共二里余?！鞭D(zhuǎn)引自：(清)劉文淇.徐炳順標點注釋.《揚州水道記》，香港：天馬圖書有限公司，2004：35-36.

[18]詳見《揚州營志》第一冊卷二“輿圖”中“西南汛圖”“便北汛圖”和第二冊卷三“建置”，見參考文獻[8]。

[19]詳見《揚州營志》第三冊卷五“形勢附”，見參考文獻[8]。

[20]《平山堂圖志》卷一第十八頁，見參考文獻[9]。

[21]《平山堂圖志》卷六第二十三頁，見參考文獻[9]。

[22]“河自尹會一重浚后，乾隆十五年、二十年、二十六年，巡鹽御史吉慶普福高恒疊經(jīng)挑浚加深廣，曲折點綴園亭，栽植桃柳，游者如在山陰道中，步步引人入勝?！薄镀缴教脠D志》卷一第十八頁，見參考文獻[9]。

[23](南宋)陸游詩《夜泛西湖示桑甥世昌》，見參考文獻[11]。

[24]“北高峰，靈隱寺后山是也。塔記云：唐天寶中，邑人于北高峰建磚塔七層，會昌中塔費毀，大中復興。”“南高峰在南山石塢煙霞山后……上有磚塔，高可十丈，相傳云天福中建，崇寧二年，仁王寺僧修懿重修。”(宋)施諤，淳祐臨安志，臨安志卷第十，“山川”條載，見參考文獻[5]，148-149頁。

[25]出自《紅樓夢》“忙得霧起來了”，《紅樓夢》中有不少現(xiàn)在的揚州方言，或許是當時的揚州和南京方言?！办F”字似乎很能烘托繁忙的氛圍。

[26]《平山堂圖志》卷十第十三頁，見參考文獻[9]。

[27]《揚州畫舫錄》二跋第一頁，見參考文獻[4]。

[28]《揚州畫舫錄》卷六第五頁，見參考文獻[4]。

[29]《揚州畫舫錄》卷一第十六頁，見參考文獻[4]。

[30]“虹橋：綠波春水飲長虹，錦纜徐牽碧鏡中，真在橫披圖里過，平山迎面送香風?！薄赌涎彩⒌洹肪砥撸煺?，第六頁。光緒壬午年秋七月上海點石齋縮印，申報館申昌書畫室發(fā)兌。

[31]《揚州畫舫錄》揚州畫舫錄序，第一頁，見參考文獻[4]。

[32]《揚州畫舫錄》卷四第二十一頁，見參考文獻[4]。

[33]《揚州畫舫錄》卷四第九頁，見參考文獻[4]。

[34]《揚州畫舫錄》卷四第二十五頁，見參考文獻[4]。

[35]《揚州畫舫錄》揚州畫舫錄題詞第十三頁，見參考文獻[4]。

[36]“《國史地理志》總敘兩浙路，以為人性敏柔而慧，尚浮屠氏之教，厚于滋味，急于進取，善于圖利。”(宋)周淙，乾道臨安志，臨安志卷第二，“風俗”條載，見參考文獻[5]，第18頁。

[37]《平山堂圖志》卷十第十四、十五頁，見參考文獻[9]。

[38](明)王世貞.“初至杭左史郭公右史莫公邀宴西湖大風雨歸作”，(清)李衛(wèi)，程元章，等.《西湖志》，雍正十二年，卷三十三，藝文三：十八。

[39](清)宋犖.“紅橋”，《平山堂圖志》卷五第六頁，見參考文獻[9]。

"Retention" and "Pick-up" —Ancient Chinese Wisdoms Embedded in the Two West Lakes

Chen Wei

The West Lake in Hangzhou and the Slender West Lake in Yangzhou are two beautiful classical Chinese gardens in the Jiangnan area (the southern Yangtze River delta area). Though both named for their physical presence in the western part of the cities, the two lakes tell somewhat different stories about their formations and landscaping. In the past, comparisons have been made mainly from the perspective of aesthetics, which compromised people's perception of the two West Lakes, diluted or ignored the truth and evolution physically embedded in the West Lake and Slender West Lake that have survived the times. This paper attempts to discuss and analyze the ideas, motivations, and practices behind the accomplishments achieved by the two Jiangnan classical gardens from the perspectives of urbanism, land and people. Hopefully, it will be an enlightenment to the inheritance of the values embodied by Chinese classical wisdoms in the contemporary practices.

1 "Retention" vs "Pick-up" I: From the Perspective of Urban Development

1.1 Old town was expanded without compromising the green water of West Lake

Today's West Lake is undoubtedly a most important component part of Hangzhou. During the period from the Sui Dynasty to the Qing Dynasty, the West Lake was physically confined to the western part of the city(Fig. 1). Despite the fact that after the early republican period, the city walls in the locality were dismantled or removed, making the West Lakethe largest platform for consumption, the West Lake, historically, has always been a powerhouse and a source of creation to the city.

The West Lake that evolved from the seawalls built for the development of agriculture during the Qin and Han Dynasties became an inner lake. It was luckily retained by the authorities during the Tang Dynasty and subsequent Five Dynasties, and survived the urban development that wisely built "the palace in the south and downtowns in the north" without compromising the integrity of the West Lake. The Lake eventually lived up to the expectation patronizing both water conservancy projects and landscaping, making itself a beautiful landscape.

1.2 Twenty-four empty and lonely bridges with bent green willows at the abandoned moat

Yangzhou ranked the No. 1 metropolitan city as well as a major canal city during the Tang Dynasty. The city became increasingly matured from the Spring and Autumn Period to the Sui and Tang Dynasties, though it deplored an increasingly shrunken size after the Tang Dynasty (Fig. 2). Consequentially, the water system witnessed the changes. New waterways emerged at the expense of the old and abandoned one. Fortunately,the Slender West Lake in Yangzhou geared up the city's development by masterfully "picking up" the old waterways.

Bridging the official waterway was the first practice to turn the canal (Han Gou) dug during the Spring and Autumn and Warring States Period into an official shipping waterway by enclosing the Outer City section during the Tang Dynasty. The waterway was built with 24 bridges for easy access. The second endeavor was making good use of the moat, where the western part of the city made the official waterway a moat defending the city. The third undertaking was the connection of moat sections. Yangzhou became increasingly shrunken during the Ming and Qing Dynasties. However, the abandoned northern moat section built during the Tang Dynasty was connected with the deserted section of the official waterway (a moat section built during the Song Dynasty),making them a narrow winding waterway running from east to west in the west of the city, or the Slender West Lake.

The two lakes made their respective contributions to the formation and development of the cities as well as to the landscaping. They constituted a process that ancient folks relied on to mastermind a laudable urban development, or to realize a development that would take its natural course. It is also a process to protect the currently available waterways that the city depended on while taking advantage of the utilities derived from the abandoned waterways.

2 "Retention" vs "Pick-up" II: From the Perspective of Water Resources Development

2.1 "Water Sink" and Long Embankment

The West Lake in Hangzhou makes a "water sink", where an array of important water conservancy projects was staged to prevent the leakage of water from the lake, gather live water from other sources and build the embankments. There are four key figures worth mentioning as they constituted a crucial part of the lake development. The King of State Wuyue dispatched thousands of soldiers to clean the weeds and dredge the water, making the water affluent in supply and fine in quality. During the Tang Dynasty, an inspector official named Li Bi ordered to divert the lake water to feed six wells in the city. Bai Juyi, also an inspector official during the Tang Dynasty, built a 10-mile long earthen embankment to retain and discharge water, and the embankment was dubbed as a "white embankment"for the white sand pavement, or a "broken bridge embankment" for the presence of a broken bridge.Physically resting on the northern part of the West Lake,the long embankment became a beautiful landscape running from east to west that won folks' love, such as"I love the Lake for its unforgettable scenes in the east,and I walked through the white sand embankment amid the shades of green willows" (Bai Juyi). Su Shi, a renowned figure in the Song Dynasty, not only dredged the West Lake, repaired the weir gate and cleaned the six wells in the city, but also built in the middle of the lake a Su Causeway, a long embankment running from south to north. Meanwhile, six bridges were erected with the presence of pavilions on them. The scenes suggest a skillful combination of water projects and landscaping.The two long embankments erected during the Tang and Song Dynasties constituted a most distinctive feature on the West Lake that also served as a major mark for lake zoning. They created a special landscape line along with Mount. Gushan (Fig. 3). More importantly, it was an extremely wise practice to spare room for landscaping by taking advantage of the projects launched to control the water elevation of the West Lake, the largest water body in Hangzhou.

2.2 Discharge and "Long Ditch"

Yangzhou sits on the Shugang Highlands. During the Tang Dynasty, people in the north paid more attention to building the weirs and dredging the ponds,while people in the south the water systems. The water systems in the west were mainly kept for retaining or discharging water. The West Lake area formed during the Ming and Qing Dynasties was literally a twisting and winding long ditch resting between Shugang, the canal and the Yangtze River for discharging.

Thanks to its unique position, the Slender West Lake was able to feed water to the canal in dry years,or discharge flood water to the Yangtze River during wet ones. It was only when Emperors Kangxi and Qianlong started their southern tours that people embarked on landscaping, particular during the years of Emperor Qianlong, where the water projects would go hand in hand with landscaping for the garden/pavilion scenes dotted with peach trees and willows that eventually resulted in a long winding waterway that depicted the picturesque presence of water with beautiful scenes (Fig. 4).

The two lakes' "land" and "landscaping" were ancient folks' thoughtful results achieved based on the scale of lake, the form of water body and geographical location/elevation, which enabled each to play the important water function or role while contributing to the formation of the special landscape.

3 "Retention" vs "Pick-up" III: From the Perspective of Human Impact

3.1 Scene, Naming & Taste

The West Lake saw its heyday during the prosperous Tang and later Song Dynasties. One of the major impetuses behind the booming development of the West Lake was landscaping becoming a catch topic.The trend became increasingly popular after the Nandu Event that brought more talented people to the city where the increased lakeside construction activities attracted the themed poems and inscriptions in the company of plants.They made themselves landscape scenes at lakesides imply because of a given architectural utility, including.

The one derived from the royal projects, including The Spring Dawn on Su Causeway (Fig. 5), Broken Bridge & Leftover Snow, Moon Reflections Amid Three Water Pagoda and Peaceful Lake Scene under Autumn Moon. They are mostly the large-scale landscape scenes created with a defined aura or layout either on the embankments or on the islets built with the mud stemmed from the dredging work.

The one transformed from the old villas or gardens,including Lotus Pond Scene Watching from Old Wine-Making Yard, Fish Viewing at A Floral Port, and Birds Watching Amid Waving Willows. They used to be the functional buildingsat lakeside, including marketplaces,villas and gardens. Though they are no longer what they were in terms of functionalities, the famed buildings survived the time because of the cherished beautiful themes.

The one because of religious connotations, including Leifeng Pagoda Sunset Scene, Dual Cloud Piercing Pinnacles (Fig. 6) and Evening Bell Rings the Nanping Hill. They were mostly built borrowing a distant scene or a distant sound over a foggy water scene on the lake to create an aura that was far, distant and cosmic.

The Top Ten West Lake Scenes are the themed creative works of ancient folks. They mirrored, from different spatial perspectives, ancient folks 'knowledge and perception of the scenes staged across the West Lake, including the "middle view" created by the royal projects, the "close view" such as villas and gardens, and the "distant view" perceived by the religious buildings.

3.2 Stage-setting mode for painted boats

The Slender West Lake in Yangzhou had been basically established during the Ming Dynasty in terms of its location, functionalities and water body/shape.However, the imposing 10-mile scene of painted boats was literally a blink of eye during the long course of history. It was associated with two important events,namely the six southern tours made by Emperor Kangxi and Emperor Qianlong, respectively. The Slender West Lake marked its heyday between the 40thand 50thyears of Emperor Qianlong, where the 10-mile painted boats scene flourished.

Stage set. The scenes were presented in a stage set manner along the routes of the Emperors' southern tours. The special arrangements, as such, were confirmed in The Pingshan Temple Atlas (Fig. 7). They could be a walking palace transformed from a temple complex. For example, the Tianning Temple Complex was added with a royal path and archway to be a proper palace formation.

Quick imitation. To quickly address the contingency needs for landscaping, imitation made a short cut. For example, they built a Lotus Bridge and a White Tower on the Slender West Lake that mimicked the Wulong Pavilion and the White Pagoda scenes at Beijing's Northern Sea Garden (Fig. 8). Another example is the Petite Golden Hill,a concentrated version of the Golden Hill in Zhenjiang.Meanwhile, an array of commercial buildings mostly financed by Huizhou merchants, including tea house and pub, were built to meet the functional needs along the visiting route.

Ups-downs and implications. The Slender West Lake was apparently developed to meet the time.Although the buildings or the material presence would be vanished after the emperors' visit, the massive construction activities trained and enriched the salt merchants in terms of wealth and business wisdom.Consequentially, salt merchants raised their status and enhanced their strength, which ultimately resulted in a unique Yangzhou urban culture in the late feudalist society.

The two lakes are much differed from the perspectives of the men involved and the scenes created. Literati and monks made the main force behind West Lake landscaping thanks to their sustained enhancements and the increasingly matured understanding of spatial operations. The Slender West Lake landscaping, on the one hand, was mainly the quick and effective operations handled by salt merchants featured with staging the scenes along the lakeside.However, the two lakes did share something in common in terms of men and scenes. For example, the West Lake had the lake boats and the Slender West Lake the painted boats. The boats that would automatically enter people's sight and guide them to the picturesque scenes turned out a popular practice that survived the time till today.

4 Concluding Remarks

West Lake is a masterpiece of "retention", while the Slender West Lake makes a wonder of "pick-up".

"Retention" implies a vision of thinking something as a whole, forward-looking, leaving room for leeway and focusing on control. It suggests an aesthetic way of thinking for imagination, foresight, moderation and smartness.

"Pick-up" is meant to judge the situation for adaptation. It could turn the abandoned into a miracle.A very interesting phenomenon is sometimes a coarsely designed or abandoned ruins or even an inspiration can be a nice physical experience that would eventually become a resource, a feature and even a culture.

In today's way of thinking, the retention and even the later development of the Top Ten West Lake Scenes created during the Song Dynasty is the result of conservation and moderation. Meanwhile, the Slender West Lake that became famous during the Qing Dynasty is a quick result taking advantage of diverse means.However, one thing is certain: our ancient ancestors thought of and developed the relationship between water and urban life, water functionalities and human's role as a whole. It differs from today's practice of water projects that split the ties between aesthetics, water landscaping and urban living water. In this context, ancient folks'creative wisdom and accomplishments stemmed from their systematic thinking that the overall is larger than the sum of locals, and from their natural eco-consciousness of frugality, superb aesthetic taste, and ability to operate in a scale urban space.

"Retention" and "pick-up" embody the classical Chinese wisdoms embedded in the two West Lakes,though they can also be found in the landscape creations in many other Chinese historical cities. Tapping up the wisdoms as such not only facilitates the inheritance and the nourishment of future generations, but also enlightens what and how we should do today.

(Editor / Jin Hua)