施奠東

2011年6月24日，聯(lián)合國教科文組織第35屆世界遺產(chǎn)委員會會議一致同意西湖列入世界文化景觀遺產(chǎn)，肯定了西湖突出的普世價(jià)值和文化價(jià)值，西湖不僅是杭州的，中國的，也是全人類的共同財(cái)富，這是對西湖傳統(tǒng)文化核心價(jià)值及保護(hù)管理的充分肯定。會上許多國家的專家發(fā)言，表示對西湖美的贊嘆以及保護(hù)工作的欽佩。遺產(chǎn)委員會對西湖的評價(jià)：西湖是世界文化景觀的一個杰出典范，“對中國乃至全世界的園林設(shè)計(jì)影響深遠(yuǎn)”。這不僅增強(qiáng)了杭州風(fēng)景園林人的自信心、自豪感，也是中國風(fēng)景園林界的驕傲。這次的申報(bào)材料重點(diǎn)從6個方面予以闡述：西湖自然山水；“三面云山一面城”的空間特征(圖1)；兩堤三島的景觀格局；西湖十景的題名景觀；西湖文化史跡和西湖特色植物。遺產(chǎn)委員會充分肯定了西湖秉承“天人合一”的哲理，在10個多世紀(jì)的持續(xù)演變中日臻完善，成為景觀元素特別豐富、文化含量特別厚重的東方文化名湖。概括起來，我覺得世界肯定了西湖既保持了歷史文化的真實(shí)性、連續(xù)性，又在社會不斷發(fā)展中，生態(tài)環(huán)境的保護(hù)和風(fēng)景園林建設(shè)使西湖的價(jià)值日臻完善，即孟先生所說的“創(chuàng)新不離宗”。2016年G20會議，各國首腦也對西湖充滿東方神韻的美學(xué)和生態(tài)環(huán)境的保護(hù)給予高度的評價(jià)和認(rèn)同。

要做到今天西湖風(fēng)景園林的水平，不是一蹴而就，而是經(jīng)過了風(fēng)景園林三代人的連續(xù)艱辛努力。60多年來，西湖堅(jiān)持保護(hù)、傳承、融合、創(chuàng)新的理念和路線并一以貫之。

保護(hù)：就是保護(hù)西湖的山水格局和青山綠水，保護(hù)歷史文化遺產(chǎn)，保護(hù)民俗民情。

傳承：即傳承中華民族的山水文化的精神和價(jià)值，傳承民族的審美意識和東方神韻，傳承中國風(fēng)景園林藝術(shù)的自然山水哲理、基本特征和構(gòu)建理法。

融合：就是不斷學(xué)習(xí)、吸納世界優(yōu)秀的園林文化和園林科技，特別是把18世紀(jì)以來的英國園林藝術(shù)風(fēng)格與西湖的風(fēng)景園林融合起來。把江南園林的精致細(xì)膩和西湖山水的清麗秀逸融合起來。

創(chuàng)新：就是隨著時代的發(fā)展，與時俱進(jìn)，創(chuàng)作符合現(xiàn)代人們生活需求和審美需求的園林作品，陶冶人們的身心，為廣大群眾提供鳥語花香、神清氣爽的詩意棲居。其中的核心就是20世紀(jì)50年代初西湖就以前瞻性的生態(tài)價(jià)值觀、歷史文化觀和科學(xué)發(fā)展觀作為指導(dǎo)思想。堅(jiān)持遵循尊重自然、順應(yīng)自然、美化自然的“天人合一”觀。西湖的實(shí)踐，是符合于習(xí)近平總書記提出的“綠水青山就是金山銀山”的生態(tài)觀，以及“建設(shè)美麗中國”的宏偉構(gòu)想。

總之，西湖的傳承不是對傳統(tǒng)簡單地模仿和臨??；創(chuàng)新也不是對西方的頂禮膜拜，而是建立在西湖自然與人文基礎(chǔ)的自我完善。

圖4 深切緬懷現(xiàn)代杭州風(fēng)景園林的奠基人——余森文先生

圖1 西湖與杭州湖城相映

熟悉杭州的人都知道，1949年新中國剛成立時，西湖面臨的是山光湖塞、古跡殘敗、十景名存實(shí)亡的凄慘景象(圖2)。1950年開始，杭州的領(lǐng)導(dǎo)者具有遠(yuǎn)見卓識，治山理水，突出改善生態(tài)大環(huán)境的決策(生態(tài)修復(fù))。山區(qū)實(shí)施植樹造林和封山育林并舉的措施，并由園林系統(tǒng)直接管理，10年間，植樹3000多萬株，基本實(shí)現(xiàn)無山不綠。

1952年開始，疏浚西湖。至1958年，挖泥720萬m3，水深0.5～1.8m。西湖的生態(tài)環(huán)境有了徹底的改善。在修復(fù)文物古跡的同時，以流傳800多年的西湖十景為主題，在環(huán)湖恢復(fù)建設(shè)新型的公園、景點(diǎn)。堅(jiān)持生態(tài)(效益)和藝術(shù)(效果)的結(jié)合，科學(xué)和藝術(shù)的結(jié)合(圖3)。

從創(chuàng)新的角度而論，西湖在風(fēng)景園林建設(shè)中的創(chuàng)新意識是具有前瞻性和開創(chuàng)性的。這里有歷史因素、自然因素和人為因素。

1)歷史因素。肇始南宋時代的“西湖十景”，是從唐白居易開始的唐宋詩人、畫家對西湖人文、風(fēng)景典型的概括，它和傳統(tǒng)的私家園林有所不同?？滴?、乾隆不僅贊賞它，還把它所體現(xiàn)的意境運(yùn)用到避暑山莊、圓明園、頤和園等皇家宮苑中，看重的是它的風(fēng)景要素、文化要素和它永恒的審美價(jià)值。

2)自然因素。西湖是自然風(fēng)景中秀美的極致，在自然美景中，山、水、植物是構(gòu)成西湖的最基本要素，它既符合古代文人士大夫的審美觀，又符合當(dāng)代大眾的審美觀，西湖從元代開始就被稱為人間天堂，是人們自然審美中精神追求的歸宿，也十分符合當(dāng)代人提出的生態(tài)環(huán)境理念所追求的終極目標(biāo)。

圖2-1 1921年的蘇堤種植農(nóng)作物，殘柳衰桃

圖2-2 1921年的白堤，狹窄而蕭索荒蕪

圖3-1 白堤的間株楊柳間株桃

圖3-2 南宋所筑趙堤上的玉帶晴虹橋

圖5-1 花港觀魚——牡丹園全景

圖5-2 大雪映襯下香樟和二球懸鈴木樹叢形成色彩與樹形的對比

圖5-3 秋季紅魚池邊的垂柳與二球懸鈴木色彩絢麗

圖5-4 絢麗的羽毛楓造型體現(xiàn)了中國傳統(tǒng)的線條美、書法美

圖5-5 秋季雪松大草坪中的無患子葉色金黃，形成色彩與形態(tài)的對比

3)人為因素。這里我首先要提到現(xiàn)代西湖風(fēng)景園林的開拓者和奠基人余森文先生(圖4)。余老是杭州解放后第一任建設(shè)局長、園林局長，以及后來的分管城市建設(shè)的副市長。他在新中國成立前，從20世紀(jì)20年代起就接受早期共產(chǎn)黨人惲代英同志的思想影響，30—40年代，從國民黨營壘中(他做過國民黨廣東省黨部書記長，武漢國民政府軍事委員會政治部設(shè)計(jì)委員，溫州、麗水專員兼保安司令，也當(dāng)過同濟(jì)大學(xué)教導(dǎo)長等)的一位愛國民主人士轉(zhuǎn)變?yōu)閳?jiān)定的共產(chǎn)黨人，經(jīng)受了革命的洗禮，作出了重要貢獻(xiàn)。他1924年就讀于金陵大學(xué)農(nóng)林科以及在30年代的倫敦大學(xué)政治經(jīng)濟(jì)學(xué)院，精通英語。1934—1936年，在倫敦學(xué)習(xí)、工作2年，到過歐美、東亞、南亞等20多個國家。在英國期間，他對英國的園林藝術(shù)印象特別深刻，曾拍攝過大量風(fēng)景園林照片。杭州一解放，他就任工務(wù)局副局長，當(dāng)他第一次向市長譚政林同志匯報(bào)工作時，譚就問他：“你去過西歐不少地方，到過日內(nèi)瓦，日內(nèi)瓦到底好在哪里？”余老回答：“日內(nèi)瓦山上樹木終年常綠，湖水清澈。”譚政林聽后滿懷激情地說：“西湖一定會通過我們共產(chǎn)黨人把它建設(shè)好。要建成‘東方日內(nèi)瓦’。建成山清水秀，世界文明的西湖?！边@就是以國際視野對西湖建設(shè)的定位，也就是現(xiàn)在所說的國際接軌。正是有這樣的高起點(diǎn)要求，余老積極主張西湖風(fēng)景園林建設(shè)要在自然、歷史、人文的基礎(chǔ)上，積極吸收國外先進(jìn)的環(huán)境觀念和園林藝術(shù)的手法，創(chuàng)建新的西湖風(fēng)景園林風(fēng)格。

1953年，由他主持編制的《杭州市城市建設(shè)總體規(guī)劃》明確環(huán)湖路以內(nèi)5000多畝(約333.3hm2)土地要建成開放式的自然大公園，規(guī)定在此范圍的建筑只拆不建，保留的少數(shù)建筑要改造為游覽服務(wù)性設(shè)施；環(huán)湖公園一律不設(shè)圍墻；1951年，在國內(nèi)籌建第一個植物園；1952年籌建開放式花圃；1956年，在風(fēng)景區(qū)主要游覽道路兩側(cè)劃出各50m的綠化帶；在新建公園時，明確提出以植物配置為主，園路邊不種行列式樹木，按自然植物群落形式配置植物，少建建筑。在由孫筱祥先生設(shè)計(jì)的花港觀魚(圖5)、植物園的分類區(qū)(圖6)時，都以創(chuàng)新的思維和現(xiàn)代的手法體現(xiàn)余老的建園思想。余老80年代初在《中國園林》和《建筑學(xué)報(bào)》發(fā)表了《城市綠化與生態(tài)環(huán)境》《園林植物配置藝術(shù)的探討》，他在這些學(xué)術(shù)文章中反復(fù)強(qiáng)調(diào)向自然學(xué)習(xí)，尊重自然，堅(jiān)持植物造園，創(chuàng)造符合自然之美的西湖新園林，這是他在風(fēng)景園林規(guī)劃設(shè)計(jì)中創(chuàng)新性理論的總結(jié)?？梢哉f，杭州在60年前就以傳承和創(chuàng)新相結(jié)合的理念，開創(chuàng)了新中國風(fēng)景園林的一代新風(fēng)(圖7、8)。

改革開放以后的30多年，新一代的風(fēng)景園林工作者，秉承老一代開拓者的意念，堅(jiān)持以保護(hù)好歷代先賢的文化自然遺產(chǎn)為前提，在保護(hù)、建設(shè)上不斷有所發(fā)展，有所前進(jìn)。孟先生親自規(guī)劃的花圃改造(圖9)、太子灣公園(圖10)、靈峰探梅(圖11)、郭莊(圖12)、曲院風(fēng)荷(圖13)、湖西景區(qū)等，以及一系列博物館、名人紀(jì)念館、藝術(shù)館，都充分體現(xiàn)自然與人文的融合，精致和大氣的兼得。特別是孟先生的匯芳漪和巖芳水秀大假山，深得無錫寄暢園的神韻，假山自然渾厚，凝重蒼古，整個水系瀠洄聚散為西湖增加了新的華彩，最近這5年中，西湖以迎接G20會議為契機(jī)，以國際視野實(shí)施彩化美化，使生態(tài)環(huán)境質(zhì)量又有了新的提高。

圖6 黑松、水杉、懸鈴木與水榭形成層次豐富的空間

圖7 柳浪聞鶯——翠色籠罩中的御碼頭

圖8 平湖秋月

圖9-1 杭州花圃——匯芳漪

圖9-2 杭州花圃——巖芳水秀

圖10-1 太子灣公園碧染飛瀑

圖10-2 草坪邊緣的櫻花樹從似朵朵清云，如夢如幻

圖10-3 逍遙坡、玉鷺池春意

圖10-4 太子灣公園

圖11-1 靈峰探梅，梅花盛景

圖11-2 靈峰探梅——四周古木參天，獨(dú)具山林野趣

1993年，隨同美國前總統(tǒng)尼克松再次來杭州的其私人圖書館主任，他提出專門看一下西湖的園林，當(dāng)我陪他到花港觀魚公園考察后，他對我說：“過去我以為東方園林就是日本園林，現(xiàn)在我了解到，真正的東方園林在中國。”這是西方一位文化學(xué)者對西湖園林的評價(jià)。

德國著名園藝家鮑榭蒂女士在1982年她所著的《中國園林》一書的德文版出版者話中這樣寫：“世界上是中國最早創(chuàng)造了園林并把自然風(fēng)景融于整個園林中，中國園林把你在大自然中的經(jīng)歷和實(shí)際感受毫無保留地奉獻(xiàn)給了你，并把它升華到最完美的意境之中?！?/p>

在世界園林發(fā)展史中，只有中國園林是從它產(chǎn)生時起，在漫長的3000多年歷史發(fā)展長河中，始終堅(jiān)持人與自然和諧生存的宇宙觀，沿著自然山水園林的風(fēng)格綿延發(fā)展、演變，并在前進(jìn)過程中不斷吸納外來優(yōu)秀文化，但不失去中國固有的文化基因。我們并不故步自封、泥古不化，但我們有理由必須堅(jiān)持民族文化的自信、自立。我們要吸取融合世界上一切風(fēng)景園林先進(jìn)的科學(xué)技術(shù)和優(yōu)秀文化，但絕不唯洋是從、頂禮膜拜，因?yàn)槲覀兪窃谥袊耐恋厣蠒鴮懤L制“美麗中國”的華彩篇章。中國的風(fēng)景園林有極其豐富的內(nèi)涵和自身的構(gòu)建體系；“天人合一”的哲學(xué)觀；“雖由人作，宛如天開”的藝術(shù)創(chuàng)作思想；“巧于因借，精在體宜”的營建理法；“收合開放，起承轉(zhuǎn)接”的布局原則；“望得見青山，看得見綠水，記得起鄉(xiāng)愁”的生態(tài)文化理念以及“詩意棲居”“美麗中國”的終極目標(biāo)，這些都昭示我們：新的時代，我們更有理由在中國風(fēng)景園林的延長線上砥礪前行。

圖12 郭莊內(nèi)的植物與建筑緊密結(jié)合

圖13-1 曲院風(fēng)荷湛碧樓前的荷花與蘇堤遙相呼應(yīng)

圖13-2 曲院風(fēng)荷——紅綃翠蓋廊在大雪的覆蓋下安靜而神秘

Marching Forward Bravely along the Extension Cord of Chinese Landscape Architecture

Shi Diandong

On June 24, 2011, the 35thSession of UNESCO World Heritage Committee unanimously agreed that the West Lake should be listed in the World Cultural Heritages and affirmed the prominent cultural values of the West Lake, which highly appreciated the core values and protection work of the West Lake traditional culture.The World Heritage Committee remarks: the West Lake,as an outstanding example of world cultural landscape,exerts "far-reaching impact on landscape design in China and around the world." The Committee fully affirmed the philosophy of the West Lake for pursuing the "harmony between human and nature", appreciated that the West Lake has not only maintained its historical and cultural authenticity and continuity, but also, with the continuous development of society, gradually improved its ecological environment protection and landscape architecture construction, and constantly perfected the values of the West Lake.

The landscape architecture of the West Lake wasn't built overnight, but based on the ancestors’ protection and construction and gathered the hardships of three generations who devoted themselves to landscape architecture. Over the past 60 years, the protection,inheritance, integration and innovation in the West Lake landscape architecture have been consistently followed.

Protection: protect the landscape pattern of the West Lake as well as the green mountains and clear rivers, protect historical and cultural heritage and protect folk customs;

Inheritance: inherit the spirit and value of the landscape culture of Chinese nation and inherit the natural landscape philosophy, basic characteristics and construction methods of Chinese landscape architecture art;

Integration: constantly learning and absorbing the excellent culture and technology of landscape architecture from the world, integrating the British landscape architecture style with the West Lake;

Innovation: advancing with the times, creating landscape architecture works that meet the life demands and aesthetic needs of modern people, providing a dwelling with beautiful flowers and refreshing air for the masses;

In 1949, the West Lake was in miserable scenes with lakes blocked, monuments collapsed and Ten Scenes of the West Lake disappearing. It began to regulate mountains and rivers and implement the decision of improving ecological environment (ecological restoration) in 1950. The mountain areas took the measures of both reforestation and afforestation. During 10 years, more than 30 million trees were planted in the mountain areas, and the mountains basically turned green. The dredging of the West Lake started from 1952. By 1958, 7.2 million cubic meters of sludge has been dredged and the depth of water has been increased from 0.5 meters to 1.8 meters. In this way,the ecological environment of the West Lake has been completely improved. At the time of restoring the cultural relics and historical sites, the new parks and scenes around the West Lake, with the subject of Ten Scenes of the West Lake, which have been appreciating for more than 800 years, are repairing and building.The combination of ecology (efficiency) and art (effect),science and art, is insisted on.

From the perspective of innovation, the West Lake was forward-looking and pioneering. It was a result influenced by historical, natural and human factors.

The human factors: Mr. Yu Senwen, the pioneer and founder of the modern West Lake landscape architecture, was the first director of Hangzhou landscape construction after the liberation of Hangzhou,and later the vice mayor in charge of urban construction.He studied at Jinling University in 1924 and studied Economics and Politics at the University of London in 1934, and he was proficient in English. From 1934 to 1936, he traveled to more than 20 countries in Europe,the United States, East Asia and South Asia, and his experience guaranteed him a successful career. Mr.Yu advocated that the construction of the West Lake landscape architecture should, based on the nature,history and culture, take in advanced environmental views and landscape architecture practices from abroad,creating a new landscape architecture style for the West Lake. In 1953, the "Overall Construction Planning of Hangzhou City", which was presided over by Yu, stated that more than 333.5 hectares (1 mu=0.0667 hectares)of land within Huanhu Road area should be built into an open natural park. It stipulated that no building could be constructed in this area again, buildings in the area should be demolished and only few could be saved as visiting service facilities. Huanhu Park prohibited building fences, and in 1951, the park was the first one in China to build a botanical garden; in 1952, it prepared to build an open parterre; in 1956, it set aside 50 meters of green belt in the scenic area on both sides of the main road. When building the new park, it has been clearly clarified that the roadsides of the park couldn't plant trees in rows, but required to grow plants according to their natural features and constructed buildings as less as possible. When Mr. Sun Xiaoxiang designed and classified the sightseeing districts such as Fish Viewing at the Flower Pond and the Botanical Garden,he reflected Mr. Yu's thinking in an innovative and modern way. It could be said that Hangzhou combined inheritance and innovation 60 years ago, creating a new mode of Chinese landscape architecture.

After 30 years of reform and opening up, the new generation working for landscape architecture inherited the pioneering spirit of the older generation, making continuous progress in protection and construction.

In 1993, a director of Nixon's private library, who accompanied Nixon to visit China again, proposed to visit the West Lake. I introduced the sightseeing district of Fish Viewing at Flower Pond to him, and after visiting,he said: "in the past, I think the representative of oriental landscape architecture is Japanese, while now I know that the real landscape architecture art is in China." It was a remark from a west cultural scholar to the West Lake.

In the history of world landscape architecture, only Chinese landscape architecture, experiencing 3,000 years of development, has always adhered to the harmonious co-existence between human and nature,followed the style of natural landscape architecture and absorbed the good from foreign cultures and kept our own cultural genes, and therefore, we have reasons to be confident in our national culture. Chinese landscape architecture has rich cultural connotations and design systems, such as the philosophy of "harmony between human and nature", the artistic thought of "manually builtyet seemed to be created by nature", the building theory that "ingenuity lies in borrowing scenes, delicacy comes from exquisite structure", the layout principle of "opening and changing", the ecological ethics of"providing green mountains, clear waters and nostalgia"and the goal of "building a poetic dwelling in China."All of these remind us that: in the new era, we have more reasons to seek progressin the path of Chinese landscape architecture.

(Editor / Wang Yuanyuan)

注：文中圖片均由作者拍攝并引自作者《西湖園林植物景觀藝術(shù)》一書。