明清蘇州文人的園林植物圖像

Abstract

本文以明清時代蘇州文人的繪畫與文獻中所出現的植物群體為對象，探討植物在園林的樣貌以及在歷史文化中所扮演的角色。從文人對植物的觀察與典故的聯想，再到文學、繪畫﹝題辭﹞與園林種植的運用，其過程中包含了時代與社會背景的縮影，與文人對自我價值的追尋。本文共為五章。第一章為研究對象的背景定義。例如明清時代的社會氛圍如何影響文人的心境，以及蘇州地區的先天地理條件與後天歷史淵源，如何對文人養成造成影響，並塑造出獨特的與園林與植物文化。第二章先以山水畫、人物畫、花鳥畫中各自不同的植物精神作為開端，接著討論江南園林建造對植物的挑選關鍵與配置要點，最後探討六種常見的觀葉、觀形植物，在繪畫、文獻中的紀錄與在園林中的功能；第三章前半部帶入盆景、瓶花藝術的發展史來討論明清時代「微型園林」的興盛，以及現象背後的社會因素與經濟考量。後半部以九種觀花、觀果植物闡述文人如何藉由對花、果週期的情感抒發，來寄託生命價值；第四章所選擇的植物多生於野外或鄉間，因繁衍力強而遍佈，或因生長習性被視為負面象徵，而較少被關注。此章以文獻與繪畫中所呈現的植物輪廓，來討論明清文人對這些植物與前人相異的認知，還有植物會以何種姿態出現在園林中；第五章則為結論。

今日園林植物的研究上，多聚焦於園藝與景觀領域；園林植物意涵研究則多出自文史相關領域；園林繪畫研究則重視當代社會背景與文化意識的影響。本文從三者的集合中尋找另一種觀看明清蘇州文人與植物的角度。研究以明清文人的繪畫與畫作題辭、筆記文獻的植物圖像為主，文學作品的植物典故與描述為輔，來重現明清蘇州文人與園林植物的互動模式，與對後世的文化價值。With an exploration of the plant varieties described in the paintings and literature of Suzhou literati during the Ming and Qing dynasties, this study examines their presentation in gardens as well their historical and cultural role. From literati observations of plants and associations with classical allusions to their usage of literature and painting (inscriptions) in gardening, the process includes the epitome of an era and social background, as well as a pursuit of meaning and self-worth by literati.This paper consists of the following five sections. The first section provides background and definition on the research subjects, such as how the social conditions of the Ming and Qing dynasties affected the mindsets of the literati, as well as how the natural geography and historical context impacted the cultivation of literati, leading to the establishment of a unique culture of plant cultivation and garden design. The second section begins with the spirits of different plants exhibited in the paintings of landscapes, figures, birds, and blossoms, followed by a discussion on the key points of plant selection criteria and configuration in the construction of gardens in Jiangnan. Finally, six common foliage plants, or plants desirable due to their overall forms, are explored in terms of their functions in the gardens as well as their appearance in paintings and literary documents. The first half of the third section introduces the developmental history of the art of potted trees and flower arrangements to explore the popularity of “miniature landscapes”, as well as the social and economic background of the phenomenon. The second part of the section introduces nine varieties of flowery plants and plants with ornamental fruits, and how literati expressed their emotions via the growth cycle of flowers and fruits to elaborate on the value of life. Growing mostly in the wild or countryside, the plants introduced in the fourth section are those that were viewed negatively and seldomly written about due to their growth patterns and ability to reproduce rapidly. Relying on the plant drawings presented in literature and paintings,this chapter discusses the differences between the perceptions of literati in the Ming and Qing dynasties and their predecessors. A detailed configuration and appearance of these plants in the gardens is also included. Chapter Five is the Conclusion.Recent research on garden plants tends to focus on the art of horticulture and landscaping architecture, while the study of the meaning of garden plants usually centers around literature and history. Meanwhile, the research of garden paintings tends to value the influence of contemporary social background and cultural consciousness. Combining the three types of research described above, this study seeks a unique perspective to observe Suzhou literati and plants in the Ming and Qing dynasties. The study mainly focuses on the paintings, inscriptions, and plant images in the writings and documentation of the Ming and Qing dynasty literati, supplemented by the plant descriptions and allusions in literature, to present the pattern of interaction between Suzhou literati and garden plants in the Ming and Qing Dynasties and their contribution to cultural values across future generations.