《海山仙馆图卷》中花木位置经营研究

李凤珠　高伟

摘要：园林营造遵循绘画原则，绘画取材于园林，两者相辅相成，中国山水画论中的“位置经营”原则同样适用于中国园林之中。以《海山仙馆图卷》为研究对象，运用图像学的图文互证方法，并根据经典国画中花木类型的表达，识别和推测出图卷中的10种花木，并结合中国山水画论及中国古典园林造园理论，探究图卷中呈现出的花木之间孤植、丛植及花木与建筑虚实相生、疏密有致、藏露互补、动静皆宜的位置经营手法特征。通过分析园林图像与真实园林的关联与差异，探究园林图像体现出的古典园林景色与山水画意范式的叠加，“再现”与“写意”的融合。

关键词：海山仙馆图卷;山水画论;花木配置;位置经营;岭南园林

中图分类号：TU986

文献标志码：A

文章编号：1671-2641（2021）04-0073-05

收稿日期：2021-03-29

修回日期：2021-04-15

Abstract： Garden construction follows the principle of painting， and painting is based on gardens. The two complement each other. The principle of “position management” in Chinese landscape painting theory is also applicable to Chinese gardens. This paper takes Haishan Xianguan Garden Scroll as the research object， identifies and summarizes the types of plant configuration in the picture scroll by using the method of mutual proof of graphics and text in iconography and according to the expression of plant configuration types in classical Chinese paintings. Combining the theory of Chinese landscape painting and the theory of Chinese classical garden gardening， the paper explores the position management techniques between plants and between plants and buildings in Haishan Xianguan Garden Scroll， such as isolated planting and group planting of plants， as well as the configuration of plants and buildings with a clear relationship， suitable density， proper covering， and a combination of dynamic and static landscapes. By analyzing the correlation and difference between garden images and real garden， the paper explores the superposition of the real landscape of classical gardens and the landscape painting paradigm reflected in garden images，  and the integration of “reproduction” and “freehand brushwork”.

Key words： Haishan Xianguan Garden Scroll; Chinese landscape painting theory; Plant configuration; Artistic composition; Lingnan Garden

中国传统造园与山水画可谓同根同源，二者相互渗透，相互影响。童寯先生曾经把中国园林概括为“三维的中国画”，周维权先生说“画论”可以引为指导园林创作的“园论”[1]。故山水画是研究中国古典园林的重要切入点。《海山仙馆图卷》为夏銮于清代道光二十八年（1848年）受海山仙馆园主人潘仕成之邀所绘，此图卷长13.36 m，卷宽0.36 m，画心3.58 m×0.26 m，是岭南园林题材的山水画卷代表作（图1）。本文以《海山仙馆图卷》为切入点，运用图像学方法，探究图卷中花木位置经营关系与手法。

1中国山水画论与园林中的位置经营

“经营位置”指绘画的构图布局。南北朝谢赫在《古画品录》中提到“六法”：“一氣韵生动是也，二骨法用笔是也，三应物象形是也，四随类赋彩是也，五经营位置是也，六传移模写是也”[2]。……