在中国风景园林的延长线上砥砺前进

施奠东

2011年6月24日，联合国教科文组织第35届世界遗产委员会会议一致同意西湖列入世界文化景观遗产，肯定了西湖突出的普世价值和文化价值，西湖不仅是杭州的，中国的，也是全人类的共同财富，这是对西湖传统文化核心价值及保护管理的充分肯定。会上许多国家的专家发言，表示对西湖美的赞叹以及保护工作的钦佩。遗产委员会对西湖的评价：西湖是世界文化景观的一个杰出典范，“对中国乃至全世界的园林设计影响深远”。这不仅增强了杭州风景园林人的自信心、自豪感，也是中国风景园林界的骄傲。这次的申报材料重点从6个方面予以阐述：西湖自然山水；“三面云山一面城”的空间特征(图1)；两堤三岛的景观格局；西湖十景的题名景观；西湖文化史迹和西湖特色植物。遗产委员会充分肯定了西湖秉承“天人合一”的哲理，在10个多世纪的持续演变中日臻完善，成为景观元素特别丰富、文化含量特别厚重的东方文化名湖。概括起来，我觉得世界肯定了西湖既保持了历史文化的真实性、连续性，又在社会不断发展中，生态环境的保护和风景园林建设使西湖的价值日臻完善，即孟先生所说的“创新不离宗”。2016年G20会议，各国首脑也对西湖充满东方神韵的美学和生态环境的保护给予高度的评价和认同。

要做到今天西湖风景园林的水平，不是一蹴而就，而是经过了风景园林三代人的连续艰辛努力。60多年来，西湖坚持保护、传承、融合、创新的理念和路线并一以贯之。

保护：就是保护西湖的山水格局和青山绿水，保护历史文化遗产，保护民俗民情。

传承：即传承中华民族的山水文化的精神和价值，传承民族的审美意识和东方神韵，传承中国风景园林艺术的自然山水哲理、基本特征和构建理法。

融合：就是不断学习、吸纳世界优秀的园林文化和园林科技，特别是把18世纪以来的英国园林艺术风格与西湖的风景园林融合起来。把江南园林的精致细腻和西湖山水的清丽秀逸融合起来。

创新：就是随着时代的发展，与时俱进，创作符合现代人们生活需求和审美需求的园林作品，陶冶人们的身心，为广大群众提供鸟语花香、神清气爽的诗意栖居。其中的核心就是20世纪50年代初西湖就以前瞻性的生态价值观、历史文化观和科学发展观作为指导思想。坚持遵循尊重自然、顺应自然、美化自然的“天人合一”观。西湖的实践，是符合于习近平总书记提出的“绿水青山就是金山银山”的生态观，以及“建设美丽中国”的宏伟构想。

总之，西湖的传承不是对传统简单地模仿和临摹；创新也不是对西方的顶礼膜拜，而是建立在西湖自然与人文基础的自我完善。

图4 深切缅怀现代杭州风景园林的奠基人——余森文先生

图1 西湖与杭州湖城相映

熟悉杭州的人都知道，1949年新中国刚成立时，西湖面临的是山光湖塞、古迹残败、十景名存实亡的凄惨景象(图2)。1950年开始，杭州的领导者具有远见卓识，治山理水，突出改善生态大环境的决策(生态修复)。山区实施植树造林和封山育林并举的措施，并由园林系统直接管理，10年间，植树3000多万株，基本实现无山不绿。

1952年开始，疏浚西湖。至1958年，挖泥720万m3，水深0.5～1.8m。西湖的生态环境有了彻底的改善。在修复文物古迹的同时，以流传800多年的西湖十景为主题，在环湖恢复建设新型的公园、景点。坚持生态(效益)和艺术(效果)的结合，科学和艺术的结合(图3)。

从创新的角度而论，西湖在风景园林建设中的创新意识是具有前瞻性和开创性的。这里有历史因素、自然因素和人为因素。

1)历史因素。肇始南宋时代的“西湖十景”，是从唐白居易开始的唐宋诗人、画家对西湖人文、风景典型的概括，它和传统的私家园林有所不同。康熙、乾隆不仅赞赏它，还把它所体现的意境运用到避暑山庄、圆明园、颐和园等皇家宫苑中，看重的是它的风景要素、文化要素和它永恒的审美价值。

2)自然因素。西湖是自然风景中秀美的极致，在自然美景中，山、水、植物是构成西湖的最基本要素，它既符合古代文人士大夫的审美观，又符合当代大众的审美观，西湖从元代开始就被称为人间天堂，是人们自然审美中精神追求的归宿，也十分符合当代人提出的生态环境理念所追求的终极目标。

图2-1 1921年的苏堤种植农作物，残柳衰桃

图2-2 1921年的白堤，狭窄而萧索荒芜

图3-1 白堤的间株杨柳间株桃

图3-2 南宋所筑赵堤上的玉带晴虹桥

图5-1 花港观鱼——牡丹园全景

图5-2 大雪映衬下香樟和二球悬铃木树丛形成色彩与树形的对比

图5-3 秋季红鱼池边的垂柳与二球悬铃木色彩绚丽

图5-4 绚丽的羽毛枫造型体现了中国传统的线条美、书法美

图5-5 秋季雪松大草坪中的无患子叶色金黄，形成色彩与形态的对比

3)人为因素。这里我首先要提到现代西湖风景园林的开拓者和奠基人余森文先生(图4)。余老是杭州解放后第一任建设局长、园林局长，以及后来的分管城市建设的副市长。他在新中国成立前，从20世纪20年代起就接受早期共产党人恽代英同志的思想影响，30—40年代，从国民党营垒中(他做过国民党广东省党部书记长，武汉国民政府军事委员会政治部设计委员，温州、丽水专员兼保安司令，也当过同济大学教导长等)的一位爱国民主人士转变为坚定的共产党人，经受了革命的洗礼，作出了重要贡献。他1924年就读于金陵大学农林科以及在30年代的伦敦大学政治经济学院，精通英语。1934—1936年，在伦敦学习、工作2年，到过欧美、东亚、南亚等20多个国家。在英国期间，他对英国的园林艺术印象特别深刻，曾拍摄过大量风景园林照片。杭州一解放，他就任工务局副局长，当他第一次向市长谭政林同志汇报工作时，谭就问他：“你去过西欧不少地方，到过日内瓦，日内瓦到底好在哪里？”余老回答：“日内瓦山上树木终年常绿，湖水清澈。”谭政林听后满怀激情地说：“西湖一定会通过我们共产党人把它建设好。要建成‘东方日内瓦’。建成山清水秀，世界文明的西湖。”这就是以国际视野对西湖建设的定位，也就是现在所说的国际接轨。正是有这样的高起点要求，余老积极主张西湖风景园林建设要在自然、历史、人文的基础上，积极吸收国外先进的环境观念和园林艺术的手法，创建新的西湖风景园林风格。

1953年，由他主持编制的《杭州市城市建设总体规划》明确环湖路以内5000多亩(约333.3hm2)土地要建成开放式的自然大公园，规定在此范围的建筑只拆不建，保留的少数建筑要改造为游览服务性设施；环湖公园一律不设围墙；1951年，在国内筹建第一个植物园；1952年筹建开放式花圃；1956年，在风景区主要游览道路两侧划出各50m的绿化带；在新建公园时，明确提出以植物配置为主，园路边不种行列式树木，按自然植物群落形式配置植物，少建建筑。在由孙筱祥先生设计的花港观鱼(图5)、植物园的分类区(图6)时，都以创新的思维和现代的手法体现余老的建园思想。余老80年代初在《中国园林》和《建筑学报》发表了《城市绿化与生态环境》《园林植物配置艺术的探讨》，他在这些学术文章中反复强调向自然学习，尊重自然，坚持植物造园，创造符合自然之美的西湖新园林，这是他在风景园林规划设计中创新性理论的总结。可以说，杭州在60年前就以传承和创新相结合的理念，开创了新中国风景园林的一代新风(图7、8)。

改革开放以后的30多年，新一代的风景园林工作者，秉承老一代开拓者的意念，坚持以保护好历代先贤的文化自然遗产为前提，在保护、建设上不断有所发展，有所前进。孟先生亲自规划的花圃改造(图9)、太子湾公园(图10)、灵峰探梅(图11)、郭庄(图12)、曲院风荷(图13)、湖西景区等，以及一系列博物馆、名人纪念馆、艺术馆，都充分体现自然与人文的融合，精致和大气的兼得。特别是孟先生的汇芳漪和岩芳水秀大假山，深得无锡寄畅园的神韵，假山自然浑厚，凝重苍古，整个水系潆洄聚散为西湖增加了新的华彩，最近这5年中，西湖以迎接G20会议为契机，以国际视野实施彩化美化，使生态环境质量又有了新的提高。

图6 黑松、水杉、悬铃木与水榭形成层次丰富的空间

图7 柳浪闻莺——翠色笼罩中的御码头

图8 平湖秋月

图9-1 杭州花圃——汇芳漪

图9-2 杭州花圃——岩芳水秀

图10-1 太子湾公园碧染飞瀑

图10-2 草坪边缘的樱花树从似朵朵清云，如梦如幻

图10-3 逍遥坡、玉鹭池春意

图10-4 太子湾公园

图11-1 灵峰探梅，梅花盛景

图11-2 灵峰探梅——四周古木参天，独具山林野趣

1993年，随同美国前总统尼克松再次来杭州的其私人图书馆主任，他提出专门看一下西湖的园林，当我陪他到花港观鱼公园考察后，他对我说：“过去我以为东方园林就是日本园林，现在我了解到，真正的东方园林在中国。”这是西方一位文化学者对西湖园林的评价。

德国著名园艺家鲍榭蒂女士在1982年她所著的《中国园林》一书的德文版出版者话中这样写：“世界上是中国最早创造了园林并把自然风景融于整个园林中，中国园林把你在大自然中的经历和实际感受毫无保留地奉献给了你，并把它升华到最完美的意境之中。”

在世界园林发展史中，只有中国园林是从它产生时起，在漫长的3000多年历史发展长河中，始终坚持人与自然和谐生存的宇宙观，沿着自然山水园林的风格绵延发展、演变，并在前进过程中不断吸纳外来优秀文化，但不失去中国固有的文化基因。我们并不故步自封、泥古不化，但我们有理由必须坚持民族文化的自信、自立。我们要吸取融合世界上一切风景园林先进的科学技术和优秀文化，但绝不唯洋是从、顶礼膜拜，因为我们是在中国的土地上书写绘制“美丽中国”的华彩篇章。中国的风景园林有极其丰富的内涵和自身的构建体系；“天人合一”的哲学观；“虽由人作，宛如天开”的艺术创作思想；“巧于因借，精在体宜”的营建理法；“收合开放，起承转接”的布局原则；“望得见青山，看得见绿水，记得起乡愁”的生态文化理念以及“诗意栖居”“美丽中国”的终极目标，这些都昭示我们：新的时代，我们更有理由在中国风景园林的延长线上砥砺前行。

图12 郭庄内的植物与建筑紧密结合

图13-1 曲院风荷湛碧楼前的荷花与苏堤遥相呼应

图13-2 曲院风荷——红绡翠盖廊在大雪的覆盖下安静而神秘

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：文中图片均由作者拍摄并引自作者《西湖园林植物景观艺术》一书。