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我国庭园设计艺术中很讲究“借景”。所谓“借景”,就是将远处的景物,“借”,来纳入有限的个体庭园中,使远处景物和个体庭园在观赏者的视野里有机融合,构成广阔深远的艺术境界。这种“借景”手法,在我国古典散文的景物描写中也时有运用。柳宗元的《小石潭记》就是一例。作者在《小石潭记》中首先描写了小石潭本身的美景:潭水——清澈见底;游鱼——时动时静;树蔓——参差披拂;近岸——为坻,为屿,为嵁,为岩,可谓细腻生动之致。但是这些景物都仅仅是限制在小石潭的范围之内的。接着,作者又为我们展示了遥远处的一幅绝妙景致:
China’s garden design art is very particular about “borrowing scenery.” The so-called “borrowing of scenery” is to incorporate distant scenery and “borrowing” into limited individual gardens, so that distant scenery and individual gardens are organically integrated in the viewer’s field of vision and constitute a broad and far-reaching artistic realm. This kind of “borrowing scenery” technique is also used in the depiction of Chinese classical prose. An example is Liu Zongyuan’s “The Little Shitan”. The author first described the beauty of Xiaoshitan itself in “The Little Shek Lei Kee”: Lake water - crystal clear waters; fish - static at the time of movement; tree vines - variegated; coastal - for 坻, for the island It is a delicate, lively, and beautiful rock. However, these scenes are only limited to the scope of Xiaoshitan. Then, the author also showed us a wonderful view from afar: