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【博雅双语名家名作】汪荣祖：追寻失落的圆明园（四）
追寻失落的圆明园A Paradise Lost—The Imperial Garden Yuanming Yuan
作者介绍：汪荣祖，西雅图华盛顿大学历史学博士。历任美国弗吉尼亚州立大学教授、澳洲国立大学访问研究员。现任台湾“中央大学”人文研究中心主任、美国弗吉尼亚州立大学荣誉教授。
内容简介：第一部以西方语言写就的全面介绍圆明园从缘起、兴建、扩充，到其被毁、重修等盛衰荣辱的历史，更以珍贵照片及原创手绘介绍圆明园的布局、功能等。
The Ancestral Shrine showing the Anyou Palace (top). Plan by Joseph C. Wang and Xinbai Yu. “鸿慈永祜”，安佑宫位于上方。王绰和郁欣白绘制。
Unlike most other structures in the garden, the construction materials of the Ancestral Shrine were mainly stone and marble. In the distance from the entrance, one could observe two pairs of “ornamental columns” (huabiao) in front of the Memorial Archways (paifang), which was crowned with light yellow glazed tiles and eaves. The columns, each standing twenty feet high and about a hundred feet apart, were surrounded by four marble pillars carved with dragons, clouds, and flames alongside a marble balustrade and a stone animal. Five parallel marble bridges crossed a moat with three screen-shaped memorial arch ways that led to the palatial gates. Each bridge was guarded by two stone Chinese unicorns, or kylin (qilin, a Chinese unicorn symbolizing auspiciousness), approximately 174 centimeters tall on 98-centimeter-high stone platforms. The gates led the way to the shrine’s tall, reddish outer wall, which was crowned with a yellow glazed tile roof. The inner wall was also red and covered by a yellow glazed tile roof. Inside the courtyard were the waiting rooms. The main gate stood on top of a splendid marble terrace ascended by marble stairs and balustrade, and a pair of bridges stretched across a moat. On both sides of a vast courtyard were guestrooms, two large incense burners, and a pair of pavilions with double roofs. The main shrine palace stood on a large marble terrace ascended by five stairways escorted by bronze animal figures. The central stairway, which was richly decorated with carved dragons, was reserved for the emperor’s use only. Qianlong designated it the Most Kindness and Eternal Blessing (Hongci Yonghu). 不同于许多圆明园内其他建筑，“鸿慈永祜”的建筑材料主要是石头和大理石。离大门有一段距离的地方，可以看到在牌坊前有两对华表，顶部是淡黄色的琉璃瓦和檐。每一柱华表都有20英尺（约6米）高，彼此之间有大约100英尺（约305米）的距离，这些华表的四周有四个大理石护栏和一只石兽以及雕饰了龙、云和火焰的台柱。五条平行的大理石桥梁跨越护城河之后，就是三座用作屏饰的牌坊，坐落在宫门之前。每一座桥梁都有两只大约174厘米高的石麒麟（一种象征吉祥的中国独角兽），坐镇在98厘米高的石台上。宫门通往主殿堂的淡红色外城高墙，上方是黄色琉璃瓦的屋顶，至于内城墙也是红色，配上黄色琉璃瓦的屋顶。庭院里面的空间是用来等候觐见的地方。主宫门建在富丽堂皇的大理石平台上，可扶护栏拾级而上。另有一对桥梁横跨一条护城河。在宽广的庭院两侧是供宾客留宿的房间，院中有一对很大的香炉和两座有叠檐的亭子。主殿坐落在一个很大的大理石平台上，有五级石阶可拾级而上，石阶由青铜兽守护。位于中间精雕细琢的龙雕石阶，只有皇帝才能行走。乾隆命名为“鸿慈永祜”。
Inside the shrine, Qianlong placed the portraits and name tablets of Yongzheng and Kangxi to show his affection for his deceased forefathers. After Qianlong died, his own portrait and memorial tablet were placed here for remembrance and worshipping by his successor. The shrine, to which the Manchu royal family always attached great importance, would have been considered a truly exceptional structure in any type of garden. 在此殿堂的内部，乾隆摆放了雍正和康熙的画像和牌位，以表达他对已经故去的父祖的追思。在乾隆死后，他自己的画像和牌位也由他的继位人摆放在这里以便纪念和供奉。清朝皇族非常重视这座殿堂；不过在园林当中建筑这样的大型宗庙，极为罕见。
To the east of the Ancestral Shrine was the Faculty Club (Huifang Shuyuan). It consisted of such structures as the Expressing Excellence Gallery (Shuzao Xuan) in the front, the Conceiving Distance Chapel (Hanyuan Zhai) in the rear, the Relaxation Room (Sui’an Shi) to the west, and the Lofty Clouds Chamber (Zhuoyun Lou) to the east. Further east from the Faculty Club was the Half-Moon Gallery (Meiyue Xuan). South of the gallery between an arbor and a chamber stood an open-air structure, about three column wide, facing the uniquely designed scene called Traces of Snow on a Broken Bridge (Duanqiao Canxue). The bridge was made of broken rocks in dozens of different shapes, some of which are still visible at the present-day ruin site. 在“鸿慈永祜”的东边是“汇芳书院”。它由以下的建筑群组成：抒藻轩在前方，涵远斋在后方，随安室在西边，倬云楼在东边。从“汇芳书院”再往东走就是眉月轩，南面有一座名叫“断桥残雪”的露天建筑，处于一个凉亭和楼阁之间，约有三楹宽。这座断桥是由数十种不同形式的碎石建造出来，残存的部分桥身仍然可以在今天的遗址中看到。
Below the Faculty Club was a religious complex that emulated the famous Lamaist temple known as Yonghe Gong in Beijing. It had three sections: two rows of seven-column chambers connected by two hallways to the west; three rows of seven-column chambers in the middle; and the Good Omen Palace (Ruiying Gong) comprising three Buddhist-style courts to the east. Qianlong designated this Buddhist compound the Dazzling Eaves under Heaven (Ritian Linyu). 在“汇芳书院”的下方是宗教建筑群，仿照北京著名的喇嘛寺庙雍和宫而建造，包含三个部分：西边是两排七楹宽的楼阁，由两道门廊连接；三排七楹宽的楼阁坐落在中间；东边是由三座具佛教风格庭院组成的瑞应宫。乾隆给这个佛教大院命名为“日天琳宇”。
The main structure of Lianxi Lechu (Scholar’s Wonderland). Sketch by Joseph C. Wang and Xinbai Yu. 濂溪乐处的主建筑。王绰和郁欣白绘制。
East of the religious complex was the largest scenic point, approximately twelve acres, with several magnificent pieces of architecture, including the nine-column principal structure surrounded by hills and brooks. One of the unique features of this scene was the great number of lotuses floating in shallow water. It is well known to Chinese literati that the great Song philosopher Zhou Dunyi (Zhou Lianxi) authored the celebrated essay “Passion for Lotus” (“AilianShuo”) to compare the lotus to gentlemen. Qianlong appreciated the essay and thus dubbed this scene the Scholar’s Wonderland (Lianxi Lechu) to indicate that he would be content to be surrounded by well-bred gentlemen. 在宗教建筑群的东边是最大的景点，占地约12英亩（约73亩），颇有一些华丽的建筑，包括以九根柱子作为主要屋架的建筑，四周有山丘和小溪围绕。这个景点的特色是在浅水上漂浮着大量的莲花，对中国文人来说，宋代大儒周敦颐（号濂溪）曾写出为人赞扬的《爱莲说》，文章以莲花来比喻君子。乾隆很欣赏这篇文章，因此给这个景点命名为“濂溪乐处”，以显示他愿意厕身于许多有修养的君子当中。
Walking further to the east in a bookish journey, we observe the Sounds of Wood and Water (Shuimu Mingse) with a Western-style water wheel pumping water into a room. The sounds of water, sese, lingling, echoing the rustling woods, helped the emperor attain a lofty realm which combines kindness with wisdom. 根据文献上记载的路线再继续往东走，我们就会看到“水木明瑟”，那里有西式的水车把水引入室中。泠泠的水声附和着瑟瑟的木声，可以帮助皇帝达到仁与智的至高境界。
Several rural scenes appeared around the northern end of the original Yuanming Yuan. The Yongzheng Emperor first created a farm in the garden to remind himself of the daily basis of rural China, where millions of subjects lived. His Majesty could observe from a pavilion how farm work was performed. Later he added to this rice field a silkworm farm and a brocade and dye mill. Ever since the Wei-Jin Period, between the third and fourth centuries, the Chinese literati continuously tried to find their own distinct character in the expression of garden design in general and flower arrangement and rock formation in particular. While some wanted to show their unique ambition, others wanted to demonstrate their stainless, magnanimous, or aloof personalities. Character and taste have long since been considered the “soul” of a garden and of its owner. Clearly mindful of his responsibility to diligently attend to government affairs and the people’s welfare, Yongzheng purposefully created a farm scene inside his beloved imperial garden to show his concern about the people as well as to underline his benevolent rule. It seems quite clear that the emperor used this theme to make a political claim to be a conscientious ruler of the majority farming population as well as to rehearse the self-serving Confucian moral ideology. 在圆明园本园的北端附近有几处乡野的景色，雍正皇帝首先在园林里开辟农地，来提醒他自己有数以亿万的子民是过着农村的日常生活。皇帝陛下可以从凉亭上观察到农务是如何进行的。除稻田外，他后来又增设了养蚕场和织染坊。早在公元3世纪和4世纪的魏晋时期，中国的文人就透过整体园林的宏观设计与花卉和叠石的微观布置，来不断尝试寻找他们自我独特的个性。有一些文人想表达他们非凡的抱负，另有一些人则想展现出他们纯洁、崇高或孤傲的个性。个性与品位长久以来被视为园林和园主的灵魂。雍正十分注意他的责任，勤奋政务和关怀人民的福祉。他有意在自己心爱的御园里建造农地景象，就是要表现出他关心子民以及强调他的仁政。皇帝很明显利用这个主题作政治宣言，来表示他是一个广大农业人口的正直的统治者，同时表现自己追求儒家的道德理想。
Qianlong designated five rural scenes. The one at the southeast neighborhood of the Sounds of Wood and Water (Shuimu Mingse) was dominated by a house in the shape of a gigantic Chinese ideogram, tian, meaning “rice field,” which the emperor dubbed Simple Life in Quietude (Danbo Ningjing), with the Rising Sunshine Chamber (Shuguang Lou) at its side. There were four other rural scenes. The Bountiful Farms (Duojia Ruyun) was a large rice field with a few small houses. The Orchid Fragrance over the Water (Yingshui Lanxiang) consisted of rice fields, weaving mills, and fishing ponds. The Fish-Leaping and Bird-Flying (Yuyue Yuanfei) contained numerous village huts surrounded by a stream. And the Northernmost Mountain Village (Beiyuan Shancun), originally known as Teaching Farming Gallery (Kenong Xuan), contained rows of small yet elegant chambers and villas on both sides of a narrow river. 乾隆给五个乡野景点取名。紧贴在“水木明瑟”东南方，坐落着一幢外观呈巨大的中国象形文字“田”的房子，乾隆称之为“澹泊宁静”，旁边就是曙光楼。另外还有四个乡野景点：“多稼如云”附有几间小房子和一大片稻田；“映水兰香”是由稻田、织坊和鱼塘所组成；“鱼跃鸢飞”包含了几幢被溪流环绕的村舍；原名为“课农轩”的“北远山村”，拥有几排位于一条窄河两岸小而雅致的楼阁和宅第。
On the east side of the Northernmost Mountain Village arose the Sitting Rocks and the Winding Stream (Zuoshi Linliu), which included a replica of the celebrated Orchid Pavilion (Lan Ting) located at Shaoxing in Zhejiang Province. The Orchid Pavilion was the garden estate of the great East Jin calligrapher Wang Xizhi (321–379), who spent time there in the company of scholarly friends drinking wine, practicing calligraphy, and composing poems. When reciting poems outdoors, they sat on rocks and set their drinking cups in the nearby stream to see which cup would float downstream.Qianlong, a poet in his own right, delighted in recreating Wang’s pleasure. Other structures to enrich the scene included the Clear Sound Pavilion (Qingyin Ge) and the All-Happy Garden (Tongle Yuan), where Qianlong dined frequently. Directly adjacent to this pavilion and garden was the Curving Courtyard and Lotus Pond (Quyuan Fenghe), modeled after the famed lotus view from Hangzhou’s West Lake. A nine-hole bridge (jiukong qiao) bisected the large rectangular pond. The three-mile-long left bank was also a replica of the famous Su Dongpo Bank in the West Lake. These are the scenes that Qianlong brought back to the Yuanming Yuan from his southern tours. 在“北远山村”的东边冒出“坐石临流”，其中复制了一座位于浙江绍兴的著名的兰亭。兰亭是东晋大书法家王羲之（公元321—379）的庄园，他在里面与名士朋友结伴饮酒、练习书法和作诗。当他们在户外吟诗的时候，会坐在石上并把他们的酒杯放在旁边的小溪里，看哪一只杯子会浮在溪上顺流而下。亦有诗人之资的乾隆乐于重现王羲之的雅兴。其他用来充实这个景点的建筑包括清音阁和同乐园，后者是乾隆经常用膳的地方。紧贴这座兰亭和园林的是“曲院风荷”，乃是参照杭州西湖著名的莲花景而建，九孔桥则把这个巨大的长方形湖泊一分为二。3英里（约4.8公里）长的左岸也是仿照西湖著名的苏堤而建。这些景观都是乾隆下江南之后引入圆明园的。
The Majestic Sunset-Tinted Peaks of the West Hills (Xifeng Xiuse) was located at the northeast corner of the original Yuanming Yuan. It featured a sumptuous chamber designed especially for the Yongzheng Emperor to admire the sunset. The design was to bring the magnificent mountain view of sunsets into the broad and bright windows on the west side of the chamber, a good example of the “view borrowing” technique. In fact, as Yongzheng’s poem indicates, this design borrowed from the sunset view at the famed Mountain Lu (Lu Shan) in Jiangxi Province. East of this viewing chamber was a larger structure named the Hanyuan Zhai surrounded by magnolia trees, which fill the air with fragrance when they blossom. Northeast of the chapel was the delightful Admiring Fish at the Flourish Haven (Huagang Guanyu), built to observe countless gold fish in a stream. At the foot of a nearby hill was the Cave of the Three Fairies (Sanxian Dong), which was large enough to accommodate two hundred persons. Qianlong gladly included this in his Forty Views. “西峰秀色”坐落在圆明园本园的东北角，它是一座华丽的楼阁，特别为了雍正皇帝欣赏日落而设计。它的设计是要把壮观的日落山景带入轩爽明敞的西窗内，是“借景”技巧最佳的例子。事实上，正如雍正诗中所示，这个设计正是借取江西庐山著名的日落景色。在这座观景楼的东边是名为“涵远斋”的巨大建筑，四周玉兰树环绕，当花朵盛放之时，到处飘香。在这座礼堂的东北方是宜人的“花港观鱼”，用来观赏溪中无数的金鱼。在附近山脚处就是“三仙洞”，这是足以容纳两百人的宽广空间。乾隆把此景也列入他的四十景之内。
Let us now turn our gaze to the southeastern edge of the garden entrance to find a small garden designated as the secluded Deep Vault of Heaven (Dongtian Shenchu). It was the campus of the royal school and comprised rows of elegant classrooms and dormitories concealed in a bamboo grove, orchids, and pine trees. Both Yongzheng and Qianlong attended school here when they were princes.现在让我们再把视线转到圆明园宫门的东南边，就会发现有一座名叫“洞天深处”的幽静的小小园林。它是皇族学塾的园区，由几排藏于竹林中的教室和宿舍所组成，杂植有兰花和松树。雍正和乾隆仍然是皇子的时候，就曾经在这里上过学。
编辑推荐：
宏观上呈现圆明园布局、扩建、焚毁、修复的漫长变迁，亦于细节处勾勒园林建筑、生活起居与日常运行的点滴，回溯“万园之园”曾经的苦难与辉煌。
《追寻失落的圆明园》
汪荣祖（著） 钟志恒（译）
外语教学与研究出版社
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