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【博雅双语名家名作】汪荣祖：追寻失落的圆明园（一）
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。
Chapter 2 DISPOSITION 第二章 圆明园的布局
The Yuanming Yuan imperial garden consisted of the most magnifi-cent architectural works the Qing Empire ever created. It represents a glory in the Chinese cultural tradition and the pinnacle of Chinese garden arts. 圆明园由非常壮丽的建筑工程所组成，是清朝所创造的帝王御园。它代表了中国文化传统的最高成就以及中国园林艺术的巅峰。
The site on which the Yuanming Yuan was built is a plain rich in fresh water at the foot of the Jade Spring Hills near present-day Haidian, northwest of Beijing. The water from the Jade Spring has been described as cool and clear, to be admired as “pearls under moonlight” (mingyue yeying qingguang yuan). The plentiful spring accounts for the abundant groundwater in Haidian and its neighborhood. In fact, “dian” means the place where water runs together. Moreover, the terrain allowed a gigantic garden to achieve its maximum aesthetic effects. As the great modern Chinese architect Liang Sicheng summarizes, the Yuanming Yuan was essentially a design of hillocks and lakes with buildings, courts, chambers, pavilions, arbors, and other structures in between. Even though symmetry and balance were stressed, Liang goes on, greater emphasis was placed on variations and liveliness in accordance with topography to the extent of being unconventional. Although the garden, for Liang’s critical eyes, perhaps contained too many man-made structures, which jeopardized the beauty of the landscape, he has no doubt about its lively creativity. 营造圆明园的地点是在玉泉山山脚下有丰沛活水的平原上，靠近今天北京西北边的海淀区。来自玉泉的水被形容为清凉干净，有云：“明月夜映清光圆”，即喻为“月光下的珍珠”。丰沛的泉水使得海淀和邻近的地区地下水充足。事实上，“淀”的意思就是“会聚水的地方”。更何况，这里的地形可以让一座壮观的宫苑把美学的效果发挥到登峰造极。非常出色的现代中国建筑师梁思成曾评论说，圆明园会聚山丘湖泊，结合殿堂、亭台楼阁和其他建筑结构的设计精华。虽然圆明园注重对称和平衡，但梁氏进一步说，圆明园的设计更能依照地形来强调变化，并以活泼的造型来发挥独树一帜的风格。虽然在梁氏的慧眼里，圆明园也许因过多的人工雕琢而破坏了美丽的形胜，但其具有生命的创意仍然是毋庸置疑的。
Overview of the original Yuanming Yuan showing twenty-nine man-made structures or scenes mentioned in the book. Plan by Sylvia Lu Wong with reference to the map in YMYJ 1 between pp. 122–123 and to He Chongyi, Zeng Zhaofen’s work in YMYJ 1:81–92. 圆明园原貌总览，标示出书中提到的29处人工建筑或景点。陆善仪参考《圆明园》第1期（1981）122—123页中的地图以及何重义、曾昭奋绘制的地图（载《圆明园》第1期，81—92页）等资料绘制而成。
A more recent scholar has called the Yuanming Yuan “the garden of ten-thousand gardens” (wanyuan zhi yuan) in reference to its ingenious and judicious disposition on a large lake and near the tall West Hills in the neighborhood. Indeed, due to the excellent location, pleasant country homes appeared here as early as the Yuan Dynasty in the thirteenth century. By the sixteenth century, natural beauty made this region so attractive that the Marquis Li Wei of the Ming was inspired to construct the well-known Clear Flowery Garden (Qinghua Yuan), which had claims to be “the leading garden in the region” (jingguo diyi mingyuan). Shortly afterward, the distinguished calligrapher Mi Wanzhong built the equally famous Ladle Garden (Shao Yuan) in this area. Both celebrated gardens, according to the Peking University scholar Hou Renzhi, deteriorated during the transition from the Ming to the Qing. 最近更有学者有鉴于圆明园在广大湖区和高耸的西山之麓有巧夺天工的布局，而称之为“万园之园”。其实由于周遭环境非常之好，早在13世纪元朝的时候就已经有一些优美的庄园在这里出现。到了16世纪，天然美景让这个地区十分具有吸引力，明代的武清侯李伟就因此得到灵感建造了十分著名的清华园，被喻为“京国第一名园”。不久之后，著名书法家米万钟也在这里建造同负盛名的勺园，取“海淀一勺”之意。根据北京大学教授侯仁之的说法，这两座享有盛誉的园林于明清易代之际遭遇到荒废的命运。
The Qing rulers constructed gardens in the Haidian region all over again. As the three available maps show, the Yuanming Yuan contained vast lakes connected by a network of canals and winding waterways. From a bird’s eye view, all of the structures in the garden appear to have been situated on islets or spits of land surrounded by artificial hills, terraces, hollow rocks, and blooming trees and shrubs. The specially named “scenes” (jing) comprised a series of independent and yet cohesive smaller gardens. And this huge park, as a Briton observed, “contained a vast variety of elegant little buildings”. 清代的统治者在海淀又新建许多宫苑。根据三张可用的地图显示，圆明园里的巨大湖泊是由运河网络和蜿蜒的水道所连接起来的。从鸟瞰的角度来看，所有在圆明园内的建筑都坐落在小岛上或是被假山、台榭、花石、树丛和灌木包围起来的单独区域中。那些被特别命名的“景”是由一组既独立又聚在一起的小庭园所构成。根据当时英国人对这座巨大园林的观察，它“包含一大群各式各样优雅精致的小建筑”。
In 1737, the second year of his reign, Qianlong instructed the distinguished court artists Castiglione, Tang Dai, Sun You, Shen Yuan, Zhang Wanbang, and Ding Guanpeng to draw a silk map of the Yuanming Yuan. Once completed, it was hung on the north wall of the Clear Sunshine Belvedere (Qinghui Ge). The belvedere was situated on the west side of the royal living room at the center of the Nine Continents. Its structure, a simple rectangle with elaborate motifs and decorations carved on the posts and beams by carpenters, fit beautifully in the landscape and among other surrounding structures. Noticeably, it had a large overhang to protect the inhabitants from foul weather and was carefully painted to protect it from decay. The right angles and axial symmetry reflected the sublime order. This was the place where the emperor and his companions enjoyed the quiet pleasures of composing poems, drawing pictures, and admiring the landscape. 在1737年，也就是乾隆在位的第二年，他传旨要著名的宫廷御用画家郎世宁、唐岱、孙佑、沈源、张万邦、丁观鹏把圆明园恭绘在绢本上，完成之后就挂在清辉阁的北壁上。清辉阁在“九州”中央的皇帝寝宫的西侧。它的建筑样式是单纯的长方形，配上工匠在梁柱上雕刻的精致的图形和装潢，与周围的风景和建筑十分相宜。此阁有一个非常显著的悬挑部分，既让里面的人不受恶劣天气的影响，又有细致的涂漆以保护它不易腐朽。它的直角和轴心对称又显示出庄严的式样。这里是皇帝和他的侍臣作诗、绘画和欣赏风景等雅兴之用的去处。
The famous Forty (Best) Views (sishi jing) of the Yuanming Yuan were completed and designated in 1744, of which twelve views, or scenes, were constructed after Qianlong became emperor in 1736. Even though Yongzheng had completed so many of the forty views, Qianlong continued to refurbish all the views extensively. The urbane Qianlong gave every one of the Forty Views a cultured name with an explanatory poem (Yuanming Yuan Sishijing Tuyong 1985). The emperor’s practice was quite in line with what a refined scholar did for his private garden, that is, to use an elegant name and poetic theme to make manifest a pictorial image of the uniquely created scene. Moreover, the proud Qianlong commissioned the court artists Shen Yuan and Tang Dai and the calligrapher Wang Youdun to produce a two-volume silk atlas, 2.6 feet high and 2.35 feet wide, to convey impressionistic images of all forty scenes. 著名的圆明园四十景是于1744年完成和命名的，其中有十二景是乾隆于1736年登基之后才建造出来的。虽然雍正完成四十景当中的大部分，但乾隆继续大肆翻修所有名景。温文尔雅的乾隆对四十景中的每一景均给予一个讲究的名称，并有一首题咏的诗作，后来辑成《圆明园四十景图咏》。与文人雅士们在其私人园子中所为一样，乾隆皇帝也为他的宫苑景点选取优雅的名字和富有诗意的主题，来呈现独创景物如画般的形象。而且，这位自负的皇帝授命宫廷御用画家沈源和唐岱以及书法家汪由敦绘制两册长2.6英尺（约79厘米）、宽2.35英尺（约72厘米）的绢本彩绘，以呈现出所有四十景之令人叹为观止的风貌。
This set of pictures and poems was taken away by the French during the war of 1860, and it subsequently found a home in the Bibliotheque Nationale in Paris. The French gave the Chinese a duplicate color set of the atlas in 1983. The woodcut version of the same atlas signed by Sun Hu and Shen Yuan was published in the 1920s . 这套题诗彩绘被法国人在1860年的第二次鸦片战争中掠走，随后被发现收藏在法国巴黎的国家国书馆里。法国在1983年向中方赠送一套复制的彩色原图仿样。至于由孙祜和沈源签章的同一个绢本彩绘的木刻版，则早在20世纪20年代就印制出版了。
Different parts of the garden were reached by various roads that deliberately made “various turnings and windings”. There was perhaps a geomantic element in it. Perhaps the evil spirits, which would travel in a straight line, would be diverted by a winding course. But turnings and windings also were essential for creating surprises. A narrow, tortuous, and dark mountain road would seem to guide viewers into a dead end, but before long a broad space would open to them. Suddenly they would be surprised by a view of elegant trees, blue sky, white cloud, flying birds, beautiful flowers, and a stream of water escaping down from higher ground into a pool. At that moment, they might even enjoy the clean and soft winds blowing from distant hills. Roads thus facilitated visitors’ pleasure of admiring successively unfolding views from spot to spot. The element of surprise endorsed the art of mixing concealment (cang) and revelation (lu). The European buildings at the northern end of the Eternal Spring Garden would seem to be hidden from the Chinese architectural structures by walls and hills, with only tall roofs visible from distance. But concealment was not used simply to communicate that “nothing Western could mar the harmony of the main garden”; it was used to create surprises as well. 圆明园内的各个景点均可经由变化多端的路径抵达，这些路径刻意铺成多变的拐弯和蜿蜒状，可能有风水的因素在里面——大概是认为邪灵只能直线走动，以至于会被蜿蜒的走道所阻挡。不过，拐弯和蜿蜒也是产生惊喜的要素。一条狭窄、曲折和幽暗的山路，看来会把游人带向尽头，但不久却会有一个豁然开朗的空间迎接他们；突然之间，他们会被雅洁的树丛、蓝天白云、飞禽、奇花异草和从高地涌出流水注入池塘等景象带来惊喜；顷刻之间，他们甚至可感受到远山吹来清柔的风。因此，曲折的路径可提升游人的兴致，去欣赏从一个点到另一个点连续呈现的景观。这种令人惊喜的因素阐释了“藏”跟“露”结合的艺术。在长春园北端的欧式建筑看上去像被墙垣和山丘藏于一角，在中式建筑群遮掩下，只有从远处才看得见高高的屋顶。但“藏”不是简单地用来传达“西式建筑无以破坏这个重要园林的和谐”，它也是用来制造惊喜的效果。
Unlike the technique of concealment used to completely hide elements in prose or in a poem, concealment in the garden means to bring forth a reserved and implicit expression, thus unfolding scenes that cannot be viewed in a single glance.The British took note of the effect of intricacy and concealment when they visited the Yuanming Yuan at the end of the eighteenth century. “At Yuen-min-yuen (Yuanming Yuan),” it is said, “a flight wall was made to convey the idea of a magnificent building, when seen at a certain distance through the branches of a thicket”. 不同于散文或诗词里使用完全隐藏的技巧，“藏”的意义在园林里是要带出一个由隐至显、既保留又含蓄的表现，因此展开的景观不能一眼就看到底。一个英国人在18世纪末参观过圆明园之后，就曾经记录下“藏”的效果，说是“在圆明园里的飞檐是要表现出建筑的雄伟印象，特别是从远处的树丛间窥看”。
In addition to roads, a network of canals linked to almost every corner of the garden served the same purpose of circulation. Numerous barges and boats traveled in the garden. The successive Qing emperors all preferred smooth boat traveling. To facilitate this service, the Yuanming Yuan employed an increasing number of sailors, boathouse keepers, and boat repairmen. Since all these people lived and worked in the garden, they formed the garden’s “boat household” (chuanhu), one of many households in the service of the emperor and the royal family.除了路径之外，连接这座园林几乎每一个角落的运河网络，在动线上也起了相同的效果。有非常之多的游船和水艇在园里穿梭。历代清帝都喜爱泛舟水上游园。为了提高船队的运作，圆明园雇用船工、船库管理员和船只维修员的数目日渐增加。他们在园里居住和工作之后，就成了园林里的船户，成为侍候皇帝和皇家的众多侍从的一部分。
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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