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【博雅双语名家名作】汪荣祖：追寻失落的圆明园（三）
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 imperial bedroom and seraglio in the Nine Continents were forbidden ground, and yet the European visitor Father Attiret was able to see them. He found there “all the most beautiful things that can be imagined as to furniture, ornaments, and paintings.... [There are] the most valuable sorts of wood; varnished works, of China and Japan; ancient vases of porcelain; silks, and cloth of gold and silver. They have there brought together, all that. Art and good taste could add to the riches of nature”. In 1860, when the European invaders seized the garden, a British officer saw the royal living quarters where “a large niche in the wall, curtained over and covered with silk mattresses, served for the bed; and a sloping platform enabled His Majesty to mount into it.” Under a pillow, the Briton noticed “a small silk handkerchief with sundry writings in the vermillion pencil about the barbarians.” Near the bed on a table there were “pipes and other Chinese luxuries”. This description at least reflects the setup of His Majesty’s bedroom during the Xianfeng Emperor’s time. 在“九州”里的皇帝寝宫和后宫都是禁地，不过欧洲传教士王致诚神甫还是得以亲眼目睹。他发现这里“有所有可以想象到的美丽事物，像家具、装饰、绘画（这里）有最珍贵的各种各样的木料、中国和日本的漆器、古代的陶瓷花瓶、丝绸和金丝银缕——所有这一切全都会聚在这里。艺术和高雅的品位为自然的美景锦上添花”。1860年，当欧洲的侵略者抢掠这座宫殿时，一位英国军官看到这座皇家起居住所“墙上有很大的壁龛，帘帐垂盖，铺满丝绸垫子，用作睡床，一个倾斜的平台让皇帝可以走上去”。这个不列颠军官还看到枕头下“一条丝质手帕上，用朱砂笔记载着各种关于‘野蛮人’的介绍”；靠近床的桌子上有“一些烟斗和其他中式奢侈品”。这个描述至少反映出咸丰时代皇帝起居室的摆设。
Louyue Kaiyun (Engraved Moon and Unfolding Clouds) showing Ji’en Tang (the Memorial Hall) in the background. Plan by Joseph C. Wang and Xinbai Yu. “镂月开云”，纪恩堂位于背景中。王绰和郁欣白绘制。
On the second islet of the Nine Continents sat the famous Peony Terrace (Mudan Tai), which Qianlong eventually designated the scene of the Engraved Moon and Unfolding Clouds (Louyue Kaiyun). Its main hall in the front was built using precious nanmu (Phoebe nanmu) timber with tiles in splendid green and gold, yielding a look of resplendence. The elegant-looking gallery behind the main hall was named the Imperial Orchid Fragrance (Yulanfen). Further back was an expansive complex of structures consisting of the Memorial Hall (Ji’en Tang) in the middle, the Nourishing Simplicity Study (Yangsu Shuwu) to the west, and the Resting Cloud Chamber (Qiyun Lou) to the east. The central theme of this scene was the peony. The great Song philosopher Zhou Dunyi (1017–1073) had designated this particular flower to symbolize riches and honor, and Kangxi identified ninety different kinds of peony in his imperial garden. Every blossom season, normally late spring, when hundreds of peonies came into bloom, the Qing emperors arrived at the terrace to observe the magnificent “embroidery view” against the background of enormous green pines. It is not at all surprising that Qianlong found the Peony Terrace his favorite place to compose poems.在“九州”上的第二个岛矗立着有名的牡丹台，后来乾隆把这处景观命名为“镂月开云”。它的主殿是用珍贵的楠木所建造，铺上华丽的金绿二色砖瓦，营造出金碧辉煌的外观。在这座主殿后面堂皇气派的楼座称为“御兰芬”。再往后是宽广的建筑综合体，中间是纪恩堂，往西走是养素书屋，往东走是栖云楼，这个景观的中心主题是牡丹。宋代大哲学家周敦颐称这种特别的花象征富贵和殊荣，康熙在他的宫苑里识别出90种不同品种的牡丹。每一次牡丹花盛开的季节——通常是晚春时分，数以千计的花朵怒放，清朝的皇帝会亲临牡丹台去欣赏以庞大青松为背景的有如华丽锦绣般的风景，所以乾隆把牡丹台作为他最喜欢作诗的地方一点都不会让人感到意外。
The remaining seven islets of the Nine Continents complete the circle in the following order. At the northeast corner of Rear Lake was the Natural Scenery (Tianran Tuhua), which is also the name of its principal structure standing in the middle with two wings. Its west side included a pavilion and a chamber, and its east side included the Five-Fortunes Hall (Wufu Tang). In front of this scenery extended a large courtyard featuring numerous phoenix trees in the midst of a bamboo grove. 其余围成一圈的“九州”七岛是这样排列的：在后湖的东北角是“天然图画”，这也是坐落在这里的主建筑之名，位于正中，有左右两翼，西边包含了一阁一楼，而东边就包括了五福堂。在这个景观的前面，伸展出一个很大的庭院，它的特色是在竹林的中间有非常多的桐树。
Tianran Tuhua (Natural Scenery), with the principal structure in the middle facing a lake. Plan by Joseph C. Wang and Xinbai Yu. “天然图画”，包括位于中央朝向湖泽的主建筑。王绰和郁欣白绘制。
Crossing a stream over a flat bridge from the site of the Five-Fortunes Hall, one arrived at the Blue Phoenix-Tree Academy (Bitong Shuyuan). Its main structure, facing south, included a three-column front house, a five-column main court, and a five-column rear court. Tidy Wutong trees grew on each side of the courtyards to provide long shade over the houses, which appeared to be hidden. Qianlong is said to have loved coming here to hear the sounds of rain, which inspired him to write poems. Westward from the academy was the Gentle Clouds Cover All (Ciyun Puhu). With the unique Bell Tower (Zhong Lou) at its back and slightly to the west, the three-column-wide main front court named the Happy Buddhist Ground (Huanxi Fochang) faced the Rear Lake to the south. To the north of the court, beside a Daoist shrine, was a three-story chamber in which Avalokitesvara and Guan Gong, the legendary military hero, were worshipped. To the east of the main court stood the Court for the God of Rain (Longwang Dian) for worshipping the Yuanming Yuan’s Dragon King named Zhaofu. The name Gentle Clouds Cover All obviously refers to the merciful protection over all souls. 从五福堂出来后，从一条平直的小桥上跨越小溪，就会抵达“碧桐书院”。它的主建筑朝南，包含了三楹宽的前宅、五楹宽的主殿和五楹宽的后殿。梧桐树整齐种植在院子四周，绿阴张盖，宅院显得好像被藏了起来。据说乾隆很爱到这里来聆听雨声，以激发他写诗的灵感。从“碧桐书院”往西走就是“慈云普护”，在它后方是独一无二的钟楼，再稍微往西一点，是一座三楹宽的主前院叫做“欢喜佛场”，面对后湖并朝向南方。在“慈云普护”北面的道士庐旁边是三层楼高的楼阁，里面供奉观音大士和关帝圣君。从“慈云普护”这座主殿往东走就是一座龙王殿，是用来供奉圆明园里名叫昭福的龙王。“慈云普护”这个名字很明显地是要保佑所有生灵的意思。
Bitong Shuyuan (Blue Phoenix-Tree Academy). Plan by Joseph C. Wang and Xinbai Yu. “碧桐书院”。王绰和郁欣白绘制。
One left this religious land over a stone bridge westward to the Sky in Reflections (Shangxia Tianguang). Its main structure, a two-story chamber overlooking the Rear Lake, was a replica of the famous Yueyang Chamber (Yueyang Lou) at the Dongting Lake in the central Yangzi valley. On both sides of the chamber extended two narrow banks like rainbows, and at the middle of them stood a hexagonal arbor. Behind the chamber was a compound of smaller structures called the Silent Courtyard (Ping’an Yuan), where the Nine Continents made a southwest turn to the islet named the Apricot-Flower Villa (Xinghua Chunguan). 离开这个有宗教味之地，通过一条石桥往西走，就到了“上下天光”。它的主建筑是眺望后湖的两层阁楼，乃是依照洞庭湖上著名的岳阳楼复制而来。这座楼的两侧延伸至两边的狭岸，就像垂虹驾湖，其中还建造了一座八角形的凉亭。在这座楼的后面是一座叫做“平安院”的小型庭院。这里是“九州”在西南方转往名为“杏花春馆”小岛的地方。
Principal building on Shangxia Tianguang (Sky in Reflections). Sketch by Joseph C. Wang and Xinbai Yu. “上下天光”里的主建筑。王绰和郁欣白绘制。
Rugu Hanjin (Harmony of the Present with the Past). Plan by Joseph C. Wang and Xinbai Yu.“茹古涵今”。王绰和郁欣白绘制。
The villa was composed of the Apricot Grove (Xinghua Cun), the Spring Rain Gallery (Chunyu Xuan), the Green Shady Hall (Cuiwei Tang), the Restrained Chapel (Yi Zhai), and the Water Reflection Chapel (Jingshui Zhai). Yongzheng had created this scene, while Qianlong embellished it and designated it as one of the Forty Views. Qianlong liked to come here in late spring when flowers blossomed, and he described the view as splendid as the “rosy rays of light”. 这座别馆是由杏花村、春雨轩、翠微堂、抑斋和镜水斋所组成，这组景观是由雍正下令建造，在乾隆时将之美化，并命名为四十景之一。乾隆喜欢在杏花盛开的晚春时节来到这里，他以“春深花发，烂然如霞”来形容这里的景色。
The islet on which stood the Apricot-Flower Villa was connected to the Magnanimous World (Tantan Dangdang) by the Blue Wave Bridge (Bilan Qiao). Its front structure had three sections: the Pure Heart Hall (Suxin Tang) in the middle, the Knowing-Fish Arbor (Zhiyu Ting) to the northeast, and the Double Beauty Chapel (Shuangjia Zhai) to the northwest. Behind the front structure was the Splendid Wind and Moon (Guangfeng Jiyue). The unique feature of this scene was the square fish pond, which was very much to the pleasure of Qianlong who cited in a poem the saying of the great Daoist philosopher Zhuangzi: “See how the minnows are darting about! Such is the pleasure that fish enjoy.” South of this scene, the islet named the Harmony of the Past with the Present (Rugu Hanjin) sat at the southwest corner of the Rear Lake and connected by bridges to the main living quarters and to the Eternal Spring Fairy Hall (Changchun Xianguan). All galleries, chapels, and studios here were built in a large square lot connected by delightful winding corridors. In designating this scene, Qianlong quoted the great Tang poet Du Fu: “While I hold my contemporaries with no contempt, I have my affection for the ancients”. The scenes on the nine islets arguably constituted the best of the Forty Views. “杏花春馆”所在的小岛是由碧澜桥连接到“坦坦荡荡”，“坦坦荡荡”的前院建筑有三个部分：素心堂在中间，知鱼亭在东北，双佳斋在西北。前院建筑的后面是“光风霁月”。这组景观的独特之处是有一个方形的鱼池，此池最得乾隆的欢心。他在诗里就引用庄子的话：“鲦鱼出游从容，是鱼之乐也。”在这个景观的南方，可以见到名为“茹古涵今”的小岛坐落在后湖的西南角，并由多座桥梁连接到主要的居住宅院和“长春仙馆”。所有楼座、殿堂、画室都建造成很大的四方形，由许多宜人的回廊连接。乾隆在给这个景观命名的时候，曾引用唐代大诗人杜甫的诗句“不薄今人爱古人”。有人认为，“九州”之岛的景观是四十景当中最漂亮的。
Tantan Dangdang (Magnanimous World). Sketch by Joseph C. Wang and Xinbai Yu.“坦坦荡荡”。王绰和郁欣白绘制。
Wanfang Anhe showing Ping’an Yuan adjacent to the Swastika House. Plan by Joseph C. Wang and Xinbai Yu. “万方安和”，平安院位于字房的旁边。王绰和郁欣白绘制。
Across the Nine Continents to the west was the Swastika House. Qianlong designated it as the Universal Peace (Wanfang Anhe), with houses constructed in a swastika shape on a lake.19 Cool in summer and warm in winter, the houses were built on a solid brick foundation surrounded by water. Here the Qianlong Emperor was especially fascinated by the inverted golden reflections of the swastika formation in the lake under the autumn moon. The golden reflections recalled the brilliant light of the Buddha. Other scenic sites with ostensible religious significance included the better-known Cloud-Living on the Moon Land (Yuedi Yunju), a secluded enclosure surrounded by short red walls and green pines and sitting at the northern end of the Drill Field. Its main building faced a stream in the front and was backed by a small hill. This was a favorite place for members of the royal family to perform their Buddhist worship. 跨越“九州”往西走就是字楼，乾隆命之为“万方安和”，房子建于湖上，成字状。由于房子是用坚固的砖块建成并有水环绕，所以冬暖夏凉，乾隆皇帝在此曾被秋月下字漂浮水面上下对映的金色倒影所吸引，这个金色倒影被称为“佛光普照”。其他外观具有宗教意义的风光景点，包括最著名的“月地云居”，由矮红墙和翠松包围环绕，隐藏在一个大操场的北端。其主建筑前方，面临一条小溪，后方依靠一座小山丘，这是皇室成员念经拜佛的理想之处。
Just north of the Swastika House was the Peach-Blossom Cove (Taohua Wu). This scene recalls the famous legend invented by the third-century poet Tao Qian (372–427), also known as Tao Yuanming. In the legend, a fisherman loses his way and discovers a hidden paradise called the Peach-Blossom Cove in which people live happily without knowing the outside world. The fisherman returns home and tells the story, but he cannot find the cove again. The lost cove has since inspired Chinese literati into utopian thoughts of a legendary happy land. The Peach-Blossom Cove contained a series of halls and galleries. The hall named Deep Source of Peach Blossom (Taoyuan Shenchu) at the northeast end was created by Yongzheng, who was very pleased with the ingenious design and inscribed with his own calligraphy names for each chamber on the horizontal board.Qianlong designated this cove Spring Beauty at Wuling (Wuling Chunse) and selected it as one of the Forty Views. 在字楼的北方正好是桃花坞，这个景观让人想起公元4世纪诗人陶潜（公元372—427）——即陶渊明——所虚构出来的著名传奇。在这个传奇里，有一个渔夫迷路后，发现一个叫做桃花源的世外天堂，在那里生活的人十分快乐，对外界一无所知。这个渔夫回到家之后讲述他的经历，但他再也找不到这个桃花源。这个失落的桃花源从此就赋予中国文人一个传奇乐土的乌托邦想法。圆明园里的桃花坞包含了一系列的殿堂和楼座。位于东北端的殿堂称为“桃源深处”，是雍正所建造，他非常欣赏巧妙的设计，并亲自为每一个楼阁的牌匾题写称号。乾隆为这个坞另取名为“武陵春色”，并把它选为四十景之一。
The principal structure of Wuling Chunse (Spring Beauty at Wuling). Sketch by Joseph C. Wang and Xinbai Yu.武陵春色的主建筑。王绰和郁欣白绘制。
The Drill Field was located at the southwest corner of the original Yuanming Yuan. It featured a review stand and a large flat field for military exercises. Qianlong designated it as the High-Reaching Mountain and Outstretched River (Shangao Shuichang). Across the Cloud-Living on the Moon Land and in the northwest corner, Qianlong spent 600,000 taels to complete the Ancestral Shrine in 1742. The main structure, called Blessing Palace (Anyou Gong), was set all the way back in the middle facing south. 大校场坐落在圆明园本园的西南角，设有一个检阅台和一大片平地，可供军队操练，乾隆命名为“山高水长”。越过“月地云居”来到西北角，是乾隆在1742年花了60万两白银完成的“鸿慈永祜”，主建筑叫做“安佑宫”，处在山径尽头正中，朝向南方。
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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