乙、造園藝術概論
一、中國園林藝術 Traditional Chinese Landscape Gardening
1. 造園藝術概論 Garden Landscape: Aesthetic Concepts and Techniques
「雖由人作，宛自天開」
中國傳統園林造園藝術的手法，可從四個範疇概述：
In tradition Chinese Landscape gardening, there are four major areas to into in terms of aesthetic concepts and techniques:-
1. 「天人合一」是中國古代重要的哲學思想：
(I) Man's effort in imitation of Nature
「天道」、「人道」、「自然」、「人為」的相互關係，是關係著人類與大自然協調發展的重大的事。
古人崇尚自然，老子說：「人法地，地法天，天法道，道法自然。」莊子說：「天地有大美而不言」； 「天地與我並生，萬物與我為一。」孟子說：「上下與天地同流。」把人和天地緊密聯系為一體。其中特別是道家的清靜無為，修真養性，返璞歸真，回歸自然的思想。佛教的「禪機悟道」，「隱性止欲」；禪的「境由心造」，悠遠脫俗的意蘊等理論和「極樂淨土」的理想、故事，都深深地影響著中國的造園藝術和手法。
(a) "Man in harmony with Nature" is an important philosophical concept in ancient Chinese thought. The way of Nature, the way of Man, Nature and human endeavors are inextricably linked. The ancients cherished Nature, and modeled their lives on the ways of Nature. The philosopher Laozi (老子) said that Man learns from the earth, the earth learns from the heavens, the heavens from the Way, and the Way from Nature. Zhuangzi (莊子) talked about the unspoken magnificent beauty of Nature and Man's aspiration to be as one with it. Mengzi (孟子) considered Man an integral part of Nature. Daoists aspire to the peace and simplicity of Nature; and Buddhists seek enlightenment through insight into the way of Nature and believe in shedding the inner light of wisdom into the external world. All these ideas have deeply influenced the concepts of traditional Chinese landscape gardening.
2. 「外師造化，中得心源」, 師法自然的藝術方針：
(b) Learning from Nature
從遠古的原始的自然崇拜，對大自然的依賴與敬畏，到欣賞享受大自然，特別是魏晉南北朝以後，美學思想有很大的發展，人們把大自然視為至善至美的境界。畫家宗炳曾說：「棲丘飲谷三十年，峰岫嶢嶷，雲林森渺，萬趣觸其神思，披圖幽對，坐究四荒，余復何為哉？暢神而已。」造園向大自然學習，再現大自然。
It is the aspiration of Chinese landscape gardening to learn from Nature. The primitive ancients worshipped Nature, held it in awe and sought its protection. Then they grew to appreciate Nature. From the third century onwards, the beauty of Nature and the wisdom and peace it inspired worked their way into the aesthetics of the time. Painters and artists immersed themselves in Nature, and tried to recreate in their paintings the joy and wonder they experienced therein. Landscape gardeners, too, tried to recreate the fascination of Nature in miniature.
3. 「逸其人，因其地，全其天。」的指導原則：
(c) "Man, the environs and Nature"
柳宗元不僅是大文豪，唐代八大家之一，還是中國第一位景觀建築家。他親自規劃設計了很多景觀，為永州留下了清麗雋秀的作品，還提出了逸其人 -- 以人為本；因其地 -- 因地置宜；全其天 -- 保持景物的天然真趣，不要過份施加人工的雕琢。他的實踐，他對風景的分類，他提出的景觀建設的原則，他的《永州八記》等，對後來的造園都是十分寶貴的指引。
The famous Tang Dynasty literary figure, Liu Zongyuan(柳宗元), was also the first Chinese landscape designer. He designed many landscape gardens and left his legacy in Yongzhou. His motto was that the design for a garden should suit the people who use it, taking into consideration the condition of the environment, making sure that what is man-made is not obtrusive so that the beauty of Nature could be celebrated. In the eight essays he wrote about scenic spots and gardening in Yongzhou, he categorized types of scenery and suggested principles for garden designs. These are useful material for designers in later generations.
(d) The influence and western postmodernist philosophy（輯者按：本段無中文版）
Since the 1980s, the rise of western postmodernist ideas made a significant impact of western philosophy. Traditional Chinese thought was considered an important source for postmodernist thinking. The ideas of respect for Nature and man's harmony with Nature have gained prominence.
「巧於因借，精在體宜」的基本藝術指導思想
(II) Guiding principles in garden design: The art of borrowing, and appropriate interaction
借景是中國造園藝術的傳統手法之一，有意識地把園外景物借入園內，或園內景物相互因借。計成在《園冶》中說：「借者，園雖別內外，得景則無拘遠近，晴巒聳秀，紺宇凌空，極目所至，俗則屏之，嘉則收之。」「蕭寺可以卜鄰，梵音到耳，遠峰偏宜借景，秀色可餐。」
One of the traditional techniques in garden design is borrowing. It is a deliberate attempt to bring a view outside the garden into the vista thus broadening the context of what is in the garden; or using different objects or views within the garden to provide a wider context for a specific vista.
One of the classics on the issue, Yuan Zhi (園治: Management of Gardens), maintains that although there is a barrier between the inside and the outside of a garden, the vista can transcend that barrier. If there is an impressive mountain range in the vicinity, it would be a pity to screen it out, you could arrange things so the mountain serves as a backdrop for your garden scene. The art is in judging what is appropriate. If there is a monastery nearby, the sound of chanting will add something to the ambience of the garden. Distant hills make good backdrops for garden scenes.
借景的手法很多，如遠借寺廟古塔；借如黛的遠山；近借別院花木；仰借朝霞落日；俯借「半山金剎照方塘」的景色；借四時景色的變化；景物還可相互對借等。真是「但憑規劃巧安置，得來全不費功夫」。這對擴大景的深度、廣度、豐富園林景觀都十分重要。
Other examples abound. One could borrow from views of temples and ancient pagodas, or somber mountains, foliage in nearby gardens, the resplendent colors of clouds in the morning and at dusk, or the golden sheen of light from nearby ponds. One could make use of the different scenes that develop with the seasons, or the reciprocal borrowing of scenes as background context for each other. This technique expands the breadth and enhances the depth of the vista, and most certainly enriches the view.
小中見大，虛實結合，空間的引深和相互滲透
(III) The art of extension and contrast
造園手法常說或藏或露，或深或淺的手法，都是在有限的空間內，創造「無限空間」的感覺。因此，「空靈」二字是造園的要諦。這就需要對自然山水進行概括和提煉，好像舞台演戲一樣「三五步，行遍天下；六七人，雄會萬師」。為此花木重姿態，山石貴丘壑，要以少勝多。
In designing a garden, one is re-creating Nature in miniature. It is important to balance objects with space, to allow spaces to interpenetrate. One plays with concealing and revealing, with foregrounding and backing, to create an infinite space with a limited confine. The astute use of space is of utmost importance. One needs to distil the essentials from interrelationships in Nature to recreate it in the small. In a way it is like using the space on stage. On stage, a few steps can symbolize a long journey; six or seven people can stand for an army. That is why quality is more important than quantity. Foliage and rocks should be there if they have the appropriate color, mass and lines.
小中見大的具體手法很多，如欲揚先抑，「山重水復疑無路，柳暗花明又一村」。如追求疏密有致，參差錯落的空間變化，這會產生很強的韻律感、節奏感，從而使空間充滿生機和活力。如利用水面擴大空間感，「半畝方塘一鑿開，天光雲影共徘徊」的趣味。再如，「化有為無」，「不了了之」周邊式佈局，使空間安排更合理；蜿蜒曲折的路，會產生曲徑通幽，意境深邃之感。
中國人常說：「所有之景悉入目中，更有何趣？」因此，造園注意不一覽無餘，追求步移景異，追求咫尺山林的藝術效果。
Techniques of extension are many. To make a vista broader, one should confine the view leading up to it, so that the vista seems to open suddenly. Varying the use of space would create a strong sense of rhythm, pace, and add vitality to the space. One could use an expanse of water to enhance a sense of space. Narrow winding paths intrigue our sense of curiosity and anticipation. How unexciting it would be if you can see everything at a glance! The art of gardening is not to show all, but to surprise your visitor with a different vista for every step he takes, and to create a world in a little space.
重在意境的美學觀點
(IV) The aesthetics of resonance
中國園林妙在含蓄，一山一石耐人尋味。寄情山水，詩情畫意寫入園林，對園林美的創作有重要的意義。人們不僅重視園內景物的設置，還非常重視「象外之景，弦外之音」。好像王維的詩《漢江臨流》「江流天地外，山色有無中。」僅僅十個字，寫盡了江漢一帶長江的遼闊，山巒的隱現；人們還會體會到作者眼中那緩流如帶的大江，起伏不平的峰巒，迷茫的霧靄，灰藍的雲色外，還有山的青黛，江的黃白，點點船帆，江畔遠村，岸旁漁火，給人們留下了無限的想象空間。
One of the qualities of Chinese gardens is its reserve. Each mound, each rock evokes a response, evokes a resonance to some poetry or painting. In this respect, the aesthetics of a garden enriches the imagination, and that kind of resonance contributes to the art of creating a garden. Not only are the objects and arrangements within the garden important, so are the images and feelings they evoke. This kind of evocation works well in the aesthetic of poetry. Wang Wei's famous lines: "The river flows beyond heaven and earth/the mountain's color shades into the imperceptible" conjure up in the reader's mind images of a slow wide river, an undulating mountain range, in mists, in different shades of grey, pale clouds and so on, giving the reader plenty of room for the imagination to roam.
陶淵明的《桃花源記》不僅寄托了他對理想社會的憧憬，那「林盡水源，便得一山，山有小口彷彿若有光，便捨船從口入，初極狹，才通人，復行數十步，豁然開朗」的情景，對園林設計亦有頗多的啟發。
有人說，中國園林設計的靈魂是對遊覽程序的安排，有目的的，按順序地將設計的意念傳達給遊客，這就不完全是「形」的創作，而是由「形」到「神」的一個過程。人在運動中會產生一連串的印象，在思想感情上帶來感染力，好像景物的餘韻在靈魂深處蕩漾，給人們留出了足夠的想象的空間。站在南蓮園池的水邊，望著一鱗片排列的白色大卵石，你會想起王維《白石灘》「清淺白石灘，綠蔭何堪把，家住水東西，浣紗明月下」。
n Tao Yuanming's (陶淵明) story "Peach Blossom Stream" (桃花園記) a lost world is revealed after the protagonist has passed through a very narrow access in the mountain. This lost paradise calls up in the reader's mind other images of a utopia. The play on visual perspectives has also been an inspiration to garden designers as well. It is said that the design of a Chinese garden is a carefully arranged tour itinerary for the soul. It purposefully presents the design concepts one after another to the visitor. It is not just a "formal" creation; it uses the formal arrangement to communicate with the spirit. The evocation of images moves the spirit to thought and feeling, so that the images resonate in the depth of the soul and liberates the imagination.
2. 中國園林及園林建築 Chinese Gardens and Garden Structures
園林Landscape Gardens
中國自然式山水風景園林和歐洲幾何規則式園林，是世界上的兩大古代園林體系。中國古代造園記載，始見於殷末，當時的台池之樂已甚發達。秦始皇統一中國後，曾在渭水之南作上林苑，「作長池，引渭水」，「築土為蓬萊山」，開創了人工堆山造園的記錄。在其後的二千多年裏，中國人始終圍繞著以人工山水為園林造景的主題，發展我國的造園藝術。
The concept of natural landscape gardening used in Chinese gardens forms a distinct contrast to the concept of formal geometrical pattern gardening used in continental Europe, and is one of the major schools of gardening in the world. Records of ancient gardens dated back as early as the time of Yan, about ten centuries BC, when the pleasures of pond gardens were already quite popular. When the First Emperor of Qin united the country (221 BC), he had a pond garden built to the south of the River Wei: “…a long pond was created, water from the Wei was led in…and an earth mound was piled together to form a magic mountain in the pond.” That was the first record of man-made hills in a landscape garden. In the two millennia that followed, the Chinese have developed the art of gardening around the concept of shaping bodies of water, earth, plants and trees to create the landscapes of their choice.
中國園林是獨特、高妙和優美的藝術。有的園林以水面為勝，令人如置身江湖之上；有的花園以山石為勝，令人如置身幽谷之間；有的以林木勝，如入森林；有的以花卉草木勝，如面花海。
園景時常在變幻，處處俱不相同，或花木扶疎，或林木掩映，或一角木樓，或一帶籬牆，或山峰崛起，或瀑布飛落，或曲橋跨水，或廊閣周回，或平湖蕩漾，或泉水淙淙，或在亭閣山池旁散點一些奇石異松，或曲徑宛轉前後左右接連各處，將種種不同的詩情畫意譜寫在咫尺園內，令人感到鬆快愉悅，靈變無盡。這就是古典的、傳統的中國造園手法和藝術風格。
Some gardens place the focus on water, creating an impression that one was on a river or a lake; some put their emphasis on the display of rocks and boulders, placing the visitor, as it were, in a mountain or a valley; others give prominence to trees to create an experience of a primeval forest; yet others luxuriate in a profusion of flowers, herbs, and plants like an expansive sea of floral delights. Vistas in a garden change, and the view changes with every step and every turn. Now fragile flowers complement sturdy trees; now shadows frolic beneath tall trees; now a corner of a pavilion peeps into the picture and now a bamboo fence. Here a small mountain rears before your eyes; there a waterfall pours down. Here a bridge leans over the water; there a covered corridor winds its way around. Water lies placidly here and gurgles as it flows there. Pavilions and arbors are adorned by unusual rocks and exotic pines, and fresh scenes unfold as one follows the winding paths. Endless delights await in the confines of a garden to give pleasures of harmony, of sight and sound. That is what lies behind the concept and design of the art of ancient traditional Chinese landscape gardening. That is what makes it one of the most noble and refined arts in the world.
園林建築Garden Structures
中國園林源於人們的起居生活，源於居住的一部分，所以建築物很多。在園林中，常用亭、軒、榭、齋、館等建築。這些建築與樓、台、殿、閣等都是造園的主要元素，經常以不同的佈置和組合構成不同的園林風格。這些建築在最早初先是各有不同的，但後來已無一定的制度，分辨不清彼此的區別。
亭（單獨、獨立）和廊（有屋頂的過道）容易辨別。但軒、榭、齋、館則很難區別，它們有時是單座的建築，有時是成組的院落，都是用來休息眺望，也可書、可畫、可茶、可宴，所以往往通過牌匾題名由主人來定性。禮記「五月可以居高明，可以處台榭」; 明《園冶》: 「榭者借也，借景而成者也 ; 或水邊或花畔，制亦隨態。」
有人認為，在園林中高敞爽塏作遊宴的建築為軒或榭，在僻靜幽深地方的大小建築多是齋，而成組的遊宴處或起居客舍、或有特別功用的建築則稱為館，這雖然不是一個周密的分類方法，亦不失為一個可用的實用角度。
Chinese gardens serve the need of its people, and are a part of their living nvironment, and so buildings and structures form a part of the picture. Pavilions of different sizes, salons, waterside terraces, studios, halls and galleries are often found in a Chinese garden. There are sometimes, in larger gardens, storied buildings like towers, raised terraces, temples, halls as well. The combination of these features form the special character of each garden. In earlier time these structure were more clearly defined in characteristics and function, but as time passed, the distinctions are blurred. Pavilions are stand alone structures, although they vary from the large and elaborate two-or-three leveled versions to the small, simple rustic sheds for shade from the sun. Covered walkways are a distinct feature and serve a specific function. Halls, studios, galleries and so on are rather difficult to tell apart. They are sometimes stand-alone structures, but sometimes they form a cluster. In any case, people can survey the view from there, practice calligraphy and painting there, enjoy their tea and food and drink there. Whether they are called a tower (lou), a hall, a studio or a cottage very often just depends on the owner’s aspiration, modesty or fancy.
More recently, it is suggested that the bigger and taller buildings for banqueting functions or residence should be called a hall or a gallery, and the structures located in secluded surroundings be called studios. This is not a very systematic way of making a distinction, but it may serve a useful purpose.
3. 園林綠化種植：概論 Planting in the Garden
城市園林，除供人們進行文化娛樂、休閒、健身、怡情等活動之外，同樣重要的功能是改善城市的生態環境，創造健康的、宜居的場所。地球不僅屬於人類，也屬於地球上的一切生物。因此，怎樣進行生物多樣性保護亦逐漸為人們關注，這也是造園必須具備的理念。 在進行具體種植設計時，還應該遵守以下原則：
City gardens, apart from providing a venue for entertainment, leisure activities, exercise and general enjoyment, serve the equally important function of enhancing the ecological environment of the city by creating a healthy, livable space. The earth belongs not only to human beings but to all living things on earth. This is why a concern for the protection of living things should be part of the concept in the planning of a garden. In planting a garden, there are these principles to bear in mind:
適地適樹 - 即根據立地條件選擇樹種。
1. The right plant in the right place - Choose the plant according to the condition of the location and the soil.
植物是地球生命系統中重要的組成部分。地球上已發現的植物有四十多萬種；在中國，單就栽培的木本植物就有上千種，還有更多的混合品種和變種。植物各有不同的生態習性。地理位置、氣候、土壤等條件不同，即使同一地區，氣候、光照、土壤的酸碱度等亦會有異。因此，綠化首先要根據自己所在地的自然環境，或說是立地條件，選擇適宜的植物。一般而言，本地的樹種，有較強的生命力。因此，選擇樹種時應以本地鄉土樹種為主。
Plant life is an important part of the earth's eco-system. There are over 400,000 known species of plants. In China alone, over a thousand kinds of trees (xylophyta or woody plants) have been cultivated and the numbers increase with crossing and mutations. Plants have different eco-habits. The geographic location, climate and soil conditions vary. Even within the same region, the climate, sunlight and acidity of soil can vary. That is why the selection of plants for planting depends, first of all, on the natural environment of the location. Local trees, on the whole are better suited for local conditions, and they should be among the first choice for selection.
生物多樣性的保護
2. Semiotic relationship of living things
建設生態型園林，在世界各地都很受重視。生物之間，乃至樹種之間，都有互榮共生的關係。因此種植設計也應選擇種植最佳組合的生態群落，才能保持整體的穩定和健康，以至繁茂的發展；也只有這樣才能更好地發揮植物的生態動態。
The world now pays a lot of attention to the setting up of eco-conscious gardens. Good semiotic relationship, even among plants, makes for a better environment. That is why the choice of plants for a garden should take into account the best grouping of species for a more stable and healthy sustainable development.
種植的藝術與技術
3. The art and technique of planting
種植藝術是指提高觀賞情趣、植物的造型、環境的氣氛渲染和創造意境，也可以說是「適地適樹」的另一個層面的含意，也就是根據景區意境的要求，來選擇植物，進行植物的組合和佈置，達到強化意境的作用。
這正如《花境》所謂：「花之喜陽者，引東旭而納西暉；花之喜陰者，植北苑而領南薰。」「小橋溪畔，橫參翠柳，斜映明霞。」；「榴之紅，葵之燦，宜粉壁綠窗，夜月曉風」；「海棠韵嬌，宜雕牆峻宇，紫荊榮而久，宜竹篱花塢」；「梧、竹致清，宜深院孤亭；木樨香勝，宜崇台廣度」；「荷之鮮妍，宜水閣南軒；菊之操介，宜茅舍清齋；薔薇障錦，宜雲屏高架」。
The art of planting aims to enhance the enjoyment of the aesthetic beauty of the plants, the ambience the plants create, and the vision that the vista inspires. So the selection of plants goes one step beyond suitability for survival to the creation of a vista, through the right grouping and arrangements. A classic canon on gardening, Huajing, offers this advice: “Flowers that enjoy sunlight should be planted where they can catch the morning sun and the setting sun. Flowers that thrive best in the shade should be planted in the northern part of a garden to breathe in the breeze from the south… By the side of brooks and little bridges, place the green willow so that they dance in the light… The red of Pomegranate Blossoms and the sheen of Palms are best set off by white walls and green windows, especially in moonlight and the dawn wind…” Elsewhere in the text, it says, “The Cherry-apple Tree has a delicate charm and does well beside decorated walls and tall houses; Bauhinias luxuriate and last a while, so they look good beside bamboo fences.
古人還認為「梅花清幽高雅，宜疏篱竹塢，曲水斜坡；桃花夭夭，宜別墅幽隈，小橋溪畔；杏花繁灼，宜屋牆角，疏林廣榭」。《畫論》云：「山借樹為衣，樹借山而為骨；樹不可繁，要見山之秀麗；山不可亂，須顯樹之光輝」。有植物陪伴，山才盡顯其美。山姿雄渾，植勁松翠柏，香樟銀杏，更顯得蒼潤挺拔；古木鬱郁，濃蔭蔽日，人更感受空間的幽靜，山林的野致。
植物與園林環境的不同組合，表現出造園者的精巧構思，創造出各具特色的意境，也創造出符合要求的審美理想和詩情畫意，予人美的享受。
A classic book on painting, Hualun, has this to say about landscapes in painting: “Trees are like clothes to a mountain, and mountains give the bone structure for trees to grow. Trees should not be too dense, lest they obscure the beauty of the mountain; mountains that have too broken a contour detract from the beauty of the trees.” A mountain gains its aesthetic appeal when enhanced by vegetation. On a grand mountain looks more robust and magnificent when covered in tall dark pines, and gingko trees. In a forest where the foliage of ancient trees give deep shade, one appreciates more the tranquility and peace of the space.
Different combinations of plants and garden landscape reveal the intricacy of the designers’ imagination, creativity and skill. The designs create for us visions of beauty and delight.
二、園池主要元素 Nan Lian Garden: Feature Elements
1. 園林元素：概說 Introduction: Feature Elements of Nan Lian Garden
南蓮園池設計以唐絳守居園池為藍本。公園設計，因應附近環境，如西面的高架公路，周邊的高樓大廈，堆山叠石，引水築池，廣植樹木，建成城中古園，鬧市綠洲，阻隔噪音廢氣，自成一角清幽：又因地借景，把北面山脈最佳景觀攝入園中。園池面積雖不大，但仍然可做到景貌寬宏，成為園林精品。 南蓮園池採用傳統古園林單向迴遊的布局，自然布置的園路環繞全園。沿路漫步，景隨步轉。園路猶如導遊者，帶領遊人循最佳路線、最佳角度遊覽，觀賞園池。
Nan Lian Garden is built in the ancient style of Tang Dynasty on the blue print of Jiangshouju. The design of the Garden has accommodated the topographical features of the site, such as the flyovers in the West and the surrounding high buildings. Hillocks and rocks, waters and ponds, plants and timber structures are built and arranged. The Garden is an ancient garden within the urban hustle and bustle, and is also an oasis amidst the city. Polluted air and noises are shielded, and a serene corner is built. The best view of the sprawling mountain range to the north is taken as the seamless backdrop. Within its limited confines, it embodies many beautiful scenes from nature and has become a fine artwork in landscape gardening. The Garden adopts a classical design in its layout. A one-way circular path takes the visitors to various parts of the Garden. The route plays the role of a knowing guide, taking visitors through the best views to see the sights at the best angles.
園池的園林之元素 Feature Elements of the Garden
堆山置石 Rocks and Hillocks
園池設計依絳守居園池，西北高，東南低，山丘由西北向東南伸展，負有阻隔園外高架公路與區內街道喧囂之功能，沿線飛瀑濺玉，碧潭生涼，氣韻生動，直至園池東面的最高峰 -- 龍門樓。 園池內堆土纍石成山，或以方位稱名(如東山、南山、西山)，或以水名(如湧泉山)，或以植物名(如紫薇山、香山、榆山、槐山、羅漢山、青松山、蘇鐵島)，或以動物德性形態名 (如青龍山 [青龍屬東方]、鼇虫豕原〔相傳龍生九子，鼇為其一。鼇實為大海龜，指土坡狀似鼇背;虫豕 為豬掘地之狀，亦以形容地形〕）。
The Garden is built on the blue print of Jiangshouju. The knoll runs higher from the northwest to the southeast, shielding the noise from the encircling flyovers and the streets nearby. Waterfalls and ponds are built from the west to the east, to the point where Long Men Lou stands the tallest. Hillocks are formed within the Garden and are named either according to their orientation (such as the East Hill, South Hill and West Hill), or by the waters nearby (such as the Spring Hill), or by the plants grown on them (such as the Myrtle Hill, Fragrance Hill, Pagoda Tree Hill, Luohan Hill, Pine Hill and Sago Palm Isle), the virtues of auspices animals (such as the Dragon Hill, dragons being animals denoting the east, and the Turtleback since the topological feature of the knoll resembles that of the back of a turtleback).
南蓮園池主要石材取自珠江流域西江水系紅水河，包括木化石、三江石、彩陶石、粵北青花石，並有原地石材，共重約八千噸。不同石材在園中適當配置，構成大型池中島、置石、叠石等，其中的木化石與石館內展覽的奇石特具觀賞價值。
The rocks of the Garden come mainly from the Red River of Xijiang (西江)). These rocks include the petrified wood rock, Sanjiang rock, faience rock, and rocks from the north of Guangdong province and rocks from the local site, totaling about 8,000 tons. Rocks of different properties, shapes and outlooks are arranged and placed in groups or in isolation, matching and enhancing other features elements and the specific environ., or as the focal point of attraction. Those petrified wood rocks planted up in the Fragrance Hill and the colourful sedimentary rocks from the Dahua County displayed in the Rockery are particularly worth noting.
理水Water Features
公園設計以池水為中心，有飛瀑、湧泉、清潭、流水，各具性格，並有改善生態環境、營造空間的作用，予遊人恬靜、安然幽雅的感覺。
The garden uses water the main theme. It has a waterfall, a spring, a brook and two ponds. Each of these bodies of water has its unique character and provides an ecological platform for life of the various form. They enhance and improve the environment. They create a sense of space, of change and performance, of movement, stillness and peace.
樹木Plants
園中有55種不同種類古樹，以羅漢松、黑松為主，更有珍貴之龍爪槐、榆、紫薇、蘇鐵，以及古樹盆景。
There are 59 types of old trees, totaling more than 3000 trees in the Garden. Buddhist Pine and Black Pine are the major players and there are also other trees of special species including Pagoda Tree, Chinese Elm, Common Crape Myrtle, Sago Palm and penjing plants.
木結構建築與小品Structures
園池中亭、台、樓、閣、榭、軒、齋、館、屋、水車、磨坊等古建築式式俱全，並有草屋、平橋、拱橋、亭橋、山水照壁等小品。 園中共有5座風格不同之亭，並有水月台、龍門樓、圓滿閣、松茶榭，香海軒、琴心齋等，完整反映傳統園林建築景致。 其中龍門樓提供健康素食；松茶榭展示古品茶文化；香海軒四周遍植香樹，為多用途建設，可作小型展覽廳、會議室，亦可作演奏廰之用。 水車屋和磨坊，為小朋友提供生活實物知識；石館與盆景園有珍貴賞石群與盆景，供遊人微觀山河大地；中國木結構建築藝術館有6座中國現存最珍貴的唐式古建築實物模型，依比例建造，提供中國古唐木構建築知識。
There are a variety of structures in the Garden. These include pavilions, terraces, towers, verandahs, halls, a thatch-roofed cottage, and a watermill. There are bridges including the Link Bridge, Angle Bridge and the Pavilion Bridge. There are five pavilions of styles and characters. Here there is a full spectrum of architectural elements of a classical Chinese landscape garden. They have specific functions too. For example, the Long Men Lou provides healthy vegetarian cuisines, and Song Cha Xie showcases the culture of tea. Xiang Hai Xuan is a multi-purpose function hall for exhibitions, concerts or meetings. The Mill provides children with knowledge and wisdom of common folk life. The Rockery and Penjing Garden are a museum of nature and a showroom of art. The Chinese Timber Architecture Gallery houses the scale models of six most valuable Chinese historical timber structures as well as the scale models of the bracket systems of the various times since Tang. It is a museum of timber architectural knowledge.
公園專供遊人靜態遊覽、觀想、休息。園中草木婆娑，鳥鳴魚躍，生機盎然。漫步水邊，可觀游魚戲水，可賞紅荷映日。整個公園由260塊隔音牆圍繞，以保公園清寧、安靜。中國近代著名建築師、有中國古建築之父之稱的梁思成先生曾說，園林是凝動的音樂，南蓮園池正是這一描述的充分體現。
The Garden is a place for quiet contemplation, for meditation and repose. In the serenity of its trees and shrubs, there is a quiet vitality in the flirting of birds and the rippling of the water as fishes glide in the pond. A leisurely stroll will give you a rich appreciation of nature. The entire garden is surrounded by a total of 260 pieces of sound proof panels to maintain a peaceful and quiet environment. The famous modern Chinese architect, Mr Liang Si-cheng who is also named “the Father of Architect” in China has said that a landscape garden is a piece of music. Perhaps Nan Lain Garden may exemplify his meaning.
2. 園池山石概論
Rocks and Hills in Landscape Gardening: An Introduction
在中國古典園林中，石是園之「骨」，也是山之「骨」。文震亨在《長物志‧水石》中云：「石令人古，水令人遠，園林水石，最不可無。」
建造園林，或因地利勢，或築土置石成山，而後誘水成河、導水為池、植樹成林，然後依山就水，借景建設樓亭小品，串以蹊徑，經美學規劃而成園林。
In classical Chinese landscape gardening, rocks form the “bones” of a garden, just as rocks for the “bones” of a mountain. A classic canon on gardening maintains that rocks inspire thoughts of antiquity, and water inspires a sense of space. Rocks and water are indispensable in landscape gardening. In landscaping a garden, one utilizes the natural relief of the land, or piles earth into mounds and arranges rocks on them to simulate hills or mountains. Then water is channeled in to form streams, rivers and ponds. Trees are planted to form groves and forests. Then structures such as pavilions and kiosks are erected in the appropriate context of the relief. The whole is linked by winding paths in aesthetically pleasing arrangement for a pleasant garden.
南蓮園池佈設，以山為導向，有東山、南山、西山，有青龍山，有湧泉山，有以形態取名的鼇虫豕原，有以綠化種植稱名的紫薇山、香山、茶山、榆山、槐山和青松山。各有風姿，各自勝長。
置石方面，南蓮池園的主要石材來源於廣西紅水河和粵北。景點包括九山八海、湧泉山、海雲石、須彌山、南蓮照壁，以及起於園池本址的原地主石。
The design of Nan Lian Garden is focused on hills. There are the East Hill, the South Hill, the Dragon Hill, the Spring Hill. Then there is the Turtleback named after the shape and form of the mound. Other hills are named after the trees that grow on them: Pine Hill, Myrtle Hill, Fragrance Hill, Lohan Pine Hill, Elm Hill and so on, each sporting a different character in terms of texture, color and scent of the foliage.
The rocks in the Nan Lian Garden have come mainly from the north of the Guangdong Province and the Red River in Guangxi Province. The scenic focus rock arrangements include: Lands and Seas (a group of nine massive boulders to stand for the nine land areas which the ancients thought made up the world); the Spring Hill (rocks in elevated formation to create high ground from which water cascades down); the Cloud Rocks (two huge pinkish rock, cumulus-shaped, placed in an elevated position to catch the light at sunrise and sunset); The Nan Lian Rocks; and the host rocks excavated from the Nan Lian Garden site.
3. 園池水：泉、池、溪、瀑
Water Features: Springs, Ponds, Brooks, Falls
文震亨在《長物志‧水石》中云：「石令人古，水令人遠，園林水石，最不可無。」在中國古典園林中，如果石是園之「骨」那麼水可以說是園木林的肌理。
建造園林，或因地利勢，或築土置石成山，而後誘水成河、導水蓄池、以為肌理，再依山就水，植樹成林，借景佈設樓台榭軒亭橋等建築小品，串以蹊徑，經美學規劃而成園林。
A classic canon on gardening maintains that rocks inspire thoughts of antiquity, and water inspires a sense of space, and that rocks and water are indispensable in landscape gardening. If rocks form the ‘bones’ of a garden, then water could be said to be the skin and flesh of a garden. In landscaping a garden, one utilizes the natural relief of the land, or piles earth into mounds and arranges rocks on them to simulate hills or mountains. Then water is channeled in to form streams, rivers and ponds, to be the skin and flesh of the garden. Then trees are planted to form groves and forests, and structures such as pavilions and bridges are erected in the appropriate context of the relief. The whole is linked by winding paths in aesthetically pleasing arrangement for a pleasant garden.
水在南蓮園池佔有很重要的地位。蓮池和蒼塘是整個園池設計的中心，其間繫以松溪，注以湧泉。之外，又綴以銀帶瀑布和浣月池，創造出園池姿采異常豐富的水景。
Water plays an important role in Nan Lian Garden. Fed by the Spring, the Lotus Pond and the Blue Pond are at the centre of the whole design, and they are linked by the Pine Brook. The Silver Strand and the Moon Wash complement the spectrum. Water graces the garden in its many forms.
4. 木構建築及小品 Timber Structures: Introduction
中國古代建築，除宮室、寺廟、道觀等特別分類外，一般來說可分為亭、台、樓、閣、榭、軒、齋，還有館或其他細類。粗略而言，亭是供人停逗的單體建築；台是高出地面的土墩，上面還可以有建築；樓是兩層以上的建構。榭、軒、齋、館卻不容易區別，他們可以是單體的建築，也可以是成組的院落；以用途來說，則可書、可畫、可茶、可宴、可會，分類因此往往由人喜好而決定，沒有不可違背的成規。
Palaces, manor houses, monasteries, Buddhist temples and Taoist temples are distinct categories of ancient Chinese architecture. There are other ways of categorizing ancient buildings. There are "ting", tai", "lou", "ge", "xie", "xuan", "zhai", "guan" and other sub-categories. In general, "ting", are free standing pavilions of different sizes and styles for people to stop by and rest or for shorter sojourn. "Tai" refers to an elevated terrace or to the building resting on it. "Lou" refers to buildings with two storeys or more, and "ge" to this type of buildings but on a smaller scale. "Xie" (usually a structure on a terrace or by waterside), "xuan", "zhai" and "guan" are not so easy to distinguish. They may be free-standing structures or clusters of buildings. In terms of function, people use these structures or rooms to entertain or to confer, for practicing calligraphy, painting, enjoying tea, for banqueting, for gatherings and so on, depending on what people prefer to call them, and there is no hard and fast definition.
南蓮園池內的木構和小品建築，除中國木構建築藝術館以外，還有亭、台、樓、閣、榭、軒、齋各式品序，作為各類傳統建築的代表。另外，還有亦亭亦橋，兩分姿采的亭橋，以及置石而成的臥龍橋，和青花砌石的曲橋，都各具風采。
In the Nan Lian Garden, apart from the Chinese Timber Architecture Gallery there are examples of all these different types of structures. There is also a bridge with a pavilion on it, a bridge made up of a long rock astride a stream as well as a crooked angular bridge made of rocks. These add interest and variety to the garden.
三、藝術文化 Arts and Culture
1. 中國木結構建築藝術Chinese Timber Architecture Gallery
中國木結構建築藝術館位於公園的西北角，坐懸西山頂，是一座唐式木構建築。遊覽中國木結構建築藝術館，一方面可認識中國木結構建築的藝術，另一方面亦可欣賞中國的文物瑰寶。
The gallery is a Tang-styled timber structure in the north-west corner of the garden. It is a place for appreciation of the art of Tang Dynasty timber architecture.
中國古代並沒有將建築看成一門獨立的學問，因此古籍雖然浩如煙海，但並沒有很多有關建築的專業著作；現存最古老的木結構建築也只不過是建於唐代的山西的南禪寺大殿(公元782年)和佛光寺大殿(重建於公元857年)。中國木結構古建築藝術館的本體建築，依據的正是唐代的建築制式。
For all the abundance of written works in ancient China, few were studies on architecture, which was not considered an independent branch of knowledge. Because of the ravages of time and history, the oldest surviving timber structures in China is the main hall of the Nan Chan Monastery in Shanxi, which was built in the Tang Dynasty (782 AD), and the main hall of the Foguang Monastery, rebuilt in Tang Dynasty (857 AD).
中國木結構建築藝術館是園內主要的大木構建築之一，建築架構依唐代規模。反宇飛簷式的大屋頂建築有著悠久的建築歷史。屋頂兩側的兩條曲線由上而下，隨即就反向延展，最後由下而復上，呈優美的反翹弧線，使沉重的建築物出現鳳翼分張、扇翻欲飛的輕巧結構形式美，變單調為豐富，化生硬為柔和，由靜轉動，富於美感，正是詩經所說的「如跂斯翼」、「如翬斯飛」 的輕逸、俏麗，令人驚歎不已。
The Gallery is one of the major timber structures in the Garden, built according to Tang architecture. The curved-eave roof has a long history. The Tang version of it modifies the angle of the upward curve at the eaves, making them magnificent, authoritative, gracious and pleasant without being either ponderously serious or cheekily frivolous.
木建館中陳列了國家級重點保護的木結構建築文物的比例模型，有：
1. 相傳建於北魏、於唐代重建的佛光寺東大殿；
2. 與佛光寺一起被譽為「雙瑰寶」、建於唐代的南禪寺大殿；
3. 在國際上被視為中國建築藝術代表的、建成於遼代的佛宮寺釋迦塔－山西應縣木塔；
4. 建於遼代的天津獨樂寺山門和觀音閣；
5. 皇權尊嚴象徵的金鑾寶殿－明清故宮太和殿。
館內也陳列了志蓮淨苑依唐代規模建築的大雄寶殿的比例模型和中國歷代的斗拱模型，展示這中國傳統建築最重要的元素的發展步履和變化。
The gallery houses the scaled models of historical timber structures listed as National Key Protected Heritage in China, including:-
1. The main hall of the Foguang Monastery, reputedly built in the time of the Bei Wei Kingdom (5th Century AD), and rebuilt in the Tang Dynasty (7-10th Century);
2. The main hall of the Nan Chan Monastery built in the Tang Dynasty, which enjoys equal recognition with Foguang Monastery, the two being known collectively as the “Twin Treasures”;
3. The Sakyamuni Pagoda in Fogong Monastery – also known as the wooden pagoda in Shanxi built in the time of the Kingdom of Liao (10–12th Century AD) and recognized internationally as a representative work of ancient Chinese architecture;
4. The gate and Guanyin (Bodhisattva of Mercy) Pavilion of the Dule Monastery in Tianjin built in the time of the Kingdom of Liao (10–12th Century AD); and
5. The Taihe Hall in the Forbidden Palace in Beijing, which served as the seat of absolute imperial authority in the Ming and Qing Dynasties (14–20th Century AD).
Also in the Gallery is the scaled model of the Main Hall of Chi Lin Nunnery in Hong Kong, built after the style of monasteries in the Tang Dynasty, as well as various scaled models of bracket systems used in large scale or monumental buildings in Chinese architecture.
2. 唐代茶文化Tea Culture in the Tang Dynasty
茶為世界三大飲料之一，被稱之為「聖品」，享有「東方恩物」和「綠色金子」的美譽，現今飲茶更昇華為一種生活的藝術，成為民族文化的載體。
Tea is one of three major beverages in the world. It is known as “the imperial drink”, “the gift of the east” and “green gold”. Today, the drinking of tea has become an art, an art of living the good life, as well as a cultural heritage.
中國是茶的故鄉，是茶樹和茶文化的發源地。有說中國栽種茶樹早在商代已經開始，雖然不盡確實，但現今世界產茶國家的茶，都是直接或間接地由中國傳入，加以改進而發展起來的。至於飲茶之道，唐陸羽在《茶經》中說「茶之為飲，發乎神農」，當然也沒有確切的證據，但據考證，早在西晉（公元265－316年），就開始有飲茶之風了。
China is where tea first came from, the origin of tea trees and of tea culture. It was said that the cultivation of tea trees started as early as the time of Shang, as early as 16 centuries BC. Although there is no evidence to support that claim, the teas grown and produced in all the countries of the world had directly or indirectly been imported from China and developed into what they are today. As to drinking of tea, the Tang Dynasty tea expert, Lu Yu (陸羽) (733 – 804 AD), maintained in his classical work, the Book on Tea (茶經) that it started with the mythic god of agriculture, Shen Nong. That, of course, cannot be verified, but there is evidence to prove that it was recorded in the time of the Kingdom of Western Jin (265 – 316 AD).
茶葉自漢代開始，已經發展成商品。至唐代茶業更成為南方農業經濟的重要一環，除野生的茶樹外，還大量進行人工培植；除農民栽種外，也有地主和官府經營茶園，製茶業相當發達。飲茶之風極之盛行，由江淮以南的州郡，推而遍及北方。據唐封演《封氏聞見錄》卷六飲茶目記述：「城市多開店鋪，煎茶賣之，不問道俗，投錢取飲」。又「茶道大行，王公朝士，無不飲者」；而更通過對外交通和貿易，以至「流於塞外。」另外，唐韓鄂《四時纂要》裡詳細記述了茶樹的栽培技術，包括種植季節、茶園選擇、播種方法、施肥灌溉和遮蔭措施等，可見唐代茶樹栽培技術的成熟。
Since the Han Dynasty, tea has been traded as a commodity. In the Tang Dynasty, the tea trade formed a key part to the agricultural economy in the south of China. Apart from harvested from wild trees, tea was cultivated by peasants. Landowners and officials also ran tea plantations and prospered in the tea trade. Tea drinking was a popular pastime, starting from the southern provinces and spreading north. According to Feng's Chronicle (of Tang's Feng Yen), there were shops in the cities which brewed tea for sale, and all sorts of people threw down a coin and bought a drink. The habit spread even among scholars and princes, and, through trade and travelers spread far and wide outside the country. Another chronicler of the time, Han E (韓鄂), recorded in detail the techniques of cultivating tea trees, including the season for planting, the choice of location for tea plantations, seeding methods, irrigation and application of fertilizers as well as the provision of shade and so on. The record signifies that by the Tang Dynasty, the technique of growing tea was already quite sophisticated.
陸羽（公元733-804年）的《茶經》是世界第一部討論茶葉的專著；茶樹種子和栽培技術也是在唐代從中國傳到日本和朝鮮，使茶文化在這兩地分別發揚光大。陸羽著作很多，但《茶經》是他流傳下來的唯一著作，但影响極之深遠。《茶經》共三卷十目，七千餘字，總結了唐以前的理茶經驗，包括茶的起源、種類、特性、製法、烹煎、茶具、水的品第、飲茶風俗、名茶產地，以及茶的典故。《茶經》記述了唐以前的茶文化，也為後世開啟研茶的道路。
Lu Yu's the Book on Tea (Cha Jing), is the world's first book on tea. It was also in the Tang Dynasty that tea tree seeds and the cultivation technique were spread to Japan and Korea where tea culture has since prospered. It is believed that Lu Yu wrote quite extensively but the Book on Tea is the only surviving volume, yet it has left a rich legacy. The book contains 7000 characters, and covers much knowledge about tea gathered by the time of the Tang Dynasty. It includes the origins of tea, varieties, special characteristics of each variety, methods of processing and brewing, utensils for serving tea, classification of water quality, and customs of tea drinking, special regions for producing tea, stories and allusions to tea. The book opened the way for research and appreciation of tea for generations to come.
四、其他Others（按：有目無文）
