日本园林设计中的“看形听声”

IF 0.1 3区 艺术学 0 ARCHITECTURE
Michael Fowler
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引用次数: 0

摘要

至少从11世纪立花敏那(1028-1094)的著作《造园记录》(Sakuteiki)出现以来,干瀑布(karetaki)或干瀑布(karesansui)或干花园风格的景观特征已经在日本园林设计中得到了很好的规范。许多当代学者提出,即使这些建筑是在没有水的情况下建造的,而且主要是由精心挑选的石头和砾石建造的,但与这些特征的接触如何从字面上唤起水声。在这篇文章中,我通过借鉴佛教哲学对日本园林设计的影响,发展了这些特征的解释性语义。这个语义框架来自于对catuṣkoṭi (Jp. net)逻辑的非规范利用。或四句话——一系列的四个命题,最著名的是与Mahāyāna佛教思想家Nāgārjuna(约150-c。公元250年)。我在禅宗关于声音的话语中引入了例子,然后使用catuṣkoṭi作为一种新颖的推理工具来研究声音的本体论,因为它涉及到声音图像与karetaki和karesansui中的景观形式之间的关系。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
‘Seeing forms and hearing sounds’ in Japanese garden design
The landscape features of the karetaki or dry waterfall, and karesansui or dry garden style have been well codified in Japanese garden design since at least the appearance of the 11th century treatise Sakuteiki (Records of garden making) by Tachibana Toshitsuna (1028–1094). Numerous contemporary scholars have suggested how encounters with these features literally evoke the sound of water even though they exist in the absence of water and are constructed primarily from carefully selected stones and gravel. In this article, I develop an interpretive semantics of these features by drawing on the influence of Buddhist philosophy on Japanese garden design. This semantic framework emerges from a non-canonic utilization of the logic of the catuṣkoṭi (Jp. shiku) or tetralemma — a series of four propositions that is most famously associated to the Mahāyāna Buddhist thinker Nāgārjuna (c. 150–c. 250 CE). I introduce examples in Zen discourses on sound and then use the catuṣkoṭi as a novel reasoning tool to investigate the ontology of sound as it pertains to the relationship between sound-images and landscape forms in the karetaki and karesansui.
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来源期刊
CiteScore
0.20
自引率
0.00%
发文量
12
期刊介绍: Studies in the History of Gardens & Designed Landscapes addresses itself to readers with a serious interest in the subject, and is now established as the main place in which to publish scholarly work on all aspects of garden history. The journal"s main emphasis is on detailed and documentary analysis of specific sites in all parts of the world, with focus on both design and reception. The journal is also specifically interested in garden and landscape history as part of wider contexts such as social and cultural history and geography, aesthetics, technology, (most obviously horticulture), presentation and conservation.
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