关键词:风景园林； 留园； 空间； 音乐
Key words:Landscape Architecture; Lingering Garden (Liu Yuan); Space; Music
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——孟凡玉 陈 丹 郁建平[MENG Fan-yu, CHEN Dan, YU Jian-ping]　(2007年 第10期 页码/Page:78)

摘要:留园的空间具有极强的整体性，同时又变幻莫测、行云流水，游人在园中观览可以体会到有如音乐一般的美。探讨了音乐与园林、音乐与空间的共性，在对空间属性作定性研究的基础上，解析留园中以“廊道”空间为主线，通过各种属性不断变化使音乐美感得以产生的深层原因，进而研究这种空间的卓越品质及对游人体验的丰富作用，以期为现代风景园林设计，尤其是追求情感及空间个性的设计作借鉴。

Abstract:The space of Lingering Garden (Liu Yuan) is full of wholeness, rapid unpredictable changes and freely flowing style, and visitors can have musical experience in this garden. The commonness of music with garden and space is discussed in this article. On the basis of qualitative research of space characteristics, the deep reasons of the creation of musical experience through the changing of various features with the corridor space as the main clue are analyzed. The role of the excellent quality of space in enhancing people's experience is studied as well. And the methods can be used as reference for modern landscape design, especially those seeking after emotion and the unique characters.

内容:4 留园的空间
4.1 “廊道”空间作为全园的主线
通过游廊贯穿全园，使得主人不管阴晴雨雪都可以在园中尽兴，是江南私家园林的一大艺术特色，这一点在留园中最为明显。留园中不仅仅是游廊，建筑之间的夹道，乃至于建筑内部的穿行空间都是有明显方向性的“廊道”空间。这种循环往复的“廊道”空间是贯穿整个园林的主线，犹如音乐中的旋律，其意义在于，当人们把某个调的旋律转位为另一个调，那么所有的音都变了，可是人们还是能听出是同一个旋律，这是美的法则中对立统一律的最直接的表现。留园中这种“廊道”空间的存在，使整体的空间布局有所依凭，多而不乱，生动又不失严谨，可以加强人对空间的认知，在纷繁变化的空间中穿行仍能确定自身所在(图2)[1，5，11]。
很明显，从门厅进入，到古木交柯处，留园中的“廊道”空间分成2条线路：西线经绿荫—明瑟楼—涵碧山房—闻木樨香轩—远翠阁—佳晴喜雨快雪之亭—冠云楼，沿途为自然山水；东线经曲溪楼—西楼—清风池馆—五峰仙馆—揖峰轩—林泉耆硕之馆，沿路皆为建筑；最终2条线路均指向冠云峰。空间的音乐性主要体现在这2条主线的空间变换节奏中，余下的空间主要起烘托陪衬作用，类似于音乐中的“和声”部分。与其他私家园林精致的水体相比，留园的水景较为疏落粗犷，原因在于水之“虚”的文化内涵、审美内涵在这里不再是表达的重点，仅利用其空间的虚无、包容，作为整个园林的空间基质，沟通2条“廊道”主线。
4.2 空间属性的变化产生节奏
音乐节奏是音乐的时间形式，空间节奏是空间属性变化的时间形式。以建立某种对称性和重复性为基本手段，音乐性节奏是同一性基础上有音乐美感的变化。留园空间中音乐性节奏即是空间属性在“廊道”空间上的线性、韵律变化。
(1)空间的大小虚实，反映出各个空间的确定性、存在性的强弱程度。大与小、虚与实都是相对的概念，通过变化与对比反映出空间意义的差异，从空间的整个组织体层面上看具有更大的意义和深度(图3)。
(2)空间方向的变化是“曲折”这一艺术手法的外化，可以提示空间的转换、空间方向变化的角度以及在单位距离内变化的多寡，暗示出空间的重要性(图4)。
(3)空间的内向与外向的变化意味着“廊道”空间与周围环境空间之间关系的变化，在沟通与隔绝之间取得平衡，这种变化可以加强空间节奏的力度(图5)。内向的加强“廊道”的聚敛性，外向的通过与环境的对比也可以取得相同的效果，交替变换带来韵律，烘托重点景点。
(4)空间氛围的变幻直接作用于人的感官，类似于音乐中的“音色”，最具表情性。
(5)“廊道”内的空间都是人工性的，按照需要，在重要的节点处加入自然性的空间作为调节。
(6)空间结构方式的变化意味着游人的体验方式的变化，相交的空间是穿行性的，并列的空间是进入性的，结构方式变化的复杂程度直接表达空间的重要程度(图6)[10]。
(7)空间不是单一维度的，在“廊道”之中每一个点的位置，所面对的视觉参照面的空间层次是不同的，在行进中，这也是一种明显的变化(图7)。
(8)“廊道”是人之所在的空间，其外的自然环境是可进入的空间，天井是不可进入的空间，随着空间其他属性的变化，这种对空间的直觉判断也在发生变化。不可进入的天井是提示性的[1—2，4—5]。
4.3 轻重缓急的优美旋律
从以上对空间属性的分析中可以看到，这些变化的综合作用就是形成了有主有次、有急有缓、有轻有重的整体韵律。其中，空间的方向性和结构方式能够影响人对空间的体验方式，直接作用于人的感官，二者的变化是主要的；空间的大小、围合程度、内向与外向是较为客观的属性，其变化较为明显确定；而空间的氛围、自然性与人工性、空间的结构，需要人用心去体会、感悟，是空间变化的丰富要素。
4.4 空间音乐美感的产生有赖于对美的法则的运用
(1)从前面的分析中可以得知，对立的属性可以通过对比相互加强，欲扬先抑是经典的造园技法之一。
(2)疏密强弱的均衡。就全园来说，左边疏朗，右边郁闭，但是疏朗中有所倚重（闻木樨香轩是园西侧边界的中心点），郁闭中有所疏解（五峰仙馆、揖峰轩、还我读书处、冠云峰4个院落），两条主线相互呼应、均衡，达到了疏可走马、密不容针的境界。
(3)园中存在许多重复的元素，如花窗、天井、建筑朝向等，简单的重复为空间带来秩序感。
(4)全园之中，对称和拟对称无处不在(图8)。
(5)音乐性的美不单单是进行过程中的韵律美、和声美，最终是一种整体性的美感，对立统一律发挥根本的作用。除了“廊道”空间这条主线外，还有连续不断的转折；身体同一侧的连续图景，提供连贯的视觉参照；前方视线落点的始终存在带来“完形”效应（不断完善、拓展空间）；始终存在的“屋顶”；每个院落里都以假山石作为观赏焦点。这些空间关系中暗含的脉络与主线一起促成了留园空间整体美感的生成(图9)。
1 Liu Yuan
Everyone who visited Liu Yuan (The Lingering Garden) was moved by its ever-changing space when walking in it with the scenes seen always alternating and the spaces experienced always effecting and reflecting each other. Compared with other private gardens, Liu Yuan is one unit that could not be decomposed and the fluent musical space is its prominent character.
　　
2 Music and Garden
Music can express people’s emotion through organizing tones, having beautiful tune and profuse meaning. Many things have so distinct rhythm and can express feelings that be regarded bearing musical aesthetics, and also, the space of garden.
2.1 Time
　　 Music is an art of time as all of its contents unfold in time course. Garden is an art of space, and when organizing space, time is involved in too, Visitors experienced the nature and garden meaning by walking and seeing, so time and space can’t be departed.
2.2 Flowing
Music has the evident flowing character, and also, hearing imagination can inspire space illusion, for which music has ability to shape image. When music is going on, its space is also transferring and the depth and distance are changing, which is also one aspect of music. The space of Liu Yuan has similar character. Complex interaction of spaces lead to multi-direction path, and the smooth change of space and the introduction of front scene push visitors into a non-stop flow.
2.3 Wholeness and Intention
　　 Besides, music and garden are also human art fruits that are art forms created from people’s feeling with help of art artifice, which are consistent on the wholeness and intention even though they have differences in consisting elements.

3 Music and Space
3.1 The same configuration of music, emotion, and space
　　 Pitch, tone, force, pace, timbre, and rhythm are basic consisting elements of music, while tune, harmony, polyphony, and musical form are organizing artifice of music, and according to aesthetic rules, they come together into music. Music has similar configuration with human’s emotion to some extent, so it can express one’s feeling. Psychologist thinks that, human’s mood vary between two poles—strong to feeble, intense to loose, exciting to calm, and these varieties could be regarded as basic elements of music form. Also you can find such relationship in space—big to small, quiet to noisy, void to solid, inwards to outwards, also corresponding to certain feeling, and all of these characters’ concurrent or consequent changes endow space with musical beauty.
3.2 Character of space
3.2.1 Character of space
　　 With substance as enclosure and being result of human emotion and subjective will, the space of garden has the following characters:
(1) The size of space, referring to two factors—area and height.
(2) The feeling of being void or solid, effected by the extent of enclosure
(3) The direction, decided by its edge and core.
(4) The inwards or outwards, as the former has self cohesion while the
latter can be stabilized by interaction with its neighbors.
(5) Specific space has specific form, through light, material, seasonal change, detail, cultural contents, etc. —leading to expressive force.
(6) Natural or manmade, as the former means more natural elements or free-flowing space while the latter means more manual elements or fixed space and these two levels are integrated closely.
(7) Two constructing ways—intersecting or paralleling, and all others can
boiled down to these two.
(8) Having structure, representing some characters—level, arrangement,
dimension, etc.
(9) Enterable or non-enterable—its ultimate character, the synthesis
of all the above and the people’s intuition about space.
3.2.2 Uncertainty of space
　　 People’s way of experiencing surroundings and the effected factors are various—walk or stay, see when moving or standing, one’s temper, mood, spirit, knowledge, art feeling, history, etc—the same space means difference to different person. Further more, space has so many characters influencing each other, and the ending image is complex. These are origin of fascination of private garden.
3.3 Musical character of space
　 　 By certain way, following certain object and form of aesthetic rules, these space characters above come into a collective effect of having changing rhythm and different systems of spaces have different tune style, which, as a piece of abundant and integral music, bring fluid, exquisite feelings to people in it.

4 The Space of Liu Yuan
4.1 “Corridor space” as the main line
　　 Having a corridor through the whole garden, where people can walk in no matter sunny or rainy, is a typical feature of private garden, which is especially evident in Liu Yuan. In the garden, not only the genuine corridor, but also the lane between buildings, and even the pass space in buildings are “corridor space” with distinct direction. The circulative corridor space becomes the main line of garden space, and the whole space layout relies on it—so many spaces but not mixed, vivid but not short of preciseness—which can strengthen people’s cognition of space, just like the tune to music.
　　 Evidently, passing the hall until the place of Gu Mu Jiao Ke, the corridor space is departed into two lines: the west line—Lu Yin, Ming Se Lou, Han Bi Shan Fang, Wen Mu Xi Xiang, Yuan Cui Ge, Jia Qing Xi Yu Kuai Xue Zhi Ting, Guan Yun Lou—natural mountain and water take priority; the east line—Qu Xi Lou, Xi Lou, Qing Feng Chi Guan, Wu Feng Xian Guan, Yi Feng Xuan, Lin Quan Qi Shuo—buildings take priority. The musical character of space is mainly revealed by the two lines’ changing rhythm while other spaces assist like harmony in music. The water in Liu Yuan, compared with others, is more hollow and more acceptable, which make it become the base of space communicating with these two line.
4.2 The variety of space character leads to rhythm
　 　 Rhythm is the time form of music as well as that of space character changing. Take creating symmetry and repetition as basic means, musical rhythm is variety on identity having musical beauty. Correspondingly, musical space rhythm in Liu Yuan is linear, metrical change following corridor space.
(1) Big/small and hollow/solid, although they are opposite concepts, can manifest the explicit extent of every space, their change and comparison can manifest the difference of space, which have much deeper meaning when you understand it on the whole organization level.
(2) The changing of space direction is a representation of the art artifice called “zigzag” which can clue space alternating, the alter angle, even how important the space is through the amount of change on unit distance.
(3) The change of inwards and outwards space means the change of relation between corridor space and surrounding, gaining balance between communication and isolation, which can strengthen the space rhythm force.
Inwards space can agglomerate corridor space, and by comparing with the surrounding outwards space can gain same effect. Alternative changes bring rhythm, striking line under important spot.
(4) The changing of space atmosphere directly influences people’s sense, likes tone color.
(5) Space in corridor is fully manual, and natural space is added to adjust as needed.
(6) When space structural way changes, how people experience it also changes. Intersecting spaces mean getting across while paralleling spaces mean entering, and how complex the change is means how important the space is.
(7) On every spot, the space arrangement in front of the visitor is different, and it’s also a distinct change in movement.
(8) Corridor is where you are, and the outer natural space is enterable, while patio is non-enterable. Together with other changing characters, this instinct judge about space also changes. The non-enterable patio is a cluing point.
4.3 Beautiful waving rhythm
　 　 The synthesis of these changes results in whole rhythm, in which the direction and structure mode of space directly effects people’s sensory organs as the size, enclosure extent, and the in/outwards are objective and obvious, while the atmosphere, nature/manual, and structure requires spiritual feeling.
4.4 Aesthetic rules effect
(1) Opposite characters can strengthen each other, “intending to emphasize while suppressing first” is classical gardening technique.
(2) With the balance of strong and weak, hollow and dense — in this
garden, the left is hollow and the right is dense, but the hollow has a center point (Wen Mu Xi Xiang) to lean upon, while the dense has vacancy to alleviate—4 courtyards: Wu Feng Xian Guan, Yi Feng Xuan, Huan Wo Du Shu Chu, and Guan Yun Feng. The two main lines echo and balance each other, and this garden’s space comes into a bourn—too hollow for horse to run, too dense for needle to plug.
(3) There are many repeating elements, e.g., various window, patio, and
building facing direction. Simply repeating brings order to space.
(4) Symmetry and semi-symmetry exit everywhere.
(5) Also, there are other things to promote the wholeness of garden—consecutive turning, continual image on the same side of body, incorporate visual reference, “cloze image” by the help of sight in front, ever-exiting roof, rockwork in every courtyard, and so on.

5 The Predominance of the Musical Space of Liu Yuan
5.1 Subjective time-space relation
　　 Should music be regarded as a hearing process, during which people experience with their own senses, musical space is also like this and it has more expressive power. The designer arranges these space characters elaborately to illustrate his intention and even can wait effect out of expectation.
5.2 To-and-fro time-space relation
　　 Time in music is different from actual world, not a clear linear process. People are used to feel lasting music by experience tensile force in it. Musical garden space has huge network, and when people walk in it, the sense of space and time being completely intermixed, the experience of site is more than simple visual sense. This fine and unclear experience was favorite of ancient Chinese. It could be better to say space of Liu Yuan is experiential than flowing.
5.3 Art
　 　 Music has different sensational colors and can bring association and imagination, and it will become one’s own music. Musical space is also like this.
5.4 Accent certain scene
　 　 There are abundant varieties and people in Liu Yuan don’t experience by eye merely. They are pushed into a time-space field. Through controlling rhythm, the focus is accented while bad effect from site limitation is reduced, which ensures the wholeness and proportion of space.
5.5 Unique style
　 　 Music is rigor organism and every piece of music has unique style, and musical space is also like this—a segment of space sequence has itself emotion and the organization of space has itself style.

6 Reference to Modern Landscape
Although modern landscape has developed tremendously, but space is essential all the same to private garden and people’s experience pattern has never changed. So Liu Yuan could be reference to modern landscape design.

作者简介:孟凡玉/1982年生/女/河北任丘人/硕士/清华城市规划设计研究院景观学vs设计学研究中心（北京 100083）
陈 丹/1981年生/女/吉林长春人/武汉大学城市设计学院2007级在读博士研究生（武汉 430072）
郁建平/1963年生/男/上海人/园艺师/上海宝绿园林绿化公司经理（上海 201900）