试论行商园林海山仙馆的历史地位
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摘要
从商帮发展的角度介绍行商园林的历史背景,引出由广州十三行行商潘仕成购置兴创并精心经营的著名行商园林——海山仙馆。其为岭南古典园林的高峰之作,既有古意,又有新创,具有水际安塔、碑林胜景、长廊高架、舟车游览的景观特点。海山仙馆在中外交往活动中具有重要地位,是外交、外贸活动的举办场地和在粤洋人被允许外出消遣的场所,且园主人还在此汇编、出版和收藏中西著作经典。故彰显海山仙馆精神灵魂、探索其艺术精华、复兴其文化景观具有非常重要的意义。
This paper introduced the historical background of Hong Merchant's Gardens from the development of business associations, and led to the famous Hong Merchant's Gardens, Sea-hill Fairy House, which was purchased and developed by Pan Shicheng, a Thirteen Hongs merchant. Sea-hill Fairy House was the peak of Lingnan classical gardens. It combined ancient and modern, and had the characteristics of building pagodas near the water, many stone tablets, high corridors, boat and car sightseeing and so on. Sea-hill Fairy House played an important role in Chinese diplomatic activities. It was a venue for holding diplomatic and foreign trade activities and a place where foreigners in Guangzhou were allowed to go out for recreation. Moreover, the owner had compiled, published and collected Chinese and Western classics here. Therefore, it is of great significance to reveal Sea-hill Fairy House spiritual soul, explore the essence of its art and revitalize its cultural landscape.
This paper introduced the historical background of Hong Merchant's Gardens from the development of business associations, and led to the famous Hong Merchant's Gardens, Sea-hill Fairy House, which was purchased and developed by Pan Shicheng, a Thirteen Hongs merchant. Sea-hill Fairy House was the peak of Lingnan classical gardens. It combined ancient and modern, and had the characteristics of building pagodas near the water, many stone tablets, high corridors, boat and car sightseeing and so on. Sea-hill Fairy House played an important role in Chinese diplomatic activities. It was a venue for holding diplomatic and foreign trade activities and a place where foreigners in Guangzhou were allowed to go out for recreation. Moreover, the owner had compiled, published and collected Chinese and Western classics here. Therefore, it is of great significance to reveal Sea-hill Fairy House spiritual soul, explore the essence of its art and revitalize its cultural landscape.
引文
[1]莫伯治.广州行商庭院(18世纪中期至19世纪中期)[M]//莫伯治.莫伯治文集.北京:中国建筑工业出版社,2003.
[2]杨宏烈,高刘涛.粤商园林海山仙馆的文化特色研究[J].中国名城,2013(8):43-48.
[3]叶显恩.明清徽州农村社会与佃仆制[M].合肥:安徽人民出版社,1983.
[4]孔智恒.岭南文化远儒性新探[J].南方论刊,2016(5):87-88+103.
[5]陈以沛.海山仙馆的文化成就与影响[M]//广州市荔湾区地方志编纂委员会.别有深情寄荔湾.广州:广东省地图出版社,1998:123.
[6]卢文骢.海山仙馆初探[J].南方建筑,1997(4):36-44.
[7]广州市荔湾区地方志编纂委员会办公室.荔湾大事记[M].广州:广东人民出版社,1994.
[8]广州市荔湾区文化局,广州美术馆.海山仙馆名园拾萃[M].广州:花城出版社,1999.
[9]赖寄丹.海山仙馆文化遗产价值惜低估[EB/OL].[2019-01-25].http://www.crntt.com/crn-webapp/cbspub/secDetail.jsp?bookid=35281&secid=35384.
[10]陆琦.岭南私家园林[M].北京:清华大学出版社,2016:43-75.
[11]俞洵庆.荷廊笔记[M].//黄佛颐.广州城防志.广州:广东人民出版社,1994.
[12]张西平,主编.中国丛报:1832.5-1851.12(第13卷)[M].顾钧,杨慧玲,整理.桂林:广西师范大学出版社,2008.
[13]伊凡.广州城内[M].广州:广东人民出版社,2008.
[14]亨特.旧中国杂记[M].沈下邦,译.广州:广东人民出版社,1992.
[15]马楠.清代十三行与西学东渐[EB/OL].(2013-01-10)[2019-01-25].http://www.360doc.com/conte nt/13/0110/08/11108239_259282414.shtml.
[16]陈建华,曹淳亮.广州大典(海山仙馆丛书)·第二辑[M].广州:广州出版社,2008.
[17]杨幸何.天朝师夷录[M].北京:解放军出版社,2014.
[18]王道成.圆明园重建大争辩[M].杭州:浙江古籍出版社,2007.
[19]杨宏烈,陈伟昌.海山仙馆魂兮归来[C]//中国民族建筑研究会.2007中国民族和地域特色建筑及规划成果博览会、2007民族和地域建筑文化可持续发展论坛论文集.2007.
[20]高伟.还君明珠─探索历史图像中的广州行商园林[J].中国园林,2015,31(8):110-114.
[21]罗哲文.文物建筑的科学复原重修不能以“假古董”视之─兼谈中国文物建筑保护维修的中国特色[J].文物世界,1999(4):19.
[22]高刘涛.潘仕成其人与海山仙馆[D].广州:广州大学,2011.
(1)“文化圈”概念是由文化人类学家莱奥·弗罗贝纽斯首先提出的。他认为,文化圈是一个历史地理空间范围,在这个空间内分布着一些彼此相关的文化丛或文化群。本文仿此提出“园林艺术文化圈”概念。
(1)引自张维屏《听松庐诗钞》中的《游荔湾诗》自注。
(2)见夏銮《海山仙馆图》。
(3)引自Elder William《Biography of Elisha Kent Kane》(Philadelphia,1858),纽约公共图书馆版本。
(1)引自梁鼎芬等修,丁仁长等纂的《番禺县续志》卷四十《古迹园林》。
[2]杨宏烈,高刘涛.粤商园林海山仙馆的文化特色研究[J].中国名城,2013(8):43-48.
[3]叶显恩.明清徽州农村社会与佃仆制[M].合肥:安徽人民出版社,1983.
[4]孔智恒.岭南文化远儒性新探[J].南方论刊,2016(5):87-88+103.
[5]陈以沛.海山仙馆的文化成就与影响[M]//广州市荔湾区地方志编纂委员会.别有深情寄荔湾.广州:广东省地图出版社,1998:123.
[6]卢文骢.海山仙馆初探[J].南方建筑,1997(4):36-44.
[7]广州市荔湾区地方志编纂委员会办公室.荔湾大事记[M].广州:广东人民出版社,1994.
[8]广州市荔湾区文化局,广州美术馆.海山仙馆名园拾萃[M].广州:花城出版社,1999.
[9]赖寄丹.海山仙馆文化遗产价值惜低估[EB/OL].[2019-01-25].http://www.crntt.com/crn-webapp/cbspub/secDetail.jsp?bookid=35281&secid=35384.
[10]陆琦.岭南私家园林[M].北京:清华大学出版社,2016:43-75.
[11]俞洵庆.荷廊笔记[M].//黄佛颐.广州城防志.广州:广东人民出版社,1994.
[12]张西平,主编.中国丛报:1832.5-1851.12(第13卷)[M].顾钧,杨慧玲,整理.桂林:广西师范大学出版社,2008.
[13]伊凡.广州城内[M].广州:广东人民出版社,2008.
[14]亨特.旧中国杂记[M].沈下邦,译.广州:广东人民出版社,1992.
[15]马楠.清代十三行与西学东渐[EB/OL].(2013-01-10)[2019-01-25].http://www.360doc.com/conte nt/13/0110/08/11108239_259282414.shtml.
[16]陈建华,曹淳亮.广州大典(海山仙馆丛书)·第二辑[M].广州:广州出版社,2008.
[17]杨幸何.天朝师夷录[M].北京:解放军出版社,2014.
[18]王道成.圆明园重建大争辩[M].杭州:浙江古籍出版社,2007.
[19]杨宏烈,陈伟昌.海山仙馆魂兮归来[C]//中国民族建筑研究会.2007中国民族和地域特色建筑及规划成果博览会、2007民族和地域建筑文化可持续发展论坛论文集.2007.
[20]高伟.还君明珠─探索历史图像中的广州行商园林[J].中国园林,2015,31(8):110-114.
[21]罗哲文.文物建筑的科学复原重修不能以“假古董”视之─兼谈中国文物建筑保护维修的中国特色[J].文物世界,1999(4):19.
[22]高刘涛.潘仕成其人与海山仙馆[D].广州:广州大学,2011.
(1)“文化圈”概念是由文化人类学家莱奥·弗罗贝纽斯首先提出的。他认为,文化圈是一个历史地理空间范围,在这个空间内分布着一些彼此相关的文化丛或文化群。本文仿此提出“园林艺术文化圈”概念。
(1)引自张维屏《听松庐诗钞》中的《游荔湾诗》自注。
(2)见夏銮《海山仙馆图》。
(3)引自Elder William《Biography of Elisha Kent Kane》(Philadelphia,1858),纽约公共图书馆版本。
(1)引自梁鼎芬等修,丁仁长等纂的《番禺县续志》卷四十《古迹园林》。
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