【摘要】 “潇湘八景”图式是古代中国具有独特文化特征的绘画艺术,承载着文人群体的山水隐居理想。梳理“潇湘八景”诗画的历史文化与地理环境基础,总结其诗画意蕴自“人间胜景”到“郊野胜境”的延伸。以王洪《潇湘八景图》为例,理清“潇湘八景”图式人居环境经营形式的多元性、人居空间建构方式的层次性,阐明“潇湘八景”图式如何由平凡物象升华出郊野人居环境的理想化形象。解析其中蕴藏的人居环境营造经验与生态观念,为人居环境美学观念与城乡建设实践的互动提供新思路。更多还原

【Abstract】 The “Eight Scenes of Xiaoxiang” represents a distinctive painting style in ancient China that embodies the ideals of human settlement seclusion associated with literati groups. Our study of literature has identified the historical,cultural, and geographic foundations of the “Eight Scenes of Xiaoxiang” and traced the evolution of its poetic and pictorial meanings from “earthly scenic beauty” to “countryside scenic beauty.” By examining Wang Hong’s work, we elucidate the diversity of human settlement management forms and the hierarchy of spatial construction methods in the “Eight Scenes of Xiaoxiang.” Furthermore, we illustrate how the “Eight Scenes of Xiaoxiang” can be elevated from mundane objects into an idealized image of rural human settlements. Additionally, we analyze the human settlement construction experience and the ecological concepts embedded in them, and provide novel insights into the interaction between the concept of human settlement aesthetics and the practice of urban and rural construction.更多还原