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18世纪的欧洲艺术虽然极少受中国艺术的影响,但却有理由认为中国的审美观念最终以非常间接而微妙的方式影响了欧洲的风景画。然而,在园林设计方面,其影响是直接和革命性的。早在1683年,威廉·坦普尔爵士(Sir William Temple)就在他的《论英雄美德》一文中详细描绘了中国园林,他本人就是一名热心的园艺家,他写道,中国人鄙视西方园林中的形式对称和直线: 在我们看来,建筑和栽种之美主要存在于某些确定的均衡、对称或一律之中,我们的人行道和树木都按此方式置陈,以便彼此对应,精确距离。中国人蔑视这种植树方式,说但凡一个能数数到一百的孩子都能干这种在人行道上直线栽树的活儿,而且可以种得一一对应,并且只要他乐意,无论种多远、范围种多广都可以。不过,他们的最大想象力是用于设计引人注目的美丽形象,而不是安置、排列那些寻常易见的细枝末节。虽然我们很难认同这种对美的看法,但中国人却用一个特殊的词汇来传达这一观念,即当他们一眼就被某物打动时就说其“气韵”美好。人们只要考察精致的印度女式长服上的刺绣,或是精美的屏风、瓷器上的绘画,就可以从中发现他们所说的美都是不讲究秩序的。
Although European art in the 18th century was rarely influenced by Chinese art, there are reasons to believe that the Chinese aesthetic concept eventually influenced European landscape painting in a very indirect and subtle way. However, in terms of landscape design, its impact is direct and revolutionary. As early as 1683, Sir William Temple described the Chinese garden in detail in his article “On Hero Virtue.” He himself is an enthusiastic horticulturist. He writes that Chinese people despise the West Formal symmetry and straight lines in the garden: In our view, the beauty of architecture and planting is mainly in certain defined equilibrium, symmetry or uniformity. Our sidewalks and trees are arranged in such a way as to correspond to each other, precisely . The Chinese despise this way of planting trees, saying that any child who can count up to one hundred can do this kind of straight tree planting on the sidewalk, and it can be planted in a one-to-one correspondence, and as long as he is willing, no matter how many Scope and variety can be wide. However, their greatest imagination is for the design of eye-catching and beautiful images, rather than to arrange and arrange those mundane details. Although we can hardly agree with this view of the United States, the Chinese people use a special vocabulary to convey this idea, that is, when they are impressed by something at a glance, they say that their “spirit and charm” is beautiful. As long as one examines the embroidery of fine Indian women’s clothes, or the fine screens and paintings on porcelain, one can find out from them that the beauty they say is not about the order.