黄晓：不朽林泉

1、不朽的林泉及对园林绘画的思考 2012.09.221234第一节 再现一座十七世纪的中国园林5第一章 再现一座十七世纪的中国园林Paintings of Zhi Garden by Zhang Hong June Li and James CahillLos Angeles County Museum of Art19946止园记吴亮止园集卷十七天启元年刻本第一章 再现一座十七世纪的中国园林7止园诗吴亮止园集卷五天启元年刻本第一章 再现一座十七世纪的中国园林8第二章 画中园林9第二章 画中园林10第二章 画中园林明代后期秦燿寄畅园历史沿革考建筑史28辑，201111第二章 画中园林明代长林石几

2、图与吕炯友芳园研究建筑史29辑，201212第二章 画中园林吴彬十面灵璧图与米万钟非非石研究装饰2012年第8期1314第三章 园中闺趣15第三章 园中闺趣Women in the Garden16第三章 园中闺趣Love in the Garden17第三章 园中闺趣18第三章 园中闺趣明清时期为女性而作的绘画艺术史研究第七辑19第三章 园中闺趣致用与怡情的图像：大清盛世的世俗绘画三联书店（待出）20不朽的林泉21杨竹西高士小像，严陵王绎写，句吴倪瓒补作松石。癸卯二月。梁思成：中国建筑史+中国雕塑史童寯：Chinese Garden Design+Chinese Painting（1940年

3、重庆）222.1 单幅单幅与远观全景园外高地上的俯瞰2324钱榖小祗园图25仇英园林胜景图26汤贻汾爱园图2728袁江东园图292.2 手卷手卷与步移景异身入其境30園31倪瓒狮子林图1 园门，2 玉鉴池，3 指柏轩，4 卧云室，5 立雪堂，6 问梅阁，7 狮子峰，8 含晖峰，9 吐月峰，10 昂霄峰，11 小飞虹，12 幡幢，13 立玉峰，14 禅窝，15 栖凤亭，16 冰壶井，17 卧龙梅，18 腾蛟柏32倪瓒狮子林图1 园门，2 玉鉴池，3 指柏轩，4 卧云室，5 立雪堂，6 问梅阁，7 狮子峰，8 含晖峰，9 吐月峰，10 昂霄峰，11 小飞虹，12 幡幢，13 立玉峰，14 禅窝，1

4、5 栖凤亭，16 冰壶井，17 卧龙梅，18 腾蛟柏33孙克弘长林石几图34仇英独乐园图弄水轩读书堂钓鱼庵竹斋采药圃见山台353637吴彬勺园祓禊图3839册页与 集称文化轿中的观赏2.3 册页40杜琼南村别墅图册41宋懋晋寄畅园图册42王稚登 寄畅园记寄畅园者，梁溪秦中丞舜峰公别墅也，在惠山之麓。环惠山而园者，若棋布然，莫不以泉胜；得泉之多少，与取泉之工拙，园由此甲乙。秦公之园，得泉多而取泉又工，故其胜遂出诸园上。园之旧名曰凤谷行窝，盖创自其先端敏公，一转而属方伯，再转而属中丞公，皆端敏之裔也。中丞公既罢开府归，日夕徜徉于此，经营位置，罗山谷于胸中，犹马新息聚米然，而后畚锸斧斤，陶治丹垩之役

5、毕举，凡几易伏腊而后成。辟其户北向，署曰寄畅，寄畅者，用王内史诗，园所由名云。折而西为扉，曰清响，孟襄阳诗竹露滴清响，扉之内，皆筼筜也。下为大陂，可十亩。青雀之舳，蜻蛉之舸，载酒捕鱼，往来柳烟桃雨间，烂若绣繢，故名锦汇漪，惠泉支流所注也。长廊映竹临池，逾数百武，曰清籞。籞尽处为梁，屋其上，中稍高，曰知鱼槛，漆园司马书中语。循桥而南，复为廊，长倍清籞，古藤寿木荫之，云郁盘。廊接书斋，斋所向清旷，白云青霭，乍隐乍出，斋故题霞蔚也。廊东向，得月最早，颜其中楹为先月榭。其东南重屋三层，浮出林杪，名凌虚阁。水瞰画桨，陆览彩舆，舞裙歌扇，娱耳骀目，无不尽纳槛中。阁之南，循墙行，入门，石梁跨涧而登，曰卧云堂

6、，东山高43折而东为扉，曰清响下为大陂，曰锦汇漪长廊映竹临池，曰清籞廊接书斋，故题霞蔚循桥而南，复为廊籞尽处为梁，屋其上，曰知鱼槛444546474849园林的女性特征名称、活动、设计3.1 美人503.1 美人513.1 美人523.2 情色533.2 情色543.3 天伦从百草园到三味书屋553.3 天伦56Since I am too old and infirm to be with you, my younger collaborator Mr. Huang Xiao will have to represent me, and to convey to you my warmest

7、 wishes for the success of your seminar. I am devoting the energies of my late years, when I am still clear in the head while declining in my physical form, to helping China move into a richer and more productive kind of visual study of its great tradition of painting: by offering examples of schola

8、rly and popular writing, but also by making a great many excellent images accessible to you in publications and in free-to-all video-lectures. I mean these to supplement the great Chinese tradition of study, which has tended to be based in textual research. Combining the two will produce richer, mor

9、e productive scholarship than either alone can achieve.视觉研究图像与文献的结合57高居翰：中国艺术史视频（土豆网）58I want also to bring to public attention the achievements of Chinese artists such as Zhang Hong and Wu Bin of the late Ming dynasty, whose works figure large in our garden painting book-professional painters who h

10、ave been underrated or neglected in the traditional anti-professional, pro-amateur canon, and help to call into question the powerful conservative tradition of connoisseurship and evaluation that has marginalized them. I want to open up for study big areas of Chinese culture that the literati or sch

11、olar-amateur artists and critics, whom I now recognize as making up an all-powerful male elite minority, have blocked from our view. This includes the art enjoyed and produced for that greater audience made up of the lower and non-literati classes, including women. And by focusing attention on so- c

12、alled “minor” artists and their major, innovative achievements, which were too often stifled and pushed into neglect by the dominant conservative forces, I want to help to enrich the study of later Chinese visual culture and bring out its variety and multiplicity, which have too often been under-valued by the outside world.59吴彬十面灵璧图606162张宏