我的征尘是星辰大海。。。
The dirt and dust from my pilgrimage forms oceans of stars...
-------当记忆的篇章变得零碎，当追忆的图片变得模糊，我们只能求助于数字存储的永恒的回忆
作者:黄教授
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游拙政园有感
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原始脚本
游拙政园有感，久闻拙政园盛名，出行之前，我特意找来文徵明所绘拙政园三十一景的图咏诗文细细研读，本打算游园之时，循着诗文寻访旧迹。 期待导游能够借景溯源，带我触摸明代园居的旧日意境。 可走完一整座园子，心底难免生出几分怅然。 当年文徵明笔下的31景。 实景已然荡然无存。 如今全园能够勉强称得上明代遗存的，也就只剩玉泉那一处古井的旧址，余下的不过是依稀可辨的土山地基。 零星散置的山石，再也寻不到一栋明代原建的建筑。 这其实并不难理解，自明代建园至今500余年，世事翻覆，战火连绵。 明末的动荡、清代历次兵祸、再到太平天国时期，李秀成占据此地，几番焚掠，园貌屡遭毁灭性破坏，前后30余位园主轮番更迭。 权属几经易手，人世浮沉之间，园林的命运自然飘摇不定。 更何况古代园林建筑以木构为主，即便没有冰火损毁。 木料历经一两百年的风霜，也必然腐朽倾颓。 翻修改建本就是无可避免的事。 我们如今所见的景致，一部分是民国时候人依据旧制揣测复建。 另一部分则是新中国成立之后，遵照周恩来总理的批示，本着修旧如旧的原则，参考古画旧文献复原而来。 复建的园林依旧拥有极高的造园艺术水准，这份美毋庸置疑。 可心中预先揣着的那一份寻访明代古园的期待，终究落了空。 当年拙政园真正的气运，如今只能隔着文徵明的诗文画卷凭空想象。 很多人对苏州园林的第一印象来自中学课本里那篇苏州园林，文字构筑出的美好遐想，很容易拉高游人心中的期待。 也正因为如此，亲临实地之后，失望之感便油然而生。 但失望不等于一无所获，有缘之后反倒生出另一重感悟，开始读懂江南园林独有的造园内核。 中式江南园林与西式园林走的是两条全然相反的审美道路。 西方皇家园林追求规整、对称、几何秩序的人工之美。 一切都要条理分明，一览无余。 而江南文人园林讲究于螺蛳壳里做道场，在有限狭小的土地之上，通过层层递进的造景。 精巧的借景，叠山理水，用假山、回廊、林木分割空间，在方寸之间营造出幽深繁复、一步一景的深远意境。 它以曲折、自然、非对称作为审美的极致，刻意规避直白的开阔。 这又和北方皇家园林有着本质区别。 北方御苑依仗广袤的土地。 追求磅礴的气魄与宏大的格局。 而苏州的这些园林，大多是退隐的官员、文人所营建。 其中一部分人向往田园闲居的理想，也有一部分人身家丰厚。 却受制于时代规制，行事不得不低调内敛。 这些园主人将自己的志趣、抱负或是避世的心境寄托于园居之中。 不少寺园在后世还被捐作寺观，这一类现象也和彼时文人阶层的社会风气深度绑定。 独有的太湖石更是江南园林不可复制的风物。 异地开采、长途运输的成本极高，这份得天独厚的自然资源也是别处难以复刻的底色。 所以，拙政园当然值得一游。 只是欣赏它的视角必须有所转变。 我们不能把它当成一处原汁原味的明代古迹来寻访，也不能仅仅将其视作一座寻常的公园闲逛。 看拙政园，看的从来不是明代留存下来的古建实体，而是流传数百年不曾断绝的造园思想，是中国人独有的空间哲学。 是一代又一代人借着富源的山水续写的文人情怀。
修正脚本
游拙政园有感，久闻拙政园盛名，出行之前，我特意找来文徵明所绘拙政园三十一景的图咏诗文细细研读，本打算游园之时，循着诗文寻访旧迹。 期待导游能够借景溯源，带我触摸明代园居的旧日意境。 可走完一整座园子，心底难免生出几分怅然。 当年文徵明笔下的31景。 实景已然荡然无存。 如今全园能够勉强称得上明代遗存的，也就只剩玉泉那一处古井的旧址，余下的不过是依稀可辨的土山地基。 零星散置的山石，再也寻不到一栋明代原建的建筑。 这其实并不难理解，自明代建园至今500余年，世事翻覆，战火连绵。 明末的动荡、清代历次兵祸、再到太平天国时期，李秀成占据此地，几番焚掠，园貌屡遭毁灭性破坏，前后30余位园主轮番更迭。 权属几经易手，人世浮沉之间，园林的命运自然飘摇不定。 更何况古代园林建筑以木构为主，即便没有冰火损毁。 木料历经一两百年的风霜，也必然腐朽倾颓。 翻修改建本就是无可避免的事。 我们如今所见的景致，一部分是民国时候人依据旧制揣测复建。 另一部分则是新中国成立之后，遵照周恩来总理的批示，本着修旧如旧的原则，参考古画旧文献复原而来。 复建的园林依旧拥有极高的造园艺术水准，这份美毋庸置疑。 可心中预先揣着的那一份寻访明代古园的期待，终究落了空。 当年拙政园真正的气韵，如今只能隔着文徵明的诗文画卷凭空想象。 很多人对苏州园林的第一印象来自中学课本里那篇苏州园林，文字构筑出的美好遐想，很容易拉高游人心中的期待。 也正因为如此，亲临实地之后，失望之感便油然而生。 但失望不等于一无所获，游园之后反倒生出另一重感悟，开始读懂江南园林独有的造园内核。 中式江南园林与西式园林走的是两条全然相反的审美道路。 西方皇家园林追求规整、对称、几何秩序的人工之美。 一切都要条理分明，一览无余。 而江南文人园林讲究于螺蛳壳里做道场，在有限狭小的土地之上，通过层层递进的造景。 精巧的借景，叠山理水，用假山、回廊、林木分割空间，在方寸之间营造出幽深繁复、一步一景的深远意境。 它以曲折、自然、非对称作为审美的极致，刻意规避直白的开阔。 这又和北方皇家园林有着本质区别。 北方御苑依仗广袤的土地。 追求磅礴的气魄与宏大的格局。 而苏州的这些园林，大多是退隐的官员、文人所营建。 其中一部分人向往田园闲居的理想，也有一部分人身家丰厚。 却受制于时代规制，行事不得不低调内敛。 这些园主人将自己的志趣、抱负或是避世的心境寄托于园居之中。 不少私园在后世还被捐作寺观，这一类现象也和彼时文人阶层的社会风气深度绑定。 独有的太湖石更是江南园林不可复制的风物。 异地开采、长途运输的成本极高，这份得天独厚的自然资源也是别处难以复刻的底色。 所以，拙政园当然值得一游。 只是欣赏它的视角必须有所转变。 我们不能把它当成一处原汁原味的明代古迹来寻访，也不能仅仅将其视作一座寻常的公园闲逛。 看拙政园，看的从来不是明代留存下来的古建实体，而是流传数百年不曾断绝的造园思想，是中国人独有的空间哲学。 是一代又一代人借着故园的山水续写的文人情怀。
英文翻译
Thoughts on Visiting the Humble Administrator's Garden I have long heard of the great fame of the Humble Administrator's Garden. Before my trip, I specially found the poems and paintings of the 31 Scenes of the Humble Administrator's Garden created by Wen Zhengming to study carefully. I planned to follow the poems to search for the old sites when visiting the garden. I expected the tour guide to trace the origin through the scenery and help me experience the old artistic conception of garden living in the Ming Dynasty. But after walking through the whole garden, I could not help but feel a touch of melancholy in my heart. Of the 31 scenes recorded by Wen Zhengming back then. None of the original real scenes survive today. Now the only site that can barely be counted as a remaining relic from the Ming Dynasty in the whole garden is the old site of the Yuquan ancient well, and the rest are only vaguely recognizable earthen mountain foundations. With scattered stones placed sporadically, not a single original building from the Ming Dynasty can be found anymore. This is actually not hard to understand. It has been more than 500 years since the garden was built in the Ming Dynasty. The world has gone through tremendous changes, and wars have been continuous. The turmoil in the late Ming Dynasty, successive military disasters in the Qing Dynasty, and during the Taiping Heavenly Kingdom period, Li Xiucheng occupied this place. After several rounds of burning and plundering, the garden's appearance was repeatedly devastated, and more than 30 garden owners have changed one after another. Ownership has changed hands several times, and amid the vicissitudes of human life, the fate of the garden has naturally been precarious. What's more, ancient garden buildings were mainly timber-framed. Even if there was no damage from fire or other disasters. After one or two hundred years of wind and frost, the wood will inevitably rot and collapse. Reconstruction and renovation are simply inevitable. The scenery we see today is partly reconstructed by people in the Republic of China period based on speculation of the original system. The other part was restored after the founding of the People's Republic of China, in accordance with the instructions of Premier Zhou Enlai, adhering to the principle of restoring the old as the old, with reference to ancient paintings and old documents. The reconstructed garden still boasts an extremely high level of gardening art, and this beauty is beyond doubt. But the expectation I held in advance of searching for the ancient Ming Dynasty garden ultimately went unfulfilled. The true charm of the Humble Administrator's Garden back then can only be imagined through Wen Zhengming's poems and paintings now. Many people's first impression of Suzhou gardens comes from the essay *Suzhou Gardens* in middle school textbooks. The beautiful reverie constructed by words easily raises the expectations of visitors. Precisely because of this, after visiting the site in person, a sense of disappointment arises spontaneously. But disappointment does not mean gaining nothing. After visiting the garden, I gained another layer of insight instead, and began to understand the unique core of gardening of Jiangnan gardens. Chinese Jiangnan gardens and Western gardens follow two completely opposite aesthetic paths. Western royal gardens pursue the artificial beauty of regularity, symmetry and geometric order. Everything must be well-organized and fully visible at a glance. While Jiangnan literati gardens focus on creating grand scenery in a limited space. On a narrow plot of land, through layered landscaping. Exquisite scene borrowing, rock piling and water arranging, dividing space with rockeries, covered corridors and woods, to create a deep, complex artistic conception of "one new scene with every step" within a small area. It takes twists, naturalness and asymmetry as the extreme of aesthetics, and deliberately avoids straightforward openness. This is also essentially different from northern imperial gardens. Northern imperial gardens rely on vast land. They pursue magnificent momentum and grand layout. While most of these gardens in Suzhou were built by retired officials and literati. Some of them yearned for the ideal of idyllic seclusion, and some were wealthy. But they were constrained by the regulations of the times, and had to behave in a low-key and restrained manner. These garden owners placed their aspirations, ambitions or seclusion-minded state of mind in their gardens. Many private gardens were donated to become temples or Taoist shrines in later generations, and this kind of phenomenon is also deeply bound to the social ethos of the literati class at that time. The unique Taihu Stone is also an unreplicable feature of Jiangnan gardens. The cost of remote mining and long-distance transportation is extremely high, and this unique natural resource is also an unreplicable foundation in other places. Therefore, the Humble Administrator's Garden is definitely worth visiting. It is just that the perspective of appreciating it must be changed. We cannot treat it as an authentic Ming Dynasty historic site to visit, nor can we just treat it as an ordinary park for a casual stroll. When visiting the Humble Administrator's Garden, what we appreciate has never been the physical ancient buildings left from the Ming Dynasty, but the gardening ideology that has been passed down for hundreds of years without interruption, and the unique spatial philosophy of Chinese people. It is the literati sentiment that has been continuously added by generations of people based on the landscape of the original garden.
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