1、不朽的林泉及對(duì)園林繪畫的思考 2012.09.221234第一節(jié) 再現(xiàn)一座十七世紀(jì)的中國(guó)園林5第一章 再現(xiàn)一座十七世紀(jì)的中國(guó)園林Paintings of Zhi Garden by Zhang Hong June Li and James CahillLos Angeles County Museum of Art19946止園記吳亮止園集卷十七天啟元年刻本第一章 再現(xiàn)一座十七世紀(jì)的中國(guó)園林7止園詩吳亮止園集卷五天啟元年刻本第一章 再現(xiàn)一座十七世紀(jì)的中國(guó)園林8第二章 畫中園林9第二章 畫中園林10第二章 畫中園林明代后期秦燿寄暢園歷史沿革考建筑史28輯，201111第二章 畫中園林明代長(zhǎng)林石幾

2、圖與呂炯友芳園研究建筑史29輯，201212第二章 畫中園林吳彬十面靈璧圖與米萬鐘非非石研究裝飾2012年第8期1314第三章 園中閨趣15第三章 園中閨趣Women in the Garden16第三章 園中閨趣Love in the Garden17第三章 園中閨趣18第三章 園中閨趣明清時(shí)期為女性而作的繪畫藝術(shù)史研究第七輯19第三章 園中閨趣致用與怡情的圖像：大清盛世的世俗繪畫三聯(lián)書店（待出）20不朽的林泉21楊竹西高士小像，嚴(yán)陵王繹寫，句吳倪瓚補(bǔ)作松石。癸卯二月。梁思成：中國(guó)建筑史+中國(guó)雕塑史童寯：Chinese Garden Design+Chinese Painting（1940年

3、重慶）222.1 單幅單幅與遠(yuǎn)觀全景園外高地上的俯瞰2324錢榖小祗園圖25仇英園林勝景圖26湯貽汾愛園圖2728袁江東園圖292.2 手卷手卷與步移景異身入其境30園31倪瓚?yīng){子林圖1 園門，2 玉鑒池，3 指柏軒，4 臥云室，5 立雪堂，6 問梅閣，7 獅子峰，8 含暉峰，9 吐月峰，10 昂霄峰，11 小飛虹，12 幡幢，13 立玉峰，14 禪窩，15 棲鳳亭，16 冰壺井，17 臥龍梅，18 騰蛟柏32倪瓚?yīng){子林圖1 園門，2 玉鑒池，3 指柏軒，4 臥云室，5 立雪堂，6 問梅閣，7 獅子峰，8 含暉峰，9 吐月峰，10 昂霄峰，11 小飛虹，12 幡幢，13 立玉峰，14 禪窩，1

4、5 棲鳳亭，16 冰壺井，17 臥龍梅，18 騰蛟柏33孫克弘長(zhǎng)林石幾圖34仇英獨(dú)樂園圖弄水軒讀書堂釣魚庵竹齋采藥圃見山臺(tái)353637吳彬勺園祓禊圖3839冊(cè)頁與 集稱文化轎中的觀賞2.3 冊(cè)頁40杜瓊南村別墅圖冊(cè)41宋懋晉寄暢園圖冊(cè)42王稚登 寄暢園記寄暢園者，梁溪秦中丞舜峰公別墅也，在惠山之麓。環(huán)惠山而園者，若棋布然，莫不以泉?jiǎng)伲坏萌嗌?，與取泉之工拙，園由此甲乙。秦公之園，得泉多而取泉又工，故其勝遂出諸園上。園之舊名曰鳳谷行窩，蓋創(chuàng)自其先端敏公，一轉(zhuǎn)而屬方伯，再轉(zhuǎn)而屬中丞公，皆端敏之裔也。中丞公既罷開府歸，日夕徜徉于此，經(jīng)營(yíng)位置，羅山谷于胸中，猶馬新息聚米然，而后畚鍤斧斤，陶治丹堊之役

5、畢舉，凡幾易伏臘而后成。辟其戶北向，署曰寄暢，寄暢者，用王內(nèi)史詩，園所由名云。折而西為扉，曰清響，孟襄陽詩竹露滴清響，扉之內(nèi)，皆筼筜也。下為大陂，可十畝。青雀之舳，蜻蛉之舸，載酒捕魚，往來柳煙桃雨間，爛若繡繢，故名錦匯漪，惠泉支流所注也。長(zhǎng)廊映竹臨池，逾數(shù)百武，曰清籞。籞盡處為梁，屋其上，中稍高，曰知魚檻，漆園司馬書中語。循橋而南，復(fù)為廊，長(zhǎng)倍清籞，古藤壽木蔭之，云郁盤。廊接書齋，齋所向清曠，白云青靄，乍隱乍出，齋故題霞蔚也。廊東向，得月最早，顏其中楹為先月榭。其東南重屋三層，浮出林杪，名凌虛閣。水瞰畫槳，陸覽彩輿，舞裙歌扇，娛耳駘目，無不盡納檻中。閣之南，循墻行，入門，石梁跨澗而登，曰臥云堂

6、，東山高43折而東為扉，曰清響下為大陂，曰錦匯漪長(zhǎng)廊映竹臨池，曰清籞廊接書齋，故題霞蔚循橋而南，復(fù)為廊籞盡處為梁，屋其上，曰知魚檻444546474849園林的女性特征名稱、活動(dòng)、設(shè)計(jì)3.1 美人503.1 美人513.1 美人523.2 情色533.2 情色543.3 天倫從百草園到三味書屋553.3 天倫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.視覺研究圖像與文獻(xiàn)的結(jié)合57高居翰：中國(guó)藝術(shù)史視頻（土豆網(wǎng)）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吳彬十面靈璧圖606162張宏