侯禹升　张子赫　郭明友

摘要：自上古的巫礼习俗到秦汉六朝的文赋序跋，再到两宋时期的文人图画，最后到三维的景境空间“曲水流觞”附加在不同的“形式”上进行了3次转译。综合分析“曲水流觞”在不同题材文艺作品中所呈现的艺术内涵，同时结合现存的不同时代的景观实例，评价其景境营造的优劣，得出景境“曲水流觞”的转译需要结合时代的异质性，在景观创新的过程中传承历史的文化美学价值。最后提出，现代风景园林的景观营造，应从生境、画境、意境3个层面推敲考量，以古为新，创新性的营造本土景观。

关键词：曲水流觞;景境营造;文化内涵;本土景观;景觀公平

中图分类号：TU986

文献标志码：A

文章编号：1671-2641（2021）04-0063-05

收稿日期：2021-02-18

修回日期：2021-04-30

Abstract： From ancient witches and rituals to prefaces and postscripts of literary works in the Qin， Han， and Six Dynasties， to literary paintings in the Song Dynasty， and finally to three-dimensional scene space， the scenery of “floating wine cup along the winding water”， was translated three times in different forms. This paper comprehensively analyzes the artistic connotation of "floating wine cup along the winding water" in literary and artistic works with different subjects， evaluates the advantages and disadvantages of its landscape construction by combining existing landscape examples of different times， and concludes that its translation  needs to combine the heterogeneity of times and inherit the cultural and aesthetic value of history in the process of landscape innovation. Finally， it is proposed that the landscape construction of modern landscape gardens should be considered from three levels of natural environment， painting and aesthetic conception to create local landscape innovatively based on the past.

Key words： Floating wine cup along the winding water; Landscape construction; Cultural connotation; Native landscape; Landscape fair

华夏民族有着悠久的文化历史与风俗节气，“曲水流觞”最早可以追溯到上古时期上巳节所开展的的巫祭活动[1]。《诗经·郑风·溱洧》中“溱与洧，方涣涣兮。士与女，方秉葡兮”[2]、《周礼·春官·女巫》中“女巫掌岁时祓除衅浴”[3]有其相应的记载。每年暮春时节，上至天子下至百姓外出春游，礼水敬水，通过“水”乞福求愿。这一民俗活动，一方面反应了当时人民在封建礼教制度与灾异论的大背景下，对自然的崇敬、畏惧;另一方面也真实不虚地体现出人类原始性灵的自然释放—对未来美好的企盼与自省。此为“曲水流觞”一词的原型[4]。随着历史的推进，艺术形式得到发展与丰富，曲水流觞结合不同的艺术载体，发生了多次转译。

1第一次转译：从巫祭祓禊到山林雅集