中国古典园林 英文

新修订高中阶段原创精品配套教材中国建筑艺术——古典园林教材定制 / 提高课堂效率 /内容可修改Chinese Architectural Art-Classical Garden教师：风老师风顺第二中学编订：FoonShion教育中国建筑艺术——古典园林高中美术教案：中国建筑艺术——古典园林杭师院附高罗雪峰一、古典园林概况（一）、发展史高中美术教案：中国建筑艺术——古典园林（商）→(西周)囿→(汉代)帝王的离宫、苑囿→（魏晋南北朝）追求自然情趣的私家园林→（唐）发展迅猛，长安附近建别墅，官署建园，唐中叶东都洛阳造园→（五代、宋）首都汴梁、陪都洛阳造园，江南筑山叠石之风很盛→（元明）江南园林发达，遏制→（明中叶）新的生机园林设计主导思想：诗情画意高中美术教案：中国建筑艺术——古典园林魏晋南北朝私家园林崇自然野致的风格，唐宋官僚和文人画家将他们的生活思想及传统文学和绘画描绘的意境贯于园林的布局与造景中，形成了这种主导思想。

高中美术教案：中国建筑艺术——古典园林（二）、分类北方皇家园林——承德避暑山庄江南园林——苏州园林、汾阳别墅岭南园林——广州越秀公园（三）古典园林欣赏（录象）请学生讲园林构造：由木构架结构的厅堂、轩馆、楼阁、亭台、桥廊与山石、湖池、花木组合成景，再配以匾额楹联等书法、诗句，形成了一个供游人直接玩赏且意蕴无穷的景观。

二、古典园林特点（一）、顺应自然的布局布局采用曲折多变的手法，和谐地顺着山径、水标或林间安设景点，不人为强求，形成中国园林的特点。

“曲”造成景物的深层感，能在有限的面积上，创造出无限的空间效果。

（二）、雅朴恬淡的品格园林建筑：宁静、简洁、清新古典殿堂建筑：富丽、作“雕梁画栋”的粉饰清代戏曲家李渔强调“宜简不宜繁，宜自然不宜雕斫”“但其取其简者、坚者、自然者变之”（三）、空透灵巧的面貌高中美术教案：中国建筑艺术——古典园林1、园林以景观为目的，建筑除了点缀自然环境，还以其空灵起到“借景”与“融合”的作用。

1.According to the Constitution of the People’s Republic of China, what are the administrativedivisions of China? 根据中华人民共和国宪法，我国的行政划分是什么？The country is divided into provinces, autonomous regions and municipalities directly under the central government. 我国的行政划分是省，自治区和直辖市。

2.What climatic zone does China lies in?China’s climate conditions vary greatly. It includes tropical, subtropical, the temperate and cool-temperate conditions. But the country for the most part lies in temperate zone. 中国的气候条件差异很大，包括热带，亚热带，温带和中温带。

但是大多数区域处于温带。

3.In what area does China still fall behind its neighbors? 中国在什么领域落后于邻国？China still falls behind its neighbors in the area of design. 中国在设计领域落后于邻国。

4.How many schools is cooking in China divided into? 中式烹饪有那几派？Cooking in China is divided into four schools: the Cantonese, Sichuan, Shandong, and Huaiyang Dishes. 中式烹饪分为粤菜，川菜，鲁菜和淮阳菜。

《中国古典园林史》英文名The History of Classical Chinese GardensThe essence of Chinese culture is deeply rooted in the harmonious coexistence between humanity and nature. This profound connection is beautifully manifested in the timeless art of classical Chinese gardens, which have captivated and inspired people for centuries. These enchanting landscapes seamlessly blend architecture, horticulture, and philosophy, creating a serene and contemplative oasis that reflects the Chinese pursuit of balance and harmony.The origins of classical Chinese gardens can be traced back to the ancient dynasties, where the ruling elite sought to create private retreats that embodied the principles of Taoism and Confucianism. These early gardens were not merely ornamental spaces but rather metaphorical representations of the cosmos, with each element carefully selected and arranged to evoke a sense of spiritual and philosophical contemplation.One of the earliest and most influential examples of classical Chinese gardens is the Lingering Garden, located in the historic city of Suzhou. Constructed during the Ming Dynasty, this exquisite gardenis renowned for its intricate rockeries, meandering pathways, and meticulously curated plant life. The Lingering Garden's design is a masterful blend of natural and man-made elements, with each feature carefully positioned to create a harmonious and visually captivating landscape.Another iconic example of classical Chinese gardens is the Summer Palace in Beijing, which was originally built in the 18th century as a retreat for the Qing Dynasty emperors. The Summer Palace's expansive grounds feature a breathtaking array of pavilions, lakes, and gardens, all of which are seamlessly integrated to create a sense of tranquility and escape from the bustling city. The garden's centerpiece, the Kunming Lake, is a stunning body of water that reflects the surrounding architecture and serves as a serene backdrop for the intricate pathways and lush vegetation.Beyond the grand imperial gardens, the art of classical Chinese gardening also found expression in the private retreats of scholars and literati. These smaller-scale gardens, often found in the homes of the educated elite, were designed to provide a space for contemplation, poetry, and the appreciation of nature. The Scholar's Garden in Suzhou, for instance, is a testament to the refined and introspective nature of these private oases, with its carefully curated rockeries, pavilions, and calligraphic inscriptions.The design principles that govern classical Chinese gardens are rooted in the philosophical and aesthetic traditions of the East. The concept of "tian ren he yi," or the unity of heaven and humanity, is a central tenet that guides the placement and arrangement of elements within these gardens. The careful balance of yin and yang, the integration of water and stone, and the strategic use of framing and sightlines all contribute to the creation of a harmonious and visually captivating landscape.Furthermore, the art of classical Chinese gardening is deeply influenced by the principles of Taoism, which emphasize the importance of natural harmony and the pursuit of a harmonious coexistence between humanity and the natural world. This philosophy is reflected in the gardens' emphasis on the organic flow of pathways, the integration of natural elements such as rocks and water, and the careful curation of plant life to create a sense of timelessness and tranquility.The legacy of classical Chinese gardens continues to captivate and inspire people around the world. These enchanting landscapes have not only served as havens of contemplation and relaxation but also as repositories of cultural and historical significance. As the world continues to grapple with the challenges of urbanization and environmental degradation, the enduring wisdom and beauty of classical Chinese gardens offer a timeless model for the harmoniousintegration of nature and human endeavor.In conclusion, the history of classical Chinese gardens is a testament to the enduring power of the human spirit to create spaces that transcend the boundaries of the physical world and connect us to the deeper truths of our existence. From the grand imperial retreats to the intimate scholar's gardens, these enchanting landscapes continue to captivate and inspire, reminding us of the profound beauty that emerges when humanity and nature are in perfect harmony.。

时间如同白驹过隙，研究生开学典礼的情景还历历在目，一转眼我即将毕业。

在上外高翻读研期间，我收获颇多。

我遇到了良师益友、获取了知识、提高了自己，这段美好的时光是我生命中的宝贵财富。

首先，我要感谢我的导师江帆老师。

在撰写论文的过程中，从最初的论文选题到结构的调整直至论文的最终完成，江老师一直对我悉心教导，提出了许多建议，及时帮助我解决遇到的难题，令我获益匪浅。

此外，我还要感谢姚锦清老师和龚锐老师。

在姚老师的笔译理念课上，我学习到了专业笔译的基本理念，对翻译有了更深刻的认知。

感谢龚锐老师，研一的专业课上龚老师的作业讲解、实战项目和案例讨论，让我学习到了很多翻译技巧，龚老师严谨负责的态度也值得我一生学习。

我还要感谢读研期间的其他授课老师，教授文学翻译的吴刚老师、经贸翻译的黄协安老师、法律翻译的冯国扶老师、政务翻译的费祖志老师、联合国翻译的吴明老师，还有教授理论课程的张莹老师、李红玉老师、郑晔老师。

师者,所以传道授业解惑也，在此衷心感谢各位老师的帮助与指导。

同时我要感谢我的研究生同学们，是缘分让我们聚集在上外高翻，共度两年半的美好时光。

从同学们身上我看到了他们对翻译的热情，朝夕相处中我们建立了深厚的友谊，愿我们的友谊地久天长。

还要感谢我的家人和朋友，他们对我的关怀、鼓励和支持是我不断向前的动力。

最后，我要向在百忙之中抽出时间论文进行审阅、评议和参与论文答辩的各位老师表示感谢。

21世纪以来，中国的政治和经济影响力不断增强，国际影响力持续提高。

中国的发展吸引了全球的目光，世界各国都开始重视与中国之间的文化交流与合作。

国外拍摄了越来越多中国题材的纪录片。

在引进国外纪录片时，字幕翻译起到了举足轻重的作用。

本文的案例是国新办纪录片《探秘中国古典园林》英译汉项目，纪录片用外国人的视角介绍了苏州古典园林和中国的风土人情。

通过分析纪录片字幕特点、字幕翻译的时空限制以及英译汉中文化还原等要素，本文对比初译和审校两种译文，从词汇、句子、语篇三个层面上探讨了纪录片字幕英译汉的策略。

Evol uti o n of C l assi cal Chi nese Gardens Based ont he Co mponent s of Archit ect ural Cult ureZHAO Fe i he 1,Y I N Shua i ke21.Post doc t oral Programs ofM anage m entSc i e nce and Engineering ,Tong ji Universit y ,Shanghai 200092,C hina ;2.Schoo l of Landsc ape A r ch i t ecture ,Be ijing Fores tr y Univ ersit y ,Beijing 100083,ChinaAbstract Based on t he struc t uralmode o f c u lt ural ec osy s t e m,a s t ructural mode of architectur a l culture w as est ab lished in this s t udy by replac ing hu man soc i e ty ,exteri o r env iron ment and cult ure in t he cultural ec os ys t e m w it h hu man activ iti e s ,archit ec t ural envir on ment and archit ectural culture .W it hin t h i s mode ,architectur a lengineering t echno l o gy was i n the utt er mos t layer of the architec t ur a l cultural struc t ur e ,des ign t ec hni q ues and w ritten w orks in the m i d dl e layer ,and v a l u es in t he inner most layer .Itwas app lied t o anal y ze t he ev olution of c lass i c al Chinese gardens along t he line of dynastic changes ,fr om the pers pec tiv es of soc i a l consc i o us ness ,cultural ps ychology and aes t heti c habi,t itwas point ed out t hat c lass i c al Chinese gardens hav e ev o l v ed fro m anm i al park to lands cape garden ,f ro m urban residenti a l garden t o pri v at e garden in t he sout hern reg i o ns of the Yangt ze R i v er ,w hic h a l s o indic ated a trans iti o n fro m focus i n g on ex t eri o r f or m s to stress i n g practi c al functi o ns ,and such a transition was realiz ed on t he ba s is of soc ial cons c iousness and values of the tm i e w it h t he he l p of proper des ign t echniques .Key wo r ds C ultural ecosyst em ,C l a ssical Chinese gar dens ,Co mponent s of arc h it ectural cultureReceived :March 2,2011 Accept ed :April 10,2011Ema i :l zhaofeihe @126.co m.The co mponent analysis of archit ectural cultures is bas ed on t he struc t ural mode of cultural ecosyst em .Variables and presentations in all layers of archit ectural development w ill be cl a rifi e d in a bett er way from t he pers pective of archit ectural cultural componen.t Landscape art is t he dualde m onstrati o n of bot h mat eri a l and ment al cultures .C lassicalChinese garden is an m i port ant part of the world garden ,its f or mati o n and devel op m ent is a significant demonstration of t he components of ar chit ectural cult ures .1 S tructur almode of cu ltural ecosyste mCult uralecology is the t heory study i n g the birth ,devel o pmen,t evolution and laws of cultures fro m the perspecti v e of in teracti o n a m ong all fac t ors in bot h nat ural environ ment and soc i a l env iron ment [1],first proposed by Julian St eward ,an Amer i c an anthropol o gis.t It is to observe t he generati o n ,devel o p ment and evolution of culture by putting it into the whole envi ron m en,t so as to find out how hu man beings adapt t o env iron ment and creat e their own cultures ,and how t hese cultures graduall y evol v e along w ith environment changes .If hu man ac tivities are regarded as soc i a l subjects ,hu man cult ures are cl a ssified int o 4layers :science and t echnology (inc luding ex peri e nce and know ledge),econom ic syst em ,social organiza tion ,values (including custo m s ,morals ,religi o ns and philoso phy),a struc t uralmode of cultural ecosyst em w ill be obt ainedaccording to their rel a ti o ns w it h natural env ironment [1].F i g .1shows t hat intelligent cultures are those hav ing the most inti mat e and direct relationship w ith natural env ironmen,t such as science and technol o gy ,because most of the i n ventions about tools and machi n es are directl y related t o t he nat ural env ironmen;t then regul a ti v e cultures such as econo m ic syst em andsocialorganization ;values have the l e ast m i pact on natural en viron men,t and t hey usuall y take effect via i n t er medi a t e vari a bl e s of sc i e nce and technol o gy ,econo m ic syst em and socialorganiz ati o n [1].But values have t he most i n tm i at e and direct rel a ti o nshi p w ith social cultures ,t hat is ,ment al cultures such as cust oms ,morals ,religi o ns ,and phil o sophy ;t hen socialor ganization and econom ic syst em ;science and technology ,nat ural env iron m ent have t he l e ast m i pac.tF i g .1 Structuralmode o f cultural ecosyste mCult ural ecosyst em is a compl e t e syst em of variables ,such as natural environ ment where cult ures generat e and de vel o p ,science and technology ,econom ic syst e m ,soci a lorgan izati o n and val u es .Archit ecture as amaj o r sy mbolof hu man cul t ures w ill surely be integrat ed i n t o the cultural ecos yst e m.2 Str ucturalmode of arch it ectur al cu ltureFro m t he perspec tive of f or m ,archit ecture onl y provides a living env iron ment f or hu man bei n gs ,but it is diff erent fro m natEdit or :Shao M ei Journa l of Lands cape Res earc h Proofr eader :W u Xiaoy an2011,3(4):10-12uralenviron men,t becaus e the latt er is a pure ext ernal env iron men,t but archit ecture bears t oo many traces of hu man activi ties .Many layers from values t o science and technology are cl e arly and profoundl y demonstrat ed i n architect ure .A structural mode of archit ectural culture can be est ab lished if archit ecture is regarded as an i n t ensive de m onstrati o n of hu man acti v ities ,as F i g .2shows .The transfor mati o n of nat uralenviron ment is l a rgel y shown as the for mati o n of architec tural env iron m en,t that is ,t he f or m ation of spaces f or people working ,studying and relax ing .Archit ectural culture is f or med i n the f or mation ,use and regeneration of archit ecture .Archi tect uralengineering t echnol o gy has the f astest and direct influ ence on archit ectural environ men,t show ing practical functi o ns of architect ure in mat erial f or ms .Val u es have onl y indirect in fluence on architec t ure ,and such influence is realized via int er medi a te layers such as architect uraldesign techni q ues ,i n stit u tions and rules ,but it is decisive and prof ound .Planning and design t echni q ues have moderat e influence bet ween architec tural engineering t echnology and values ,t hey t ake eff ect only by changi n g f or m s and f unctions of architec t ure v i a engineering technology ,and have t o enrich themselves on t he basis of desi g n know ledge and experience [2].I nfluence of archit ectural environ ment on architec t ural cult ure is als o gradually changing fro m t he out er t o the inner l a yer.F i g .2 S tr uctur almode o f ar ch itectur al cu ltur es3 Evo l u ti o n of classical Chinese gar dens fro m t he perspecti v e o f t he str uct uralmode of architect ural cultur eLandscape art is the dual demonstration of mat erial and ment al cult ures ,its physical f or ms cont ainmessages about cul tural spirits and aest hetic consc i o usness ,t hat is ,cultural prod ucts left by creators and the age those creators live in .C l a ssi cal Chinese gardens are es peciall y out standing i n this aspect as a powerful f or m of concentrating cultures and traditions .The role of classical Chines e gardens in t he hu m an life deter m i n es its intm i at e rel a tionshi p w it h social consc i o usness ,culturalpsy chology and aesthetic habits ,so its f or mati o n and development can be regarded as an m i portant de m onstrati o n f or m of archi tect uralcultural co mponents .In the Shang and Zhou dynasti e s (fro m t he 17thcentury t ot he 3r d cent ury B.C .),anm i alparks were enclosed in t he natural environment for hunti n g .According t o the S hi J i Yi n Ben j i (H i s t ori ca lRecords B i o g raph i c S ke tches o f Em pe rors i n t he S hang Dynas t y ),King Zhou of Shang "once had Shaqi uyuant ai built f or keeping beasts and birds".Duri n g the Q inand Han dynasties (from t he 3rdcent ury B.C .t o t he 3rd centu ry A.D .),Q in ShiHuang (F irst Emperor ofQ in ,259-210B .C .)by f ollo w i n g the patt ern of anm i al park in the Shang and Zhou dynasties ,had Shanglin Yuan built by the s out h of t he W eiR i v erw ith the Chang Chi (Long Pond)by introducing wat er fro m the river ,and piling eart h int o Penglai Mountain [3].Emperor W u of the Han Dynasty (156-87B .C .,on t het hrone from 141B.C .to 87B .C .,t he 7themperor of t he Han Dynast y)had t he Tai y e Poolbuilt w it h t hree hills in it (res pec tively ,Pengla,i Fangzhang and Yingzhou)sy mbolizing t he t hree s acred mount ains in t he East China Sea .C hunq i u Fanl u w rote by Dong Zhongshu (179-104B.C .,a great er ideol o gist and politi c i a n in the Han Dynasty)has an ink ling of such a de sign ,whi c h is a book absorbi n g yi n yang and five ele m ents the ori e s of that age (five ele ment s ref er t o meta,l wood ,wat er ,fire and earth),expounds t he sublm i e words w ith deep mean ings in C hunq i u (The S p ri ng and Au t um n Anna l s ),el a borat es t he concept of "int erac tion bet ween heaven and mank ind".It holds that allwonderful vie w s in heaven or earth can be found corres pondingl y i n t he hu man world ,so three s acredmountai n sare s ymbolized by one pooland t hree hills in this case [4].Fro m t heW ei Dynast y t o the Northern and Southern Dynasty (from the 3rd century to t he 6thcentury),China was in a st ate of chaos ,people w it h hi g h lit erat ary reputation coul d not dis play their abilit y although they were a mbiti o us and t alented ,Confuc i a nis m at that tm i e coul d not prov i d e proper strat egi e s f or governing the country ,or shortcut s f or obt aining f ame and f ort une ,or means of getting away fro m wars and disast ers .Co mm on peopl e began t o fi n d othermeans t o substit ut e Confu cianis m ,Buddhis m and Taois m grew popul a r in this period ,so di d Xuan Xue (a philosophicalsect in theW ei(220-265)and Jin (265-420)dynasties).Philosophers of XuanXue t hen f o cusedm ore on the self m i provement of i n ner spirits ,but not t he transient f ame and prosperit y ,so most of t he m were broad m inded ,and unrestrai n ed i n behavior .J i n S hu J i Kang Zhuan (The Book o f t he J i n Dynas ty B i o graphy o f J iKang )records that Ji Kang is never int erested in Confuc i a n c l a ssics ,but f avors doc trines of Zhuangz iwhich further indulges his w ildand undisc i p lined charact er [5]."Non being"and nat uralis m is adm ired by schol a rs in the W ei and Jin dynasties ,respect f or t he nature and pursuit f or naturalbeauty is the moti v e of garden ing during this period ,and l a ndscape garden f or reproducing natu ral beaut y emerges .S ong S hu Da iYong Zhuan (The Book of the S ong Dynas t y B i og raphy o fDa iYong )records t hat as Dai Yong (a f a mous artist i n the SongDynasty f a mous f or his filialpi ety ,377-441)moves t oW u (t he presentSuzhou and nei g hbor ing areas),schol a rs hel p hm i build houses ,pil e rockeri e s and in troduce water i n t o the garden ,gro w pl a nts and di g gull y s ,t hen pl a nts gro w fl o urishi n gly just li k e natural ones .I n t he Tang Dynast y (618-907),urban home garden be11ZHAO Fei he e t a l .Evo l u ti o n ofC lass ic a l Chines e Gardens Based on the C o mponents o fArchit ectura lC ultur eca me popular as an m i portant f or m of privat e garden.U rban home garden prov i d ed schol a r bureaucrats a l a nd of tranquility i n bustle f or t heir physical and mental relaxation,enabled them to enjoy a peaceful m ind among the lm i it ed spatial land scapes[6].Bai Juyi(a great poet in t he Tang Dynast y,772-846)su mmarizes schol a rs love f or privat e gardens as"amod erat e seclusion",because t he greatest seclusion is living in the noisiest f air,the t emporal sec lusion is in t hew ilds,but such"a moderat e s ec l u sion"is just fit f or scholars like hm i,so t hey "can live in both t heir own pri v ateworl d and the out erworld,be not busy or idl e,don t have t o work w ith theirm ind and hands, orworry about hunger and col d.I n thi s way,Confuc i a ns pur suit of career success and Zhuangzi s"inacti o n"(letting thi n gs take t heir own courses)f or m a compl e ment ation psychological l y in hearts of schol a r bureaucrats[7].Therefore,urban home garden i s an idealplace f or t he m not being tied down by t he ups and downs of t heir offici a l careers,and not going t o t he w ilds f or li v i n g a peacef ul lif e.A design t echni q ue is m i plied in such attit udes t o lif e,philosophy of lif e and mat erial for m s of urban garden,which ex ist s i n the f or m of poe m or prose.For exa m ple,Bai Juyi in his Cao Tang J i(The No te o f Lushan C ott age) says,"a fl a t ground in front of t he cottage is about t en zhang (zhang,a unit of lengt h=10/3met ers,here it refers t o the w i d t h of fl a t ground),a platf or m in t he cent er covers half of i,t a square poor t o t he sout h of t he platf or m doubles its size. Bamboos and flo wers fl o urish around the poo,l whit e l o tus and w hit efish li v e freel y i n t he poo.l Going south ward further,a gul l y extends from rocks w ith pines and cedars grow ing on bot h si d es ".Scholar s garden t akes shape in t he Tang Dynast y, reaches its prm i e i n the Song Dynasty,f urt her develops in the M i n g and Q ing dynasties.Li Gefei(about1045-1105,a f a mous scholar in the Nort hern Song Dynast y)clearly records garden t ypes in t he Song Dynasty in his Fam ous Ga rdens o f Luoyang,such as Tian wang Yuan,Renf eng Yuan of Li s f am i l y,and Guiren Yuan.At t hat tm i e,aestheti c f eat ures of garden s artisti c concept arem ai n ly de monstrat ed as t he popu l a rit y of t ablets w ith i n scri p tions and t he advanced horticulture and pott ed landscape ar,t which is closel y rel a ted t o their owners indifference to f ame andwealth,and pursuit of an"en j o yabl e"lif e.There are still many well preserved gardens of scholars in s out hern regions of the Yangtz e River,such as Master of Nets Garden,and Ge Yuan.M ast er of Net s Garden actually m i plies t hat its owner w ishes living in sec lus i o n as a fisher man,t he whole garden is do m i n ated by wat erscapes,its owner s pursuit of t he"enjoyable"lif e is fully demonstrat ed in garden designs.The M ing andQ ing dynasties arem ature periods of cl a ssi calChinese gardens,some prof ess i o nalw ritings about garden i n g co m e ou,t The C ra ft o f Ga rdens by J iCheng is surely the most fa mous one.It is t ot ally diff erent fro m the for mer poem or prose s i n ging praises of gardens bef ore,as the ol d est w ritt en work of gardening,it t ouches upon m any aspect s of garden, from t he overall pl a nni n g to the det ailed des i g n of i n di v i d ual constructi o ns,fro m gardening concepts t o techniques of con structing scenery[8].In the m iddl e and l a ter period of t he M ing Dynast y,the econo m y shows considerabl e developmen,t but dist ort ed f eudalaut ocracy holds its econo m y back from f urt her developmen,t i n dustrial and co mm erc i a l sections have to bear heavier burdens,the whole society is m i mersed in an at m os phere of ex travagance.As t he econom ic leveland living st and ards are m i proved,progress of individuals and aut ocracy of government conflict w ith other,many schol a r bureaucrats re treat and thi n k,pay more att ention to one s own moral uplift w it hout t hought of ot hers,and privat e gardens grow popular in such a contex.t Special t alents in gardening e merge in this peri od,such as Ji Cheng,Zhou B ing cheng,Zhang Li a n,Li Yu and so on,and most of t he well preserved gardens at pres ent in Suzhou are finished in thi s period.Fro m anm i alpark t o l a ndscape garden,fro m urban ho m e garden to privat e garden in s out hern region of the Yangt ze R iv er,fro m"interacti o n bet ween human and nat ure"to Xuan Xue in theW ei and J i n dynasties,from the doctrine of t he mean to t he int egrati o n of Confuc i a nis m and Taois m,from poe m and prose s i n ging praises of gardens t o the great gardening work-The C ra ft of Ga rdens,c l a ssical Chinese gardens changes in f or m are first shown as t he changing externalappearances and practical f unc tions,and such changes are supervised by i d eol o gy and values of t he tm i e via design t echni q ues,and t hen real ized by archit ecturalengi n eering t echnol o gy.It proves t hat gar dens in all hist oricalperiods co mply w ith the structuralmode of it s archit ectural cult ure.References[1]XI E S G.Enc yc l o pedi a ofChina:soc i o logy[M].Beiji n g:Encycloped i a ofChina Publishi n g Hous e,1992.(in Chin es e).[2]WANG SJ.Coll e ction ofWang Shiren s Arc hit ec t ural hi s t or y theor y[M].Beijing:China Arc hit ec t ure&Buil d ing Pr es s,2001.(in Chi nes e).[3]W riting gr ou p of The H ist ory of Chi n es e Arc hit ecture.The his t ory ofChin es e arc hit ecture[M].Be iji n g:Chi n a Ar chitecture&Buil d ing Press,1997.(in Chin es e).[4]DONG ZS:Han Dynasty.Chun qiu f an lu[M/OL].(2006-05-10)www.ebook007.co m.(in Chines e).[5]FA N S Z.H ist ory overvie w[M].Shangha:i Fu dan Univ ers it y Press,2000.(in Chin es e).[6]ZHANG J J.The hist ory of Chi n es e gardening[M].Harbin:Heil o ngji a n g Peop l e s Publi s hing Hous e,1986.(in Chinese).[7]REN XH.Dhyana and Chin es e garden[M].Beijing:The Co mmercial Pr es s I nt ern ati o nal Lt d,1994.(i n Chinese).[8]CHEN Z.Yuan Ye c o mment s[M].Be iji n g:Chin a Arc hit ec t ur e&Buildi n g Pr es s,1988.(i n Ch i n ese).从建筑文化的构成分析中国古典园林的形成发展赵飞鹤1,阴帅可2 (1.同济大学管理与科学博士后流动站,上海200092;2.北京林业大学园林学院,北京100083)作者简介 赵飞鹤(1974-),女,河南宜阳人,讲师,博士,从事城市产业规划、设计产业集群研究,E m a i:l zhaofei he@126.co m。

《中国古典园林》课程教学大纲课程代码：120132023课程英文名称：Chinese classical garden课程总学时：48讲课：32 实践：0 习题：16适用专业：建筑学大纲编写（修订）时间：2017.10一、大纲使用说明（一）课程的地位及教学目标1.课程地位：《中国古典园林》是建筑学专业的一门专业选修理论课。

本课程在简要回顾环境艺术发展的过程和剖析环境艺术内涵的基础上，将重点放在对园林设计的基本理论和程序的阐述上，力图使学生在专业入门阶段通过对该课程的学习，尽快明确学习方向，初步建立起专业知识框架，并尽可能全面地了解园林设计的概念和特点。

2.教学目标：课程的主要目的和任务：1、了解中外城市、建筑、园林设计的发展史。

2、掌握地区景观规划设计，园林、广场等外部空间景观设计、和室内设计及雕塑、壁画设计，设施设计等的方法3、掌握总体平面规划、空间形态、景观构成要素等设计方法。

学生在学完本课程后，应达到如下要求：1、具备对园林景观的综合判断、分析能力和设计实施、管理能力。

2、具有良好的环境整体意识和综合的审美素质。

（二）知识、能力及技能方面的基本要求课程需要掌握的知识要点：1、领会园林设计的概念、分类等相关知识；掌握园林设计的思维特征2、掌握园林艺术的特点和发展；3、领会基本概念构成元素: 点、线、面、体；4、领会园林设计与其他理论的关系5、领会环境空间相关概念，空间的类型与分割及外部和内部空间的构成要素和设计手法；6、园林景观设计与广场景观设计特点（三）实施说明1.教学条件(1) 采用辅助教材及参考书目作为教学辅导资料；(2) 以国家标准规范为指定设计参照标准；(3) 为学生提供指定专业制图教室、制图桌、制图工具等；(4) 学生课下自学可利用系资料室、校图书馆、网络资源。

2.教学手段(1) 理论讲授课采用多媒体进行教学；(2) 习题课采用“分组制图”方式进行教学。

3.教学方法(1) 采用启发式课堂教学，先将矛盾或问题提出，引导学生主动思考产生矛盾的主要原因和解决矛盾的方法。

世界园林之母——中国古典园林
中国古典园林艺术是指以江南私家园林和北⽅皇家园林为代表的中国⼭⽔园林形式。

在中国汉族建筑中，古典园林是独树⼀帜有重⼤成就的建筑。

它被举世公认为世界园林之母，世界艺术之奇观，⼈类⽂明的重要遗产。

其造园⼿法已被西⽅国家所推崇和摹仿，在西⽅国家掀起了⼀股'中国园林热'。

中国的造园艺术，以追求⾃然精神境界为最终和最⾼⽬的，从⽽达到'虽由⼈作，宛⾃天开'的审美旨趣。

园林在中国产⽣甚早，早在商周时期我们的先⼈就已经开始造园活动了。

园林最初的形式为囿，只供帝王和贵族们狩猎和享乐之⽤。

随着历史的发展，园林也不断改善和进步。

春秋战国时期的园林中已经有了成组的风景，既有⼟⼭，⼜有池沼或台。

园林的组成要素到这个时期已经基本具备，已经和最初的园囿有所区别。

总的说来中国古典园林共由六⼤要素构成：筑⼭，理池，植物，动物，建筑，匾额，楹联与刻⽯。

为表现⾃然，筑⼭是造园的最重要的因素之⼀。

中国现存的古典园林有颐和园，承德避暑⼭庄，拙政园，沧浪园等。

他们都是园林的代表。

透过他们你能真正感受到园林的魅⼒，也能发掘出中国古典⽂化的深层意义。

中国十大名胜古迹英文[精选合集]第一篇：中国十大名胜古迹英文万里长城Great Wall桂林山水Guilin Landscape杭州西湖Hangzhou West Lake北京故宫The Imperial Palace in Beijing苏州园林Suzhou gardens安徽黄山Huangshan Mountain in Anhui长江三峡Yangtze River(Three Gorges)台湾日月潭Taiwan's Sun Moon Lake(ri yue tan)承德避暑山庄Chengde Mountain Resort秦陵兵马俑QinDynasty Terracotta Warriors and Horses第二篇：中国十大名胜古迹一、万里长城古迹简介万里长城，是中国伟大的军事建筑，它规模浩大，被誉为古代人类建筑史上的一大奇迹。

以雄峙中国北方大地的万里长城为中介的南北广大地域所构成的长城带，横贯今辽宁、内蒙古、宁夏、甘肃、陕西、山西、河南、河北、北京、天津、山东和吉林、黑龙江、青海、新疆等省(市、自治区)的相当一部分地区，也包括历史时期处于今蒙古人民共和国和朝鲜半岛的若干地区。

其范围南北宽约数百公里乃至上千公里，东西长约数千公里。

长城带自远古至今居住着众多的民族，各民族及其相互关系的发展，是观察和理解长城带一切事物的关键所在。

在历史发展过程中，长城带的古代民族，有些消失了，一些新的民族又融合生成，它们都与分布在长城带的20多个民族有着密切的渊源关系。

无论已经消失的还是继续发展的各民族，都对中国的历史发展做出过重要的贡献。

万里长城是中国古代民族关系发展的产物，但对于长城南北民族关系内在发展规律的研究尚不充分。

总结已有的研究成果，拓宽研究领域，揭示长城与中华民族关系发展的内在联系，对于长城学、民族学及中华民族关系史等学科研究的发展，对于促进民族团结都有重大的现实意义和重要的理论研究价值。