lesson7风景园林专业英语.docVIP

The notion of landscape as a text with encoded meaning, a place of memory and association, an experiential space in which to stroll and enjoy the unfolding of sequential views or to sit quietly and ponder the thoughts prompted by the impressions of scenery upon the senses-these fundamentals were common to both East Asian gardens and the gardens developed in England in the eighteenth century. The reciprocal association between landscape design and painting that was first developed in China and then later adopted in Japan is similar to the eighteenth-century English sensibility that found in Claude Lorrain’s seventeenth-century paintings an appropriate idiom for the layout of the parks of great estates . Similarly, an affinity for landscape themes, prevalent in eighteenth-and nineteenth-century English literature, is especially common in the poetry of China and Japan. The Romantic appreciation for the sublime in nature, which caused William Wordsworth to attune his soul to the sounding cataract . . . the tall rock , the mountain, and the deep and gloomy wood, ”was akin to the reverence for nature of Chinese scholars and mystics many centuries before. 景观的概念作为一种具有编码的意义的题目，作为记忆和联想的地方，作为散步和享受系列风景展开的体验空间，或坐下来静静地沉思风景对感觉所带来的印象----这些基本要素对于东亚园林以及后来十八世纪在英国所发展的园林是共同的。 / 景观设计和绘画之间的相互结合，在中国首先发展，后来在日本采用，类似于第十八世纪的英国感觉，像在洛兰克劳德的第十七世纪画的那个适合大屋的公园的风格布局。 / 同样，在第十八和十九世纪英国文学的流行的景观主题的亲和力，是在中国和日本的诗歌尤其是常见的。对自然界的极端浪漫的欣赏，使威廉华兹华斯的灵魂感受到“瀑布声..高高的岩石，山，和深邃幽暗的树林，”类似于许多世纪以前中国学者和神秘主义者对自然的敬畏。 But in spite of this apparent similarity between East and West, at a certain point in time with regard to each culture’s philosophical attitude toward landscape, the underlying differences between the historic gardens of Asia and those formed in Europe and America are fundamental and profound. Western environmentalists attempting to reforge the broken human contract with nature, who try to reason the causes for its rupture in the first place, must reckon with the Judeo-Christian tradition of a jealo