风景园林专业考研考哪些科目，风景园林研究生考研科目

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风景园林考研，风景园林考研考哪些科目

龚鹏程对话海外学者第三十七期：在后现代情境中，被技术统治的人类社会，只有强化交谈、重建沟通伦理，才能获得文化新生的力量。这不是谁的理论，而是每个人都应实践的活动。龚鹏程先生遊走世界，并曾主持过“世界汉学研究中心”。我们会陆续推出“龚鹏程对话海外学者”系列文章，请他对话一些学界有意义的灵魂。范围不局限于汉学，会涉及多种学科。以期深山长谷之水，四面而出。

戴斯蒙德-布莱恩·克雷格

（Desmond-Bryan Kraege, Ph.D.）

美国普林斯顿大学研究员。挪威奥斯陆大学建筑与设计学院博士后访问学者。洛桑大学艺术史博士。巴黎第一大学文学硕士，高等音乐学院，瑞士西部应用科技大学高等音乐学院大提琴表演专业硕士。

龚鹏程：你好。你的学术研究多有关于建筑，作为艺术的一种重要形式，建筑师如何与历史发生关系？又是如何在不同文化中发挥着作用？请举例说明。

布莱恩·克雷格：龚教授，您好。我目前的研究项目涉及到十八世纪法国人对呈现和分类世界文明建筑的尝试。在这种科学和文化环境中，学者和建筑师是最早接触到有关全球不同地区的文献的人之一，他们试图理解它，就像十八世纪植物学家或语言学家努力组织有关来自遥远大陆的植物或语言的知识一样。

我对世界建筑的呈现方式特别感兴趣：一些建筑师提出了“从属叙事”，认为一个文明的建筑是从另一个文明继承而来的，而另一些建筑师更喜欢简单地将建筑并排呈现，让观众自己进行比较。这些问题引发了对建筑起源的质疑，一些学者认为它只有一个发源地——通常是埃及——而另一些学者则认为它起源于不同的文明。并列建筑物的表现形式或平面图，也促使建筑师寻求它们之间的相似之处，并思考世界建筑是否存在着基本原则。

这些问题自然而然地塑造了各个文明对其自身在世界上的地位以及与其他文化的关系的理解，现在这种行为有时仍在进行着。

的确，二十一世纪，不同文化之间的接触越来越重要，不同文明之间的相互感知也因此变得越来越重要。建筑在这个过程中起着关键作用——尽管通常是无意识的。我的项目考察了在十八世纪早期法国出现的这种现象，以及其导致的先入之见。它也将与当今世界范围内关于艺术史理论和实践的质疑进行对话。

My present research project concerns eighteenth-century French attempts at presenting and classifying the architecture of world civilisations. Scholars and architects in this scientific and cultural environment were amongst the first to have access to documentation concerning many different parts of the globe, and they tried to make sense of it, similarly to eighteenth-century botanists or linguists’ endeavours to organise their knowledge of plants or languages from distant continents. I am particularly interested in modes of presentation of world architecture: while some architects proposed narratives of filiation, arguing that one civilisation had inherited its architecture from another, others preferred to simply present buildings side by side and allow viewers to make their own comparisons. These issues raised interrogations about the origins of architecture, with some scholars suggesting that it had one single birthplace – most often Egypt – while others imagined multiple origins in different civilisations. Juxtaposing representations or plans of buildings also led architects to seek similarities between them, and to wonder whether there were fundamental principles underlying world architecture.

These questions naturally shaped individual civilisations’ understanding of their own position within the world and of their relation to other cultures, and sometimes they continue to do so in the present day. Indeed, the twenty-first century is witnessing increasingly significant contact between different cultures, and the mutual perceptions of different civilisations are thus becoming ever more important. Architecture plays a key role – though often an unconscious one – in this process. My project examines early occurrences of this phenomenon in eighteenth-century France, as well as the preconceptions to which they have led. It will also dialogue with present-day interrogations concerning the theory and practice of art history on a global scale.

龚鹏程：休伯特·罗伯特是18世纪非常重要的法国画家和园林设计师，他对罗马、文艺复兴时期的艺术非常了解，他的建筑风格独树一帜。从艺术史的角度，你如何评价这位艺术家，又如何解读他的作品？

布莱恩·克雷格：休伯特·罗伯特 (Hubert Robert, 1733-1808) 是一位法国画家和园林设计师，他年轻时在罗马学习，之后他回到巴黎，在事业上取得了辉煌的成就，他也曾为法国国王和俄罗斯皇室工作。

他的作品属于建筑绘画流派，他描绘了一些来自不同文明和历史时期的古迹：尽管他的大部分作品描绘的都是古罗马、文艺复兴时期的意大利和现代法国，他也是最早对埃及、希腊、哥特式和欧洲本土建筑产生浓厚兴趣的欧洲艺术家之一。

他经常在这些古迹周边描绘美丽的风景，因此他开始在巴黎附近设计了几座辽阔的花园，这些花园是当时刚从英国引进的一种新式风景园林风格，并且部分灵感源自中国的园林设计。他在这个领域中最重要的作品包括梅雷维尔花园（gardens of Méréville）、埃默农维尔花园（garden of Ermenonville） ——在那里，他构思了让-雅克·卢梭的坟墓和凡尔赛宫的阿波罗浴场的设计。

我的论文，侧重于罗伯特在他的建筑画作中对历史时间的处理。例如，他经常描绘与当代法国建筑类似的虚构罗马废墟，从而反映出巴黎是一个新罗马，并且法国建筑师是他们古代前辈的值得效仿的想法。此外，他在废墟中描绘了巴黎的古迹，暗示历史是周期性的，现代世界中的强国也将像他们的前辈一样消亡。

因此，在我的研究中，我对休伯特·罗伯特如何研究他自己的文化与过去的联系特别感兴趣，并努力在这历史视野中定义现代法国的地位。从本质上讲，我试图确定画家选择了什么样的过去，以及他如何表现和转化过去。

Hubert Robert (1733-1808) was a French painter and garden designer, who spent his youth studying in Rome before returning to a brilliant career in Paris, which would see him work for the King of France and the Russian Imperial family. His genre was architectural painting, and he represented monuments from several different civilisations and historical periods: while most of his works portray ancient Rome, Renaissance Italy and modern France, he was also one of the earliest European artists to take a keen interest in Egyptian, Greek, Gothic and European vernacular buildings. He often depicted beautiful landscapes around these monuments, and this soon led him to design several expansive gardens near Paris, in a new style of landscape garden recently imported from England and partly inspired by Chinese examples. His most important works in this medium include the gardens of Méréville, Ermenonville – where he conceived the tomb of Jean-Jacques Rousseau – and the Baths of Apollo at Versailles.

My dissertation focused on Robert’s handling of historical time within his architectural paintings. For example, he often represented imaginary Roman ruins that strongly resembled contemporary French architecture, thus reflecting the idea that Paris was a new Rome and that French architects were worthy emulators of their ancient predecessors. Elsewhere, he pictured the monuments of Paris in a ruin field, suggesting that history was cyclical and that the great powers of the modern world would perish like their predecessors. In my research, I was thus particularly interested in understanding how Hubert Robert investigated his own culture’s connection to the past, and endeavoured to define the position of modern France within this historical vision. Essentially, I was seeking to determine what past the painter selected, how he represented it and how he transformed it.

龚鹏程：普林斯顿大学是美国常青藤院校之一，有独特的校园文化和学术氛围，其与欧洲大学、亚洲大学的气息必有不同之处。你能描述一下在普林斯顿的工作和校园生活吗？

布莱恩·克雷格：作为普林斯顿大学的研究员，我主要关注在自己的研究项目。我花了很多时间准备会议论文和文章以供发表。这意味着我特别依赖图书馆和他们的特殊收藏部门，我可以在这里研究稀有且令人兴奋的 十八 世纪书籍、版画、素描和手稿。普林斯顿——以及更广泛的纽约 – 费城地区——拥有一些著名的的艺术史研究机构，包括许多博物馆和文献中心。

除了我的个人项目，我还喜欢参加研讨会——尽管普林斯顿大学提供了太多的资源，以至于我通常难以选择去参加哪一个！我特别高兴偶尔能进行客座演讲和讲座，这令我能够在一个非常有启发性的学术环境中分享我的研究：在普林斯顿，总是有人能以新的角度来审视一个问题。

同样，我也经常会与专家进行非正式讨论。一名艺术史学家，为了更好地写作和教授艺术，我也需尽可能多去了解艺术。因此，我有幸能每个月花几个下午去参观博物馆、城市、花园和建筑作品。

普林斯顿是一个生活和工作的好地方，美丽的校园里有着美国建筑史上几个重要时刻的建筑。有受牛津剑桥大学启发的庭院，人们可以坐在那里喝杯咖啡，聊聊天，也有绿树成荫的地方可以漫步。普林斯顿是个令人感到平静的城市，但总有事情发生。它靠近纽约市和费城，所以在享受参观著名建筑和博物馆的同时，你也可以很容易地感受到大城市的喧嚣。

As a research fellow at Princeton University, my main focus is on my own research projects. I spend a lot of my time preparing conference papers and articles for publication. This means I particularly rely on libraries and their special collections departments, where I study rare and exciting eighteenth-century books, prints, drawings and manuscripts. Princeton – and more broadly the New York – Philadelphia area – has some great institutions for art historical research, including many museums and documentation centres.

Alongside my individual projects, I enjoy taking part in seminars – although Princeton has so much to offer that it is often difficult to choose which one to attend! I am especially happy to give occasional guest talks and lectures, which allow me to share my research within a very stimulating intellectual environment: at Princeton, someone always comes up with a new angle under which a problem can be scrutinised. Likewise, I often meet specialists for informal discussions. As an art historian, I also need to see as much art as possible, in order to be able to better write and teach about it. It is thus a privilege to spend a few afternoons every month visiting museums, cities, gardens and works of architecture.

Princeton is a wonderful place in which to live and work, with a beautiful campus featuring buildings from several important moments within the history of American architecture. There are courtyards inspired by Oxbridge colleges where one can sit and enjoy a coffee and a chat, and leafy areas for a stroll under the trees. Princeton feels quiet and yet there is always something happening. It is close to New York City and Philadelphia, so one can easily get a big-city buzz while enjoying great architecture and museums.

龚鹏程：西方学者多善于研究西方艺术，喜欢研究其历史的脉络。但在历史中，亚种艺术对欧洲艺术产生过深远的印象。你如何认知亚洲艺术？亚洲艺术如何影响了西方艺术家？

布莱恩·克雷格：当然，亚洲艺术有着无穷无尽的魅力，我对山水画、花园以及将建筑融入景观尤其感兴趣，这种品味自然对映了我对西方文化中感兴趣的类似主题。我个人最喜欢的是雪舟等杨和夏圭的作品（尤其是山水十二景），最近我也在纽约大都会博物馆的中国画廊呆上了很长时间，我在那发现了一幅冬景特别引人入胜，我非常喜欢尤荫的长啸轩图。在我梦寐以求想参观的的景点中，我可能会提到中国苏州的留园、韩国昌德宫的宙合楼和日本的姬路城。 《石头记》中描述的花园、氛围和物质文化同样令人鼓舞。

在不同的历史时期，亚洲艺术在许多方面都对西方非常重要。我特别想指出一些与我自己的研究领域相近的例子。18世纪，欧洲从中国和日本进口了大量的瓷器和漆器作为奢侈品。在这些物品上，富有的欧洲人经常会看到带有小亭子的风景画。这些图像在一定程度上激发了风景园林的新时尚，其拥有者很快便决定用中国凉亭来装饰他们的公园。建筑师们遵从了他们的意愿，他们的设计基于中国原版印刷品和欧洲旅行者带回的文献。许多这样的亭子保留了下来，有些现在还可以去参观，例如邱园（伦敦郊外）、波茨坦（柏林附近）和 沙皇村（圣彼得堡附近）。一个特别迷人但鲜为人知的例子是在巴黎郊外的卡桑。法国女王玛丽-安托瓦内特在她的小特里亚农游乐屋旁边建造了一个中国式旋转木马。她还有一个“小村落”或人工村庄，我相信其中的一些特征可能受到了来自中国的圆明园四十景图中“慈云普护”印刷物的启发。事实上，中国建筑的图案经常被运用在相当典型的欧洲木制建筑的花园凉亭中：例如，在休伯特·罗伯特(Hubert Robert)的Chinese Pavilion with Figures （中式凉亭与人物）（（都柏林附近的拉斯伯勒大厦）中，亭子在桥上的位置和它的格子图案是典型的中国风格，而茅草屋顶和木框架的建造技术则是欧洲风格。在十八世纪中叶，不同文明之间的文化交流中，最有趣的一个方面是，当西方君主在他们的宫殿周围建造中国的亭台或村庄时，中国的皇帝正在他自己的圆明园里布置了一系列欧洲建筑。

Asian art is of course endlessly fascinating, and I am especially interested in landscape painting, gardens, and the insertion of architecture into a landscape, a taste that naturally reflects my interest in similar themes within Western culture. Personal favourites include works by Sesshū Tōyō and Xia Gui (especially the Twelve Views from a Thatched Hut), and I have recently spent a long time in the Chinese galleries of the Metropolitan Museum in New York, where I found a Winter Landscape (attributed to Jiang Song) to be particularly absorbing, and very much enjoyed examining You Yin’s The Studio of Prolonged Soughing. Among the sites I dream of visiting, I might mention Suzhou’s Lingering Garden in China, the Juhamnu Pavilion at Changdeokgung Palace in Korea, and Himeji Castle in Japan. The garden, atmosphere and material culture described in The Story of the Stone has been equally inspiring.

Asian art has been highly important for the West in many ways, during different historical periods. I would especially like to point out some examples that lie close to my own field of research. Eighteenth-century Europe imported large quantities of porcelain and lacquer from China and Japan, as luxury goods. On these objects, wealthy Europeans would often see representations of landscapes with small pavilions. These images partly inspired the new fashion for landscape gardens, whose owners soon decided to adorn their parks with Chinese pavilions. Architects complied with their wishes, basing their designs both on original Chinese prints and on documentation brought back by European travellers. Many of these pavilions remain, and some can be visited, for example at Kew (outside London), Potsdam (near Berlin), and Tsarskoe Selo (near Saint Petersburg). A particularly charming but little-known example is to be found at Cassan outside Paris. Marie-Antoinette, Queen of France, built a Chinese merry-go-round right beside her Petit Trianon pleasure house. She also had a “Hameau” or artificial village, some features of which may – I believe – have been inspired by a Chinese print (Cíyún pǔhù 慈云普护) from the series Forty Scenes of the Yuanmingyuan. Indeed, motifs from Chinese architecture were often inserted into garden pavilions that were in most regards rather typical of European wooden construction: for example, in Hubert Robert’s painting Chinese Pavilion with Figures (Russborough House, near Dublin), the pavilion’s position on a bridge and its latticework motif are typically Chinese, while its thatched roof and wooden frame construction technique are European. One of the most interesting aspects of cultural exchanges between civilisations in the mid-eighteenth century is that, while Western sovereigns were erecting Chinese pavilions or villages around their palaces, the Emperor of China was laying out a group of European buildings in his own garden of Yuanmingyuan.

龚鹏程：你的个人学术经历非常有趣，你此前曾获得过专业的大提琴演奏硕士学习，后来又攻读艺术史。除了是艺术史学家，你还是专业的音乐家。你作为音乐家的职业是否影响了您的学术研究和学术身份？

布莱恩·克雷格：在我的研究中，我还没有试图将音乐史与艺术史联系起来，尽管我计划在未来这样做，但我相信在某些方面，在塑造我成为一名学者的过程中，我曾接受的音乐教育发挥了重要的作用。

首先，在学习一首困难的音乐作品时，自然会培养出毅力，学习新曲的过程通常需要几个月的时间，而这与从头到尾进行一个研究项目所需的努力相匹配。

理解特定历史环境的文化不仅需要熟悉研究对象，还需要了解更广泛的背景：我认为视觉艺术、音乐和文学的研究都必须同时进行。出于这个原因，我特别高兴我已详细了解了西方音乐的历史，不仅通过听，还通过演奏和对其分析。演奏音乐往往意味着要从纸上的一组符号重构几十年甚至几个世纪前首次创作的文化作品，而理解历史创作的任务也类似于我作为艺术史学家的工作。

通过表演，我也去了许多不同的音乐厅，它们的建筑形式往往非常有趣，从而与我目前的研究建立了进一步的联系。事实上，在未来的项目中，我可能会研究音乐空间的使用和/或创造，不仅在音乐厅或教堂，而是在更意想不到的环境中，如公共空间、宫殿楼梯和花园。

在户外演奏的音乐，尤其是在湖边演奏音乐，是一个众所周知的中国文化主题，但在西方文化中，尽管我们知道它确实发生过，它并没有被广泛地研究。

I have not yet sought to connect the history of music to that of art in my research – though I plan to do so in the future – but I believe that my musical education has played a significant role in shaping some aspects of my profile as a scholar. Firstly, there is of course the stamina developed when learning a difficult musical piece, over a period often spanning several months, which matches the effort required to conduct a research project from beginning to end. Understanding the culture of a specific historical environment also requires a familiarity not only with the object one is studying but with a broader context: I contend that the visual arts, music, and literature must all be examined side by side. For this reason, I am particularly glad to have acquired a detailed knowledge of the history of Western music, not only by listening to it but also by performing and analysing it. Playing music often means reconstructing, from a set of notations on paper, a cultural work first written decades or even centuries ago, and this task of understanding a historical creation is similar to my work as an art historian. Performances have also led me to many different concert halls, whose architecture is often very interesting, thus creating further connections with my present research. Indeed, in a future project I may investigate the use and/or creation of spaces for music, not only in concert halls or churches, but also in more unexpected settings such as public spaces, palace stairs and gardens. Music performed out of doors, particularly around lakes, is a well-known theme of Chinese culture, but in Western culture it is not widely studied, although we know that it did take place.

龚鹏程，1956年生于台北，台湾师范大学博士，当代著名学者和思想家。著作已出版一百五十多本。

办有大学、出版社、杂志社、书院等，并规划城市建设、主题园区等多处。讲学于世界各地。并在北京、上海、杭州、台北、巴黎、日本、澳门等地举办过书法展。现为美国龚鹏程基金会主席。

风景园林考研(风景园林考研考哪些科目)

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