园林营造遵循绘画原则，绘画取材于园林，两者相辅相成，中国山水画论中的“位置经营”原则同样适用于中国园林之中。以《海山仙馆图卷》为研究对象，运用图像学图文互证方法，并根据经典国画中花木类型的表达，识别和推测出图卷中的 10 种花木，并结合中国山水画论及中国古典园林造园理论，探究图卷中呈现出的花木之间孤植、丛植及花木与建筑虚实相生、疏密有致、藏露互补、动静皆宜的位置经营手法特征。通过分析园林图像与真实园林的关联与差异，探究园林图像体现出的古典园林景色与山水画意范式的叠加，“再现”与“写意”的融合。

Garden construction follows the principle of painting, and painting is based on gardens. The two complement each other. The principle of “position management” in Chinese landscape painting theory is also applicable to Chinese gardens. This paper takes Haishan Xianguan Garden Scroll as the research object, identifies and summarizes the types of plant configuration in the picture scroll by using the method of mutual proof of graphics and text in iconography and according to the expression of plant configuration types in classical Chinese paintings. Combining the theory of Chinese landscape painting and the theory of Chinese classical garden gardening, the paper explores the position management techniques between plants and between plants and buildings in Haishan Xianguan Garden Scroll, such as isolated planting and group planting of plants, as well as the configuration of plants and buildings with a clear relationship, suitable density, proper covering, and a combination of dynamic and static landscapes. By analyzing the correlation and difference between garden images and real garden, the paper explores the superposition of the real landscape of classical gardens and the landscape painting paradigm reflected in garden images, and the integration of “reproduction” and “freehand brushwork”.

TU986