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圓明園[View] [Edit] [History]ctext:484511
Relation | Target | Textual basis |
---|---|---|
type | place | |
name | 圓明園 | |
authority-wikidata | Q907894 | |
link-wikipedia_zh | 圆明园 | |
link-wikipedia_en | Old_Summer_Palace | |
location | 116.2994454,40.0070425 |
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In 1860, during the Second Opium War, as the Anglo-French expedition force steadily approached Beijing, two British envoys, a journalist for The Times and a small escort of British and Indian troopers were sent to meet Prince Yi under a flag of truce to negotiate a Qing surrender. Meanwhile, the French and British troops reached the palace. As news emerged that the negotiation delegation had been imprisoned and tortured, resulting in 20 deaths, the British High Commissioner to China, James Bruce, 8th Earl of Elgin, retaliated by ordering the complete destruction of the palace, which was then carried out by British troops. The palace was so large – covering more than – that it took 4,000 men 3 days of burning to destroy it. Many exquisite artworks – sculptures, porcelain, jade, silk robes, elaborate textiles, gold objects and more – were looted and are now found in 47 museums around the world, according to UNESCO.
Read more...: Overview Location Western mansions History Destruction Aftermath Recent developments and plans Gallery
Overview
The Imperial Gardens at the Old Summer Palace were made up of three gardens:
• Garden of Perfect Brightness (圓明園 Yuánmíng Yuán)
• Garden of Eternal Spring (長春園 Chángchūn Yuán)
• Garden of Elegant Spring (綺春園 Qǐchūn Yuán)
Together, they covered an area of , almost five times the size of the Forbidden City grounds and eight times the size of the Vatican City. Hundreds of structures, such as halls, pavilions, temples, galleries, gardens, lakes and bridges, stood on the grounds.
In addition, hundreds of examples of Chinese artwork and antiquities were stored in the halls, along with unique copies of literary works and compilations. Several famous landscapes of southern China had been reproduced in the Imperial Gardens.
Location
The palace was built on a site abundant in fresh water, near the Jade Spring Hill. The region was renowned for its beautiful landscape. Country homes were built here beginning in the 13th-century, during the rule of the Yuan dynasty, then in the 16th-century Li Wei of the Ming Dynasty built the Qinghua Yuan estate at the site.
Western mansions
The most visible architectural remains of the Old Summer Palace can be found in the Western mansions (Xiyang Lou) section of 18th-century European-style palaces, fountains and formal gardens. These structures, built partly of stone but mainly with a Chinese infrastructure of timber columns, coloured tiles and brick walls, were planned and designed by the Jesuit Giuseppe Castiglione with Michel Benoist responsible for the fountains and waterwork. Qianlong Emperor became interested in the architectural project after seeing an engraving of a European fountain, and employed Castiglione and Benoist to carry out the work to satisfy his taste for exotic buildings and objects.
Western-style palaces, pavilion, aviaries, a maze, fountains, basins, and waterworks as well as perspective paintings organized as an outdoor theatre stage were constructed. A striking clock fountain was placed in front of the largest palace, the Haiyan Tang. The fountain had twelve animals of the Chinese zodiac that spouted water in turn every 2 hours, but all spouting water in concert at noon. These European-style buildings however only occupied an area along the back of the Garden of Eternal Spring that was small compared to the overall area of the gardens. More than 95% of the Imperial Gardens were made up of Chinese-style buildings. There were also a few buildings in Tibetan and Mongol styles, reflecting the diversity of the Qing Empire.
History
Initial construction of the Old Summer Palace began in 1707 during the reign of the Kangxi Emperor. It was intended as a gift for the emperor's fourth son, Prince Yong (the future Yongzheng Emperor), who would greatly expand the Imperial Gardens in 1725. The Yongzheng Emperor also introduced the waterworks of the gardens, creating lakes, streams and ponds to complement the rolling hills and grounds, and named 28 scenic spots within the garden. The Yongzheng Emperor also constructed a number of "living tableaux" he and his family could observe and interact with. One such scene was called "Crops as Plentiful as Fields" which involved court eunuchs pretending to be rural farmers on an island. Another was called the "Courtyard of Universal Happiness" which was a mock village where the imperial family could interact with shopkeepers, again eunuchs in disguise.
During the Qianlong Emperor's reign, the second expansion was well underway and the number of scenic spots increased to 50 (the emperor personally directed the construction process). The splendors of the palace and the grounds were depicted in the Forty Scenes of the Yuanmingyuan, an album produced in 1744 by the Qianlong Emperor's court painters. The construction of the European-style palaces was initiated in 1747.
The last European appearance in the Old Summer Palace in the context of traditional Chinese imperial foreign relations was a diplomatic mission in 1795 representing the interests of the Dutch and Dutch East India Company. The Titsingh delegation included Isaac Titsingh, the Dutch-American Andreas Everardus van Braam Houckgeest, and the Frenchman Chrétien-Louis-Joseph de Guignes. Both published complementary accounts of the mission. Titsingh died before he could publish his version of the events.
Destruction
In 1860, during the Second Opium War, British and French expeditionary forces, having marched inland from the coast at Tianjin (Tientsin), arrived in Beijing (Peking).
In mid-September, two envoys, Henry Loch and Harry Parkes went ahead of the main force under a flag of truce to negotiate with Prince Yi and representatives of the Qing Empire at Tongzhou (Tungchow). After a day of talks, they and their small escort of British and Indian troopers (including two British envoys and Thomas William Bowlby, a journalist for The Times) were taken prisoner by the Qing general Sengge Rinchen. They were taken to the Ministry of Justice (or Board of Punishments) in Beijing, where they were confined and tortured. Parkes and Loch were returned after two weeks, with 14 other survivors. 20 British, French and Indian captives died. Their bodies were barely recognizable.
On the night of 5 October, French units diverted from the main attack force towards the Old Summer Palace. At the time, the palace was occupied by only some eunuchs and palace maids; the Xianfeng Emperor and his entourage had already fled to the Chengde Mountain Resort in Hebei. Although the French commander Charles Cousin-Montauban assured his British counterpart, James Hope Grant, that "nothing had been touched", there was extensive looting by French and British soldiers. There was no significant resistance to the looting, even though many Qing soldiers were in the vicinity.
On October 18, Lord Elgin, the British High Commissioner to China, retaliated against the Chinese resistance by ordering the destruction of the Old Summer Palace. Destroying the Old Summer Palace was also a warning to the Qing Empire not to use kidnapping as a political tactic against Britain. It took 3,500 British troops to set the entire place ablaze, and the massive fire lasted for three days. Unknown to the troops, some 300 remaining eunuchs and palace maids, who concealed themselves from the intruders in locked rooms, perished with the burnt palace buildings. Only 13 buildings survived intact, most of them in the remote areas or by the lakeside. (The palace would be sacked once again and completely destroyed in 1900 when the forces of the Eight-Nation Alliance invaded Beijing.) Charles George Gordon, who was then a 27-year-old captain in the Royal Engineers and part of the 1860 Anglo-French expeditionary force, wrote about his experience:
British and French looters preferred porcelain (much of which still graces British and French country houses) while neglecting bronze vessels prized locally for cooking and burial in tombs. Many such treasures dated back to the Shang, Zhou and Han dynasties and were up to 3,600 years old. A specific exception was the looting of the Haiyantang Zodiac fountain with its twelve bronze animal heads. Some of the most notable treasures ended up at the Chinese Museum in the Palace of Fontainebleau, which Empress Eugénie specifically set up in 1867 to house these newly acquired collections.
Once the Old Summer Palace had been reduced a sign was raised by the invaders with an inscription in Chinese stating, "This is the reward for perfidy and cruelty". The burning of the palace was the last act of the war.
According to Professor Wang Daocheng of the Renmin University of China, not all of the palace was destroyed in the original burning. Instead, some historical records indicate that 16 of the garden scenes survived the destruction in 1860. Wang identifies the Republican era and the Cultural Revolution as two significant periods that contributed further to the destruction of the Old Summer Palace. Photographic evidence and eyewitness accounts make it clear that (although the palace complex was initially protected by the Qing emperors) it was during the Boxer Rebellion and in the immediate aftermath of the fall of the dynasty when most of the surviving structures were destroyed. Further, the Imperial household itself sold off the magnificent trees in the garden for revenue during the 1890s and after 1900 the palace was used as a veritable builder's yard for anyone who wanted construction materials. Entire buildings were built of materials taken from the Yuanming Yuan and smart Peking houses were adorned with sculptures and architectural elements plundered from the site.
Like the Forbidden City, no commoner had ever been allowed into the Old Summer Palace, as it was used exclusively by the imperial family of the Qing Empire. The burning of the Old Summer Palace is still a very sensitive issue in China today. The destruction of the palace has been perceived as barbaric and criminal by many Chinese, as well as by external observers. In his "Expédition de Chine", Victor Hugo described the looting as, "Two robbers breaking into a museum. One has looted, the other has burnt. ... one of the two conquerors filled its pockets, seing that, the other filled its safes; and they came back to Europe laughing hand-in-hand. ... Before history, one of the bandits will be called France and the other England." In his letter, Hugo hoped that one day France would feel guilty and return what it had plundered from China.
Mauricio Percara, journalist and Argentine writer who works at China Radio International, talks about the apology through the literature by Victor Hugo and mentioned in his story entitled redemption the bust of the French writer located in the old Summer Palace: "at the site where their French peers ever posed his destructive feet today a radiant bust of the great Victor Hugo rises. From the old Summer Palace, the gardens of perfect brightness, a righteous French poses her look of stone in the snow falling obediently on the worn floor of the capital of the North."
Aftermath
Following the sacking of the Old Summer Palace, the Qing imperial court relocated to the Forbidden City.
In 1873, the teenage Tongzhi Emperor attempted to rebuild the Old Summer Palace, on the pretext of turning it into a place of retirement for his two former regents, the empress dowagers Ci'an and Cixi. However, the imperial court lacked the financial resources to rebuild the palace, and at the urging of the court, the emperor finally agreed to stop the project in 1874. During the 1880s, an adjacent imperial gardens, the Gardens of Clear Ripples (the present-day Summer Palace) was restored for the use of Empress Dowager Cixi as a new summer resort, albeit on a smaller scale.
A few Chinese-style buildings in the outlying Elegant Spring Garden also survived the fire. Some of these buildings were restored by the Tongzhi Emperor before the project was abandoned. In 1900, many of the buildings that had survived or had been restored were burnt for good by the forces of the Eight-Nation Alliance.
Most of the site was left abandoned and used by local farmers as agricultural land. Only in the 1980s was the site reclaimed by the government and turned into a historical site. The Yuanmingyuan Artists Colony became famous for germinating a new wave of painters such as Fang Lijun and musicians such as Fa Zi on the site before it was shut down by the government and many artists relocated to the Songzhuang area outside of Beijing. Debates in the 1990s arose regarding restoration and development issues and a more recent environmental controversy brought a new political life to the park as it became a symbol of China's "national wound".
In the present day, the ruins of the European-style palaces are the most prominent building remnants on the site. This has misled some visitors to believe wrongly that the Old Summer Palace was made up only of European-style buildings.
Recent developments and plans
Haiyantang Water Clock Fountain. The original figures in a drawing before the looting with all 12 head figures-seven of the 12 figures have been recovered-five are still missing
There are currently several plans in China for rebuilding the Imperial Gardens, but such moves have been opposed on the grounds that they will destroy an important relic of modern Chinese history. In addition, any rebuilding would be a colossal undertaking, and no rebuilding of above-the-ground structures has been approved. However, the lakes and waterways in the eastern half of the gardens have been dug up again and refilled with water, while hills around the lakes have been cleared of brushwood, recreating long-forgotten vistas. Several temples located inside the Old Summer Palace grounds have also been refurbished and rebuilt.
In February 2005, work was undertaken to reduce water loss from the lakes and canals in the Old Summer Palace by covering a total of of the beds with a membrane to reduce seepage. The park administration argued the prevention of water loss saves the park money, since water would have to be added to the lakes only once per year instead of three times. However, opponents of the project, such as Professor Zhengchun Zhang of Lanzhou University, feared the measure will destroy the ecology of the park, which depends on the water seepage from the lakes and the connection between the lakes and the underground water system. It is also feared the reduced seepage from the lakes will disturb Beijing's underground water system which is already suffering from depletion. There are also concerns about the gardens, which is a designated heritage site in the city of Beijing, changing their natural appearance. This issue, when brought up with the general public several weeks later, immediately caused an uproar from the press and became one of the hottest debates on the Internet in China due to the still painful memory of foreign humiliation epitomised in the destruction of the Old Summer Palace. The Beijing Environmental Protection Bureau (BEPB) recently conducted an assessment of the environmental impact of the measure.
A partial copy of the palace, the "New Yuanming Gardens" (圆明新园; 圓明新園), was built in 1997 in the southern city of Zhuhai in Guangdong province, as an amusement park of , including an lake.
Up to the present, many relics which were taken from the Old Summer Palace remain in foreign museums and private collections. Although the Chinese government has tried to recover them, only a few statuettes from the Garden of Eternal Spring have actually been returned. Seven of the 21 columns displayed at the KODE Art Museums in Bergen, Norway were returned to Peking University in 2014 as part of a deal set up by alumnus Huang Nubo, a real estate developer who donated 10 million Norwegian kroner (US$1.6 million) to the museum, according to the China Daily.
It is still debated in China whether to apply for an inclusion of the Old Summer Palace on the list of UNESCO World Heritage Sites.
The ruins of the Old Summer Palace remain open to the public and are an important tourist attraction in Haidian District. They can be accessed from Yuanmingyuan Park station on Line 4 of the Beijing Subway.
Gallery
Hundreds more photographs of the site can be found on the website Colonial Architecture Project
File:Yuanmingyuan Front lake of Jiuzhou 20130324.JPG|Front Lake of Jiuzhou (九州前湖), on the other side of the lake lies the site of Jiuzhou Qingyan (九洲清晏)
File:杏花春馆遗址01 20130324.JPG|Apricot Blossom Spring Villa (杏花春馆)
File:坦坦蕩蕩遗址01 20130201.jpg|Ruins of The Magnanimous World (坦坦蕩蕩)
File:Ruyi Bridge in Yuanmingyuan Ruins 20130318.JPG|Ruyi Bridge (如意桥) in Yuanmingyuan
File:Yuanmingyuan_lake2.jpg|Fuhai Lake (福海) south bank (夹镜鸣琴)
File:Bieyou Dongtian 20130323.JPG|A stoneboat in the Yuanmingyuan (别有洞天)
File:含经堂 20130126.jpg|Ruins of Hanjingtang (含经堂)
File:Ruins of Yuanyingguan 20130323.JPG|Yuanyingguan (远瀛观) Ruins North side
File:Yuanmingyuan haiyan.jpg|Historic drawing of Haiyantang (海晏堂)
File:Yuanmingyuan Haiyantang 20130126.JPG|Ruins of Haiyantang
File:Fangwaiguan.jpg|Ruins of the Fangwaiguan (方外观)
File:Huanghuazhen.jpg|Restored Huanghuazhen (黄花阵/万花阵) in the Western Mansions (西洋楼) area
File:Belvedere of the God of Literature, Summer Palace, Beijing, 6–18 October, 1860 (cropped).jpg|Belvedere of the God of Literature, Summer Palace, Beijing, 6–18 October, 1860
File:Felice Beato (British, born Italy - (Porcelain Tower) - Google Art Project.jpg|Porcelain Tower, Summer Palace, Beijing, 6–18 October, 1860
File:Felice Beato (British, born Italy - (The Great Imperial Porcelain Palace (Yuan Ming Yuan), Pekin, October 1860) - Google Art Project.jpg|Great Imperial Porcelain Palace, Summer Palace, Beijing, 6-18 October 1860
File:Felice Beato (British, born Italy - (The Great Imperial Palace (Yuan Ming Yuan) Before the Burning, Pekin, October 18, 1860) - Google Art Project.jpg|Summer Palace, Beijing, 6-18 October, 1860
File:Pagoda at Old Summer Palace, Yu-chuan Shan, Jade Spring Hill LACMA M.83.302.36.jpg|Pagoda at Old Summer Palace, Yu-chuan Shan, Summer Palace, Beijing, 6-18 October 1860
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圓明園規模宏偉,運用了各式園林風格及造園技巧,其詩畫意境被大多數中國園林學家認為是中國園林藝術的頂峰作品,是中國古典園林平地造園、堆山理水集大成的典範。清朝時一些外國傳教士參觀圓明園後將其稱作「萬園之園」。
1860年,圓明園在英法聯軍之役中被洗劫破壞後放火焚毀,文化大革命期間再次遭到破壞,歷經戰亂劫掠,現時僅存遺址。在中華人民共和國政府成立圓明圓管理處後開始實施保護與利用。於1979年將其列入為文物保護單位,於1988年,圓明園遺址被中華人民共和國國務院公布為第三批全國重點文物保護單位之一。圓明園遺址中部和東部成立了圓明園遺址公園。2008年7月29日,圓明園管理局宣布,開放九州景區。
圓明園在清室150餘年的創建和經營下,曾以其宏大的地域規模、傑出的營造技藝、精美的建築景群、豐富的文化收藏和博大精深的民族文化內涵而享譽于世,被譽為「一切造園藝術的典範」,被法國作家維克多·雨果稱譽為「理想與藝術的典範」。道光朝時,國事日衰,財力不足,但寧撤萬壽、香山、玉泉「三山」的陳設,罷熱河避暑與木蘭圍獵,仍不放棄圓明三園的改建和裝飾。1860年英法聯軍洗劫圓明園,文物被劫掠,同治帝時欲修複圓明園,後因財政困難,被迫停止,改建其他建築。八國聯軍之後,又遭到官僚、軍閥巧取豪奪的毀滅打擊,終變成一片廢墟。
Read more...: 歷史 營建 英法聯軍之役的破壞 清末與民國時期的破壞 共和國建國初期的破壞 當代的保護與修葺 園林特色 園林布局 圓明園 總體布局 圓明園四十景 長春園 總體布局 綺春園 總體布局 圓明園附屬園林 現存遺蹟 十二生肖獸首銅像 仿造 流行文化 對聯 影視作品
歷史
營建
圓明園位于北京城西北方,在古代為水泊密布,草木繁盛之所。自遼代和金代起,附近便有不少皇家行宮和寺廟道觀。元代時,開始有私人在這裡營建私家園林,到了明代更加盛行,這一片地區都被稱作「丹菱沜」。
清朝的康熙帝曾多次南巡,對江南的景致頗為傾慕,于是他便在丹菱沜修建了具有江南風格的園林式行宮——暢春園,同時還將附近的一些中小型園林賞賜給親王貴胄,其中便有圓明園,是康熙帝于1707年賜給皇四子胤禛(後來繼位為雍正帝)的賜園,位于海澱後華家屯,占地範圍約千畝,並得到康熙帝賜匾額「圓明」。
圓明園的始建年代至今尚有爭議。最普遍的說法是,圓明園始建于清康熙四十八年(1709年),其根據是乾隆年間編纂出版的《欽定日下舊聞考》。第二種比較普遍的說法是,此地原為明代故園,經過清康熙帝四十八年修葺後,賜予皇四子胤禛。明代故園說,起始于清同治十年(1871年)徐樹鈞的《圓明園詞序》,此文肯定圓明園地域內原有太監別業。除以上兩種說法外,還有圓明園始建于康熙三十九年前後、康熙四十年等說法,另外還有清代初年、康熙四十年以後、康熙末年等籠統的說法。2005年張恩蔭根據《康熙實錄》提出圓明園始建不會晚于康熙四十六年(1707年)。
雍正之後的乾隆帝于乾隆二年(1737年)移居圓明園,對該園進行第二次擴建。乾隆帝親自主持了圓明園的擴建。乾隆帝熱衷于遊冶,一生多次造訪江南,廣泛地吸取各地園林的精華,融入圓明園中。擴建工程于乾隆九年(1744年)大致告一段落,形成了「圓明園四十景」。此後百餘年間,清帝在圓明園園居時間多于在北京城內的皇宮紫禁城。
在圓明園建成之後,其東面和南面又先後興建了兩座附園,即長春園和綺春園。長春園始建于乾隆三年(1738年),于乾隆十四年(1749年)落成。乾隆二十四年由傳教士設計監造的長春園內的西洋樓建築園林基本建成。綺春園則是在乾隆三十七年(1772年)由許多親王、公主賜園合併擴建而成,嘉慶年間又擴建西路,併入親王及公主賜園,奠定綺春園的規模。圓明、長春、綺春三園相對獨立又互相連通,總體上以圓明園為主,三園統屬清廷設立的圓明園總管大臣管轄,因此一般統稱「圓明三園」或「圓明園」。按清朝制度皇家工程應歸中央六部之一的工部管理,圓明園興建則是個例外,由主管宮廷事務的內務府管理,另組工程事務所,建造所花費不受工部法規約束。
嘉慶年間,圓明三園依然有所增建。嘉慶之後,在財力不足的情況下道光帝撤了萬壽山清漪園、玉泉山靜明園、香山靜宜園的陳設,取消了熱河避暑山莊的避暑與木蘭圍場的秋獵,而不斷出資翻修圓明三園殿宇。由于國力衰敗,清朝皇室再也無力對該園進行大規模的修葺,這種狀況一直延續到咸豐十年(1860年)圓明園被英法聯軍焚毀為止。
英法聯軍之役的破壞
1856年10月,大英帝國和法蘭西第二帝國在俄羅斯帝國和美國的支持配合下,聯合發動了英法聯軍之役。英法聯軍于1860年10月6日攻抵北京德勝門、安定門等處,當時,僧格林沁、瑞麟在城北一帶稍事抵抗,即行逃散。法軍先行,于當天下午經海澱,1860年10月6日傍晚,英法聯軍闖入圓明園大宮門。至晚7時,法國軍攻占了圓明園。管園大臣文豐投福海而死。英法聯軍入園的第二天就不再能抵抗物品的誘惑力,聯軍士兵大肆劫掠園中的珍寶和陳設物,中國的民眾也直接參與了劫掠、焚毀圓明園的行動。清廷曾捉拿英國軍使巴夏禮一行39人,額爾金于10月17日已知被捕的英使中13人已經被虐至死。額爾金為了報復,此于10月18日下令放火燒園,以教訓咸豐帝。圓明園大火持續燒了三天三夜。
圓明園被焚後,尚有部分景點倖存。據同治十二年(1873年)的內務府調查報告,園內倖存建築有圓明園的廓然大公、紫碧山房、魚躍鳶飛、耕雲堂、慎修思永、知過堂、課農軒、順木天、春雨軒、杏花春館、文昌閣、魁星閣、蓬島瑤台、萬方安和十字亭、藏舟塢,長春園的林淵錦鏡、海岳開襟,綺春園大宮門、莊嚴法界、正覺寺等建築。殘存建築多已年久失修。同治十二年,同治帝打算擇要重修圓明園,計劃修複圓明園前朝區、九洲區,以及福海以西以北的少數景點,並將綺春園擇要修複,改名「萬春園」,作為奉養兩宮(慈安、慈禧)太后的居所。但該計劃終因財力不足而在開工11個月後作罷。此後對園內一些景點仍有小規模維修,慈禧太后和光緒帝曾多次到園中游幸。此時的圓明園除倖存建築外仍保留有大量的名貴花木、山水疊石、建築基址,橋梁、道路、園牆和園門大多完好。圓明園仍屬皇家禁苑,管理事務大臣及以下官員職務都有保留。法國作家雨果曾對破壞給予強烈譴責,稱之為「兩個強盜」。
清末與民國時期的破壞
1900年八國聯軍攻入北京,圓明園又一次遭到破壞,殘餘陳設被洗劫,倖存建築被拆毀,大量古樹被砍伐,圓明園被徹底摧毀。但目前沒有史料証明是八國聯軍破壞了圓明園,有學者認為破壞圓明園的是附近的八旗兵、太監以及地痞。
光緒三十年(1904年)裁撤了圓明園的部分官員。此後陸續有工廠和居民遷入圓明園遺址從事生產活動或居住。遷入者在園內平山填湖、毀園還耕,給遺址造成了極大的破壞。
清朝滅亡後的數十年裡,圓明園遺址殘料繼續受到劫掠。園內的方磚、條石、石料、漢白玉雕刻、太湖石、青片石等建築材料紛紛被軍閥官僚運走修建私園和陵墓,圓明園虎皮石圍牆被拆除修路。此外也有一部分圓明園遺物被安放于公共場所,如長春園門銅麒麟、安佑宮丹陛石、水木明瑟碑先後于1910年至1937年被移往頤和園;安佑宮華表、石麒麟、西洋樓線法橋和翻尾石魚、梅石碑、蒔花碑、文源閣碑被分別移至燕京大學和北京圖書館舊館;蘭亭八柱碑、遠瀛觀石欄桿和「青蓮朵」等珍貴太湖石于1915年移往中山公園;長春園大東門石獅子及基座移至正陽門和新華門。西洋樓遺址的漢白玉及磚瓦也多被軍閥官僚運走,或被各家石作坊買去,就地改刻為其他石料。抗日戰爭日占時期,園內部分遺址在「獎勵農業」的口號下被平山填湖,改為水田。
共和國建國初期的破壞
1950年代,周恩來曾指示:遺址要保護好,地不要撥出去,以後有條件可修複。曾計劃將中國科學院北京植物園定址于此,但1960年代園內土地大多被附近生產隊改為農田,大量人口迅速湧入,相繼拆除了圓明園福海石駁岸、舍衛城殘餘城牆及地基、萬春園三孔橋、運料門、長春園七孔閘等殘存建築,以及殘留的全部園牆,並砍伐了園內殘存的唯一一株花神廟古樹。
根據1951年周恩來對圓明園的指示,北京市規劃局、北京市園林局以及海澱區綠化隊對圓明園遺址進行了一定程度的保護和綠化。但在文化大革命期間,圓明園遺址再次遭到破壞,建築基址和山形水系僅存輪廓。
當代的保護與修葺
1976年11月17日,海澱區設立了圓明園管理處,圓明園遺址開始得到中國政府的有效保護。管理處對圓明園東半部和西洋樓一帶的建築遺址進行了整理,1983年開始恢復長春園圍牆,1984年修整福海景區,1988年6月29日建成圓明園遺址公園對外開放。福海、綺春園大宮門、仙人承露台、鑒碧亭、西洋樓萬花陣等少數幾處景點得到複建。
1980年代後,關于圓明園是否要複建的問題,中國國內曾出現過一些爭論。支持者們認為複建圓明園可以展現國家強盛的形象,並提升民族的自尊心。而反對者們則認為那不過是造了一堆假古董,也是對中國近代史的不尊重。2000年和2002年,北京市人民政府先後公布《圓明園遺址公園規劃》和《圓明園遺址保護專項規劃》。在這兩份規劃中,提出「整體保護,科學修整,合理利用」的方針,將圓明園定位為遺址公園,以「愛國主義教育」和「歷史見証」為主旨。遺址內不進行新的構思,不增加新的景觀,重點修複原有的山形水系,允許複建長春園含經堂、正覺寺和圓明園大宮門等部分景點,但須嚴格按原樣恢復。同時占用遺址的工廠和居民也必須遷出。
2007年12月,人民網調查顯示,超過七成網友反對重建或修復圓明園,大部分網友認為,中國國恥不能忘,不應復建圓明園。
雖然當地政府已經加強了對圓明園遺址的保護,遺址仍然受到旅遊開發、影視拍攝等商業行為的破壞。圓明園管理處採取的某些保護措施也受到批評。2005年2月,圓明園管理處開始在遺址內1.33平方公里的水底鋪設防滲膜。雖然管理處聲稱這一工程的目的是防止湖水和河水滲漏,是應對北京地下水位嚴重下降的不得已和常規的辦法,仍然被環保人士批評為實際是對遺址自然生態環境的破壞。同時媒體披露包括防滲工程程序違法、部分資金去向不明和將湖心島蓬島瑤台西院租給私人使用等諸多管理問題。此外,自1975年以來,許多單位在園內大量平毀土山、填平湖泊、砍伐樹木,修建工廠、養豬場、養雞場,圓明園遺址原有山形水系和殘存的古樹植被徹底消失,尤其以綺春園被占用破壞的最嚴重。
2020年9月8日,一塊在居民家發現的圓明園獅子林太湖石回歸圓明園,這是圓明園回歸文物中首塊帶有詩句的太湖石。12月,圓明園管理處啟動「修複1860」第三期文物修複工作。
2021年2月,北京市民康睦向圓明園管理處捐贈了1933年版《實測圓明園長春園萬春園遺址形勢圖》。該地圖被媒體稱為截至2021年關于圓明園遺址最可靠的實地測繪圖。
園林特色
圓明園集中了中國園林藝術的精粹,融會了東西各種建築風格,大量運用對景、障景、借景、透景等空間處理技巧,匯聚各種造園手法,堪稱是中國園林藝術之集大成者和頂峰傑作,被西方國家稱作「萬園之園」或「東方凡爾賽宮」。
整個圓明園的規模宏大,三園的總平面呈倒「品」字形,占地面積約350萬平方米,周長10餘公里。三園共有園景123處,其中圓明園69處,長春園24處,綺春園30處,總建築面積超過16萬平方米。三園設園門19座,水閘5座。園內有殿堂樓閣、軒館廊榭等各種建築140多組,木製和石制橋梁100多座,各種風景點100多處,還收藏了大量珍貴的圖書、字畫和文房珍寶,如《四庫全書》、《古今圖書集成》和《淳化閣帖》摹版等。
圓明園是一座以水為主題的水景園,水面占全園面積的一半以上。它的水主要來自玉泉山,通過頤和園的昆明湖和清河支流萬泉河,由西馬廠鐵閘從西北注入圓明園的紫碧山房,然後散布于各園。這種將水源布置在西北角的布局參考了中國神話中天下之水發源于崑崙山的傳說。雍正年間大規模修整了水道,將全園的湖泊相連,形成了整座園林的脈絡。這些河道、湖泊和遍布全園的假山、島嶼等相互烘托映襯,具有山水寫意畫般的意境。
圓明園的景觀大量取材于中國的神話傳說和詩畫意境,如方壺勝境、蓬島瑤台(蓬萊仙島)、武陵春色(桃花源)、上下天光(洞庭湖)、杏花春館(仿杜牧杏花村詩意)等。園內仿建了許多江南名勝,稱為「縮景」,如取自杭州的「西湖十景」(西湖十景全部仿建,其中一些被計入圓明園四十景)、取自廬山的西峰秀色、取自海寧安瀾園的四宜書屋、取自南京瞻園的茹園、取自蘇州獅子林的獅子林、取自杭州汪氏莊園的小有天園等。此外長春園北部還有歐式建築群——西洋樓,這是首次在皇家園林中大規模仿建西洋建築。
圓明園主要供遊玩和休憩之用,但後來帝王們經常在此處理政事,因此園內也有許多宮殿和其他建築,如住宅、廟宇、戲樓、市肆、藏書樓、船塢等。圓明園的建築尺度比一般的皇家建築要小,顯得比較親切。建築的平面造型豐富多樣,出現了許多罕見的建築平面,如卍字形、書卷形、眉月形、田字形、方勝形、套環形等。除極少數殿堂外,建築的外觀裝飾樸素雅致,多用小式灰瓦、卷棚頂,與自然環境相協調,而內部裝潢則大都富麗堂皇,極盡奢華之能事。
在圓明園的周圍,還修建了用于觀賞遊玩的數座皇家園林(參見三山五園),親王公主賜園,翰林院、集賢館臣僚辦公退居的花園,以及泉宗廟花園、聖化寺花園、紫竹院花園等行宮花園。
圓明園內的植被和動物配置十分豐富。三園中以植物命名的景點約150處,占全園景點總數的六分之一。根據嘉慶時期圓明園內工檔記載,園內主要綠化植物花木有天台松、馬尾松、果松、刺松、白果、梧桐、桑、柏、垂楊柳、觀音柳、桃、杏、李、慄、榛、柿、海棠、玉蘭、丁香、玫瑰、山茶、梔子、波斯桃、文冠果、金銀花、連翹、棣棠、荷花、烏沙爾器、金蓮花、紫藤、石榴、葡萄、佛手、探春、芍藥、牡丹、茉莉、蘭草、桂花、梅、竹、芭蕉、羅漢松等80餘種。園內散布白鶴、孔雀、錦雞、白鷳、鴛鴦、鳳頭鴨、梅花鹿、麋鹿等鳥獸。
圓明三園原是一處多泉水的低地,在建設過程中地形地貌被重新塑造。作為平地建起的人工山水園,圓明園總體布局是比較成功的,但也存在一些缺點。最早落成的西部園區河道過窄,建築過于密集,存在園林布景簡單重複、部分空間空淡乏味(如安佑宮、山高水長、洞天深處)的情況。綺春園的平面構圖則過于散漫,沒有形成一條合理的遊覽路線。長春園的山水比例尺度最為成功。
圓明園經西方傳教士介紹至歐洲後,影響了歐洲傳統的法式幾何圖案人工園林和英式純自然風景園,人工建築與自然山水結合的中國式園林風格開始引入西方。英國造園師威廉·肯特為威爾斯親王腓特烈建造的邱園(Kew Garden)即參考了中國的造園理論。'''
園林布局
圓明園總體上是由圓明園、長春園和綺春園這三座相互連通、實為一體的園林組成的。三園可各自劃分為數十個景點,每個景點都以一組建築為中心,並搭配若干山形水系而形成。景點中的每組建築都包括了若幹個院落,而每一個院落又分別有幾幢建築。這種園中有園、層層嵌套的格局是圓明園的一個重要特徵。
圓明園
圓明園在圓明三園中面積最大,占地二百公頃。圓明園原為明代一處私家園圃,圓明園歷史之始為康熙四十八年(1709年)康熙帝為皇四子胤禛賜園題寫匾額「圓明」,雍正初年建成牡丹台(即「鏤月開雲」),雍正帝即位後從雍正三年(1725年)開始大肆擴建而成,到乾隆九年(1744年),圓明園的營建工作基本告一段落。乾隆帝依照避暑山莊康熙三十六景四字題名欽定了圓明圓四十景,分別賦詩,並命畫師繪畫修飾,此即《圓明園圖詠》。乾隆五十八年(1793年)英使馬戛爾尼來華,攜帶的禮品陳列于圓明園正大光明殿。在圓明園作為宮苑的百餘年的時間,清帝長期園居,其中雍正帝、道光帝均崩於圓明園。
圓明園可分為宮廷、九州、西北、福海和北部等五個景區。
總體布局
圓明園大宮門位于該園的正南方,門前有巨大的廣場和人工湖,湖前有影壁,寬四十五米。廣場兩側為兩廡,東西朝房各五間,複有轉角朝房及東西朝房二十七間。東邊為宗人府、內閣、吏部、禮部、兵部、都察院、理藩院、翰林院、詹事府、國子監、鑾儀衛、東四旗值房,西邊為戶部、刑部、欽天監、內務府、光祿寺、通政司、大理寺、鴻臚寺、太常寺、太僕寺、御書處、上駟院、武備院、西四旗值房。東側隔夾道還有銀庫、緞庫、燈籠庫、蠟庫、昇平署、如意館等服務建築。入門後經出入賢良門(二宮門),即是宮廷建築群,為聽政議政之所,包括正大光明殿、勤政親賢殿、保合太和殿、長春仙館和洞天深處等宮殿館舍和許多輔助建築。
正大光明殿以北是前湖,前湖以北就是九州清晏殿景區。九州是環繞後湖布置的九個島嶼,象徵「禹貢九州」。每個島上都有一處園林建築景觀,以九州清晏殿為中心,周圍有茹古涵今、坦坦蕩蕩、杏花春館、上下天光、慈雲普護、碧桐書院、天然圖畫、鏤月開雲,以及山高水長、萬方安和等如眾星捧月般的分布。這一景區是圓明園的核心區域,以宴遊為主。
九州的西北面是一組樣式繁多,功能多樣的小型園林建築,主要有鴻慈永祜、日天琳宇、月地雲居、法源樓、濂溪樂處、匯芳書院、文源閣(藏書樓,仿寧波天一閣)、武陵春色、水木明瑟、澹泊寧靜、映水蘭香、舍衛城(佛寺,放置進奉的佛像)、同樂園(戲台)等。
九州景區的東北面是寬敞舒朗的福海景區。福海是一幅廣闊的水面,寬600多米。它是圓明園的水上活動中心,設計方面借鑑了杭州西湖。湖中有蓬島瑤台,四周岸邊是蘇堤春曉、曲院風荷、澡身浴德、坐石臨流、西峰秀色、廓然大公、平湖秋月、三潭印月、方壺勝境、涵虛朗鑒、接秀山房、別有洞天、南屏晚鐘、夾鏡鳴琴等景觀。
圓明園的最北面是一條狹長的水系,頗似揚州的瘦西湖,主要以民居型建築展示水鄉田野的風光,有清曠樓、關帝廟、四宜書屋、北遠山村、魚躍鶯飛、多稼如雲、紫碧山房等建築。
圓明園四十景
• 正大光明:為圓明園正殿,建于雍正三年(1725年)。前為出入賢良門,左右有東西配殿五楹,分別為茶膳房、御書房、清茶房和軍機處。正大光明殿面闊七間,進深五間,前後有出廊,灰瓦,卷棚歇山頂。殿內有雍正帝手書楹聯「心天之心而宵衣旰食;樂民之樂以和性怡情」,及乾隆帝所書「遹求寧觀成,無遠弗屆;以時對育物,有那其居」。東壁懸御書《周書·無逸》,西壁懸《豳風圖》(至英法聯軍焚園時,似懸掛圓明園全圖)。英法聯軍攻入圓明圓時曾在此設立指揮部。殿後有壽山,山上有筍石,後移至今頤和園仁壽殿。
• 勤政親賢:又稱勤政殿,顧名思義即皇帝在圓明園時處理政事之處,殿為五楹,東為飛雲軒、靜鑒閣,北為懷清芬、秀木佳蔭、生秋庭。靜鑒閣東為保合太和、富春樓、竹林清響。
• 九洲清晏:位于前湖與後湖之間,建築密集,為皇帝寢宮。最前為圓明園殿五楹,是圓明圓最早的建築之一,康熙帝題寫的「圓明」匾額懸掛于此。後為奉三無私殿七楹,九州清晏殿七楹。東為天地一家春,西為樂安和,再西為清暉閣、露香齋、無倦齋、茹古堂、松雲樓、涵德書屋。西路後于道光年間焚毀,翻建慎德堂。道光帝晚年主要都在慎德堂居住及處理政事,島南有漢白玉石橋兩座,西為南大橋,東為如意橋。
• 鏤月開雲:雍正年間稱「牡丹台」,是圓明園最早的建築群之一。乾隆九年(1744年)改名以紀念康熙六十一年祖孫三代在此聚會賞花的往事。主體建築為紀恩堂。殿以楠木為材,上覆金碧二色琉璃瓦。旁為御蘭芬。
• 天然圖畫:位于後湖東岸,南部鑿池,北部住院,是欣賞後湖景色,遠眺西山風光最佳之所。主體建築為一方樓,樓北為朗吟樓、竹萿樓、五福堂、竹深荷靜,在庭院東側,西為靜知春事佳,東為蘇堤春曉。
• 碧桐書院:前殿三楹,中殿、後殿各五楹。建築外一彎溪流,四面環土山,其西岩石上為雲岑亭。
• 慈雲普護:南面面向後湖,與九州清晏在同一軸線上隔湖相望,西面有一個矩形「凹」字形港灣,前殿臨後湖,三楹,稱「歡喜佛場」。北為樓宇三楹。樓上祭祀觀音,樓下祭祀關帝。東為龍王殿。
• 上下天光:仿《岳陽樓記》中對洞庭湖的描寫「上下天光,一碧萬頃」而建,為臨湖樓房,上下三楹,左右有亭,樓後為平安院。
• 杏花春館:位于位于九洲景區的後湖西北,也是整個九洲景區的最高點,意仿西北崑崙山。初為矮屋疏籬,以唐代詩人杜牧在《清明》一詩中所描繪的「杏花村」為意象,仿鄉村景色而建,後進行大規模增建,景色更為精緻。
• 坦坦蕩蕩:仿杭州「花港觀魚」景,三楹,前為素心堂,後為光風霽月,東北為知魚亭,鑿池觀魚。此景位于後湖西岸,堆山低而少建築小而矮以平坦見長,可將西山景色引入。
• 茹古涵今:書房。正殿五楹,後為韶景軒、茂育齋、竹香齋。
• 長春仙館:位于九州景區西南,門三楹,殿五楹,殿後有綠蔭軒、麗景軒,西有含碧堂、林虛桂靜。原為乾隆帝身為皇子時在園內的賜居,以此自號「長春居士」。後改為皇太后在園中居所。西為藻園。
• 萬方安和:寓意天下太平之意。建于水中的建築平面呈「卍」字型房屋,共有三十三間,建築基礎築在水底似孤懸水中,室內結構巧妙,冬暖夏涼,為雍正帝喜居之所。南有文昌閣。
• 武陵春色:在萬方安和東北,過石洞,池北為五楹敞軒壺中日月長,東為天然佳妙,南為洞天日月多佳景。再過山口為桃花塢、桃源深處、綰春軒、品詩堂。
• 山高水長:為兩層五楹樓房,樓前空場為騎射區,隔河為土山,平日是圓明園禁軍練兵場所。有乾隆「土牆」詩碑。每年正月在此設宴招待外藩王公,欣賞煙火表演。東有皇子住所「十三所」。
• 月地雲居:佛寺,正殿五楹,前有方殿,後樓七楹。東為法源樓,再東為靜室,西北為劉猛將軍廟。
• 鴻慈永祜:又稱安佑宮,皇家祖祠。仿景山壽皇殿建造,為園內規格最高的建築,黃色琉璃瓦重簷歇山頂,九楹,黃琉璃瓦。殿內中為康熙帝神像,東為雍正帝,西為乾隆帝。殿門前為兩道琉璃牌坊,各有華表一對。北為紫碧山房。
• 匯芳書院:在紫碧山房之南,平面為眉月形,內有抒藻軒、涵遠樓、隨安室,隔溪有「斷橋殘雪」,仿杭州西湖十景。
• 日天琳宇:在匯芳書院之南,為佛堂。有中前樓、中後樓、西前樓、西後樓,前後樓間有穿堂,各樓之間以天橋相連。中樓前有八角亭「楞嚴壇」,東有瑞應宮。
• 澹泊寧靜:在日天琳宇東南,主體建築為「田」字形殿,東為曙光樓,北為翠扶樓,西門外為多稼軒,東為觀稼軒、稻香亭,東北為溪山不盡和蘭溪隱玉,西南為水精域、靜香屋、招鶴磴、互妙樓。
• 映水蘭香:澹泊寧靜之西,正殿五楹,西向,東南為釣魚磯,北為印月池、知耕織。
• 水木明瑟:在映水蘭香東北,室內用西洋式水力機構驅動風扇。是中國皇家園林中「用泰西水法」水聲造景的先例。北為文源閣,是清廷在全國範圍興建七座藏書樓之一,內藏《古今圖書集成》《四庫全書》。
• 濂溪樂處:圓明園中面積最大的園中之園。中心是被湖面環繞的島,外圍堆山環繞。正殿九楹,後為雲香清勝,東為香雪廊、雲霞舒捲,南為匯萬總春之廟。園中心是一個被湖面和小溪所圍繞的大島,島略偏西北,東南水面較廣,湖四周被山環繞團團圍住,山水連成一片。
• 多稼如雲:在魚躍鳶飛之西,正殿五楹,周圍為稻田。
• 魚躍鳶飛:為五楹方殿,四面有門。東為暢觀軒,西南為鋪翠環流,南有連綿土山,出山口為多子亭。
• 北遠山村:在魚躍鳶飛之東,仿農居村市而建,有蘭野、繪雨精舍、水村圖、稻涼樓、涉趣樓、湛虛書屋等建築。
• 西峰秀色:仿廬山而建,西面隔河為小匡廬,後有龍王廟。東為含韻軒、一堂和氣、自得軒、嵐鏡舫,北部花港觀魚仿杭州西湖同名景色的意境。
• 四宜書屋:仿海寧安瀾園而建,南為採芳洲、無邊風月之閣,西南為涵秋堂、遠秀山房,北為煙月清真樓。有別于綺春園四宜書屋。
• 方壺勝境:建成于乾隆三年(公元1738年),在福海東北岸灣內,是以人們想象中的仙山樓閣為題材而建造的寺廟建築,也是後代眾多學者考証後公認的圓明園中最為宏偉美麗的建築群。前為山字形月台,伸入水中,上有三座重簷大亭,仿大高玄殿習禮亭。亭後過橋為方壺勝境正殿,為二層樓宇,前後各五楹,前曰噦鸞殿,北為瓊華樓,左右為配樓,之間有天橋相連。樓閣中供奉著2000多尊佛像、30餘座佛塔。方壺勝境東為蕊珠宮。西為三潭印月、天宇空明、清曠樓、華照樓。整個方壺勝境景群于1860年10月被英法聯軍劫掠後焚毀。焚毀初期,這片遺址上還殘存有相當數量的建築構件,其中以石制為多。
• 澡身浴德:在福海西南,正殿澄虛榭,三楹,南為含清暉,北為含妙識。西南為靜香書館。北渡河為望瀛洲、溪風松月、深柳讀書堂。
• 平湖秋月:仿杭州西湖平湖秋月景色,正殿三楹,後為流水音,東北出山口為花嶼蘭皋、兩峰插雲、山水樂、君子軒、藏密樓。
• 蓬島瑤台:雍正時稱蓬萊洲。位于福海中央,為相連的三座湖心島,仿神話中東海三仙山之意。中央島嶼有門三楹、正殿七楹,西為神州三島殿,東為隨安室。東島名瀛海仙山,北島名北嶼仙居。
• 接秀山房:在福海東岸。正殿三楹,旁有琴趣軒、尋雲樓、澄練樓、怡然書屋、安隱幢。其南部原本有一組建築「觀魚躍」,後拆除新建「觀瀾堂」。
• 別有洞天:在福海東南岸,也稱清秀村,位置隱秘,經城關出入,有納翠樓、水木清華之閣、時賞齋、石舫。
• 夾鏡鳴琴:在福海南一座橫跨水上的橋亭,取李白「兩水夾明鐿,雙橋落彩虹」之詩意。東為南屏晚鐘、西山入畫、山容水態,西有湖山在望、佳山水、洞裡長春。
• 涵虛朗鑒:在福海東,正殿稱雷峰夕照,北為惠如春、尋雲榭、會心不遠,南為臨芳眾、雲錦墅、萬景天全。
• 廓然大公:是福海景區中最大的獨立園林,正殿為雙鶴齋,七楹。布局仿無錫寄暢園。北為採芝徑、峭茜居,西為環秀山房、臨河畫。
• 坐石臨流:仿紹興蘭亭,有「蘭亭八柱」石刻。東有同樂園,為園中最大的娛樂場所,建有買賣街和清音閣大戲台,同樂園北有買賣街,每年正月十三在此舉行宮市。街北為舍衛城,建有城垣、城門,內為多寶閣、仁慈殿、普福宮、最勝閣等佛寺,供奉金銀銅玉琺瑯檀木等佛像36萬尊以上。
• 曲院風荷:是九州景區到福海景區的過渡區域。仿杭州西湖曲院風荷景色,主要建築為九孔石橋(橋西牌樓題匾為金鰲,橋東牌樓題匾為玉蝀,故又名金鰲玉蝀橋),北有麴院。
• 洞天深處:位于勤政親賢以東,有四座方形院落,為皇子讀書居住之所。東北為皇家畫館如意館。
長春園
長春園位于圓明園的正東,綺春園的東北,面積約為圓明園的三分之一,占地70公頃,1751年基本建成,1770年乾隆帝寫了《長春園題句》,說明建園的目的是建造頤養之所,預備在退位之後來此入住,因此以宴遊為主,沒有議政的設施。
總體布局
長春園南部以大型的水景為主體,整體布置疏朗開朗,疏密得當。園門為長春園宮門,五楹,門外左右各有銅麒麟一隻(現僅存一隻,陳列于頤和園仁壽殿前)。其南建影壁一座。入門為澹懷堂,九楹,卷棚歇山頂,前有月台丹陛,東西配殿五楹。正殿之北為河岸,建方亭一座,有廊與正殿相通。亭西為長春橋,十孔。過橋向北,經山口,即為園內核心建築——含經堂建築群。
含經堂前設牌樓三座,兩面為八字影壁。入門為五楹含經堂,是乾隆帝吟經之所。再北為淳化軒(圓明三園中最宏大的建築,有《淳化閣帖》摹版),蘊真齋。出後門為「得勝蓋」敞廳,乾隆二十四年,乾隆帝在此獲知平定大小和卓之役而建為紀念。此外還有涵光室、理心樓、味腴書屋。東牆外買賣街等建築。含經堂建築群規模富麗宏大,布局參考紫禁城寧壽宮,是乾隆計劃退位後常居的處所。
含經堂西為思永齋,建工字殿十七楹。思永齋東側建小有天園。思永齋以北為海岳開襟,是湖面上建造的雙層圓形石台,上有殿宇三層。思永齋以南為茜園,以石取勝,建有茜園八景。乾隆帝自杭州運來的南宋德壽宮遺石「青蓮朵」亦陳列于此。含經堂之東為玉玲瓏館、鶴安齋、映清齋、茹園、鑒園等景點,園東北角為獅子林(仿蘇州獅子林),園北有法慧寺、多寶琉璃塔、寶相寺、澤蘭堂等建築。再北即為西洋樓景區。
長春園的北部是著名的西洋樓,是一組歐式宮苑建築群,占地約6.7萬平方米,設計者是傳教士郎世寧、蔣友仁、王致誠等人。這是中國的皇家宮苑中第一次大規模仿建的西洋建築和園林。始建于乾隆十二年(1747年),至二十四年(1759年)完成,包括六組西洋式建築、三組噴泉和無數庭院小品。整個景區呈東西軸線布局,自東向西依次有線法牆、方河、線法山、遠瀛觀(中軸)、海晏堂、方外觀、諧奇趣、養雀籠、蓄水樓、萬花陣和大水法、觀水法等噴泉。它的建築、環境和式樣採用了巴洛克式風格,而裝飾細節上則有具有東方的神韻。
由於西洋樓為西式建築,多半以大理石建成,因此被火焚毀的程度比起其他地方較為輕微,現在能看到的圓明園遺址便是以西洋樓景區為主。
西洋樓景區從西向東的主要建築依次為:
蓄水樓,二層。樓寬五楹,樓北並有平台三楹,內為養水池。二樓東北角通下方水井,安裝軋水機,為諧奇趣、萬花陣(又稱黃花陣)、水法台各處噴泉供水。
蓄水樓南為線法橋,西面貼長春園西牆,另外一面臨水。橋有五券,每券上面刻有獸面,向外噴水。橋下有閘五道,聯繫長春園與圓明園水面。橋中央有西洋座鐘式假門一座,上有巨大西洋時辰鐘一座。假門兩側障以雕刻花牆。牆外為夾道,夾道西牆內即圓明園方壺勝境和蕊珠宮景區。
蓄水樓東為廣場。廣場中為水法台(西洋式石雕噴泉塔),周圍環以雕花銅欄,十字甬路用細磚墁地,兩旁五色石子砌成花壇。廣場之北為黃花陣,南為諧奇趣。黃花陣,又稱萬花陣,是個花園迷宮,由1.2米高飾以浮雕花紋的磚牆組成,磚牆總長度達16公里,範圍有89米×59米之廣,現已經重新複建。迷宮門為西洋座鐘形,黃銅雕刻花紋大門兩扇。迷宮中央為一座歐洲風格的石亭,內設西洋式座椅,相傳乾隆皇在中秋節就是坐在椅上看著自己的妻妾們提著黃色蓮花燈籠在迷宮裡比賽,誰先抵達石亭便可獲賞賜。亭前左右有兩頭石獅分列,均背馱寶瓶,內有銅管,噴出之水高二丈余。黃花陣最北有洋樓三間。
諧奇趣,為長春園最早的西洋式建築,兩層,廡殿頂,紫色圓光琉璃瓦,屋脊用藍色琉璃番草。上層三間,下層七間,樓內設西洋式家具及臥榻,木條拼花打蠟地板。樓柱用漢白玉深雕西洋番花番草花紋,窗戶券口有精美磚石雕刻。牆身抹粉紅灰,兩側有月式平台抄手遊廊,遊廊盡頭為五色琉璃頂八角形奏樂亭。樓南有月台,兩旁有白玉石盤券石磴。月台上二層樓門正中有西洋石獅子二座,及西洋雕刻之玉石欄桿。月台下為巨大的海棠形噴水池,池中央為西洋大翻尾石魚一尾,口中可立一人,向上噴水高達五丈余,民國初年為燕京大學校友會購買並放置于燕園未名湖,現仍存於未名湖中。噴水池周圍有噴水銅雁十八隻,噴水銅羊四隻。池東西有兩個小噴水池,遊廊下亦有兩個小噴水池。池南有石欄桿,再南即為長春園湖面。
水法台廣場東為養雀籠西門。養雀籠為五間三進建築。中央一間為過道。西邊第一進為敞廳,兩側各擺放海蜇形假山石一座,各高六尺余。中間一進南北兩間各用銅絲網擋嚴,內蓄孔雀各一對。最東邊一進為敞廳,南間東牆有郎世寧油畫帆船航海圖。中間一進之北為西式小院,有房九間,為養雀太監所住。養雀籠東面為西洋式牌坊三間,中央石券有精刻黃銅花門二扇,左右次間為假窗,嵌噴水塔三層,水由上落下,流入地面石孔。養雀籠東門南北連接花牆,東有瓶形花石平橋。過橋之後東行,路北為方外觀。
方外觀,兩層,上下各三間,兩側有半環形石階通往二樓。樓為大理石貼面,加刻回文裝飾,重簷四坡藍色琉璃瓦頂,乾隆朝為容妃禮拜之場所。因此整體為回教清真寺建築,樓西為八角亭,東為花台樹池。方外觀之南,路南有五竹亭,遊廊環繞,亭瓦柱窗皆為湘妃竹,鑲嵌五色珠玉螺鈿,燙蠟見光,平時亭子由油布氈里罩子保護,皇帝游幸時方移去。此亭可視為一極大之工藝品。亭北路南之間空地有圓形小噴水池一座,左右為荷花池。
方外觀之西為海晏堂。海晏堂為西洋樓中最大的建築,分前後樓。前樓一層,坐落于高台之上,正面十一間,深一間。正門向西。樓身為磚砌,立柱為漢白玉精刻西洋番花石柱,孔雀綠琉璃瓦廡殿頂,屋簷上安露頂石欄桿。屋頂垂脊四角各安翻尾石魚一條。樓身抹粉紅色灰,石券花窗口與漢白玉石柱之間牆面為五色琉璃番花。正門位于二層,門為黃銅西洋雕花,內為饗宴之所,正南為八扇大理石屏風,上為山水花紋,屏風前為寶座。窗為法式銅窗,窗間立柱為大玻璃鏡,鏡子上方為三角式巴洛克假門楣裝飾,鏡前擺放景泰藍及琺瑯花盆、凳幾、陳設。地面為拼花打蠟木條地板。樓頂為格子天花。門前為平台,平台左右為疊落石跑梯,中央為噴水池。石跑梯為花斑石子嵌地,靠水池側為導水台。兩側共有導水台六十個,水紋形洩水溝四道。正門前有西洋式石豹兩隻,口中吐水,沿階梯旁導水台洩水溝逐級疊落,注入大池中。大噴水池中央為石蚌,其上為轉輪水法,再上為噴水石魚二隻。池中央有噴水台一座,兩旁有石台二座,沿石跑梯八字展開,上為十二生肖獸首人身噴水像。右側(南側)為鼠、虎、龍、馬、猴、狗,左側(北側)為牛、兔、蛇、羊、雞、豬。每一時辰輪流噴水,正午時十二銅像一同噴水。噴水池外,疊落石梯兩旁又有西洋八角石鼎各一,高八尺余。
海晏堂後樓(東樓)亦為兩層,與東樓通過平台樓梯相連。後樓中央為蓄水池(錫海),東西長八丈五尺五寸,南北寬一丈八尺五寸,深四尺九寸。二層東西兩端各有蓄水樓一座。樓內各有水井,上安軋水機。後樓南北各有西洋八角噴水池二座,西池有二銅猴在樹下捅馬蜂窩,手中托印,水從印中噴出,向上激樹,群蜂飛舞,猴作驚恐狀。南面東池內,一銅猴坐假山上,手執雨傘一把,水由傘頂上噴八尺,複落傘上,下流如瀑雨,噴泉名為猴打傘。後樓東立面有四折石樓梯由東蓄水樓下樓,樓梯下有磚砌地溝,內安銅管,直徑三尺,最細者亦有寸余,通往海晏堂西門外噴泉群,供海晏堂及之東的大水法供水。
海晏堂東行,過花牆,即為遠瀛觀、大水法、觀水法建築群。
遠瀛觀坐落于高台之上,全部為漢白玉雕刻築成。主樓五楹,二十五間,乾隆時為寢宮,內設寢具。陳放法國路易式家具、座鐘、乾隆三十二年(1767年)法王路易十六所贈送之名貴哥白林挂毯、地毯,又有造辦處打造之赤金大澡盆,西洋式金銅床及帳幃,所陳珍寶無數,手工雕品如名師杜士元在象牙與琥珀之極小圓鏡上刻五千字之詩賦及其故事之透雕,又如在一尺五寸見方之水晶內又天然華美之動物等。其他西洋鏡、珍玩寶物陳設無數。樓為三層廡殿頂,正中之大寶頂用紅、紫、孔雀藍、粉、天青五色琉璃圓光瓦。第二層用魚鱗金瓦。樓頂為五色琉璃番草捲雲花紋屋脊。正門兩旁漢白玉石柱刻西洋番花下垂葡萄葉,深雕三寸余。樓門前石獅子一對。遠瀛觀樓前為大平台,樓台基座東西有弧形石梯兩座,環抱台基下面噴水池。樓前平台以精美太湖石及花木填空。
大水法在遠瀛觀前平台之南。北為西洋式石龕,石龕緊靠遠瀛觀平台,正中有銅雕西洋式獅子頭,口中噴水,落入下面的半圓形七級水台,七層水台亦層層噴水,落入池旁兩岸洩水溝(今石龕獅子頭和水台已無存,殘存部分形為類似門樓的空心石牌坊)。水池為半圓海棠形,左右岸上,洩水溝盡頭各有翻尾石魚一座,池中左右亦有石魚各一。西洋牌坊來水自洩水溝自上魚口中流出,落入下魚口中,複將水勢激回,反射噴入池中。池正中有一銅鹿,南向似跑,其角分為八杈,由各角尖上噴水八道。鹿東西各有銅獵犬五隻,水由口噴出,射向銅鹿。池沿岸用白玉石精雕花紋,安放帶座石花盆,內植三層線法松(按西洋方式修剪的松樹)。此噴泉俗稱十犬噴鹿。水池東西石魚北側,又有翻尾大海豬各一,水自口中噴出,射出三丈余。大水池外,東西各有十三層方形噴水塔一座,塔在水池中,池底有大噴水管八根,塔身上有小噴水管八十根,水射高六尺。塔頂有銅蒺藜十六角,噴水十六道,落入池中。
觀水法坐南朝北,左右列石鼎爐各一台,欄上有石刻花盆四對。台中設寶座,左右列二銅鶴,二鶴頭相對,口銜銅橫條,條下橫布五色玻璃六棱墜子,由寶座靠背拉黃綢頂棚至前方鶴嘴橫梁為涼棚。座後有西洋式屏風一座,半圓形,中嵌石刻屏心五件。石屏東西為方形小塔各一,塔兩旁有石刻花盆,再東西為西洋座鐘式精雕巴洛克角門各一,出角門可至長春園澤蘭堂。
遠瀛觀、大水法建築群東西皆為花牆,廣場地面用磚石琉璃鋪砌。再向東即為線法山正門,門為巴洛克式西洋牌樓,南北為矮松樹籬。入門為線法山,四面有盤旋馬道,護以黃綠琉璃磚矮牆,可馳馬上山。山頂為八角四券石亭。山東為線法山東門,所謂螺絲牌樓。牌樓正門門券上刻蛤蜊、番草、軍鼓、交叉軍旗浮雕,左右側門上為石刻花瓶、番花、長蛇。門柱俱刻西洋番花葡萄藤葉,繞柱爬牆,枝葉翻卷,果攢下垂。門內外兩側有月形荷花池,中植白蓮,路兩旁百花齊放,萬紫千紅,形成鮮明對比。
線法山之東為方河、線法牆。線法牆南北平行分列磚牆五道,懸掛油畫布景,有謂西洋市街樓房,稱為阿克蘇十景。
綺春園
綺春園位于圓明園的東南,最初為允祥賜園「交輝園」,在乾隆年間先賜給乾隆帝妻弟傅恆後改名「春和園」,乾隆三十七年(1772年)圓明園東南幾個小園擴建成綺春園。在嘉慶十四年(1809年)擴充將西部小園併入,由竹園、含暉園、西爽村以及春和園組成。綺春園的面積54.3公頃,園林規模比長春園略小。綺春園在道光年間以後主要作為太后、太妃居住之所。
圓明園被毀後,同治年間準備重修圓明園時,擬大修綺春園,並令改名萬春園,後因財政拮据而作罷。後人常將綺春園稱為萬春園,但萬春園只是為重建而命名,並沒有真正出現過。
總體布局
綺春園內東北與西南有較大面積的水面景色,湖中置島築堤分割水面。宮廷區設于東南部,依次為新宮門、迎暉殿、中和堂、敷春堂、後殿、問月樓。宮廷區西有鑒碧亭、北為鳳麟洲、涵秋館。綺春園中部有展詩應律、春澤齋、生冬室、臥雲軒、四宜書屋、清夏堂,西南部有含暉樓、暢和堂、綠滿軒、澄心堂、湛清齋等景點。園內還布置了正覺寺等宗教建築。
由于是由數個建于不同時期的小園合併而成,所以沒有統一軸線布局,園中由數個小型湖泊和山岡組合而成,全園湖渠彼此溝通聯成一氣,山岡穿插,水系迴環,布局自由散漫,但頗受嘉慶帝的賞識,並撰「綺春園三十景」詩,命名了敷春堂、鑒德書屋、翠合軒、凌虛閣、協德齋、澄光榭、問月樓、我見室、蔚藻堂、靄芳圃、鏡綠亭、淙玉軒、舒卉軒、竹林院、夕霏榭、清夏齋、鏡紅館、喜雨山房、含暉樓、涵清館、華滋庭、苔香室、虛明鏡、含淳堂、春澤齋、水心榭、四宜書屋、茗柯精舍、來薰室、般若觀,共三十處。
圓明園附屬園林
• 澄懷園
• 淑春園
• 鳴鶴園
• 朗潤園
• 熙春園
• 近春園
現存遺蹟
經過70餘年的殘毀後,圓明園已成荒地。目前圓明三園內有跡可考的遺址大多分布在西洋樓一帶,包括海晏堂大錫海,諧奇趣、方外觀殘存石柱石台,大水法西洋式石門及噴水池,綺春園單孔橋,圓明園別有洞天石舫等。現在可供遊覽的景點主要是綺春園、長春園和圓明園福海的殘跡,重點有正覺寺、西洋樓和含經堂遺址等。正覺寺是唯一一組歷經1860年和1900年兩次劫難而完整留存下來的建築物,2002年至2011年進行了複建保護工程。寺院坐北朝南,主要建築有山門、天王殿、三聖殿、文殊亭、最上樓等等。圓明園九洲景區廢墟已于2009年清理完畢,開放參觀。
圓明園被劫掠後,園內價值連城的珍寶大量流失于海外。在歐洲各博物館收藏有來自圓明園的藏品,如《女史箴圖》(藏于大英博物館)、《圓明園四十景圖詠》(藏于法國國家圖書館)、文源閣版《四庫全書》殘本和瓷器、佛像、佛塔(多集中于法國楓丹白露宮)等。圓明園其他珍寶絕大多數已無可考察。
十二生肖獸首銅像
英法聯軍在1886年盜走的海晏堂「水力鐘」噴泉12生肖獸首銅像,目前已知尚存的遺珍中,牛首、虎首、猴首銅像已于2000年4月在香港佳士得拍賣會上被北京保利集團以3137萬港幣(牛首、猴首1539萬、虎首1544萬)標得。2003年9月,貞觀國際拍賣(香港)有限公司宣佈會拍賣狗首銅像,但被外界質疑真偽,最後該公司收回貨品,取消拍賣。同月澳門商人何鴻燊出資600萬餘元購回豬首銅像,並捐贈給保利藝術博物館,現在展存于東直門南大街14號保利大廈二層之北京保利藝術博物館。馬首原收藏于台灣,由何鴻燊於2007年9月下旬(即在香港蘇富比拍賣行原定將之拍賣之前夕)以6910萬港元(據當日匯率折合人民幣6673.678萬元)成功投得並贈與中國政府。兔首及鼠首銅像則於佳士得在法國巴黎大皇宮舉辦的「伊夫·聖洛朗與皮埃爾·貝爾熱珍藏」專場拍賣會上,分別以1400萬歐元將鼠首和兔首拍出,買家是中國商人蔡銘超。在拍賣前,中華搶救流失海外文物專項基金公開表態:堅決反對公開拍賣該銅像。而鼠首和兔首銅像將於2009年2月公開拍賣,多名中國律師組團,會向法國追索國寶。但巴黎大審法院於2月24日裁定中國律師團禁制拍賣敗訴。兩銅像於2009年2月25日各以1574萬5000歐元被投得,但中國買家最後以「鼠首和兔首是從圓明園非法流失的,不能提供合法來源証明兩件拍品無法入境」為由拒絕支付款項。2013年4月26日法國弗朗索瓦-亨利·皮諾在北京宣布從原持有人手中買下圓明園鼠首和兔首將向中方無償捐贈。另外,此前龍、蛇、羊、雞、狗一直杳無音信,其是否存世學術界一直沒有定論。
仿造
珠海圓明新園占地1.39平方公里,是珠海大型以清朝文化主題背景的旅遊景區之一。1992年10月18日奠基,由清華大學建築學院資深教授設計,以北京圓明園被焚燒前建築為原稿,根據特定的地理環境、在不破壞原有生態環境的前提下,按1:1比例選建圓明園四十景中的十八景。來自全中國各地2000多名藝術家、歷史學家、建築師為圓明新園建設付出了辛勤勞動,使其成為中國園林建築史上又一傑作。在1997年春節正式對外開放,累計接待遊客超過2000萬人次,它是國家首批4A旅遊景區,廣東省愛國主義教育基地,廣東省十大旅遊景區之一,並以其獨特的文化內涵,成為珠海必遊之地。
橫店圓明新園(萬花園)占地4平方公里(6200多畝)。2006年9月22日,橫店集團宣佈將集資200億,在浙江橫店以1:1比例重建圓明園,不僅包括建築和水域,也包括建築內部裝飾和裝飾品(仿品)。2008年2月18日,浙江農民企業家徐文榮在北京釣魚台國賓館宣佈,耗資200億元人民幣、總規劃面積6,000餘畝的圓明新園將在浙江橫店動工興建。不過到了2009年4月,因項目存在違規立項、用地申報違反國家供地政策、規劃用地違反土地利用總體規劃問題,工程已被叫停。2015年5月10日,總投資300億的橫店圓明新園(一期)正式開幕。
廊坊香河天下第一城由中信國安投資,於1992年時開始興建,景區占地面積244萬平方米,其外城東區占地15.6萬平方米的圓明園景區,按1:1的比例精選仿建了圓明園中最著名的正大光明、九州清宴、平湖秋月、萬方安和、上下天光、遠瀛觀、大水法和萬花陣這八大景觀,亭、台、樓、榭再現了中式皇家園林的風範,距今已有1300餘年歷史大安寺、五牌樓,城樓與城牆等特色景觀更是琳琅滿目。
流行文化
對聯
• 圓明園戲台楹聯
:堯舜生,湯武淨,五霸七雄丑末耳,伊尹太公便算一支耍手,其餘拜將封侯,不過搖旗吶喊稱奴婢;
:四書白,六經引,諸子百家雜說也,杜甫李白會唱幾句亂彈,此外咬文嚼字,大都沿街乞食鬧蓮花。
影視作品
• 火燒圓明園
Source | Relation | |
---|---|---|
正大光明殿 | part-of |
Text | Count |
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清史稿 | 25 |
曾文正公年譜 | 1 |
御製詩初集 | 4 |
清史紀事本末 | 1 |
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