主编心语

无机界是他组织的。生命是什么？是自组织的出现。自然生物的妙处，在于他们可以自行组织自己物种的形态、位置、相互关系和生命长短，而这一切，都不曾改变无机界的规律，更不会影响生物界的最基本“价值观”(原则)：物种自己的寿命延续和物种总量的逐渐丰富。

只有人的出现，改变了自然生物界的基本“价值观”。人类把太阳照耀的地方遮蔽起来，把天然降水流经的轨迹进行改道，把深藏地下的矿藏挖掘出来并对之实施化学处理，把物种丰富的草原和森林改变成单一作物或者城镇工厂；为了满足自己的物欲，人类肆意地对自己和别的物种狂妄地进行他组织活动。

是否只有等到科学发展了，生产力提高到某种水平，人们才能达到更高的认识呢？不一定。中国的古人从另外一条渠道早就达到了这个认识高度，那就是如实地把万物包括人类自己看作是自然的一份子。在这种思维影响下，以及对物质的有机和无机的区分还不清晰的条件下，把大地山川也视为富有生命的自然而予以尊重，当然无可厚非，从中可以感受到远古“万物有灵论”的影子，从大方向讲，至少也可以避免人类因狂妄导致的迷航。

正因如此，清华大学袁琳等的《古代山水画中的地域人居环境与地景设计理念——宋<蜀川胜概图>(成都平原段)为例》一文引起了我特别的注意。文章以北宋李公麟“蜀川胜概图(成都平原段）”为媒介，解读了古代成都地区人居环境艺术表现，阐释了古代山水长卷中蕴含的“地景设计”理念。文章总结道：“古代山水长卷是将山水生命气象与画家心灵境界融合并符号化的产物，这种符号化的创造过程体现着无所不在的生命精神，画卷整体在一个巨大而有序的世界中提供了一种人类和谐存在的宇宙性视角。”讲得多么好！该文把艺术视角的大尺度地景与生态科学的生命现象直接挂钩起来，并将其上推到至少北宋时期，而那时，西欧还处于中世纪的前期，即黑暗时期，西欧的艺术家，那时只关心人与上帝的关系。

蜀川胜概图描绘的地方，我很熟悉，可以说除了岷江源，基本都去过。回想起来，就是李公麟画笔的表达：整块地域就像一个大有机体，犹如一气呵成，脉络关联，相互扶持，气势回荡，万物生发，天人无瑕，生机盎然。由此我联想到：大尺度的生态规律和生态内涵的艺术表达，是否天生就是同体的？古语云：“万法无常”，无常就是永动，那么古人如何理解这个无常呢？他们肯定不是像我们一样从物理化学规律去理解物质的变化，他们会不会把宇宙看成一个生命体(即一切皆是有机体)？

重庆大学毛华松的《西湖文化的演进历程及其历史意义——<永乐大典·六模湖>中的西湖文献统计分析》提出了中国一个非常重要的建城模式“山—湖—城”，从今天所谓雨洪管理来看，极为科学，此种模式正好让湖面在水源和城市之间起到调蓄作用。因为中国大体西高东低，所以城市的西湖的水利作用最大，因而历史上保留下来的西湖最多，而相依的景观虽然是次生产物，但也是幸运产物。

南京林业大学赵亮等的《图解“风”与“水”——流体景观元素模拟与分析法在风景园林规划设计中的应用》把注意力集中到流体力学对风景园林的影响，这一点非常重要，将来一定会应用到城市绿地系统规划中和城市小气候分析与设计中。我更重视文中对各类CFD软件在风景园林规划设计中的应用从软件特点、主要用途、面向对象、在风景园林中应用局限性4个方面进行的比较，可以警示对电脑软件迷信的不良倾向，希望能对近年来的大量此类文章有所启示。

The inorganic world is other-organization. What is life? The emergence of self-organization. The beauty of the natural biology lies in that they can self-organize the forms, locations, inter-relationships and lifespans of their species, and also these did not change the functions of laws of the inorganic world, neither did it affect the basic "values" (principles) of the biosphere: the continuation of lifespans of species, and the gradual enrichment of total species.

Only the emergence of human beings changed the fundamental "values" of the natural biosphere. People cover up where the sun shines, divert the natural trajectories of rainfall flows, dig out mineral resources from deep underground and implement chemical treatment on them, change rich-species grasslands and forests into a single crop or urban factories. In order to satisfy their material desires, people can wanton themselves and other species with arrogant other-organization activities.

If only with the scientific development and productivity increased to a certain level, will people have such understanding? Not necessarily. Chinese ancients already reached this height of understanding of channels from another channel, and that is regarding all thing–including people themselves–as part of the nature. Under the influence of this thinking, as well as under the conditions of unclear distinction between organic and inorganic things, it is understandable that mountains and rivers were also considered to be full of life in nature and respected. You can feel the presence of the ancient "animism", but in the general direction, at least it avoided the drift off course by human arrogance.

For this reason, Regional Habitat Settlements and Large-scale Landscape Design Concept in Ancient Shan-shui Painting: A Case of the Long Scroll of The Shu River (Chengdu Region Section) in the Song Dynasty by Yuan Lin of Tsinghua University caught my special attention. Taking the Long Scroll of the Shu River (Chengdu Region Section) by Li Gonglin of Song Dynasty as the medium, the paper analyzed the artistic expression of the habitat environment of the ancient Chengdu area, and explained the "large-scale landscape design" concept included in the ancient shan-shui long scroll. The paper concluded: "The ancient landscape long scrolls in China are symbolic products combining landscape images with spiritual realm of the painters, which express ubiquitous living spirit and construct an ordered world in which people can live in harmony with nature, and offer a cosmic perspective." Well put! The paper directly linked the large-scale landscape in the artistic perspective with the phenomenon of life in ecological sciences, and pushed up to at least the Northern Song Dynasty, and at that time, the Western Europe was still in the early Middle Ages, namely the Dark Ages, and Western artists then only cared about the relationship of human with the God.

I am very familiar with the area the Long Scroll depicted, and have been to every places except the source of Min River. In retrospect, it is the expression with Li Gonglin's brush: the entire area is like a large organism, seemingly at one stretch, with context correlation, complementing each other, in an imposing manner, with prosperous living things, and vitality. Thus I think: Whether large-scale ecological laws, and the artistic expression of ecological connotation, are born in one body? The old saying goes, "Everything is impermanent," and impermanence is perpetual, then how did the ancients understand this impermanence? They certainly did not understand the changes of materials with physical and chemical laws like us, did they regard the universe as a living body (i.e., everything is an organism)?

The Evolving Procedure and Historical Significance of the West Lake—A Statistic Analysis on Literatures about the West Lake in The Yongle Canon: Six Pattern Lake by Mao Huasong of Chongqing University put forward a very important Chinese urban construction mode "mountain-lake-city". It is very scientific from the perspective of presently-called stormwater management, and this mode precisely let lake play the role of regulation and storage between water and city. Because China mainland is roughly high in the west and low in the east, and the water conservancy role of west lakes of the cities functioned great, so west lakes are mostly preserved from the history, and the scenery dependent on the lake is a secondary product, and also a lucky product.

Graphic Wind and Water: Application of Fluid Landscape Elements Simulation and Analysis in Landscape Planning and Design by Zhao Liang of Nanjing Forestry University focused on the influence of hydrodynamics on landscape architecture, which is very important and in the future will be applied to the urban green space system planning and urban microclimate analysis and design. I pay more attention to the papers introduction of the application of various types of CFD software in landscape planning and design, and the comparison from the four aspects of software characteristics, main purposes, oriented objects, and application limitations, which can alert the negative tendencies of computer software superstitions, hoping to give some inspirations for a large number of such articles in recent years.

WANG Shaozeng