这与西蒙·夏玛(Simon Schama)在其1995年的书《景观与记忆》(Landscape and Memory)里所讨论的内容有异曲同工之妙。在该书中他写道:
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公共艺术空间和社会景观 art public space and social landscape 景观和记忆 landscape and memory 社会空间和行动. 理论和实习 social spaces and actions.
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...引发了莫佛肯对于风景主题的兴趣,这使他深入而完成《创伤风景》(Trauma Landscapes)和《风景与记忆》(Landscape and Memory)摄影计画。
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So Landscape and memory is constructed as an excavation below our conventional sight-level to recover the veins of myth and memory that lie beneath the surface.
因此,《风景与记忆》就是要开掘我们的传统视界,重新发现隐藏于表面下的神话和记忆的脉络。
We propose the cultural landscape design strategy, such as: arrangement inheritance, the story memory, the humanities accumulate, natural ecology, personalized facility and so on.
提出:文脉传承、故事记忆、人文积淀、自然生态和个性化设施等文化景观设计策略。
I never paint or sketch from nature or photos when I am painting a landscape painting, I only depend on memory about childhood and my feeling on present natural living environment.
我作风景画从来不对景写生,也不要照片,主要依靠童年时的记忆以及对现在自然生活环境的感受。
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