著：（烏拉圭）安納·瓦拉里諾·卡贊斯坦 譯：梁藝馨 校：錢麗源

1 介紹

在烏拉圭，樹商陸是植物Phytolacca dioica的通用名。OMBúes指高?？蒲许椖俊皹渖剃懪c自然相關(guān)的價值”的研究目的和研究方法，項目名稱清晰地闡述了本項目的研究、教學(xué)和推廣目的。該項目的名稱OMBúes是一組字母OMBú與es的組合，其組成的單詞可有多種理解含義（在西班牙語中是有效的）。其遵循了詩的格式，即在同一個單詞中結(jié)合大寫和小寫的寫法。因此，能同時理解為單數(shù)或復(fù)數(shù)，以突出在不同數(shù)量層面（對孤立個體和樹商陸群的興趣）上和在定性層面（對普遍物種或?qū)μ囟▊€體相關(guān)價值的研究）上的二元性分析。一組關(guān)系也能通過包含動詞“ser”①的現(xiàn)在時態(tài)來強調(diào)其意義，并以此為基礎(chǔ)對本質(zhì)屬性的暗示：“樹商陸是”“自然是”“人類是”……此項目旨在提高人們對景觀、當?shù)貧v史與自然因素相互作用的價值認識，特別是與樹商陸相關(guān)的實踐和表達。由此加強了烏拉圭的領(lǐng)土和文化一體化。

從景觀視角出發(fā)，隨之展開對此項目研究對象樹商陸的自然特性的跨學(xué)科研究。人類學(xué)、社會學(xué)和自然科學(xué)通過藝術(shù)聯(lián)系起來，其間涵蓋了不同的學(xué)科，如建筑學(xué)、計算機工程學(xué)、測繪學(xué)、社會學(xué)、人類學(xué)、民族植物學(xué)、歷史、美術(shù)（造型藝術(shù)、繪畫、文學(xué)、音樂、戲?。?、地圖學(xué)、地理學(xué)、教學(xué)法和教育學(xué)、研究方法論、人類生態(tài)學(xué)。

樹商陸也被視為教學(xué)和推廣活動的工具。在此領(lǐng)域中，樹商陸會特別地將實踐與知識相關(guān)聯(lián)，形成普遍的表達形式，成為將靈感整合成一體的工具。其與教育、社會平等、社區(qū)歸屬感相關(guān)聯(lián)，發(fā)揮其價值作用。

樹商陸是潮濕的潘帕斯草原的本土物種。此科研工作以樹商陸為研究線索，清晰地表達了此樹種的特性和可塑性（例如它的尺寸、粗壯輪廓、彎曲構(gòu)造、藥用價值、長壽、涼爽樹蔭、對強風(fēng)的抵抗力）。這證明了樹商陸是潘帕斯草原上物種的象征，在烏拉圭國家層面和文化遺產(chǎn)中具有重要意義。

2 地理環(huán)境

拉潘帕是南美洲的一個地理區(qū)域，在那里大型草原經(jīng)常受到被稱為“冷風(fēng)”的強烈西南風(fēng)的沖擊。潮濕的潘帕斯大草原面積600.00m2，位于烏拉圭、阿根廷東北部和巴西南部交界處。除了在拉普拉塔和巴拉那河周圍起伏的潘帕斯大草原外，拉潘帕基本上由生長著低草地的廣闊平原組成②。樹商陸是這個地區(qū)的象征性物種，隨著人類的出現(xiàn)，其分布區(qū)域隨之擴展。西班牙人在17世紀引入的牲畜喜歡的柔軟牧草，取代了天然的硬草牧場。

烏拉圭東岸共和國是一個面積約187.00km2的國家，位于南緯30°～35°之間，西經(jīng)53°～58°之間（圖1）。

該國的原始植被屬于天然草原，草甸在森林中占優(yōu)勢。目前，這片區(qū)域被大面積的畜牧區(qū)、農(nóng)耕區(qū)，以及外來引入植物松樹和桉樹生產(chǎn)林替代。原生森林占不到5%的國土面積。

烏拉圭的本地居民人口約為330萬，一半的人口都在首都蒙得維的亞。

烏拉圭人具有包容與溫暖的特質(zhì)，使這片土地在區(qū)域?qū)蛹壍牡乩?、生態(tài)和人類表達上獨具細微的差別[1]?！俺蔀闉趵缛恕币馕吨幕娜诤稀＿@不僅是感受和思想的大熔爐，更是多樣異域特質(zhì)扎根當?shù)靥厣囊Ш掀鳌?/p>

3 項目背景

該項目《樹商陸與自然相關(guān)的價值》始于2013年，與共和國大學(xué)（Udelar）③的建筑設(shè)計和城市規(guī)劃系（FADU）合作。FADU中的通信服務(wù)、計算機支持服務(wù)和視覺傳達設(shè)計的相關(guān)學(xué)科也給予技術(shù)支撐。東部大學(xué)中心（CURE Udelar）的景觀設(shè)計專業(yè)（ldp）、農(nóng)學(xué)院的植物學(xué)實驗室（fagro Udelar）、工程學(xué)院（fing Udelar）的計算機專業(yè) （INCO）和計算機工程專業(yè)的學(xué)生和教師都參與了此項目④。

項目植入到FADU的設(shè)計研究所（idD）的研究計劃中，并在該計劃中起協(xié)調(diào)作用，促動不同工作分支間的互動。在2014—2015年間，該項目獲得FADU校內(nèi)擴展項目的資金支撐。在2016年，它又得到了文化教育局附屬的費加里博物館的支持，進行了展覽，并出版圖書目錄集。2017年，此項目又從FADU的校內(nèi)綜合培訓(xùn)部門獲得了資金支撐。

1 烏拉圭潮濕的潘帕斯大草原The Uruguayan humid pampas

2 樹商陸林，羅沙，烏拉圭，2012Ombu grove,Rocha,Uruguay,2012

該項目入選科技周（SEMANACYT）⑤的年度征集，從而獲得了2016年和2017年文化教育局的支助。2013年和2014年的科技周（SEMANACYT）開始與學(xué)校開展活動，校園研討會的誕生為OMBúes項目的擴展活動奠定了基礎(chǔ)。

4 理論框架

筆者開始把景觀看作是連接自然與實踐和人類表達的橋梁。后來認為大自然是一種文化觀念。景觀便成為社會與自然間的中介[2]。景觀的社會表達建立在物質(zhì)、神話和自然象征的基礎(chǔ)上[3]。我也認為，自然的，真實的和有代表性的，是社會認同的基本因素，是人類棲息地的構(gòu)成條件[4]。

自然是集體建設(shè)的成果。一般來說，植被尤其是樹木是大自然理想的代表，因為它具有喚起感知的能力。其復(fù)雜的生理特征產(chǎn)生了隱喻或象征性的類比[5]。樹木特征會影響對其感知方式、表現(xiàn)形式以及如何使其在景觀中得到重視和應(yīng)用。這就是自然界的創(chuàng)造性與創(chuàng)造的自然界之間的關(guān)系[6]。

此外，鑒于樹木標本的年齡普遍大于人類，與樹木有關(guān)的價值包括集體記憶、社會想象力和民族特性。這是由沙瑪（Schama）關(guān)于英國格林伍德、立陶宛—波蘭普斯塔和塞米蒂國家森林[7]的關(guān)系所證實的。通過這些意義，可以分析自然與人類之間的復(fù)雜關(guān)系（屬于和不相關(guān)的雙重狀態(tài)）。

這些工作是在復(fù)雜的模式中形成的。基于3個基本原則：對話（在較高的層級中克服對立）、重現(xiàn)（影響每個人文現(xiàn)象的循環(huán)和循環(huán)效應(yīng)）和全息（整體處于部分中，部分組成整體）[8]。這些原則使OMBúes項目的方法論從理論方面聯(lián)系起來。他們還支持將樹商陸的品質(zhì)歸納為景觀價值。這些價值體現(xiàn)在潮濕的潘帕斯大草原上相關(guān)的實踐、知識和表達中，包括文學(xué)、繪畫、攝影和音樂作品，還包括社交、景觀、城市和建筑實踐。他們也偏愛神話傳說，傳奇人物與物種、古樹個體、樹商陸樹群有關(guān)的奇聞軼事。

5 方法和方法論

大前提是概念適用于方法論，并遵循協(xié)作工作的策略。一系列面對面的活動將學(xué)校研討會、高校教學(xué)活動、與當?shù)貐⑴c者的交流、博物館展覽與ICT（門戶網(wǎng)站http://www.ombues.edu.uy）聯(lián)系起來。大學(xué)的科研、教育和推廣是明確的，以莫林（Morin）學(xué)者的說法，都是相互間的目的和手段，有助于知識的創(chuàng)造。對于莫林而言，知識涉及的循環(huán)過程是從分離間的分析，到綜合或復(fù)雜化[9]。

在組織獲取信息的過程中，圖示化表達是一個重要的過程。該過程由門戶網(wǎng)站[10]（http://www.ombues.edu.uy）共同構(gòu)建并共享。OMBúes項目的代表性案例和相關(guān)實踐被繪制下來。制圖被視為地域化社會進程的一部分。它是技術(shù)和符號運作的產(chǎn)物。通過這種運作，人類社會賦予空間以重要的意義和身份，標榜它們并賦予意義[11]。協(xié)作性工作為我們的景觀遺產(chǎn)創(chuàng)造出社區(qū)感、環(huán)境意識和集體責任感。

6 樹商陸和潘帕斯大草原景觀

地球上每個地區(qū)自身都有一個顯著的特點：巴西的烈日；秘魯?shù)你y礦，蒙得維的亞的山丘；布宜諾斯艾利斯美麗的帕特里亞；潘帕斯大草原的樹商陸⑥

—路易斯·洛倫佐·多明格斯（Luis Lorenzo Domínguez）“樹商陸”（1837 年）。

商陸屬（來自希臘語，無毒，植物的和紫膠，漆）包含35個種。具體的種加詞dioica表明了樹商陸的基本特征之一。這個詞意味著花朵是中性的，在不同的個體中，他們被定位為雄性或雌性化。雖然花朵和果實并不突出，這一物種的雌雄異株的特征使其在日常的鑒定中出現(xiàn)了一些混淆。即使是19世紀的佩雷斯·卡斯特拉諾（Pérez Castellano）⑦，一開始也認為它們是兩種不同的物種[12]。因為只有雌性的才會產(chǎn)生果實，結(jié)果只有雌性樹商陸可以在個體周圍自發(fā)結(jié)出果實。一般來說，在潘帕斯大草原，樹商陸是純林種植的，凸顯了它在無限風(fēng)景中的輪廓。在烏拉圭，還發(fā)現(xiàn)樹商陸在Lavalleja和Rocha的一些地方形成森林（圖2），偶爾也會沿著河岸成林分布。

樹商陸進化出樹狀株型和圓形樹梢，其直徑和高度界于10～14m之間[13]。它獨特的厚實樹干，可以達到7m的直徑。主干分生出幾個支干。然后這些支干派生出一個復(fù)雜而強大的根系系統(tǒng)。它的根系十分突出，當樹商陸枝干獨立生長時，根與枝干基部更難以辨清。

3 吉列爾莫·羅德里格斯的《商店和樹商陸》（1937）版刻Pulpería y ombú by Guillermo Rodríguez (1937)xilography

4 老錫店，卡多納，烏拉圭（2015年）Pulpería de la Lata Vieja,Cardona,Uruguay (2015)

對商陸屬植物進行植物分類很困難。一般來說，植物分類為喬木、灌木和草本，需要考慮的因素有：植物生長周期、具體尺寸、組織的一致性（木本或草本）以及生長習(xí)性。樹商陸結(jié)合了不同植物類別的特征。它一方面具有喬木的尺度，另一方面又具有灌木叢的獨特分枝系統(tǒng)。而且其也具有僅限于木本植物喬木或灌木的多年生的和壽命長的特征。除此之外，其某些特征也與草本一致。由于這些特殊性，有些人認為它是喬木，有人則認為是灌木，另一些則認為是草本。繼Atilio Lombardo教授之后，在本文中，我們優(yōu)先考慮了樹商陸的繁茂程度及其壽命，并將其視為喬木[14]。

樹商陸植物器官的化學(xué)成分含有槲皮素、奧布丁、精油、過氧化物、植物素、皂素、蔗糖[15]，都可以被有效地利用，比如藥用以及誘發(fā)毒性。

樹商陸在基礎(chǔ)資料方面的缺乏，會引起大眾對其的恐懼和敬畏，由此產(chǎn)生了充滿神秘感的神話和軼事。有些故事提到了樹商陸的毒性，但實際上只集中在其樹皮和根部。除此之外，因為它能用來生產(chǎn)肥皂[12]，大眾對它是喜愛的。它多用來制作成具有瀉藥性質(zhì)的茶葉，為未婚女性拒絕騷擾者時使用。

語言和地區(qū)的不同，樹商陸也有許多通用名。很多時候，這也證實或補充了學(xué)名表達的特征性。在西班牙語中，它被稱為“ombú”（在烏拉圭和阿根廷），“rey de la pampa”（在阿根廷）和“bella sombra”（在西班牙和澳大利亞）。在烏拉圭和阿根廷，“l(fā)ajau”與美洲印第安語Charrúa相對應(yīng)。在瓜拉尼它被稱為“ümboü”（烏拉圭，阿根廷）；在圖皮，被稱為“caruru-guassú”（巴西）和“umbu”（瓜拉尼、厄瓜多爾、巴拉圭、墨西哥、智利和澳大利亞）。法語叫作“Bélombra”；“Raisinierdio?que”（法國）。

上文已經(jīng)提到樹商陸是潮濕的潘帕斯大草原的本地物種⑧[15]。這種植物的出現(xiàn)先于這片土地的文明世界進程，這便是樹商陸成為研究核心的決定性因素。然后兩者一起演變。它伴隨著我們在農(nóng)村和城市層面的生產(chǎn)，社會發(fā)展和文化進程。樹商陸在這個國家建立的殘酷競爭中生存下來。經(jīng)歷了從大莊園和小牧場，到牧人⑨的游牧生活和適合城市發(fā)展的“久坐”生活。這解釋了樹商陸和taperas⑩，以及樹商陸和 pulperías?之間的關(guān)系。今天仍然有據(jù)可考。有些作品已被神化，例如由吉列爾莫·羅德格雷茲（Guillermo Rodríguez）制作的木刻“Pulpería y ombú”（圖3）。有些仍然矗立著，如卡多納的拉塔維亞的雜貨店，在雜貨店的回收建筑旁邊仍然有一棵樹商陸（圖4）。然而更多的只有歷史記載。

許多傳統(tǒng)養(yǎng)牛的牧場，其命名暗指樹商陸（因為牧場中的主要建筑旁大多有這種植物）。當市里出現(xiàn)這種植物時，也會對地名產(chǎn)生影響。例如 Ombúes de Lavalle市或 Ombúes de Oribe鎮(zhèn)名字的由來（圖5）。

樹商陸的草本特性意味著其枝干無法用作柴火來烹飪食物（沖積平原文化）。因此樹商陸無須被砍伐做柴火，這樣造就了其廣闊的樹冠提供涼爽的樹蔭。這成為Juceca寫作故事“樹蔭”的核心?。在他筆下的鄉(xiāng)村世界里，有一種荒謬的幽默感，故事講的是一個人只愿賣給另一個人一棵樹商陸的影子，卻不賣這棵樹。

樹商陸為人類提供庇護所，阻擋了來自烈日和南美草原大颶風(fēng)的傷害。同時，樹商陸也受益于人類，它從家庭生活產(chǎn)生的有機廢物中獲得養(yǎng)料。樹商陸的長壽使得樹的生命周期比陪伴它們的人類還長。而且建在這種樹附近的建筑，其壽命也不如樹長。

它的這些特征激發(fā)了人類的想象力，為人們提供了民間傳說以及各種藝術(shù)表現(xiàn)形式。雖然如今的樹商陸在世界各地的溫帶和亞熱帶地區(qū)都是以觀賞樹的方式栽培的，但這些神話和表現(xiàn)形式都是本土化的。 有一種觀念認為，受樹商陸保護的房屋最終以廢墟而告終；人們懼怕在鏡子下打個盹會導(dǎo)致瘋狂，或者迷信晚上鏡子會照射出白色的光芒。這些想法由哈德遜（W.H.Hudson）?于20世紀初發(fā)表在他的著作中[16]。

Horacio Quiroga?的精彩故事中，Ellobizón（1906）將夜晚的黑暗與沉默，以及來自鄉(xiāng)村的咆哮所帶來的恐懼混合在一起。樹商陸也是家中的狗與未知入侵者斗爭的地點。

樹商陸與它所象征的景觀—潘帕斯大草原有關(guān)。這反映在L.L.Domínguez?結(jié)合復(fù)雜多樣的歷史背景所創(chuàng)作的詩中。

在17世紀，西班牙國王批準阿里亞斯·維德拉（Hernando Arias de Saavedra）將牛和馬引入烏拉圭河以東的領(lǐng)土。從而改變了該國的環(huán)境和經(jīng)濟平衡。

在18世紀，烏拉圭和阿根廷開始謀求自身發(fā)展。1825年，烏拉圭獨立于西班牙、葡萄牙、巴西和英國，成為一個獨立的國家。1728塊土地被允許以“蘇厄斯特·德·埃斯特西阿斯”（Suertes de Estancias）的方式迅速擴大。幾乎在整個19世紀，戰(zhàn)爭持續(xù)影響著這個國家。在19世紀上半葉，烏拉圭在社會輿論上非常重視這場戰(zhàn)爭，并且明確表達了態(tài)度。在高喬人統(tǒng)治時期，主流的思想認為這是“野蠻的文化”[17]。一個與之有關(guān)的文獻，何塞·埃爾南德斯（José Hernández）?的《馬丁·菲羅》（1872年）是高喬流派的典型代表，其中有關(guān)于樹商陸的記載，“……在經(jīng)歷了這么多的痛苦/危險的焦慮之后，我們到達了撒路—看到了一座山脈，我們的土地—樹商陸生長的地方……”?。

在19世紀末田野被圍合了起來，徹底改變了農(nóng)村的社會面貌：高喬人被工薪勞工所取代。在1860—1920年間，歷史學(xué)家巴蘭提出了一種新的感性說法，即“文明文化”。在這種新的感性說法中，沖動受到壓制，工作、謙虛和死亡的尊嚴被神圣化[18]。可以認為，烏拉圭開始其社會，政治和經(jīng)濟的現(xiàn)代化。城市生活蓬勃發(fā)展，蒙得維的亞市很明顯地與周邊的自然環(huán)境區(qū)分開來。

在我們正在研究的130多位作者（畫家、作家、音樂家、攝影師、植物學(xué)家）中，近一半的作者出生于19世紀，其他人出生在20世紀。他們平均分布在烏拉圭人和阿根廷人之間?，極少部分人具有歐洲血統(tǒng)。他們對樹商陸的認知源于不同的職業(yè)背景。一些是科學(xué)家，其他如實用主義者和更具有藝術(shù)性的職業(yè)人。在后者中，藝術(shù)從業(yè)者對樹商陸的認知從描述性的到象征性的，贊揚其與空間的相關(guān)性、與高喬人品質(zhì)和民族觀的相關(guān)性，以及其與潘帕斯草原景觀、歷史線的關(guān)聯(lián)的價值：無限、孤獨、暴力、自由、力量、個性和田園詩性。

蘇佩維埃爾（Jules Supervielle）?將樹商陸作為詩歌的主角（Dans la pampa，1919年），并在他的作品Boireàla source（1950年）中提到它，受到了關(guān)注。

樹商陸是佩德羅·費加里（Pedro Figari）?作品中的主旋律。這是他繪畫作品En la pampa中的主角（圖6），也是他繪畫和故事中的必備參考。鑒于2類樹結(jié)構(gòu)間的相似性，他將它命名為“我們的猴面包樹”?。

5 杰納勒爾織部莊園的主要牧場的建筑遺存，樹商陸織部，烏拉圭（2015年）Remains of the constructions of the main ranch of the General Oribe estate,Ombúes de Oribe,Uruguay (2015)

在他的故事“男孩子”中，莫羅索利（Morosoli）?是一個離開村鎮(zhèn)前往首都生活的角色。主角一開始生活的地方寧靜而令人放松，有清澈的溪水和一棵樹商陸，對他來說，就像一座房子那樣大。在成為首都的移民后他失去了田園詩般的田園生活：“剛才他意識到其他人是對的。我一直工作?？偸沁@樣。對于生活的意義他什么也沒有感受到。沒有生活樂趣地活著。”

現(xiàn)在約瑟夫里索（José Risso）?將他的一部分工作專注于拍攝農(nóng)村地區(qū)的樹商陸。 他用黑白相片做類比處理，贊美樹的個性，樹商陸的神秘感及其植入后的風(fēng)景效果（圖7、8）。

樹商陸也和音樂流派有關(guān)聯(lián)?？死虻聽枺–lave del aire）是加德爾（Gardel）于1930年在巴黎演繹的一首探戈，其歌詞?由弗爾南·席爾瓦·巴爾德斯（Fernán Silva Valdés）?撰寫。這首歌關(guān)于愛的背叛，關(guān)于孤獨和痛苦。呼吁各種族間共有的品質(zhì)（孤獨、地域根源、避難所、力量），呼吁解密拉普拉塔典型舞蹈的悲劇精髓的奇聞軼事。

樹商陸也是這座城市人們最熟悉的原生樹之一[19]。這不僅歸因于其與物種相關(guān)的大眾認知，更歸因于其杰出的示范作用。例如，在蒙得維的亞，西班牙大道的樹商陸（圖9）是該市最著名的樹木之一[20]。這棵現(xiàn)存古樹在1912年已經(jīng)是成年大樹了，由于當時的蒙得維的亞市長Ramón Benzano的介入，道路布局被重新規(guī)劃以保留這棵古樹。

米格萊特河沿岸和里約熱內(nèi)盧拉普拉塔沿海地帶也有一些樹商陸。后者相當于海岸船只的燈塔角色。如Ombúde La Mulata，關(guān)于它有一個都市傳說?，鄰域的地名由此而來。與烏拉圭各種各樣的表演，傳說和軼事形成鮮明對比的是，時至今日，樹商陸的種植才得以普及?，F(xiàn)有的大部分樹苗是自發(fā)繁殖。然而，由于迷信，它們一般都沒有被移植出來。

7 結(jié)論和前景

“盡管我們將自然和感知分為兩個不同的領(lǐng)域，他們實際上是不可分離的。先于其他感官感受，景觀首先是精神的杰作。它的本質(zhì)是從階層，記憶和巖石中建立起來的。[7]”這個項目的初衷是理解西蒙·沙瑪（Simon Schama）在本文標題中所提到的復(fù)雜性。研究的跨學(xué)科性可以闡明實踐和表達、理論知識和真實空間。此工作的合作性質(zhì)使我們能夠共同建設(shè)和珍視我們的遺產(chǎn)，打破條框和領(lǐng)土的邊界，簡而言之，就是加強我們的身份認同感。在科學(xué)文化的普及與民間文化的智慧間的連續(xù)往返，使知識能夠跨學(xué)科地構(gòu)建起來。這是一個開放性的項目，其中仍有許多工作要做。在這里，知識是一體化的工具，是集體意識的一部分，是多樣性的空間。

注釋：

① 在西班牙語中，動詞“to be”被分解為兩個動詞“ser”和“estar”。

② “Pampa”來源于克丘亞語，意思是“平坦的表面”。

③ 在烏拉圭，共和國大學(xué)是最重要的高等教育和研究機構(gòu)。它還開展活動，目的是傳播文化，并為知識提供具有社會價值的用途?！斑@是一個由教師，學(xué)生和畢業(yè)生自主共同管理的公共機構(gòu)”；引自http://www.universidad.edu.uy。

④ 參與者：共和國大學(xué)建筑，設(shè)計和城市規(guī)劃學(xué)院：哲學(xué)博士學(xué)位，安娜·瓦拉里諾（Ana Vallarino，主管、首席研究員）；建筑學(xué)學(xué)士，勞拉·皮羅科（Laura Pirrocco）；學(xué)士，萊安德羅·雷蒙迪（Leandro Reimundi）；建筑學(xué)專業(yè)，克勞蒂亞·科斯塔（Claudia Costa）；學(xué)士，桑提亞格·芬特（Santiago Ventós，助理）/農(nóng)學(xué)碩士，建筑學(xué)，萊蒂西亞·德拉維加（Leticia de la Vega）（分機號2014—2015）；娜塔莉亞·坎波斯（Natalia Campos）（助理，2015年）；法比安娜·奧蒂薩（Fabiana Oteiza）（助理，2014年）/農(nóng)學(xué)碩士巴勃羅·羅斯（Pablo Ross，植物學(xué)咨詢專家 自民黨 種族公民平等聯(lián)盟）/加布里埃拉·斯波羅尼（Gabriela Speroni）；（植物學(xué)咨詢專家 費格羅）/辛西婭·奧爾金（Cynthia Olguin）（視覺傳達設(shè)計FADU，烏德拉，2014—2015）；尼古拉斯·托雷斯（Nicolás Torres，電腦開發(fā)人員FADU，烏德拉，2014—2015 ）/國際鎳業(yè)公司：碩士.拉奎爾·索薩（Raquel Sosa，主管工程學(xué)生）;工程系學(xué)生：弗吉尼亞·耶米尼（Virginia Yemini）和瑪?shù)倌取と崛鹚梗∕artina Se?oris，應(yīng)用程序設(shè)計師）；萊昂納多·維達爾（Leonardo Vidal，2014）/LDCV：博士，塞巴斯蒂安·蘇亞雷斯（Sebastián Suárez）和達里奧·因弗尼齊/塑料藝術(shù)家費爾南多·斯蒂文納齊（Fernando Stevenazzi，2016—2017）。

⑤“每年的五月份，我們都會通過各種適合各類公眾的活動來慶祝烏拉圭發(fā)展起來的科學(xué)和技術(shù)，以激發(fā)人們對知識的熱愛和后代的使命感”，引自http://www.semanacyt.org.uy/。

⑥ 地球上的每個地區(qū)/它有一個突出的特點：/巴西的烈日;/秘魯?shù)你y礦，/蒙得維的亞的山丘；/布宜諾斯艾利斯-美麗的家園/偉大的潘帕斯大草原；/草原上有樹商陸。

⑦（1743—1815）蒙得維的亞，牧師，政治家，農(nóng)民，那個時代偉大的自學(xué)成才的學(xué)者。

⑧嚴格意義上說不是這樣的：隆巴多澄清它不是起源于烏拉圭，而是說我們的國家只覆蓋它的分散區(qū)域（隆巴多，1969年）。

⑨ 潘帕斯特有的居民，熟練的騎手，過著簡樸的生活，他們的生活與牛聯(lián)系在一起，食用牛肉和使用皮革。

⑩ 殘破荒蕪的牧場。

?出售日常用品的商店，主要是食用的。

?胡里奧·凱撒·卡斯特羅（1928—2003）：烏拉圭人，作家、演員和劇作家。

?（1841—1922）自然主義者和阿根廷出身的英國作家。他曾在烏拉圭生活過一段時間（當時是東岸地區(qū)），在他的作品中巧妙地體現(xiàn)了當時的鄉(xiāng)下和戰(zhàn)爭氣氛以及高喬人的特質(zhì)。

?（1878—1937）烏拉圭說書人、劇作家和詩人。

?路易斯·洛倫佐·多米尼格斯（1819—1898），阿根廷詩人、記者和政治家。

?（1834—1886）軍事記者、詩人和阿根廷政治家。

?“在經(jīng)歷了這么多的痛苦和危險的焦慮之后，我們平安地到達，看到一座小山并最終踏上了樹商陸生長的土地”。

?對巴西作者的研究尚未進行深入研究。

?（1884—1960）弗朗哥（ Franco）—烏拉圭詩人兼作家。

?（1861—1938）著名的烏拉圭畫家，律師，政治家和作家。

?Baobad被安東尼·德·圣埃克蘇佩里在“小王子”（1943年）中永生不朽。

?烏拉圭作家胡安·約瑟夫·莫羅索利（Juan José Morosoli，1899—1957）。

?攝影師，于1970年出生于烏拉圭的馬爾多納多。

?“就像空氣中的康乃馨花香一樣，她是如此，就像花朵一樣/在我的心里。/···在這個地區(qū)，/就像樹商陸/獨處而不開花/我也是這樣的；在痛苦中煎熬/我生活的那些年里，/就像這個地區(qū)的樹商陸/···”。像空中的香氣一樣，/她是如此/就像花一樣/在我心中。//[在這個地區(qū)，/就像一棵樹商陸/孤獨寂寞，沒有一朵花，/我也是;/痛苦的受害者/在我生活的年代，/就像一棵樹商陸/長在這個地區(qū)”。Silva Valdés 和 Filiberto 作曲，Gardel翻譯。

?（1887—1975）烏拉圭詩人，作曲家和劇作家。

?有人說，在其根部埋藏著寶藏，是在對拉普拉塔河區(qū)域的沉船救援時發(fā)現(xiàn)的。

?圖1來自軍事地理服務(wù)；圖2、4～5由作者自攝；圖3、6～8來自O(shè)MBúes展覽目錄集，費加里博物館，2016年；圖9來自烏拉圭攝影中心。

（編輯/劉玉霞）

1 Introduction

Ombu is the common name of the plant species Phytolacca dioica in Uruguay.It is a purpose and a means of the university project“OMBúes.Values associated with nature” that articulates research,teaching and extension.The name of the project includes a set of letters and words that enable several meanings (valid in the Spanish language).For this the poetic license of combining uppercase and lowercase in the same word is used.Thus,it is possible to simultaneously read the singular and the plural to highlight dualities at a quantitative level (the interest for isolated individuals and groups of ombu trees) and at a qualitative level (the study of values associated with the species in general and with particular individuals in particular).A set of relationships is also enabled that emphasizes meanings by including the present of the verb “ser”①and with this the suggestion of essential attributes:“the ombu is”,“the nature is”,“the man is”...

This project aims to raise awareness about the value of landscapes and local histories in interaction with natural components.It focuses on practices and representations associated with the ombu trees.Thus,this strengthens territorial and cultural integration in Uruguay.

When the ombu trees are taken as a purpose of this work,interdisciplinary research is carried out based on its emblematic nature from a landscape point of view.Art is linked to human,social and natural sciences covering different disciplines[Architecture,Computer Engineering,Surveying,Sociology,Anthropology,Ethnobotany,History,Fine Arts (plastic arts,drawing,literature,music,theater),Cartography,Geography,Didactics and pedagogy,Research methodology,Human ecology].

When the ombu trees are taken as a work instrument,teaching and extension activities are carried out.In these the ombu tree in particular(associated with practices) and knowledge and forms of expression in general (representations),officiate as an instrument of inspiration and integration.Values associated with education,social integration and the feeling of belonging to a community are put into play.

Phytolacca dioica is an indigenous species of the humid Pampas.His choice as a thread of these works articulates this characteristic with its symbolic and plastic qualities (its dimensions,its powerful silhouette,its tortuous structure,its medicinal properties,its longevity,its cool shade,its resistance to strong winds).This justifies that the ombu tree is an emblematic species of the Pampa and of capital importance in the identity and cultural heritage of Uruguay.

2 Geographic context

La Pampa is a geographical area of South America where a large steppe predominates frequently whipped by strong southwesterly winds called “pamperos”.The humid pampa is a subregion(600.00 km2) that covers Uruguay,northeastern Argentina and southern Brazil.It consists essentially②of meadows that grow in extensive plains,except for the undulating Pampas around the Río de la Plata and the Paraná River.Phytolacca dioica is an emblematic species of this region,which extended its dispersion area with the presence of man.The livestock introduced by the Spaniards in the 17th century favored the growth of soft grasses that replaced the high native hard pastures.

The República Oriental del Uruguay,geographic focus of development of this study,is a country of about 187.00 km2,located between 30° and 35° south latitude and 53° and 58° west longitude (Fig.1) .

The original vegetation of the country was of steppe nature,with a predominance of the meadow over the forests.At the moment the territory alternates zones of extensive livestock farming with areas of agricultural and forestry production of pines and eucayptus (exotic vegetation).Native forests occupy less than 5% of the country’s surface.

The population of Uruguay is approximately 3,300,000 inhabitants,concentrating the capital,Montevideo,almost half.

Uruguay possesses the warmth of the encompassing,forming a land of nuances[1],geographical,ecological and anthropic articulation at the regional level.“To be Uruguayan” implies then to be the fruit of a cultural mixture,depository of a sensitivity and a mentality,articulators of foreign heterogeneous roots with local characteristics.

3 Institutional context

The project “OMBúes.Values associated with nature” was born in the year 2013.It is coordinated by the Facultad de Arquitectura,Dise?o y Urbanismo (FADU) of the Universidad de la República (Udelar)③.The Communication Service,the Computer Support Service and the Degree in Visual Communication Design also participate in the FADU.Students and teachers of the Landscape Design Degree (ldp) of the Eastern Regional University Center (CURE Udelar) took part.The Laboratory of Botany of the Faculty of Agronomy(fagro Udelar) also collaborates.The Faculty of Engineering (fing Udelar) contributes on its part from the Institute of Computing (INCO) and with students of the career of Computer Engineering④.

The project is inserted in the Plan of Activities of the Design Institut (idD) of the FADU,from where it is coordinated.From there he interacts with different lines of work.In 2014—2015,it obtained financing from FADU in the internal call for extension projects.In 2016 it received support from the Figari Museum of the Ministry of Education and Culture,as a result of which a museum exhibition was organized and a book-catalog was published.In 2017,it obtained financing from FADU in the internal call to Integral Training Spaces.

The support of the Ministry of Education and Culture in 2016 and 2017 has been obtained by inserting the project in the annual call for the Week of Science and Technology (SEMANACYT)⑤.As a result of the activities with schools developed in the SEMANACYT of 2013 and 2014 school workshops were born.These are basic in the extension activities of the OMBúes project.

4 Theoretical framework

I start considering the landscape as an articulation between practices and human representations associated with nature.In turn,I take nature as a cultural notion.The landscape is therefore a mediator between society and natur[2].The social representations of landscape are based on models inspired by materiality,myths and symbols of nature[3].I also consider that nature,real and represented,is a fundamental factor of social identity and it conditions the construction of the human habitat[4].

Nature is then the fruit of a collective construction.The vegetation in general and the trees in particular are ideal representatives of nature for its evocative capacity.Its complex physiology favors metaphorical or symbolic analogies[5].The formal characteristics of trees influence how they are perceived,in their associated representations and,therefore,in how they are valued and used in landscape architecture.This is how natura naturans (creative nature) and natura naturata (created nature) are related[6].

Also,given that the age of arboreal specimens is generally greater than that of people,the values associated with trees involve collective memory,social imaginaries and the identity of nations.This was demonstrated by Schama in relation to the English greenwood,the Lithuanian-Polish puszta and the Yosemite forest[7].Through these values it is possible to analyze the complex relationships between nature and the human being (in its double condition of belonging to and external to it).

This work is framed in the Paradigm of complexity.This is based on three basic principles:the dialogic (the overcoming of antagonisms in a higher construction),the recurrence (circular and loop effects that affect every human phenomenon)and the hologrammatic (which shows that the whole is in the part,just as it is in the whole)[8].These principles allow to link the theoretical aspects with the methodological aspects of the OMBúes project.They also support the extrapolation of Phytolacca dioica qualities to landscape values.These values are expressed in practices,knowledge and representations associated with the humid Pampas.They include literary,pictorial,photographic and musical works.They also cover social,landscape,urban and architectural practices.They also favor the birth of myths,legends and anecdotes associated with the species,isolated specimens and groups of ombu trees.

5 Approach and methodology

The conceptual premises are applied to the methodology and a collaborative work strategy is followed.In-person activities are linked (workshops in schools,university teaching activities,exchanges with local actors,museum exposition) and ICT(content portal www.ombues.edu.uy).University research,education and extension is articulated.These are purpose and means to each other,which potentiates the creation of knowledge,according to Morin.For Morin,knowing involves a process in a loop between separating to analyze and relating to synthesize or to make complex[9].

An important process in the organization of the obtained information consists in the assembly of a cartographic representation.This is built collaboratively and shared on the content portal www.ombues.edu.uy[10].Representative samples of ombues and associated practices are mapped.Cartography is taken as part of the social processes of territorialization.It is the product of technical and symbolic operations by means of which human societies give meaning and identity to their vital spaces,mark them,appropriating them[11].Collaborative work creates a feeling of community,an environmental awareness and a collective responsibility towards our landscape heritage.

6 Phytolacca dioica and the pampa landscape

Cada comarca en la tierra

Tiene un rasgo prominente:

El Brasil,su sol ardiente;

Minas de plata,el Perú,

Montevideo,su cerro;

6 《拉潘帕》（佩德羅·費加里攝，1923年）En La pampa,by Pedro Figari (1923)

Buenos Aires —patria hermosa_

Tiene su pampa grandiosa;

la pampa tiene el ombú.⑥

—Luis Lorenzo Domínguez “El ombú”(1837)

The genus Phytolacca (from the Greek,phyton,vegetal and lacca,laca) comprises 35 species.The specific epithet dioica advances one of the basic characteristics of the ombu trees.This term means that the flowers are unisexed and they are located -the masculine and the feminine- in different individuals.Although the flowers and fruits are not particularly prominent,the dioic character of the species contributes to some confusion in its identification at the popular level.Even Pérez Castellano⑦,in the 19th century,came to think at first that they were two different species[12].Then,only the female foot produces fruits and as a result only groups of ombu can form spontaneously around female individuals.In the Pampa,in general,the ombu is isolated,highlighting its silhouette in the immensity of the landscape.In Uruguay it is also found forming groves as in the departments of Lavalleja and Rocha (Fig.2) also,occasionally,integrating the riparian forest.

The ombu develops tree-like bearing and a round treetop,whose diameter and height oscillate between 10 and 14 meters[13].It stands out for its thick trunk that can reach seven meters in diameter.It is divided into several arms.These then derive in an intricate and powerful branching system.It has superficially prominent roots.When individuals grow isolated the roots are confused with the base of the trunk,particularly enlarged.

It is difficult to make a botanical taxonomy of the Phytolacca dioica.In general to classify plants in trees,shrubs,bushes and herbs,several qualities are taken into account:the duration of the plant cycle,the specific dimensions,the consistency(woody or herbaceous) of the tissues and the habit of growth.The ombu combines qualities and characteristics of different categories.It has,on the one hand,its own dimensions of the trees and,on the other hand,a system of distinctive branches of the bushes.Likewise,it is a perennial and very long-lived plant,which is limited to woody plants,trees and shrubs.However,in contrast to these qualities,its consistency is herbaceous.For these peculiarities some consider it a tree,others a bush and others a giant grass.Here,following Professor Atilio Lombardo,we prioritize the corpulence of the ombu and its longevity,taking it as a tree[14].

In the chemical composition of its organs are substances (quercetin,ombuine,essential oils,peroxides,phytolaccin,sapogenins,sucrose[15]that enable utilitarian uses,medicinal applications as well as induce toxic properties .

The lack of precise knowledge in this regard provokes feelings of fear and respect.The resulting mystery inspires myths and anecdotes.There are stories that refer to the general toxicity of the ombu tree,although in fact it only concentrates on the bark and the root.In other times,they have appreciated it because it allowed the manufacture of soap[12].And at the popular level reference is made to its purgative qualities that were used to make tea and to frighten some unwelcome visitor (they say that this was used,in other times,for the unwanted suitors of the young marriageable women).

Phytolacca dioica has many common names,depending on the languages and regions.Many times these confirm or complement the characteristics that are advanced in the scientific name.In Spanish it is called “ombú” (in Uruguay and Argentina),“rey de la pampa” (in Argentina) and “bella sombra” (in Spain and Australia).In the Amerindian language Charrúa,in Uruguay and Argentina,the denomination “l(fā)ajau”corresponds to him.In Guarani it is called “ümboü”(Uruguay,Argentina);in tupi,“caruru-guassú”(Brazil) and “umbu” (in tupi-guaraní,Ecuador,Paraguay,Mexico,Chile and Australia).In French it is called “Bélombra”;“Raisinier dio?que” (France).

In Brazil it receives different denominations,some of which cause it to be confused with other species.For example,“umbú”,“imbú”,“ombú”,“umbuzeiro” is also the name given to the Spondia tuberosa,a species native to the sert?o,in northeastern Brazil.

I already clarified that Phytolacca dioica is an indigenous species of the humid pampas⑧[15].This was decisive in his choice as the core of this study,since it has basically preceded the civilizatory process of the territory.Then it has evolved together with him.It has accompanied our productive,social and cultural processes,at rural and urban levels.The ombu wooed the warlike conflicts of the nation’s origins.He escorted the great estate ranches and small ranches;to the nomadic life of the gaucho⑨and to the sedentary life proper to the development of cities.This explains the association between the ombu trees and the taperas⑩,as well as between the ombú and the pulperías?.There are still proofs of this today.Some have been immortalized in representations,such as the woodcut “Pulpería y ombú” by Guillermo Rodríguez (Fig.3).Of others there are only historical records.Some are still standing,like the pulpería of “Lata Vieja” in Cardona,where there is still an ombu next to the recycled building of the pulpería (Fig.4).

Many hulks of cattle ranches were named alluding to the ombu (because they owned one next to the main building).When these were derived in urban centers it influenced the place names.This is the case of the city of Ombúes de Lavalle or the town of Ombúes de Oribe (Fig.5).

The herbaceous consistency of the ombu means that firewood can not be obtained from it to feed the fire (very used as a source of heat or for cooking food in the River Plate culture).This has prevented the ombu tree from being pruned for this purpose.In compensation,the wide tree canopy offers a cool shade.This becomes the center of the story “Shadows” of Juceca?.With that absurd sense of humour of the rural world that characterized him,Juceca tells us about a character who sells to another the shadow of an ombu,without the ombu tree.

The ombu offers refuge,both from the sun and from the strong Pampean winds.On the other hand,the ombu benefits from the organic waste that accompanies domestic life.The longevity of the ombu leads to many individuals having a life cycle greater than that of the humans that accompany them.Even the buildings that have been erected close to their protection have a shorter life.

All these qualities have inspired imaginaries that feed popular legends as well as various artistic representations.Although the Phytolacca dioica nowadays is cultivated like ornamental tree in diverse temperate and subtropical regions of the world,these myths and representations are own of the places of where this is native.There is a belief that the house that is protected by the ombu will end in ruins;the fear that a nap under his glass leads to madness or superstition that at night the glass illuminates with a mistery of white light.These ideas were left by W.H.Hudson?at the beginning of the 20th century in his work El ombú y otros cuentos rioplatenses[16].

As a counterpoint,in the fantastic story of Horacio Quiroga?,El lobizón,(1906) the darkness and silence of the night mix with the fear caused by growls that come from the countryside.And the ombu is the chosen place for the fight between the dogs of the house and the unknown intruder.

It is related to the ombu with its emblematic landscape,the pampa.This is reflected in the fragment of the L.L.Domínguez?poem that heads this section.This is associated with various historical circumstances.

7 在烏拉圭Treinta y Tres的克夫拉達德·洛斯庫埃沃斯附近的樹商陸Ombu tree in an area near the Quebrada de los Cuervos,Treinta y Tres,Uruguay

8 烏拉圭，馬爾多納多，拉科羅尼亞的樹商陸Ombu tree in la Coronilla,Maldonado,Uruguay

9 西班牙林蔭大道酒店的樹商陸，蒙得維的亞，烏拉圭（約1915年）Ombú de Bulevar Espa?a,Montevideo,Uruguay (ca.1995)

In the 17th century,Hernando Arias de Saavedra,authorized by the King of Spain,introduced cattle and horses into the territory east of the Uruguay River.This,when developed,changes the environmental and economic balance of the country.

In the 18th century,the Uruguayan and Argentine nations began to be forged.Uruguay managed to establish itself as a state in 1825,becoming independent of Spain,Portugal,Brazil and the United Kingdom.Towards 1728 lands are granted to explode like “suertes de estancias”.The wars continued to affect the country during practically the entire 19th century.In the first half of the nineteenth century the Uruguayan society gave much importance to the game and the feelings were clearly expressed.The dominant mentality could be called the “barbaric culture”[17],where the gaucho reigned..There is even a literature associated with it.The Martín Fierro (1872) by José Hernández?is a paradigmatic representative of the gaucho genre,where the ombu is not missing:“… Después de mucho sufrir/tan peligrosa inquietú/,alcanzamos con salú/a divisar una sierra/y al fin pisamos la tierra/en donde crece el ombú…”?At the end of the 19th century,the field was fenced in,which would forever change the rural social aspect:the gauchos were replaced by salaried laborers.Between 1860 and 1920 the historian Barrán situates a new sensibility,the “civilized culture”.In this new sensibility,the impulses are repressed and the work,modesty and dignity of death are sacralized[18].It can be considered that Uruguay begins its social,political and economic modernization.Urban life flourishes and the city of Montevideo begins to clearly differentiate itself from the surrounding nature.

Of the more than 130 authors (painters,writers,musicians,photographers,botanists) that are being studied in our project almost half was born in the nineteenth century and the other in the twentieth century.They are distributed equally between Uruguayans and Argentines?,with a very small percentage of nationalities of European descent.Their references to the ombu trees follow different profiles..Some scientists,others utilitarian and others more artistic.Within the latter the profiles go from the descriptive to the symbolic,exalting qualities associated with space and others associated with the gaucho,the idea of nation and values of the articulation of the landscape of the Pampa with historical time:immensity,loneliness,violence,freedom,strength,character and pastoral idyll.

Jules Supervielle?turns the ombu into the protagonist of a poem (Dans la pampa,1919) and mentions it in his work Boire à la source (1950),where he gives special importance.

The ombu was a leitmotiv in the work of Pedro Figari?.It is the protagonist in his painting En la pampa (Fig.6) and an obligatory reference in his paintings and stories.He names it as “our baobab”?given the similarity between the powerful structures of both trees.

In his story “Muchachos”,Morosoli?refers to a character who left his life in the town to go live in the capital city.The first involved tranquility,enjoyment,the clear water of a stream within reach and an ombu tree,just for him,which was as big as a house.The migration to the capital had made him lose that pastoral idyll:“Just now he realized that the other was right.I had always worked.Always.He had not noticed anything.Lived without living.”

Today,José Risso?has dedicated a part of his work to the photography of ombu trees in rural areas.He has done it with analogical photographs,in black and white,praising the personality of the tree and the mystery that surrounds the specimen and the landscape in which it is inserted (Fig.7,8).

The references to the ombu tree also reach the musical genre.Clave del aire is a tango interpreted by Gardel in Paris,in 1930,whose lyrics?were written by Fernán Silva Valdés?.It is about a loving betrayal,about loneliness and pain.Appeals to qualities(loneliness,roots in the region,refuge,strength)common to the species and to the anecdote that seals the sad essence of this typical dance of the Río de la Plata.

The ombu is also one of the native trees more known by the people of the city[19].This is due not only to the popular imaginary related to the species but also to the presence of outstanding specimens.In Montevideo,for example,the Ombú de Bulevar Espa?a (Fig.9) is one of the best-known trees in the city[20].This specimen,which still exists,was already an adult in 1912,when the avenue was projected.Thanks to the intervention of the Mayor of Montevideo of the time,Ramón Benzano,the road layout was redesigned to conserve the tree.

There are also ombu trees along the banks of the Miguelete stream and on the coastal strip of the Río de la Plata.The latter officiated as lighthouses for the boats that came to our coast.Some in particular,like the Ombú de La Mulata,has an associated urban legend?and has marked the toponymy of the neighborhood.

In contrast to the great variety of representations,legends and anecdotes,in Uruguay,only recently the ombu tree cultivation has spread.

Encontraste con la gran variedad de representaciones,mitos y leyendas,en el Uruguay,sólo recientemente se ha difundido el cultivo del ombú.Most of the existing specimens derive from their spontaneous reproduction.However,by superstition in general they are not extracted.

7 Conclusion and perspectives

“As much as we separate nature and perception in two different domains,they are in fact indivisibles.Even before being the rest of the senses,the landscape is the work of the spirit.Its essence is built from stratums,both of memory and rocks.[9]”

The intention of this project is to attend to the complexity to which Simon Schama alludes in this heading.The interdisciplinary nature of the research allows to articulate practices and representations,theoretical knowledge and real spaces.The collaborative nature of all this work allows us to collectively build and value our heritage,tear down disciplinary and territorial borders,in short,strengthen our identity.The continuous round-trip between the popularization of scientific culture and the wisdom of popular culture allows knowledge to be constructed transdisciplinarily.

This is an open project in which there is still much to be done.In it,knowledge is used as an instrument of integration,as part of a collective consciousness and as a space for diversity.

Notes:

① in Spanish the verb “to be” is enriched by breaking down into two verbs “ser” and “estar”.

② “Pampa” derives from a Quechua word that means "flat surface”.

③ In Uruguay,the Universidad de la República is the most important institution of higher education and research.It also carries out activities with the purpose of spreading the culture and giving a socially valuable use to knowledge.“It is a public institution,autonomous and co-governed by its teachers,students and graduates”;cited from http://www.universidad.edu.uy.

④PARTICIPANTS:idD FADU Udelar[please aupdate]:Ph.D.Ana Vallarino (in charge;Lead Researcher);Dip.Arch.Laura Pirrocco ;Bach.Leandro Reimundi;Arch.Claudia Costa;Bach.Santiago Ventós/Mag.Arq.Leticia de la Vega (Ext.colab.2014—2015);Natalia Campos (assistant year 2015);Fabiana Oteiza (assistant year 2014)/Ing.Agr.Pablo Ross(botanical advice ldp CURE)/Gabriela Speroni botanical advice fagro)/Cynthia Olguin (visual communication design fadu Udelar,2014—2015);Nicolás Torres (computer developer fadu Udelar,2014—2015/INCO fing:Ing.Raquel Sosa (in charge of engineering students);engineering students:Virginia Yemini and Martina Se?oris (app designers);Leonardo Vidal(2014)/LDCV:Prof.Sebastián Suárez and Darío Invernizzi/plastic artist Fernando Stevenazzi (2016—2017).

⑤“Every year during the month of May we celebrate the science and technology developed in Uruguay through various activities suitable for all types of public in order to inspire the enjoyment of knowledge and the vocation of future generations”;cited from http://www.semanacyt.org.uy/.

⑥Each region on earth/It has a prominent feature:/Brazil,its burning sun;/Silver Mines,Peru,/Montevideo,its hill;/Buenos Aires -patria hermosa_/It has its great pampas;/the pampa has the ombú.

⑦ (Montevideo,1743—1815) priest,politician,farmer and great self-taught scholar,of great importance in his time.

⑧ In a strict sense it is not like this:Lombardo clarifies that it did not originate in Uruguay,but that our country covers only its area of dispersion (Lombardo,1969).

⑨ Characteristic inhabitant of the Pampa,skillful rider,of transhumant life,with his life tied to the cattle works,to the consumption of the meat and to the use of the leather.

⑩ dilapidated and abandoned ranch.

?Store where items of daily use were sold,mainly edible.

?Julio César Castro (1928—2003):Uruguayan writer,actor and playwright.

?(1841—1922) Naturalist and English writer of Argentine origin.He lived for a time in Uruguay (then Banda Oriental)and masterfully embodied in his work the rural and warlike atmosphere of the time as well as the idiosyncrasy of the gaucho.

?(1878—1937) Uruguayan storyteller,playwright and poet.

?Luis Lorenzo Domínguez (1819—1898),Argentine poet,journalist and politician.

?(1834—1886) military,journalist,poet and Argentine politician

?“After a lot of suffering a very dangerous concern,we reach with health to see a hill and finally step on the land where the ombú grows”.

?The study of Brazilian authors has not yet been studied in depth.

?(1884—1960) Franco-Uruguayan poet and writer.

?(1861—1938) prominent Uruguayan painter,lawyer,politician and writer.

?The Baobad was immortalized by Antoine de Saint-Exupéry in Le Petit Prince (1943).

?Juan José Morosoli,Uruguayan writer (1899—1957).

?Photographer born in Maldonado,Uruguay,in 1970.

?“Como el clavel del aire,/así era ella,/igual que la flor/prendida en mi corazón./…/En esta región,/igual que un ombú/solito y sin flor,/así era yo;/y presa del dolor/los a?os viví,/igual que un ombú/en esta región…”.Like the air plan,/so was she,/like the flower/on my heart.//[In this region,/like an ombú/alone and without a flower,/so was I;/and prey of pain/the years I lived,/like an ombú/in this region” SILVA VALDéS F and FILIBERTO J D (composers);GARDEL C(interpreter).Clavel del aire.Montevideo,1929.

?(1887—1975) Uruguayan poet,composer and playwright.

?It was said that under its roots there was a buried treasure,the result of the rescue of the wrecks that were in that area of the Río de la Plata.

?Fig.1?Servicio Geográfico Militar;Fig .2,4,5?autor;Fig.3,6～8?OMBúes exhibition catalog,Figari Museum 2016;Fig .9?Centro de Fotografía,Uruguay.