Chinese poetry or prose related to Chinese garden art?

Copied from the Internet: The connection between Chinese poetry and Chinese garden art. There are ten Huts in thatched house, a patio, several poles of bamboo, and several feet of stalagmites... There are sounds in the wind and rain, and in the sun. There are shadows in the middle of the moon, there is love in the tears in the poem, and there is companionship in the leisurely boredom. I am not the only one who loves Dianthus, but Dianthus also loves me.

--Zheng Banqiao The Chinese nation is a nation with a long history and cultural tradition. The garden landscape, which is the accumulation of culture, is picturesque in its tranquility, poetic in its delicacy, meaningful in its plainness, and novelty in its changes. It can be described as colorful and dazzling. Chinese gardens (mainly referring to Chinese classical gardens) are different from other gardens in the world. They can be summarized in four major characteristics: 1. Based on nature and higher than nature. 2. The integration of architectural beauty and natural beauty. 3. The interest of poetry and painting. 4. The connotation of artistic conception. These four characteristics are the main signs that Chinese gardens are unique in the world. Their formation is, on the one hand, the combined force of many factors such as politics, economy, and culture. On the other hand, fundamentally speaking, it has a more direct relationship with the traditional Chinese view of nature and the emphasis on gradual enlightenment, intuitive perception, and comprehensive derivation. Among them, what promoted the prosperity of gardens and the popularization and improvement of garden art was the direct participation of a large number of literati in garden planning. They drew on expressions from literature and painting, integrated their own views of nature and ways of thinking into gardening art, and gave gardens profound connotations. To a certain extent, they are the main figures in the formation of Chinese garden style and characteristics. Since the emergence of the "literati garden" of poets and painters in the Tang Dynasty, Chinese gardens have experienced a long and uninterrupted development, and even the layout and composition of modern garden landscapes are still closely integrated with literature and painting, and contain the essence of being Known as the aesthetic foundation of "silent poetry" and "three-dimensional painting". The development of "literati gardens" is, to some extent, an important component and key link in the development of Chinese gardens.

Garden art is a spatial plastic art that reflects the beauty of life and expresses a certain aesthetic consciousness through the material entities of the garden. At the same time, it reflects the social ideology and aesthetic ideals of the time①. Its essence is to organize an interesting environment full of artistic conception and beauty through the organic composition of the so-called four garden elements including mountains, water, buildings, plants, as well as roads, indoor furnishings, etc.

Chinese classical gardens are unique in the history of world gardens. They are characterized by attaching great importance to natural beauty, advocating artistic conception, pursuing twists and turns, and creating a spiritual character of "although it is made by man, it appears to be created by heaven". It is different from the axis of Western gardens. The pursuit of symmetry, balanced layout, exquisite geometric pattern composition, and strong formal beauty are very different. Chinese gardens began in the pre-Qin period, and the Wei, Jin, Southern and Northern Dynasties were the turning point. Private residences and suburban villas have emerged one after another. After the development of the Sui and Tang Dynasties, there were two upsurges in the construction of royal gardens. During this period, private gardens that appeared as literati gardens also developed greatly. During the Ming and Qing Dynasties, gardens entered a summary stage, especially the achievements of the Ming and Qing Dynasties. Almost all existing gardens They are all relics of this period. Royal gardens now mostly exist in the western suburbs of Beijing, while private gardens with higher artistic standards are most concentrated in Jiangnan. They are the two major schools of Chinese gardens. The key to the success or failure of the creation of Chinese gardens depends on the cultural quality and aesthetic taste of the creator. The following is an attempt to explain the traditional characteristics of Chinese classical gardens starting from the mutual penetration of the artistic conception of garden construction and the art of poetry and painting. I think the overall art of macro-development of Chinese gardening can be divided into two major aspects, and the individual construction characteristics can be simply explained in four short paragraphs: Macroscopically: 1. Adapt measures to local conditions and comply with nature

< p>According to local conditions means that when building a garden, we should base it on different base conditions, such as mountains and water, and fully capture the beauty of the natural scenery for our own use. This is actually conforming to nature in garden planning and layout. Another meaning of conforming to nature is to shape the scenery in the garden according to the formation rules of natural landscapes, so that the scenery in the garden is full of natural and innocent charm. The main purpose of garden art is to create (or transform and organize) the beauty of landscapes and landscapes to make them more concentrated, refined, and easier to appreciate. The mountains and rivers of the motherland are graceful and graceful, especially those traditional landscape scenic spots that have been evaluated by predecessors. All the mountains and rivers are beautiful. Beautiful natural scenery provides inexhaustible materials for garden creation. However, gardening is not simply about imitating nature and reproducing the original objects. It is about using landscape elements such as landscapes, flowers, trees, and architecture to create contrasting images through artistic labor. The practical process of making natural scenery more beautiful. This requires artists to carefully summarize the various forms of natural landscape beauty and their formation rules as the basis for their own artistic creation.

"Lively Splash" is a water pavilion across the stream in the west of Suzhou Liuyuan Garden, which also serves as the end of the stream scenery. A clear stream slowly flows out from the maple forest. At this point, the water pavilion disappears, as if passing through the pavilion. Although the water has stopped, it has not yet finished moving. The flowing water, the small pavilion and the green hills are full of the liveliness of the natural scenery. It is indeed a wonderful work of artificially creating nature in the garden landscaping. It is very appropriate to name it "lively and splashing ground". Sikong Tu, a poetry critic of the Tang Dynasty, wrote in "Shi Pin": "Animation means vitality.

If it is lively and full of vitality, the spirit will enter the dew and leave the paper far away. "To achieve the artistic effect of "although it is made by humans, it seems to open from the sky", the garden landscape must be full of vitality and organize the landscape in accordance with nature. This is the case with the "lively land" scene, where small buildings are mainly placed in soil. , among the rockery hills with yellow stones, the stream flows out in twists and turns, and there are maple trees on both sides. If you take a break here on a crisp autumn day, you will definitely feel full of life and refreshed.

Specifically speaking, the rule of garden art in dealing with landscapes (that is, stacking mountains and managing water) is that "mountains have veins, water has sources, veins are connected, and the whole garden is vivid." In fact, mountains have veins and water flows from sources. , this is the most general law of natural landscapes. If the mountains in the garden have no veins and are mixed into a pile, and the water in the garden is sourceless stagnant water, then no matter how exquisitely designed the pavilions are and how many varieties of flowers and trees there are, the whole landscape will not work. A garden cannot be vivid. Therefore, the first step in building a garden is to determine the direction of the mountains, dredge the water sources in the garden, and make the mountains and rivers blend together naturally. The mountains should be constructed according to the veins of the natural mountains. This is what Ji Cheng in the Ming Dynasty said: "There are high and concave, some are curved and some are deep, some are overhanging, some are flat and flat, and they are naturally built on flat ground." The garden should also be “cultivated when it is high and dug when it is low”, so as to coordinate and unify the rock veins of the whole garden according to the needs of the scenery.

Yongcui Villa is the natural slope of Huqiu Mountain outside Suzhou City. , rising step by step along the mountain. To the south, more than ten levels of simple bluestone steps lead visitors into the simple garden gate, which is sheltered by green trees and has three pavilions built on ancient trees. In the middle, there is a deep and strange scene of a small mountain building. Not far from the north of the Xuan, there is a raised platform. There is a pavilion named "Wenquan" on the platform, which forms an angle with the Xuan House and the steep hillside on one side. It is a small scenic spot that guides tourists to climb the mountain. It not only increases the spatial level in front and behind the small garden, but also guides people's sight to the heights. On the west and north sides of the pavilion, there are rockeries of lake rocks under the cliff of the real mountain. The momentum is connected, with oleander, crape myrtle, whitebark pine, pomegranate and other flowers and trees planted in the middle. The garden wall is hidden among the rocks, flowers and trees, and the scenery inside the garden blends with the natural mountain scenery outside the garden, full of vitality and harmony. Interesting. When you wind up through the natural rocks and the artificial slightly stacked pedal road, you come to the platform of the main building Linglan Jingshe. Looking down, you can see the lush scenery of the foothills of Tiger Hill; looking up, you can see The majestic Huqiu Ancient Pagoda. According to the context of the natural landscape, the artificially constructed small garden is harmonious and unified with the large landscape scenery. An indispensable borrowed scenery.

"Ask the canal how clear it is to have a source of flowing water." The basic relationship between mountains and water in garden landscapes is that "mountains are alive because of water, and water can only flow with the mountains." Only living water can bring vitality to the mountain; only water full of vitality can vividly reflect the garden scenery. If the water in the garden is a pool of stagnant water, it will become rancid and deteriorate, and there will be no natural beauty at all. Cheng pointed out in "Yuan Ye": In the initial stage of gardening, it is necessary to "establish the foundation and first investigate the source, remove the source, and observe the origin of the water. "For gardens in natural landscapes, it is easier to obtain living water, as long as natural water sources are introduced. For example, the cold spring of Lingyin Temple in Hangzhou, the second spring of Jichang Garden in Wuxi, etc. In the gardens with land, the source of the spring itself is a very good scene. , such as the Nanlao Spring in Jinci Temple in Taiyuan and the Baotu Spring in Daming Lake in Jinan. Larger water surfaces in some gardens are used as urban water regulation sources and livestock reservoirs, such as Kunming Lake in the Summer Palace in Beijing, and they also need to be dredged. The way out is connected to the natural river. The gate bridges and gate pavilions in the ancient garden are all set up to control the external river and the internal water (for example, the Qinfang Bridge, an important scene in the Grand View Garden in "A Dream of Red Mansions", is the gate bridge). In some urban gardens, there is no way to connect to live surface water, so gardeners dig several wells in the deepest parts of streams and ponds according to local conditions to connect the surface water in the garden with underground water to ensure the vitality of the water. In areas with high groundwater levels, this method is often used to save water.

Su Dongpo, who loves to travel and enjoy the scenery, once commented on the architecture and plant landscapes in the garden: "Taiwan pavilions are like wealth, and there are always them." Plants and trees are like famous festivals, which mature over time. "It means that as long as you have money, the pavilion buildings can be built immediately. The flowers, plants and trees in the garden do not grow immediately, but require more than ten or decades of growth. From this, we can see that the poet has a deep understanding of the garden. Pay attention to plants. Green is the color of life. If there are no plants, the garden will become dull and lifeless. Therefore, flowers, plants and trees are essential elements to make the garden scenery lively, lively and lovely.

The planting of garden plants, like landscapes, must conform to nature. The principle of planting flowers and trees in ancient gardens in my country is to allow them to grow naturally without artificial constraints. Therefore, they are almost invisible in ancient gardens. Western-style gardens have straight avenues, trees trimmed into geometric shapes, and very symmetrical and regular flower beds. The plants in the garden are almost all stretched out and full of life, and they are often mixed together, just like in the mountains. Same. There are old trees with clumsy postures that can be drawn into paintings, and there are flowers and fruits of various colors that change at any time, such as peach, plum, crabapple, persimmon and other fruit trees, which complement each other in the garden, adding a lot of natural flavor to the scenery.

In some urban gardens in Suzhou, people can still appreciate the wild charm of "old elms on the bank, weeping poplars near the water, and secluded bamboo trees" (the two islands on the pond in the middle of the Humble Administrator's Garden) and the "mountains full of maples and peach and willow trees". Urban forest scenery (small hills in the west of Liuyuan Garden).

Another manifestation of plant arrangement that adapts to local conditions and conforms to nature is that the varieties are not required to be rare and complete. Some common tree species in mountain villages, such as elm, locust tree, poplar, willow, ginkgo, etc., are all guests of the garden. They are some lower plants, such as the moss on the rocks, the trapezoids wrapped around the rockery peaks like a net, the calligraphy and grass growing in the cracks of the rocks at the foot of the mountain, the small shrubs and bamboo growing on the ground, in the garden Zhongya can be found everywhere. They not only add to the natural interest of the mountain and stone scenery, but also play a "hiding" role in covering up some remaining ax chisel marks. They are a good auxiliary to create a natural and lively landscape in the garden.

2. Mainly landscape, dual structure

The final product of garden art is a three-dimensional landscape image. There is no doubt that natural scenery such as mountains, rivers, forests and springs is its main part. Although some urban courtyard scenes seem to be completely surrounded by buildings, it seems that buildings occupy a large proportion of these scenes. In fact, this is not the case. At this time, the pavilions and pavilions are mostly a kind of background, only serving as a foil. The main objects for people to watch are the stone peaks and flowers and trees in front of the corridor walls. With them, this architectural space can be called a courtyard. Therefore, the first step in garden creation is to shape the landscape topography.

Beijing’s Old Summer Palace is a masterpiece of Chinese classical gardens and a masterpiece in the history of world gardens. Its scenery is characterized by "the scenery is formed by water, and the scenery is borrowed from the western mountains." It can be seen that the real mountains are only borrowed into the garden as a distant view, and the main scenery comes from the artificially created landscape topography of digging pools and mountains on the flat ground. When the Old Summer Palace was built, Emperor Yongzheng used 16 buildings to summarize his experience in shaping the landscape: "Because it is high, it is deep, it is close to mountains and rivers, and the land is suitable for each other, and it is a structure of pavilions and pavilions." This 16-character summary captures the essence of "adapting measures to local conditions and conforming to nature", which shows that the construction of large-scale royal gardens is also based on the height and depth of the mountains and rivers, so that the mountains and rivers are close to each other. This artificially shaped landscape has high and low Topography is the skeleton of garden scenery. Without the landscape skeleton, the plain at the foot of the West Mountain would not have much ornamental value. The main reason why the scenery of the Old Summer Palace wows Chinese and foreign tourists is that the gardeners used traditional landscape construction techniques, excavating lakes, seas, and streams on the flat land, and stacking continuous rockeries. On this basis, Then, according to the appropriate location, pavilions and other buildings are arranged to create ever-changing scenery. Zhicheng, a French priest who worked as a painter in the Ruyi Pavilion of the Qing court, admired the landscape topography of the Old Summer Palace very much. He believed that the layers and changes of the garden landscape depended on this topography. "Man-made hills of seven to eight meters to tens of meters high have formed countless small valleys. There are rivers, ponds and swamps in the valleys. Various buildings, flower beds and flowing springs form a lovely whole... Chuan Pavilion After passing the pavilion and entering the cave, there is another valley. The terrain and buildings are completely different from the previous one. "

This is true for the big garden, and the same for the small garden. Suzhou Huanxiu Villa is a small garden with just over an acre of land. It relies on the profound skills of Ge Yuliang, a famous gardener in the Qing Dynasty. Within this limited area, it has created a large-scale landscape with rockeries as the mainstay and creeks as a supplement. The topography gives the small garden a simple and natural mountain and forest look. The main mountain is in the east of the pond, with front and rear peaks. The front peak protrudes above the water. Although it is not high, it is full of majestic and jagged boulders. It is an extremely stacked cliff peak with caves built into the mountain. The rear peak is slightly shorter, and there is a valley and cliff between the two peaks. There are several ancient trees in the vegetation, which is very gloomy. In addition to the two peaks, there are several smaller peaks surrounding the area. The entire rockery is made of lake stones with distinct layers. The stone walls of the mountain peaks are slightly tilted to the southwest. Together with the texture and shape of the lake stones, it gives people the feeling of a real mountain. The back mountain is in the north of the stream, facing the water with a stone cliff. The stone wall is only 1 meter away from the front mountain, forming a canyon about 5 meters deep, which enhances the steepness of the mountain shape. The mountains in the garden have veins and water sources. The mountains divide the water, and the water passes through the mountains. The mountains are alive because of the water, and the water circles the mountains. The landscape of the small garden is full of vitality, and it has become a treasure of my country's classical garden art.

It can be seen that in the overall layout of the garden, the design of landscape topography is extremely important. Whether the garden scenery is natural and innocent, has wild interest, whether it is twists and turns, and whether it is full of meaning are all directly related to this.

However, the shaping of terrain and the arrangement of landscapes are only the first structural level of gardening. This level can only create landscaping but not organize tours. Appreciating garden art is different from appreciating landscape paintings. Landscape paintings are two-dimensional representations of mountains and rivers. People only need to face it and look at it. However, when visiting a garden, you must follow the tour route and enter the interior of the artwork to appreciate it. If there is only the first layer of structure, no roads, bridges, and no designed tourist routes, we can only "see" the forest like a large bonsai, let alone reading and entertaining guests in the garden combined with admiring the scenery. , games and living and other daily activities. In order for the garden to truly meet the functions of sightseeing and living, a second structural level such as roads, bridges, verandas, halls, pavilions, and terraces must be added to the skeleton of the landscape structure. This layer of structure, on the one hand, organizes tourist routes and guides people’s needs for sightseeing; on the other hand, it can better “finish” the first layer of landscape structure. The pavilions and pavilions in the Elephant Garden are of course an essential place for people to enjoy the scenery, rest and live, and their light shapes and brilliant colors dotted among the mountains, rocks and trees can indeed add a bit of charm to the scenery.

Therefore, only by adding a second layer of structure, organizing tours, setting up viewing spots with a variety of activities, and integrating it with the landscape structure can the garden art be perfected.

The rockery at Huanxiu Villa in Suzhou is steep and majestic. However, if there is no road to the mountain, and there are no building pavilions in the scenic area to compare with it, this half-acre rockery will turn into a huge If you can only look at the rock bonsai but not swim around, its artistic charm will be reduced. In fact, the reason why Huanxiu rockery is valued by Chinese and foreign gardeners is inseparable from the proper arrangement of the roads up and down the mountain and the ingenious architectural layout. Gardener Chen Congzhou described this in detail in his article "Suzhou Huanxiu Villa": "The main mountain is located in the east of the garden, with the hill behind it and the water surrounding it. The floating water pavilion is in the northwest corner of the pool, facing Feixue Spring, which is named Ask about the spring. From the southwest of the pavilion, cross the Sanqu Bridge and enter the cliff road, which bends into the valley. There is a stream coming from the northwest, passing through the stone cave and the skylight is faint, with hanging stalactites, stepping on the stone, stepping on the road, and crossing the stone beam. The valley is dense and dark, and a bridge crosses it. The stone wall of the flying snow spring is like a screen, which is what the gardener calls the "opposite view" along the mountain top, reaching the main peak, passing through the stone cave. As for the bridge, as for the back mountain, there is a pavilion on the mountain, which is called Bantan Autumn Water and Yifangshan. It comes out from the edge of the spring. The foot of the mountain is getting lower, the peaks and rocks are staggered, and the east and west gates are called "Ningqing" and "Shake". "Blue" is enough to sum up the scenery of the whole garden. To the west is the stone wall of Feixuequan, with stepping stones in the stream, which is extremely dangerous."

The rockery cliffs, caves, valleys, flying springs, dangerous roads, and dangerous Scenes such as bridges, cliffs, and stone chambers cannot be appreciated without visiting them in person. This small rockery covers an area of ??half an acre, but has more than 60 meters of mountain trails, which are undulating and winding, stringing together all the essence of the scenery on the mountain and down the mountain, making the lake and stone rockery exquisite and clear, with ever-changing beauty. All appear. Coupled with the supporting embellishments of pavilions, rooms, pavilions, boats and other buildings, the two structural levels have achieved perfect unity in this small garden.

Qionghua Island and Baita Mountain in Beijing's Beihai Park are popular garden landscapes. Its beauty also lies in the mutual contrast and reflection of the two structural levels of landscape and architecture. At the foot of Tashan Mountain today, there are many stone tablets. One of them is engraved with Emperor Qianlong of the Qing Dynasty's "Tashan West Side Notes". There is this passage on it: "There are high and low in rooms, twists and turns in mountains, and waves in water." . Therefore, if the water has no waves, it will not be clear, if the mountain has no twists and turns, it will not be spiritual, and if the room is not high, it will not be sentimental. Therefore, if the room is built with mountains, it will always be beautiful." This summary of garden landscaping is very insightful. It states the general rules of the combination of topography and architecture - they rely on each other, complement each other, and complement each other. The White Pagoda of Miaoying Temple on the north side of Fuchengmen Nei Street in Xicheng District, Beijing is much taller than the White Pagoda of Beihai (it is the largest existing Yuan Dynasty Lama Pagoda in China), but it looks far less prominent and beautiful than the White Pagoda of Beihai. The key reason is that there are no rolling hills to rely on and no beautiful garden environment to complement it. Just imagine, if the mountains and forests of Qionghua Island, which are rich in topography, do not provide a base for various garden buildings, then the towering towers on the mountains, the semicircular promenade and waterside pavilions facing the water in the north, stand high on the peaks. The pavilions above and the undulating cloud walls that follow the terrain are like mirages, lacking any basis for their existence. Similarly, if Qionghua Island had not been decorated with these buildings, it would have been just an ordinary stone island in the water, and it would never have had such a great reputation.

Microscopically: 1. Gardening art, learning from nature. Learning from nature, the art of gardening contains two levels of content. First, the overall layout and combination should be in line with nature. The relationship between mountains and water and the combination of various scenic factors such as peaks, streams, slopes and caves in the rockery must conform to the objective laws of natural landscape formation. Second, the image combination of each landscape element must conform to the laws of nature. If the fake mountain peaks are made up of many small stones, the veins of natural rocks should be imitated when stacking to minimize the traces of artificial stacking. Pools often have natural twists and turns, with ups and downs. The arrangement of flowers and trees should be sparse and dense, with natural shapes. The trees and shrubs are also mixed in and out, pursuing the natural wild charm. 2. Separate space and integrate with nature. Ancient Chinese gardens used various methods to separate space, among which buildings were mainly used to enclose and separate space. The separated space strives to break through the limitations of the limited space of the garden entity from the perspective of perspective, so that it can blend into nature and express nature. To this end, it is necessary to handle various relationships between form and spirit, scene and emotion, intention and environment, emptiness and reality, movement and stillness, cause and borrowing, truth and falsehood, finite and infinite, lawful and impossible, etc. In this way, the garden space and the natural space are integrated and expanded. For example, the use of leaky windows makes the space circulate and visually smooth, so it is isolated but not separated, and plays a role in mutual penetration in space. Looking through the leaky window, you can see the exquisite floral decorations and colorful patterns, which have a strong national flavor and aesthetic value; through the leaky window, the bamboo trees are blurred and swaying, the pavilions and pavilions appear and disappear, and the blue sky and white clouds fly in the distance, creating a deep and spacious atmosphere. The space realm and interest. 3. Garden architecture conforms to nature. In ancient Chinese gardens, there are mountains and waters, as well as buildings such as halls, corridors, pavilions, pavilions, buildings, terraces, pavilions, pavilions, houses, boats, and walls. Artificial mountains, stone patterns, stone caves, stone steps, stone peaks, etc. all show the beauty of nature. Artificial water, the shore twists and turns freely, and the ripples in the water are progressive, showing the natural scenery. The shape and spirit of all buildings are consistent with the natural environment of the sky and underground. At the same time, all parts of the garden are naturally connected, so that the garden embodies the artistic characteristics of nature, indifference, tranquility, and subtlety, and receives the effect of changing scenery as you move. Gradually enter into a better environment, see the big from the small and other viewing effects.

4. Trees and flowers express nature. Different from Western systematic gardens, ancient Chinese gardens pay attention to the treatment and installation of trees and flowers to express nature. Pines and cypresses tower into the clouds, willow branches hang gracefully from the shore, and peach blossoms bloom for miles. Even the branches bend freely and the flowers are fragrant. Its shape, spirit, and mood are all focused on expressing nature. Learning from nature, integrating with nature, conforming to nature, and expressing nature - this is where ancient Chinese gardens embody the national culture of "the unity of nature and man". They are the most distinctive feature of forests that are independent from the world, and are also the fundamental reason for their eternal artistic vitality.

Then let’s talk about the shaping of artistic conception of Chinese gardens: The shaping of artistic conception

Chinese classical art pays attention to spirit, momentum and energy. Chinese art has always advocated "learning from nature" ", "observe phenomena in the sky, observe laws

on the earth", taking "the unity of heaven and man" as the highest state ②, the views of time and space of ancient Chinese sages are complementary and complementary. Just like modern Western philosophy and science separate time and space; this ancient Chinese art philosophy is a simple overall aesthetics. His artistic creation pursues pictograms and illustrations, and pursues "skills without doing, and be careful to pursue the future"②. Therefore, special emphasis is placed on the spirit, human initiative, and the subject's thinking, taste, and understanding. The formation of human aesthetic perception is based on individual life experience, educational influence, and cultural tradition③.

We all know that the study of Chinese classical art inevitably involves the term "artistic conception", which can be traced back to Buddhist scriptures. Buddhism believes that "to know this is wisdom, to know this realm, to know the realm of the underworld, to gain the mystery is to be true"④. To understand it literally, "meaning" means image, which belongs to the subjective category, and "jing" means scenery, which belongs to the objective category. It is also called the "signifier" and "signified" often mentioned in philosophy. However, Wang Guowei believes in his "Human Words": "The realm is not a unique scene. Joy, anger, sorrow and joy are also a realm in the human heart. Therefore, those who can depict true feelings and real scenery are said to have a realm. Otherwise, they are said to have no realm." "④. However, "artistic conception", as a more specific aesthetic concept, cannot be simply regarded as the superposition of artistic conception and artistic conception. It contains rich emotional, psychological and philosophical implications. Its inclusive characteristics make it an important part of Chinese classical aesthetics. an extremely important category.

The category of artistic conception includes experience, emotion and thought. It is the highest state pursued by Chinese literati art. It usually gives people infinite feelings through limited expression①, that is, "the scenery outside the scene, implication". Therefore, Chinese classical aesthetics places special emphasis on the "virtual realm" in art. That is to say, it emphasizes the combination of virtuality and reality, which is the so-called "virtuality and reality complement each other, and everything without painting becomes a wonderful scene." Therefore, Chinese calligraphy and painting have always paid attention to leaving blank space, and gardens are no exception. When gardeners lay out gardens, they often leave the deep artistic conception half hidden and half exposed, or hide the beautiful artistic conception behind one or a group of scenery, allowing visitors to It is up to the reader to appreciate, associate, and understand its depth. More importantly, this state also includes a deep understanding of life and the world, as well as a persistent pursuit of emotional destination.

However, how can we convey the feeling of the infinite by expressing the finite? Ancient Chinese "metaphysics" also thought about this, mainly reflected in its idea of ??"valuing nothing". Although its basic starting point is in real life, it particularly pursues the experience of infinity in emotion, and at the same time applies this experience of infinity to the experience of life. Such a state is precisely the state of aesthetics! Wang Bi is one of the main representatives of metaphysical thought. He pointed out: "The image is the one who conveys the meaning, and the speaker is the one who understands the image. The meaning is not like an image, and the image is not like words. Words are born from images, so they can be found. Words are used to visualize images. Images are born from the mind, so images can be found to reflect the meaning. The image is used to understand the image, so the speaker understands the image and forgets the words. Xiang... Therefore, those who keep words are not the ones who get the image, and those who keep the image are not those who get the meaning. The image is born from the mind and the image exists, so the existence is not the image. The words are born from the image and exist. If you say something, it is not what you say. However, those who forget the image are the ones who get the idea, and those who forget the words are the ones who get the image. The idea is to forget the image, and the image is to forget the words. Therefore, the image is used to fulfill the meaning, and the image can be used. If you forget, you can repaint to your heart's content, but painting can be forgotten"⑤. In short, from Wang Bi's point of view, the understanding of "Xiang" and "Yi" cannot be separated from "Words" and "Xiang", but to truly "get Yi" and "Get Xiang", one must "forget the image" and "forget the image". Say "No." This actually means that the true understanding of "meaning" is an understanding that requires "image" but is transcendent from "image", that is, the experience of "infinity" that transcends the finite. When it comes to this kind of aesthetic experience, Huineng also has his own thoughts in his "Tan Sutra", which advocates that "the inside and outside are not confused, that is, they are separated from both sides. Being empty means not being confused inside or outside." That is to say, it is advocated that one should not be obsessed with form or emptiness when understanding things, because form is just the manifestation of Tao, it changes indefinitely, but it does not leave form and is obsessed with emptiness, because without form, there is no way to find it. Got it.

Reading literary sketches of the late Ming Dynasty is like visiting a garden. And there are many words that are nothing more than gardening techniques. These literati often had famous gardens at home or participated in garden affairs. Therefore, from the middle of the Ming Dynasty to the early Qing Dynasty, during this period, the literati gardens were the most developed, with high standards and famous figures emerging in large numbers. Ji Cheng's "Yuan Ye" summarizes and reflects the gardening ideas and gardening methods of this period, and the text is written in elegant parallel. I suspect that his book must have been polished by a scholar, so it is not just a book by a craftsman. The successor, Li Yu's "A Family Story·Bedroom Utensils·Playing Department", is also elegant in writing. Li Ben is also a literary and dramatist.

Not to mention Wen Zhenheng's "Changwu Zhi". The Wen family was handed down from generation to generation through calligraphy, painting, poetry and prose. The family also had a famous garden, and the Suzhou Art Garden still exists today. As for the garden notes, they must be written by literati to express the scenery, paint the feelings, and add color to the springs and rocks. The role of the plaque in the garden as a starting point is well known to everyone. A Chinese garden must have a place for music, and a pavilion near a pond is its place. The Thirty-Six Mandarin Ducks Pavilion in the Humble Administrator's Garden and the Zhuoying Water Pavilion in the Master of Nets Garden in Suzhou are well known to everyone. At that time, Mr. Yu Zhenfei and his respected old man Su Lu visited the Zhang family to repair the garden (the repair garden is now the west of the Humble Administrator's Garden). He and his Wuzhong music friends played music here and performed there. The music was in harmony with the garden scenery, so Yu Mr. Wang's operas have a scholarly style, and his skills are profound in literature and gardening. His ink writing belongs to me, and he knows my interpretation. The word "appropriate" is used to design a garden, and this word can be borrowed from literature. Wengui has body, and so does the garden. The word "decent" is consistent with the message of Gouyuan. Therefore, I once compared various gardens in Suzhou with Song poems: Master of Nets Garden is like Yan Xiaoshan’s poems, fresh and unconventional; Lingering Garden is like Wu Mengchuang’s poems, with a seven-story platform that cannot be broken down into fragments; and the middle part of Humble Administrator’s Garden is as ethereal as wandering clouds and wild cranes coming and going. If there is no trace, it will be like Jiang Baishi; Canglang Pavilion is like Song poetry; Qiayuan is like Qing poetry, all of which can be understood from their realm. If the gardener has no foundation in poetry, where does his inspiration come from? Styles cannot be mixed. Poems, lyrics, and songs are each composed according to different emotions. You must not turn a small order into a long song. What kind of emotion, what kind of content, what kind of literary style, all have their own independence. Therefore, Jiaoyuan, Shiyuan, Pingdiyuan and Xiaoluyuan each have their own characteristics. The layout of the pavilions and pavilions must be appropriate. If you can do this, at least it will be like making a fuss, and you will not be ridiculed as "improper". Scenery is based on the situation, taking advantage of the situation, skillful borrowing, essence lies in the appropriateness, combination, opening and closing, diversity and unity"①. In short, the layout should be based on the situation, and the layout should be appropriate according to the ups and downs of the terrain and the development of the situation. For the scenery, "If you want a high place, you can find a pavilion, and if you want a low place, you can open a pond." The pavilions are suitable for pavilions, and the pavilions are suitable for pavilions. This is the principle of "the scenery follows the shape".

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