The Relationship between China Classical Gardens and Painting and Literature

1 Traceability of Classical Gardens and Ancient Poetry Painting

Artistic conception of gardens and implication of ancient poems and paintings.

Garden art is a dynamic space art (including seasonal changes of plant landscape and dynamic tour sequence of tourists), and its landscape elements are physical entities. According to a certain theme layout, elements are arranged to form various garden spaces, which mainly resort to vision, so garden art belongs to visual art and is a space visual art with great material factors. China classical garden art pays attention to the creation and expression of artistic conception, while ancient poems and paintings play a very important role in the creation and expression of artistic conception in classical garden art, and they complement each other and learn from each other. What are artistic conception and garden artistic conception? The definition of artistic conception in Ci Hai is: "the ideological realm in which the life picture depicted in literary works is in harmony with the expressed thoughts and feelings"; The artistic conception in the garden can be understood as: "The scenes of various objects created in the garden are mixed with the thoughts and feelings of the creators and tourists, and the * * * sound produced by the two is called the mirror of meaning, which is the pouring and sublimation of the feelings of the creators and appreciators, and is the highest realm of" the scene outside the scene, the image outside the object "to be achieved. Generally speaking, there are two ways of creation and expression: one is to express by symbolic means (analogy and association), such as the rockery of the four seasons in Geyuan, Yangzhou, and the changes of the four seasons in spring, summer, autumn and winter are expressed by inkstone, lake stone, Yellowstone and snow stone respectively, but the association (symbolic means) produced by analogy can only be created by literary language (garden poems) and literary works. The other is to use couplets to express the artistic conception of gardens (especially at the end of the Five Dynasties, couplets were produced on the basis of the development of poetry in the Tang Dynasty. As a literary form, they developed in Song Dynasty, especially in gardens. Couplets are language art, space-time art and the essence of China's classical garden poems. Its media material is words (language)-an intangible spiritual carrier (artificial symbol), which has greater spiritual content factors and larger space-time field than spatial visual art (symbolic technique). The ideographic function of language art can arouse tourists' thinking in images, expand their association, freely associate and experience the infinite space of garden artistic conception, so as to achieve "touching and melting the scenery" For example, Lu Yun Temple in the southwest mountainous area of chengde mountain resort "contains Taikoo Mountain House", which means "the Jewish mountain is old and the heart is in Emperor Xi". The so-called "quiet and ancient" is to learn from the Ming monarch three generations ago and highlight his artistic conception.

Language is the direct reality of thinking, and the characteristics of the media materials (couplets) of language art determine that language art is an art with relatively large spiritual content, and its aesthetic value of spiritual content has increased.

Liu Tianhua once said that couplets and stone carvings, for example, are like the "theme music" in the west, and the combination of this kind of poetry and natural scenery is the "theme scenery" with national characteristics originally created by China gardening artists.

1.2 The origin of classical gardens in China is primitive.

Classical gardens in China were produced under the influence of certain historical, social and cultural conditions, which can be traced back to its earliest production period: the Yin and Zhou Dynasties (that is, the animals that set aside certain natural areas for emperors and nobles to hunt and entertain)-the architectural palaces in Qin and Han Dynasties, which is one of its historical backgrounds. With regard to the influence of social conditions and cultural background, it can be understood that Laozi and Zhuangzi were both philosophers in the Spring and Autumn Period and the Warring States Period. With the economic recession, constant wars and social chaos, the literati class, whose self-confidence has collapsed and their ideals have been disillusioned, has increasingly established a philosophy of life and interest characterized by nature, comfort and tranquility, which has enabled the literati to concentrate on achieving inner balance, pursue pastoral life and live in seclusion in the natural river, and a natural aesthetic has emerged. Pastoral poetry, landscape poetry and pastoral literature have appeared one after another. Reflected in art, there appeared figure painting with the theme of praising seclusion. In order to give these characters a suitable environment to set off the theme, landscape painting began to gradually develop into the background of the literati's activity space. The turning point was in the Jin and Southern and Northern Dynasties from the 3rd century to the 6th century, when private gardens appeared, such as the "Jingu Garden" in Shichong in the north and the Wang Xiaoyi in eastern Hunan in the south. Royal gardens, such as Fang Ying Forest Garden (Hualin Garden) in Luoyang, Cao Wei, are the rise of temple gardens. In its heyday, the royal gardens in Sui and Tang Dynasties included Xiyuan in Luoyang in Sui Dynasty, Daming Palace, Huaqing Palace and Xing 'an Palace in Chang 'an in Tang Dynasty, private gardens such as Bai Juyi's garden, Prime Minister Li Deyu's Pingquan Villa, the poet Wang's biography of Tianshan Mountain, Bai Juyi's Lushan Caotang and so on. Qujiang, the first public garden in history, appeared. Early maturity: From the natural landscape garden in the Eastern Jin Dynasty to the freehand landscape garden in the Tang and Song Dynasties, the freehand landscape painting in the Yuan, Ming and Qing Dynasties (Yongzheng) achieved far-reaching and broad artistic effects with simple pen and ink, and developed into a freehand painting school in the Southern Song Dynasty. The theory and creative techniques of this painting school have a great influence on the art of gardening. The combination of garden and poetry and painting is closer, which can concisely summarize and reproduce nature and integrate natural beauty with architectural beauty, thus creating a series of poetic landscape. Most of the gardens in Beijing are concentrated in the capital Tokyo and Xijing Luoyang. Beijing is the capital of Beijing, where most of the royal gardens are concentrated. In Song Huizong, the famous "Genyue" was built in the northeast of Miyagi Prefecture. By the middle of the Ming Dynasty, there was another peak of gardening. In the middle and late Ming Dynasty, there were Humble Administrator's Garden, Lingering Garden, Art Garden, Yufeng Garden, etc., and they spread to Yangzhou, Taicang and other surrounding cities, and there appeared gardeners such as,, Yuan and Zhou. Late maturity: In the middle and late Qing Dynasty, Kanggan City was mainly built on the basis of Mingxi Garden. In the northwest suburb of Beijing, there are five royal gardens: Jingyi Garden, Jingming Garden, Yuanmingyuan Garden, Changchun Garden, Qingyi Garden (now Summer Palace), chengde mountain resort Garden and Splendid Garden in Qing Dynasty. There are six royal gardens in Qianlong, such as 40 in Yuanmingyuan, 36 in Kangxi Garden in chengde mountain resort and 36 in Qianlong Garden. Outside Beijing, private gardens in Ming and Qing Dynasties were mostly distributed in Yangzhou, Suzhou, Xing Wu, Hangzhou and other cities and the Pearl River Delta. Beijing is mainly the home of the Korean royal family and dignitaries.

2. The relationship between the artistic conception of classical gardens and ancient poems and paintings.

China is known as "painting and calligraphy are of the same origin", and the poetic and picturesque classical gardens in China naturally come down in one continuous line. Clear. Qian Yong said in the article "Walking in the Garden": "In order to make a garden and write a poem, it is necessary to have twists and turns, echo back and forth, avoid piling up and confusion, and then it can be called a good structure." It breaks the relationship between poetry, painting and gardens. A general principle of China's ancient gardening is "man-made, but natural", which is a special attribute of China gardens influenced by the universal laws of literature, art and painting. China's landscape painting is a reflection of the application of China's painting theory of "describing the spirit with form" to China's gardens, and the gardening theory of "true is false, false is true" means that the painting theory is between "similarity and dissimilarity".

2. 1 The role of poetry and painting in creating landscape.

2. 1. 1 Poetry and painting participate in the formation of landscape (landscape).

In classical gardens, plaques, inscriptions, couplets, poems, beams, buildings, sculptures, texts and paintings are widely used for landscaping. Therefore, most of the classical gardens in China are "theme gardens", and the use of plaques and couplets can directly become a scene, which plays a role in setting off and deepening the main scene and environment. It can be said to be couplets, plaques, inscriptions and couplets. Such as pavilions, pavilions, boats, pavilions, buildings and bridges, couplets and plaques, wall carvings at the entrance of Xiling printing house in Hangzhou, and paintings on the promenade of the Summer Palace in Beijing all add interest and literary flavor to the garden landscape. As Cao Xueqin said in A Dream of Red Mansions by Jia Zheng's mouth, "... if there are big scenes, pavilions, no titles and beautiful scenery, they will definitely not be colored." It is conceivable that without these elements, what would ancient gardens look like? Only the shriveled shell is left, which is lifeless, and its artistic conception is more difficult to reflect.

2. 1.2 Poetry and painting reflect the artistic conception of the garden (viewpoint).

Classical gardens in China (whether royal or private) pay attention to the creation and expression of this artistic conception, which embodies the theme artistic conception of classical gardens, and poetry and painting play the role of blending scenes.

First of all, highlight the theme and artistic conception of the garden. There are two forms to highlight the theme in China classical gardens: one is to highlight the theme of the whole garden, such as the typical private gardens in the south of the Yangtze River, such as Master Garden, Lingering Garden, Individual Garden, Yuan Shao Garden, Humble Administrator Garden and Yiyuan Garden. These are scenes that reproduce natural features such as mountains and rivers in urban gardens, and their layout embodies a realm of "seeing the big from the small, seeing the mountains close at hand" and "replacing water with spoons and painting with addresses". And entrust the owner's thoughts and feelings to enhance the profound realm of his artistic conception. It was named "Webmaster" because "Song Zongyuan named himself" Webmaster "and Yan Qiyuan lived in seclusion by fishing, and also took the name of the lane similar to the sound". It turned out that Song Zongyuan's mother was old, and 50-year-old Chen Qing begged to return to her hometown and built Netscape Garden as a place for retirement. He compared himself to a fisherman and named the garden after him. On the one hand, he borrowed the original meaning of "fishing in seclusion" in Historical Records Garden, and he has the ambition to live in seclusion and regret himself. And because there is an alley called Wang Si next to the garden, it is homophonic; Suzhou Humble Administrator's Garden was built in the former site of Dahong Temple in the Ming Dynasty (1506- 152 1), hence the name "Zhuozheng". He himself once said: "I retired for 40 years, and at the same time I sat up eight times and climbed three times, but I only retired from the forest of one county, and I was poor in politics, so I knew the garden." It reflects his seclusion and interest in the countryside, and also reflects the ridicule of the ruling class at that time for their pursuit of pleasure and neglect of state affairs. The other is to highlight the theme of a scenic spot, such as the scenic spot in chengde mountain resort, which embodies the idea of harmony between the monarch and the minister, loyalty to the monarch and love for the people for thousands of years, and also flaunts the ideological realm that the ruling class Fan En values the people. The garden pattern of "one pool and three mountains" emphasized by ancient royal gardens is the embodiment of the feudal imperial ruling class's pursuit of "immortal mountains on the sea" and "immortality" and the ruling class's lasting ruling position. Although its garden layout is to consolidate the ruling class's dominant position and provide a place for the ruling class to enjoy luxury, it can be said that it embodies a kind of garden "artistic conception" from the perspective of gardening alone. Another example is the garden in the Summer Palace, which means to fan the wind of "benevolence, righteousness and morality", that is, "to persuade kindness and comfort". "Foreigner's Peak" is a fan-shaped building that rises gradually along the main axis and natural rocks, and its conception is well coordinated with the layout of the whole garden. The plaque of "Foreigner Peak" plays an outstanding role in theme and artistic conception.

The second is the point of view. For example, there are couplets: the central scenic spot of Humble Administrator's Garden is surrounded by lotus wind pavilions, with lotus wind on its forehead, and there are couplets on the pillars of the pavilions: "Lotus flowers on all sides and willows on three sides, half a pool of autumn water and a well." Sitting alone in the pavilion, watching the lotus leaves in the field, weeping willows, the breeze in Xu Lai, and the lotus fragrance are really "willow waves meet the bridge, and the lotus wind comes from all directions"; "Wenmuxi Xiangxuan" stayed in Suzhou, located on the rockery of Huangshi. There are many osmanthus trees on the mountain. In the Mid-Autumn Festival in August, osmanthus fragrance overflowed, hence the name "Wenmuxi Xiangxuan", and wrote a couplet: "The grotesque rocks are full of eternal beauty, and the osmanthus moves mountains and autumn", pointing out the charming scene where the grotesque rocks and osmanthus set each other off. There are also plaques: Ke Zi (Garden), De (Yang Slender West Lake), Fajing Evening Bell (Yang daming temple), Washing Autumn, Drinking Green (Beijing Summer Palace), Liu Yin Road Qu (Su Humble Administrator's Garden) and so on. Couplets include: the breeze and bright moon are priceless, the feeling is close to the distant mountains (Su Cang), the spirit overflows Fangdian, and Suyun is connected with Yechuan (Yang Slender West Lake, Long Beach); When the moon is full of water, Yun Qi-Tianshan Mountain (young slender West Lake, moon scenery) displays the artistic conception of the garden through chanting and couplets.

2. 1.3 Poetry and painting broaden the connotation and extension of garden artistic conception. The application of poetry and painting makes the garden landscape have the meaning of "the image outside the image, the scene outside the scene"

Such as "cicada forest is quieter, Tonggong Mountain is more secluded" (Su Humble Administrator's Garden. Wei Yunting, Xiang Xue) is a poem from Wang Ji, a poet in the Southern Dynasties. The pavilion faces Yuanxiangtang across the pool, where plum blossoms are planted everywhere, and the fragrance floats, and the maple, willow, pine and bamboo win glory, and the "fragrant snow" is Yu Mei. A few cicadas and birds sing, showing the quietness and condescension of forests and secluded mountains, enjoying the scenery of the central garden. In the distance, the water waves are brilliant, the pavilions are looming, the trees on the nearby mountains are lush, the birds sing, the streams below the mountains flow and the reeds sway, which means that there are wild mountains and lakes. Ping Shan Tang (Yang Slender West Lake) has a couplet, "Crossing the Mountain to this Hall, Satrap Banquet, and All Guests Enjoying", which is a true portrayal of Ouyang Xiu's banquet here, and a metaphor for the feudal scholar-bureaucrat thought that his master despised the imperial court, his career was frustrated, and he watched the fire from the other side. Landscape and ideological content have been highly integrated.

Painting also has a far-reaching influence on the expression and creation of artistic conception in classical gardens. Gardening theory and painting theory are interlinked. Gardening is to create infinite artistic conception in limited space and limited scenery, which is the so-called "seeing the big from the small, and the mountains are close at hand". Many gardening theories of China's classical gardens come from painting. For example, Chinese painting pays attention to "flowing, never leaving the needle", and gardening is about unified change, coordination and contrast, high and low, and step by step. The influence of painting on gardening is mainly manifested in the following aspects: painting theory is the source of gardening; Painting and sculpture participate in the formation of garden landscape, and play a role in setting off and decorating garden landscape, such as painting and stone carving of ancient buildings, which all reflect the role of painting in gardening. Many classical gardens were designed and built by painters, such as Pianshi Garden and Shiwan Garden before Yangzhou. It is said that they were all piled up by the painter Shi Tao. The Ming Dynasty painter was a guest of Wang, the owner of Suzhou Humble Administrator's Garden. Ji Cheng and Wen Zhenheng were two of the most famous gardeners and gardeners in China in the Ming Dynasty, and they were also painters.

2.2 In the concept of time and space, the artistic conception of garden art and poetry and painting is both similar and different.

China's poems and paintings strive to create infinite artistic conception with limited length, space and breadth, and pursue "the environment is born outside the image" to express artistic conception and entrust emotions. However, due to the different elements of landscape construction and creative materials, the expression and creation of garden artistic conception have gone further. Now, they are elaborated respectively:

2.2. 1 The material entity of garden art creation is more concrete in appearance than poetry and painting, and more profound in the creation of artistic conception.

China's garden art takes the mountains, water, trees, stones, houses and animals in nature as the original creative materials in a limited space. After careful conception and spatial layout, it creates an artistic image with infinite fantasy in the natural scenery, which makes people limited. At the same time, we should follow the general principle of unified change of artistic composition, and use the composition principles of contrast and harmony, rhythm and rhythm, symmetry and balance, scale and so on in landscaping to arrange gardens, so as to fully express the theme and artistic conception and create infinite artistic realm.

2.2.2 In terms of time and space, the artistic conception expression of garden art is more direct and deeper than that of poetry and painting.

Garden art is a dynamic multi-dimensional three-dimensional space modeling art, which shows physical entities such as pavilions, bridges, corridors, mountains and plants. It is laid out through certain landscaping techniques, and the artistic conception can be expressed through symbolic techniques. The seasonal landscape throughout the year is rich in natural expression and time continuity, and the dynamic sequence of landscape is incomparable to the creation and expression of artistic conception in poetry and painting.

In short, the artistic conception of the garden can be created and expressed through ancient poems and paintings, which can directly participate in the formation of the landscape of garden objects-mountains and rivers; At the same time, it can highlight the theme, point out the scenery and expand the garden landscape. On the other hand, gardens provide a place for the expression of ancient poems and paintings, and have evolved into various poems and paintings such as chanting on topics and engraving on walls. It is a unique and expressive literary form in China literature. The creation and expression of artistic conception and poetry and painting complement each other, learn from each other, and complement each other.