Source: "Chinese and foreign landscapes" Author: warm

Abstract: The landscape design in Renaissance has a new feature than before: the artificial landscape emphasizes the integration with the natural environment rather than isolation. On the premise, the noble manor was built on the top of the mountain, and the atmosphere was pleasant and relaxed. At the same time, a series of symbolic installation sketches are arranged in the garden route, which are full of various metaphors. All these have had an important influence on William Kent, the master of British landscape architecture in the18th century, which laid the foundation for the development of picturesque landscape architecture in Britain and provided an excellent example for modern gardening.

Abstract: Compared with the previous design, the new features of terrace garden in Renaissance have a new feature-artificial landscape emphasizes the combination of nature, not isolation. Under this premise, aristocratic villas are gradually built, including green to full scenic spots, to create a relaxed atmosphere. At the same time, a series of symbolic theme facilities are arranged in the garden route, which contains rich metaphorical meanings. All these influenced Villiam Kent, a landscape architect in the 65438 +08 century, which laid the foundation for the development of picturesque gardens in Britain and provided a perfect example for modern landscape design.

Keywords: Renaissance; Terrace garden; Nature; Green; Symbolic; William Kent; Italian style

Keywords: Renaissance; Terrace garden; Nature; Green symbol; William Kent; Italian style

In the Middle Ages, after the demise of the Western Roman Empire, European civilization became more regional. The land in these countries is not concentrated, and many capitals are within the city walls. The economic and social system of the whole town has the characteristics of feudal society. However, after that, when the history of world landscape developed to the page of Renaissance, people's world outlook changed. Compared with the visual landscape of paradise garden in the Middle Ages, the landscape design of Renaissance began to become a brand-new terrace garden, which was based on a broader and more confident view of human power. As far as the platform garden in the Renaissance is concerned, it has two important characteristics: the integration of green panorama combines artificial nature and ubiquitous metaphor.

First, the green panorama is combined with artificial nature.

The development of landscape design that emphasizes external concepts began in the Renaissance, and the truth of human society began to separate from God's ideal world. Although the development is relatively slow, it has announced the arrival of a great era. The siege of abstinence in the Middle Ages was thus opened. Although there are walls in landscape design, its function is not only to emphasize defense, but also to emphasize the intervention of space under the axis planning and the expansion of the boundary line of the wall to the horizon, which is a great progress.

Plotinus, a neo-Platonic philosopher, pointed out that all creation can radiate divinity, accompanied by mysterious spiritual unity. According to his philosophy, the cultural institutions of communication, employment and creation stand between the lower earth and the higher god. His philosophy of love and blasphemy influenced the artists at that time, bringing the beauty of pure concepts to the real world, with reasonable proportion of mathematical concepts and harmonious engineering.

Therefore, under the overall atmosphere of scientific and technological development and humanistic development, the static concept of closed universe in the Middle Ages was gradually subverted by a more relaxed and open space for intimate dialogue with nature.

As for Villa Medici (Figure 1) in Fiesola town, it was designed in the middle of15th century, and the prominent position of the family enabled all new designs to be widely integrated into it, even beyond it. Perhaps the design of this manor was exploratory at that time, but it inadvertently became a gardening paradigm in the Renaissance, which influenced the later design. Layers of terraces provide the best position for panoramic viewing, and the scenery below the mountain is unobstructed. The dialogue between man and nature is so cordial that visual enjoyment becomes spiritual pleasure and satisfaction.

In/kloc-the most classic Renaissance terrace garden-Este Villa (Figure 2) designed in the late 6th century, the terrace has been fully utilized, except for being integrated with nature. The most natural and spiritual water has also been introduced into the garden, combining nature and labor in an expressive form.

In addition, planting exotic trees became a fashion at that time. In the central main garden, the pruned bushes are arranged in some geometric shapes, forming some orderly and independent spaces with fruit trees and some grasslands, making the space more lively and interesting. From the upper platform to the top of the mountain, the sides are shortened to form a trapezoid. Cypress, fir, oak and laurel are planted side by side with some evergreen shrubs. The arrangement of these trees is slightly disordered and wild, and there is no transition zone between the ramp and nature. But the softening effect of the orderly juxtaposed plants below makes the trees above look less abrupt. These are the artificial design features of terrace garden.

Under the background of the whole Renaissance society, it is precisely because of the introduction of green plants and natural panorama in artificial design that the Renaissance terraced garden has a more relaxed pastoral life atmosphere and created a brand-new and fresh era.

Second, the ubiquitous metaphor.

1. The auspicious implication of the theme of God and religion

Humanists' interest in classical myths provides artists with themes, and designers also apply these materials to the walking route in a narrative way, appearing in the form of a combination of groups and virtual scenes, combined with a series of illustrations.

Like their predecessors in ancient times, the owners of Renaissance villas hoped that the dense forest would become the location of the river god, mountain god Shui Ze, forest god, animal husbandry god, Di Anna and Venus represented by sculptures. Expressed the owner's pursuit of good luck and good wishes for health, beauty and prosperity.

In another Medici manor in castelo, you can see the river god trapped in the rocks overlooking Florence on the mountain to express the natural background of the city. The soft, plump and sexy body and gentle face of the river god symbolize the prosperity of the whole region.

The cornucopia, a marble sculpture created by nicolo Tripoli in Medici Manor, shows a famous symbol of western art-cornucopia. In ancient Greek mythology, the cornucopia was originally a horn of the goat Amartya. When Zeus, the father of the gods, was young, Amathea fed him with her own milk. In return, Zeus gave Amathea a magical goat horn, from which he could get anything he wanted. In western art, the cornucopia symbolizes abundance and richness, which is full of flowers, fruits and grains. It often appears with the cornucopia, and the Roman goddess Fortuna holds the cornucopia in her hand, symbolizing peace, kindness and luck.

In addition, the jungle of Villalant (1573) (Figure 3) evokes mythical memories of backward times-another similar punitive flood mentioned in the Old Testament. In this ancient legend, the evil of human beings made Jupiter angry and decided to destroy human beings with floods. The flood is so great that dolphins can even be seen swimming in the forest. In the end, only two moral people survived, and their descendants must work hard to make this land bear fruit.

Common literary themes in gardens include: Golden Age, Elysium, Simple Virtue, Venus in charge of love gardens, Apollo, Muse, mountains in Greek mythology, good heroes who perform almost impossible tasks or are attacked by cunning magic.

2. Praise the owner of the manor.

Increasing the literariness of the garden is another more obvious motive for the development of garden composition in the Renaissance: the owner of the garden expanded his reputation through symbolism, which often implies that the owner of the garden is using his power to do good.

In Langte Manor, lamont's axis design was combined with the imaginative application of water to form a classic expression, and a large number of metaphorical statues were set up to combine humanistic knowledge with personal honor and family pride. The garden clearly shows the master's virtue: he makes the surrounding land more fertile, and in the tradition of ancient civilization, he is the protector of art that can make the human spirit reach the highest level. The crayfish designed by the bishop, pun intended, matches the family name. The repeated appearance of this pattern in the garden hints at the bishop's achievements.

Iii. The influence of18th century on British landscape architecture —— William Kent's Italian style

/kloc-in the 8th century, landscape architecture naturally appeared in Britain, which changed the thousand-year history of the rule of conventional gardens in Europe. It was an extremely profound revolution in the field of western garden art. At that time, Nott-style gardening upsurge arose in the European continent, and Britain was also affected, but the influence degree was obviously less than that of other countries. The natural reasons are as follows: First, the terrain in Britain is hilly, and Jianping Garden uses a lot of earthwork; Second, Britain is humid, and the cost of building a factory and plastic surgery is too high; Thirdly, animal husbandry has obviously changed the rural landscape and style of Britain.

At this stage, a large number of designers have emerged who have had a great influence on British landscape architecture. Among them, Villiam Kent was the first gardener who really got rid of conventional gardens and found a new way to become the founder of real natural landscape gardens. In the courtyard, he abandoned hedges, straight garden roads, street trees, fountains and so on. Enjoy the unique crown of lonely trees and shrubs. He is also good at dealing with the terrain in a very subtle way. The slopes and valleys he designed are strewn at random, making it difficult to feel the traces of artificial knives and axes. He believes that the harmonious beauty of landscape gardens can not be reflected by conventional gardens. Kent believes that the new gardening principle is to completely imitate and reproduce nature, and "nature hates straight lines", which is the core of Kent's gardening thought.

What makes Kent more famous is the Italian style widely used in landscape design. Apart from the influence of natural conditions in Britain, adopting Roman style is more important politically. The situation of French gardens is related to the autocratic system, but for the British people with more democratic ideas and demands in the18th century, French gardens are gradually not accepted. Therefore, the British garden design tries to get rid of the luxury of French gardens and seek the simple and simple design form of Italy in the pre-Baroque era.

What is universally acknowledged now is Kent's contribution to Stowe Garden (Figure 4)-the simple design of two buildings in the garden. The round dome of the Gothic parish building in Stowe Garden, the architectural form of ancient Rome, a series of colonnades, the Temple of Venus, the semi-circular outdoor chairs in the Renaissance, and even the wooden bridge developed from the villa of Madimei in Rome all have a mythical meaning of prayer, as in a dream.

In addition to adopting Italian style elements, Kent is still looking for space technology in Italian architecture and garden design in English gardens. For example, in the design of Roman temples, pedestrians are deliberately designed to look around the landscape. Therefore, in the design of Rousham Garden (Figure 5), we can see the column corridor designed by Kent, through which we can overlook the surrounding scenery, which easily reminds us of the spatial design techniques of Italian terrace gardens.

Therefore, in Kent's design, perspective space organization is a combination of aesthetics and drama. These completely natural landscapes combined with Italian-style buildings have formed a typical style of early British garden design, which has been widely recognized throughout the UK and provided a good foundation for the next garden development. The naturalness, openness and symbolism of the Renaissance is still an important reference for our gardening.

References:

Elizabeth Barlow Rogers. History of culture and architecture. New york: Harry abrams, 200 1. Page 133- 148, page 232-247.

[2] Lauzaro, Claudia. "Cosimo de Medici in little Tuscany, castelo. "Italian Renaissance Gardens: From the convention of planting, design and honor to the grand gardens in central Italy in the century. New Haven: Yale University Press, 1990, p. 167- 188.

[3] Italian Bei Lini Museum

Introduction to Renaissance Art 2004. 12

[4] Rainey and Reuben. "The Garden in Myth: Rand Villa in Bagniya", commented by United Quarterly. Autumn, 198 1

[5] John Dixon Hunter. "Rationality and Sensibility in the Landscape Design of Henbury Repton." Gardens and Picturesque: A Study on the History of Landscape Architecture. Cambridge, Massachusetts: MIT Press, 1992, p. 139- 168.

[6] You Editor, History of Landscape Architecture, Beijing: China Agricultural Science and Technology Press, 2002, p. 23 1-236.

About the author:

Nuannuan, female, Department of Environmental Art and Design.

Excerpt from Chinese and Foreign Scenery