Abstract: The classical gardens in China pay equal attention to mountains and rivers, and the artistic conception of the gardens is reflected by overlapping mountains and managing water. The creation of this artistic conception is a more profound and advanced aesthetic category than the intuitive garden scene. It implies a deeper, wider and more beautiful realm through the concrete scene in front of us. China's classical garden art has a unique composition rule for stacking mountains and managing water. Although it is made by people, it is endless. The expression of his aesthetic thoughts is the expression of China's social culture and philosophy, and his artistic beauty is inseparable from the traditional values and aesthetic thoughts of China people.
[Keywords:] Dieshan water control; China Gardens; Organic law; Artistic conception of artistic works
Classical gardens in China pay equal attention to mountains and rivers. The so-called "water takes stone as its surface" and "water is beautiful because of mountains" reflect the artistic conception of gardens by overlapping mountains and managing water, which is a deeper and more advanced aesthetic category than the intuitive landscape of gardens. First of all, it contains the gardener's attitude towards life. Through the wonderful garden landscape, tourists can stop in the garden, and through the poems in the landscape, the ideological connotation given by the gardener to the landscape is realized. The gardener's own deep-seated cultural contents, such as thoughts, feelings and will quality, are condensed in the scenery and reflected in the spatial environment of the garden, achieving the landscape effect of "man-made, but natural"; Through the concrete scene in front of us, it implies a deeper and more beautiful realm, "the scenery is endless and the meaning is endless." This is the essence of classical gardens in China.
First, the development process of water management in China classical gardens.
China classical gardens have always paid attention to landscape construction. Zhou Wenwang's "spirit cave" is not only a "spirit platform" for piling soil, but also a "spirit marsh" for digging ground. There were biographies of Ba, Jing, Wei, Feng, Gao, Liao and Ba in Shanglinyuan in Han Dynasty, among which Ba and Ba all started in Shanglinyuan. Sima Xiangru wrote in Shanglin Fu: "Liquan overflows the Qing room and Tongchuan overflows the atrium". Emperor Yangdi Yang Di built Xiyuan in Luoyang. "Five lakes have been dug, each of which is 40 miles away. Yang Ying Lake in the south, Cuiguang Lake in the east, Jinming Lake in the west, Jieshui Lake in the north and Guangming Lake in the middle ... In Beihai, the central area is 40. There are three mountains, Penglai, Abbot and Yingzhou ... "The Furong Garden in the southeast corner of Chang 'an Avenue in the Tang Dynasty is a scenic spot dominated by Qujiang scenery. Qujiang is1360m long from north to south and about 500m wide from east to west. The shape of the water surface is irregular, lotus seeds are planted in the pool, cattails grow in the pool, and willows hang in the wind on the shore. In the Tang Dynasty, there was a poem saying: "Purple cattail gives birth to wet shore, and clear ducks prosper Sina", "Fish play hibiscus water, birds sing the breeze"; Bai Juyi wrote in "Bailianzhuang": "A pool of water, a thousand bamboo poles." Genyue, a famous royal garden in the Song Dynasty, is described in Genyue Pool in Song Huizong: "Wild geese fall in the waterfall, and the water in the pool is clear, and wild geese float on the water and live among the stones." Tai yuechi county in Xiyu Garden, a metropolis in the Yuan Dynasty, and the Three Seas (South China Sea, China Sea and Beihai Sea) built on this basis in the Ming and Qing Dynasties are all dominated by waterscape. In addition, the most popular literati landscape gardens in the Ming and Qing Dynasties all take overlapping mountains and managing water as the core of scenery and spiritual sustenance, such as Humble Administrator's Garden in Suzhou, Lingering Garden, Lion Forest and Geyuan in Yangzhou.
Looking at the famous classical gardens in different historical periods, we can see that most of the classical gardens in China regard overlapping mountains and managing water as the core of the scenery in the garden. Zou Diguang, an Amin, put it well: "The only way to win a garden is mountains and water. Whether there are mountains or not, there are mountains and water, and there are no mountains. It is not surprising that it is not enough to win, that is, the mountains can't collect water, and the water can't make mountains. " Mountaineering makes people admire life, and playing with water makes people think calmly; Traveling in the mountains is exciting, but playing in the water can teach you peace. The process of playing with water is often a thought-provoking process, so when Confucius saw the water flowing eastward, he also lamented that "the deceased was like a husband."
In horticulture, water management does not need a lot of manpower and material resources like architecture, nor does it need careful management and long growth process like flowers and trees. As long as it is arranged by hand, it can receive a strong artistic effect. Combined with other garden factors such as architecture, rockery, flowers and trees, animals, etc., the artistic composition of the garden is more vivid and profound.
Secondly, the formation law of China classical gardens' overlapping mountains and managing water.
In China's classical garden art, there are unique rules for dealing with overlapping mountains and managing water, which are directly related to China's traditional values and aesthetics.
1. The water in the garden must first find its source. "How can the canal be so clear?" Because there is flowing water from the source. "Passive water will turn into stagnant water, which is the taboo of China gardens. But it is difficult to find running water, so artificial water sources must be set up first when gardening. In the Song Dynasty, Guo said in Lin Zhi that "water is the blood of heaven and earth, and blood moves without stagnation", expressing the view that water cannot be passive.
2. The water in the garden is tortuous and plain. Uncle Zheng Yun, a famous painter in the Qing Dynasty, said in "On Painting in Southern Sky": "The realm is expensive and deep, and it is not curved or deep." The water surface in the garden should not be made into geometric figures such as square, circle and ellipse. Most of the ponds in the garden are natural, especially in the gardens in the south of the Yangtze River. There are free curves and riprap on the shore, which are strewn at random. This artistic technique not only conforms to nature, but also contains philosophy.
3. The beauty of garden water lies in that "water bends because of the shore, and water is divided because of the dike". Only division can break the monotony of the water surface, form a multi-layered sense of water features, and reflect the mysterious changes of garden space.
4. Building several central islands in larger waters and building several central islands in larger waters can make the waterscape colorful and endless.
5. It's not necessarily bamboo silk, but the landscape is clear. Wang Wei, a famous poet and gardener in the Tang Dynasty, wrote a poem "Bamboo Dew Dripping Fragrance", which introduced people into a very peaceful artistic conception through the sound of bamboo leaves dripping. In landscaping, if we can use various techniques to create a variety of water sounds, we can arouse the sense of hearing beauty of tourists, such as "dripping sound". The sound of water reflects the tranquility of the environment and brings out the sense of music in the space.
6. Flying flowers in the mirror, the colors of all kinds of things in nature in the outer ring screen of Qing Dynasty came from Guo. The color of water is the simplest, but also the most colorful. If used properly, it can create rich visual aesthetic feeling of color and produce two functions: stippling and borrowing color. The so-called stippling is to decorate the surrounding environment with plain and clear water color and take advantage of its rich color elegance. The so-called borrowing color is to change the color of water with the help of the color of the surrounding weather and the color of flowers and trees. Meteorological colors such as sky, clouds, rising sun, sunset, frost and snow often vary from time to time; The colors of flowers and trees, such as blooming or dying, shade and bald branches, change with the seasons. This ever-changing color combination and reflection in water often breeds ever-changing color beauty.
7. Talking about the relationship between architecture and water from the surface of water is calculated in landscape management. If the two are combined well, they can learn from each other. In Jiangnan gardens, due to the different garden areas, there are roughly two modes in dealing with the relationship between buildings and water bodies: gardens by water and gardens with water. The former, such as Humble Administrator's Garden and Netscape Garden in Suzhou, are all built around water; The latter, such as the buildings of tuisi Garden in Tongli Town, Wujiang, are all built close to the water surface.
8. Although it is man-made, the twists and turns in the shape of the water surface, the separation of the water surface, the construction of islands on the water surface, the design of curved banks, bridges, platforms, pavilions and other buildings built by the water should all strive to reach the standard of "although it is man-made, it is man-made" (calculated by "gardening"), and try not to show traces of artificial axes, otherwise it will have an impact on the East. "Nature is above the top grade". To reach the highest standard of China's classical garden art, it is necessary to "learn from foreign teachers and win the heart from China".
Thirdly, the aesthetic thoughts in China's classical gardens.
The most profound and incisive significance of China traditional gardens is the expression of China's social culture and philosophy, and of course it is also the expression of China's aesthetic thought. China gardens advocate "let nature take its course". Most of the overlapping mountains and water management in China gardens are natural forms. For example, the pool in Jiangnan garden, the free curve "let nature take its course"; However, the pools in western gardens are mostly geometric, which embodies the idea of "conquering nature and serving people".
Garden is the art of space, and there are many philosophical thoughts on the treatment of space. As mentioned earlier, the traditional gardens in China are mostly set with the pool as the center. For example, Netscape Garden, Guolin Garden, Lion Forest and Yiyuan Garden in Suzhou, Jichang Garden in Wuxi, Jixiao Mountain Villa in Yangzhou, Tuisi Garden in Wujiang Tongli and so on. They are all centered on a pool, surrounded by rocks, trees and buildings. The profound meaning of this gardening method comes from China's basic philosophical thought: "Emptiness" is the highest realm of Laozi and Zhuangzi's philosophy. "Laozi" said, "Be extremely empty and keep quiet." "Zhuangzi" also said, "Always keep it, keep it as bright, and the bright is empty." Virtual is the highest realm and pursuit. Water is "nothing" and empty, while rocks and trees are "existing" and realistic, so they are all placed around. Moreover, the water in China gardens is mostly still water, and the quieter the more beautiful it is. When the water is still, it is bright, and you can see the reflection of underwater objects, fish in the water and objects on the water, while the water surface disappears and cannot be seen, so "nothing" is great, so "goodness is like water". The water in western gardens is different. With the fountain and the shape of water, a statue is often built in the center of the pool, and the shape of water is revealed, centering on "you", reflecting different values and aesthetic orientation from the East.
Fourthly, the artistic conception in China classical gardens.
China gardens should not only create formal beauty full of vitality, artistic conception and virtual reality through overlapping mountains and managing water, but also pursue touching the scene to find a profound and important purport that can express the spiritual level and enter the realm of scene blending. This is the artistic conception of China gardens, which is closely related to the traditional values and aesthetic thoughts of China people.
Designers and builders of landscape architecture in China are mostly literati or painters. When they paint poems, they are always expressing an emotion, a will and an ideal. In their garden creation, they "express their feelings with scenery and express their aspirations with things". This artistic conception is always clearly reflected through the naming of gardens, plaques, couplets, inscriptions and memorial halls. For example, the name of Suzhou Canglang Pavilion is taken from Mencius, which means that the water of Canglang is crystal clear and can laugh at itself. The name of the hibiscus garden means that the husband and wife return to the field to live in seclusion together. The name of Jixiao Mountain Villa in Yangzhou is taken from the meaning of "Proud to lean on the south window, easy to judge the knees" ... Go to Gaodong for fun and write poems in a clean stream "in Tao Yuanming's Homecoming.
The ancients said, "Poetry expresses ambition" and "Poetry must love". So artistic conception is also the realm of poetry. The ambition in poetry and the emotion in poetry are the meanings in the artistic conception of gardens. Mr. Lu Xun once said, "Formal beauty is perceived by the eyes, while Italian beauty is perceived by the mind". China Gardens inspire people's yearning and pursuit for good feelings, good aspirations, good character and good society through artistically processed mountains and rivers, cool breeze and bright moon, birds and flowers and pavilions. This realm is the highest realm of garden art, that is, the realm of ideal beauty, and also the ultimate realm that gardeners are striving for. Sun Xiaoxiang wrote in "A Survey of China Garden Art": "Of course, many of the above artistic conceptions are not as irrelevant as falling flowers on the water. This kind of emotion, ambition, personality and ideal are integrated with the spatial layout of the garden, the living environment and the painting landscape in the dynamic layout, and finally achieve the ideal realm of' writing scenery with emotion and expressing feelings with scenery', which is a high combination of realism and romanticism. " The main guiding ideology of China's garden construction is "harmony between man and nature" and "harmony between man and nature", which is an organic combination of environmental awareness and social awareness. It embodies the spirit with material, the harmony between things and me, and the infinity with limitation, aiming at giving people endless associations and achieving the goal of "forgetting beauty and being with it". So, on the whole, it is endless and interesting.
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