Every fragment in the garden often exists as a scenic spot. With the development and maturity of gardens, the combination of garden art and poetry and painting art tends to be close, and the atmosphere of poetry and poetry in gardens tends to win. This idea of "scenic spot ontology" has also matured. In classical gardens, if the group names form a complete sequence around a theme or obey the unified requirements, then a kind of spiritual cohesion can be produced, which can form a beautiful core or system and gather related scenic spots or landscape groups into an organic and continuous artistic conception whole. This law of concentration in the spiritual field is mainly manifested in the construction of meta-themes or theme groups.
1 take "people" as the cohesive meta-theme.
This is particularly prominent in private gardens built by celebrities or ancestral gardens commemorating celebrities. The Canglang Pavilion in Suzhou has a series of water pavilions, Ming Dow Hall, Cuilinglong, fish viewing place, dull and quiet songs, all of which are related to Su Shunqin and his poems. In addition, there are inscriptions or calligraphy stones embedded in the gallery walls in the park, such as Canglang Pavilion, Rebuilding Canglang Pavilion, Canglang Pavilion Map and Canglang Pavilion Poetry, which are another landscape series in the park. These elements of spiritual and ecological construction are also related to Su Shunqin, and they have historical and repeated spiritual connections with Su Shunqin and Canglang Pavilion. In this way, Su Shunqin has become the meta-theme of Canglang Pavilion, which integrates the theme, title and construction of several landscapes in the park into a whole artistic conception, greatly enriching and enriching the deep connotation of the garden artistic conception.
Another example is Du Fu Caotang, which is located in the ancestral garden beside Huanhua River in Chengdu. This was the former residence of Du Fu, and later generations built a garden here to commemorate this great poet. The landscape of the whole park is probably related to Du Fu's life, events and poems. When people enter the main entrance of the thatched cottage, they will come to the main building of the garden-the Poetry and History Museum, which is the first scenic spot surrounded by the verandah of the hall. Further north via "Chai Men" is the courtyard of Gongbu Temple, which is the second scenic spot. The Qingxi River in front of the "Chai Men" is bordered by the quiet and unique "water sill" in the west and the charming "Flower Path" and the screen wall of the thatched cottage in the east. In the courtyard of the Ministry of Industry Temple, there is the "Just Sailing" pavilion in the west and the Caotang Bookstore in the east. There is a path leading to Shaoling Caotang Monument Pavilion in front of the temple. To the west of the shrine is Meiyuan Scenic Area, and to the east is Caotang Temple. The theme series composed of these scenic spots and landscapes are mostly concentrated in one focus-poet Du Fu. The overall artistic conception of this western Sichuan garden is full of rich poetry, and people can associate Du Fu's life and poetry through every building and landscape, thus deepening their admiration for this poet. It can be seen that the law of concentration plays an important role in the overall formation of the artistic conception of celebrity memorial garden.
2 take "Wen" as the cohesive meta-theme
Ouyang Xiu once wrote the famous essay "Preface to Drunk Pavilion", which not only described the fascinating beauty of scenery, but also expressed his garden aesthetic view of landscape, season and time. Zuiweng Pavilion in Langya Mountain, Chu County, Anhui Province has long been a famous mountain garden, and its landscape sequence is mostly around the famous Zuiweng Pavilion. The spring is the prelude to the Zuiweng Pavilion, and the Zuiweng Pavilion and the courtyard of Erxiantang are the main parts of the garden. There is also a "nine twists and turns" in the west of the courtyard, on which there is a "pavilion", which highlights the theme of "drunkenness is not in wine, but between mountains and rivers" The calligraphy landscape in the garden is particularly famous. In addition to the seals and official stone carvings of Zuiweng Pavilion and Erxiantang, there are many inscriptions, especially Zuiweng Pavilion written by Su Shi in regular script in Baosongzhai. At the end of the landscape sequence is the "Wake-up Garden" behind Yu Yushi and Yiting Pavilion, from which you can reach Qingxin Pavilion. This can be said to be a deduction or extension of the meaning of the book Zuiweng Pavilion. Without the meta-theme of this famous article, the landscape group of the garden will inevitably be scattered and not concentrated, and the landscape will be dull and boring. It can be seen that meta-theme, as a spiritual construction factor, not only has strong cohesion and penetration, but also contains aesthetic information that is enough to make the taster infinite and the listener tempted.
Some architectural landscapes around the pool in Wujiang Tuisi Garden have a specific artistic relationship with the word Niannujiao written by Jiang Kui. As can be seen from the preface, the poet boated in the wild water of the ancient city, feeling that "the image is leisurely and comfortable, unlike the human environment" and "the scenery is fantastic", so he wrote affectionately in his words:
Make a splash, remember to come and try Yuanyang for company. Thirty-six cruel people have not arrived, and there are countless water clothes. Green leaves are cool, jade makes wine disappear, and rain sprinkles. Shake it and Leng Xiang flies to the poem. ...
There is a painting boat named "A Hong Ge Ge" in the southwest of Tuisi Garden Pool, so it is decorated in red and stretches into the pool like a boat rippling with the waves. In midsummer, it is even more charming to shake like a broom. At the water entrance of Chinan, there is a room day, which is based on the combination of "rainy" and "cool leaves blowing", and its title and text are also inseparable. People here, listening to rain and grass in summer and autumn, make people feel cool. To the north of "Noisy", there is also "water Champs", which is also summarized from this word. People in pavilions and pavilions will also feel the cool breeze in Xu Lai, and the "Leng Xiang" flies and is refreshing. There is also "Sleeping Cloud Pavilion", which is a recapitulation of the meanings of "Lv Yun (Lotus Leaf) is automatic" and "Let me stay in the flower" in Jiang Ci and its preface. In addition, the "Tian Man" Hall and the "Golden Wind and Yulu" Pavilion are also consistent with the autumn meaning in the ci, especially the words "Autumn Water" and "Breeze Xu Lai" in the word order. In a word, this landscape sequence is the materialization of Jiang Kui's poetic realm, which makes pools, flowers, shore stones, buildings and their titles blend with each other, thus giving birth to the leisurely image of "inhuman human realm" (word order). The theme of the retreat garden is also to express the overall realm of a literary work.
3. Taking "things" as the cohesive meta-theme
In a scenic spot or a garden landscape, as a "thing" in the sequence of material ecological construction, it can often be used as a meta-theme or a condensed theme, thus rendering a kind of artistic conception. In the courtyard of Yungaifeng, there is such an overall combination of concentration and concentration. There is a semi-regular plastic pool in front of the peak of the famous Shi Yun in the south of the Yangtze River. In front of the swimming pool, it is the best place to enjoy the peak of the cloud. In the pool, you can see the graceful figure of this thin and beautiful peak, and the pool water washes her more beautifully. To the west of Numa is Yuntai, which allows people to enjoy the famous mountain peak in the southwest. There is also a cloud temple in the east of Numa, which also uses the word "cloud" to point the topic. After the peak is Guanyun Building, and there are two peaks, Canyun and Ruiyun, around the peak. This landscape sequence sets off, renders and contrasts the peak of the cloud from all directions, and repeatedly highlights the word "cloud", which is an example of paying attention to artistic techniques to achieve the overall artistic effect.
Individual buildings can also focus on "things". Wu Changyuan's "Chen Yuanlue" said: "Li Yuan, a different businessman from Hou Liwei in Ming Wuqing, ... has a plum blossom pavilion, carved as petals, carved as doors and windows, painted as walls, and molded as vessels, all of which are shaped like plum blossoms." This is the "thing" of plum as the theme of running. According to the brief introduction of the scenery of the Imperial Capital, not only the architectural plane pattern is plum blossom-shaped, but also the pavilion roof is triple eaves to symbolize the double petals of plum blossom. Unfortunately, however, there are no plum trees around Mei Ting. Suzhou Lion Forest is not like this. Plum trees are planted near the Mei Wen Pavilion. In the pavilion, plum blossom patterns are carved on the floor. The tables and chairs are plum blossom-shaped, and the plaque of "Spring News on the Window" is hung. A series of poems, books and paintings about plum blossoms are displayed on the fan. In this way, even if it is not winter, it seems to see a faint fragrance and a thin shadow, which reminds me of Wang Wei's famous miscellaneous poems: "You from my old country, tell me what happened there! . When you passed my window, did the plum blossom bloom its first cold flower? ? "Compared with Mei Ting in the pear garden, asking Mei Ge's realm is more interesting and meaningful, and the lion forest, once a temple garden, may also remind people of the Zen case-solving story of" Mazu asking Mei ". In short, it skillfully combines the elements of material ecological construction and spiritual ecological construction.
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