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Implicit

The implicit effect is one of the important architectural styles of classical Chinese gardens. The pursuit of implicit is related to the pursuit of implicit in China's poetry and painting, and the artistic realm of "meaning is expensive and far, and the realm is expensive and deep" is emphasized in painting; In the garden, the emphasis is on twists and turns and unpredictability. This implicit can be understood from two aspects: first, its artistic conception is implicit; Second, from the perspective of garden layout, Chinese gardens are often not straightforward, but tortuous and unpredictable. Often skillfully through the contrast of the virtual reality, hidden and straight of the landscape image to achieve implicit effects. For example, the beautiful lotus pond, bridge and other scenery outside the door first attracts the hearts of tourists, but the wall is high, only some roofs, trees and higher buildings in the circle are exposed in the garden, and the panorama inside cannot be seen, which will cause people to think about it and arouse interest in understanding the garden scenery. The entrance of the Summer Palace in Beijing uses the main hall to cover the main scenery of the garden (Wanshou Mountain, Kunming Lake), through the main hall, suddenly open, see Wanshou Mountain and Kunming Lake, the mountain light and water color is beautiful.

In Jiangnan gardens, leaky windows often become implicit means, and the landscape outside the window is faintly visible through the leaky window, which is much more interesting than looking at it at a glance. For example, the east area of Suzhou Lingering Garden is dominated by architectural gardens, and its southeast corner is surrounded by corridors, and various styles of leaky windows and open windows are placed on the surface of the pool, so that the garden is hidden in the window holes. And today there are many well-intentioned people, lest tourists do not understand, the pool is loaded with artificial big fish, in front of the panda hall stands clay sculpture of the panda, such as doing a big advertisement, contrary to the word implicit, losing the spirit of the Chinese garden, really too sad scenery. The fish should be looming, and the panda pavilion is attracted by the bamboo forest, gradually entering the best situation, and the tourists are more interesting.

Emphasize artistic conception

The word "artistic conception" pursued by classical Chinese gardens is mostly based on natural landscape gardens. In a garden, even if there are dense buildings, there must be a natural interest. In order to make the garden have a promising, feasible, tourist, and habitable place, a variety of corresponding buildings must be built in the garden, but the architecture in the garden cannot overwhelm or destroy the main body, but should highlight the main body of the landscape, and integrate with the nature of the landscape, and strive to achieve the organic integration of nature and architecture, and sublimate into a work of art. The expression of the artistic conception of this intermediate building is such as: the smoke and rain building of Chengde Mountain Resort, which is built in imitation of the artistic conception of the smoke and rain building in Jiaxing, Zhejiang, this simple and elegant high-rise building, whenever the wind and rain come, can form a light and simple "mountain sky rain is also strange" poetic painting intention, which is physically and mentally intoxicating.

The creative method of garden artistic conception has its own characteristics and far-reaching cultural roots. The creative methods of mercy can be roughly summarized into three aspects:

The process of "body matter". That is, the creation of garden artistic conception must make a detailed experience of the affection that is suitable for expressing in a specific environment and scenery in the process of investigation and research. The image of things has the characteristics of expressing personality and affection, which is an objective phenomenon. For example, people often compare willow silk to women and tenderness; to flowers than children or beauties; Take General Gubabi and Bi Jianzhen. If the ratio and prosperity are improper, it cannot express the characteristics of the sentiments of things. Not only as compare, but also to be considerate and good at discovery. If stones are used to symbolize firm character, pebbles and flower stones are inferior to yellowstone and panstones, because they are not only in quality, but also in shape. In this process of understanding, the mind has gained, and only then do you begin to conceive the design.

The process of "artisan management". On the basis of the body and object, the artistic conception has the possibility of expression. Then plan the layout according to the idea and cut the scenery. The richness of the artistic conception of the garden must be "borrowed" according to the conditions. Ji Cheng's "borrowing scenery" chapter in "Yuan Ye" said that "framing is borrowing", which is not only about borrowing scenery in composition, but also about "borrowing because of it" to enrich the artistic conception. All the evening bells, the dawning moon, the singing of trees, fishing songs, etc. cannot be borrowed, and Ji Cheng believes that "touching the emotions is all".

"Than" and "Xing". It was a means of expression of aesthetic consciousness in the pre-Qin era of China. The interpretation of the comparison and xing of "Wen Xin Diao Long" is: "Compared with the one with the other; Rise up. "Comparison is to compare this thing by other things", such as "Lansheng valley, not for no one and not fragrant" is a natural phenomenon, which can be compared to the noble character of man. "Xing" is to use the scenery to directly lyricize, such as "Yetang spring flood, flower dock sunset late" in the scenery of pleasant feelings, oil is born. "Bi" and "Xing" are sometimes difficult to distinguish absolutely, and are often used together, both of which are methods of expressing, sustenance, expression, and conveying affection through external objects and scenes.

Religious superstition and feudal rites

Classical Chinese architecture is closely related to immortal worship and feudal rites, and is also reflected in garden architecture. In the Han Dynasty, there were many "louguan" in the garden, because at that time people believed that immortals liked to live in high places. There is also an important embodiment, the kissing beast that can only be seen on the sculptural decorations of the royal building. The kissing beast is both a general term for people's worship of dragons and the creation of a variety of divine beasts. The dragon is a symbol of the origin and cultural beginning of the Chinese nation; the totem worshipped by the descendants of Yanhuang; The spirit of mighty, courageous, invincible and fearless that the dragon possesses is the symbol and embodiment of the ideal of the Chinese nation. Dragon culture is an important part of China's splendid culture.

To this day, people can still see the "dragon culture" displayed on the newly built antique buildings, and today's dragon culture (decoration) is not just to "avoid evil"; Moreover, it has become a symbol of the Chinese nation (at home and abroad, everything decorated with "dragons to avoid evil" must be Chinese houses), condensing the soul of the nation. There are strict rules on the arrangement of kissing beasts, and the number varies according to the level of the building, the most common is the decoration on the Taihe Hall of the Forbidden City. This is unique in the history of Chinese palace architecture and shows the supreme importance. In other ancient buildings, a maximum of nine walking beasts are generally used.

There are strict hierarchical boundaries here, and only the Golden Luang Treasure Hall (Taihe Hall) can complete ten things. The Hall of Nakawa and the Hall of Bohol are both nine. The small beasts in the other temples are decreasing in steps. There are also nine small beasts on Tiananmen Square. The Golden Luan Treasure Hall "Taihe Hall" in the Forbidden City in Beijing was the court of the feudal emperor, so there were the most small beasts. The Golden Luang Hall is a "temple" style building, with 1 main ridge, 8 vertical ridges, and 4 surrounding ridges, for a total of 13 hall ridges. The snouting beast is located on the ridge of the temple, and there are 2 snouts at both ends of the main ridge, because it has a straight ridge, also known as the ridge-swallowing beast. On each vertical ridge of the main hall, 1 weeping beast is cast on each side, and 8 out of 8 ridges. In front of the weeping beasts is 1 row of running beasts, from front to back, the leader of the front is a phoenix immortal, and then in order: dragon, phoenix, lion, pegasus, seahorse, fox, fish, pig, bullfighting, xingshi, a total of 10. There are 8 of the 80 vertical ridges.

In addition, there are 2 zygosnoid beasts at each end of each ridge, and a total of 4 animals on 8 ridges. In this way, there are 106 large and small snouted beasts. If you include the set of beasts on the corner beams of each temple, there are a total of 114 kissing beasts. The Qianqing Palace, where the emperor lived and handled daily government affairs, was second only to the Taihe Hall, and there were 9 small beasts with horns. Kunning Palace was originally the queen's residence, and there were 7 small beasts. In the six houses of the east and west where the concubines lived, the number of small beasts was reduced to 5. Some have only 1 side hall. Ancient palaces were mostly wooden structures and flammable. Legend has it that these little beasts can avoid fire. Due to the decoration of the deified animals, the imperial palace became a senkaku divine palace.

Therefore, the kissing beast is a unique sculptural ornament in classical Chinese architecture. Because the snout-kissed beast is endemic to royalty, it is also a way to distinguish between private and royal gardens and buildings.

The floor plan is concise and regular

Ancient Chinese architecture has a simple organizational law in terms of floor plan, that is, every residence, palace, official office, temple and other buildings are composed of a number of single buildings and some corridors, walls and the like surrounded into courtyards. Generally speaking, most courtyards are connected front and back, reaching the backyard through the front yard, which is the product of the ideology of Chinese feudal society that "the young are orderly, and there is a difference between the inside and the outside." The main characters in the family, or those who should be isolated from the outside world (such as the girls of aristocratic families), often live in courtyards far from the outer door, which forms a deep spatial organization of courtyard after courtyard.

At the same time, this courtyard-style group and layout is generally designed along the longitudinal axis (also known as the front and rear axis) and the horizontal axis in a balanced and symmetrical way. The more important buildings are placed on the vertical axis, and the secondary houses are placed on the horizontal axis on its left and right sides, and the group layout of the Forbidden City in Beijing and the courtyard courtyard in the north are the typical examples that reflect the layout principle of this group. This arrangement is closely related to the patriarchal and religious systems of Chinese feudal society. It is most convenient to make clear differences in housing between honor and inferiority, elders and children, men and women, master and servant, according to feudal patriarchal law and hierarchy. This is the embodiment of feudal rites in the layout of garden architecture.

Garden architecture varies in style

Luoyang has been famous for peonies since ancient times, and flowers and bamboo trees are planted in gardens, especially peonies and peonies, in contrast, pavilions and other buildings are designed to evacuate. Even some gardens are only temporary structures during the flowering period, called "curtain houses" and "city houses". Once the flowering period passed, the curtain house and the city were demolished, and there were basically no fixed buildings.

The Yangzhou garden, the architecture is beautifully decorated and delicately expressed. This is because most of the Yangzhou gardens were built during the Qianlong period of the Qing Dynasty, and many of the builders were built by giant merchants and local officials at that time. The purpose is to show off their wealth and whitewash the peace, so it has a distinct utilitarian nature. In terms of aesthetic taste, Yangzhou garden pays more attention to the expression of formal beauty. This is also different from the general Jiangnan private garden style, which has pursued a calm, deep and subtle round-making style since the Tang and Song Dynasties.