Hello everyone, I'm a little ant brother. In this issue, we will continue to explain the second part of "Talking Garden", "Continuing to Say Garden". In the explanation of the previous part, we have roughly outlined Mr. Chen Congzhou's overall view of the garden, but most of the parts are few sentences and are not elaborated, so in the next four parts of the garden, a garden element will be explained in detail.
PART 0
preface
I thought that I could get it in two weeks, "Continuing to Say the Garden" was dragged to three weeks by me, Mr. Chen Congzhou in the first outline, set up a large knowledge framework, we can see the last four as his supplement to the first part, which led to the knowledge points of the next few articles are very trivial, and a large number of quotations from the scriptures, many of the examples mentioned in the original text no longer exist today, so I spent a lot of time on how to string together relatively fragmented knowledge, but also let you get new insights.
And our interpretation of the "Garden of Continued Talk" has added new content on the basis of macro, meso and micro, so we still classify it in these three blocks:
Gardening has no form (macro)
Garden Element Processing (Meso)
The Middle Way of The Garden (Microscopic)
I have summarized them roughly into these parts of the previous period, and the division is not strict, mainly if you can understand it. For the contents of the previous issue, please click here:
Let me analyze one by one, the article is too long, we still divide this interpretation into (top) (bottom) two parts.
PART 1
There is no-law extension
1 Garden is expensive in generalization
We know that ancient gardens were mostly closed, with a limited area, to create unlimited space, so the word "ethereal" has become the essence of gardening.
Since the space is limited, then the garden's room and tile, grass and trees should summarize the beauty of the world and extract the essence of nature. Flowers and trees are heavy posture, mountains and stones are noble hills, and less is better than more, which must be summarized and refined.
The picture shows Zhongshan Zhan Garden
Zeng Ji a drama stage association: "Three or five steps, travel all over the world; six or seven people, the xionghui wanshi." ”
Singing, reading, doing, and playing on the stage are all highly purified literary and artistic works, so when interpreting the battle between the two armies, it can be one to a hundred.
Let's take the rockery as an example, in the last issue we talked about the mountain has a pulse, the emphasis is on opening and closing, but if you want to express such a complex mountain in the garden, you must have a strong ability to summarize.
A good example is Suzhou's Huanxiu Mountain Villa, famous for its rockeries, which is the work of The Chinese Qing Dynasty Master Ge Yuliang.
Mr. Liu Dunzhen, the founder of China's architectural education and architectural history discipline, commented in "Suzhou Classical Garden": "Suzhou Lake Stone Rockery should push this as the first. ”
Mr. Chen Congzhou even compared the poems of the Gemini constellation Li Bai and Du Fu in the history of Chinese poetry: "The rockery of Huanxiu Mountain Villa is allowed to be chosen, and the method of stacking mountains is possessed." The orogens do not see this mountain, just as the poets do not see Li Du. ”
On the left is Liu Dunzhen and on the right is Chen Congzhou
So what is so good about the rockery of Huanxiu Mountain Villa? I thought it was good to be that "true."
The first is to benefit from the "hook and belt method" created by Dieshan master Ge Yuliang. The so-called "hook and belt method", that is, the use of sand and stone infusion of stone cracks, so that the rockery is not only integrated, but also can be strong and undefeated for thousands of years; in the selection of materials, there are more taihu stones with vortex holes, a few wrinkles, and small holes, in order to force Xiao Zhenshan.
The second is the spirit of "trade-off" contained in the Dieshan period, through the selection of the characteristics of natural scenery, take its "spirit", remove its "dross", just as painting "Whoever manages the pen will stay in heaven and earth." "Painting is like this, and Dieshan is even more so. Stacked mountains "have a thousand valleys in their chests", and the rockeries can "be the first foothills of the mountains".
Under Ge Yuliang's men, the rockery of Huanxiu Mountain Villa looks at the whole outside, and inside there are Qiankun, valleys, mountain streams, canyons, main mountains, secondary mountains, peaks, a lot, but all have been exquisitely summarized, allowing people to shuttle through it, as if visiting a real mountain.
This is the condensation of space, although the garden is small, but travel around the rockery, the total amount of feeling you get is very rich, so from this point of view, the rockery of Huanxiu Mountain Villa is superior to the lion forest that claims to be the kingdom of the rockery.
Huanxiu Mountain Resort Rockery
Lion Grove Rockery
2, the garden will be separated, the water will be curved
According to legend, the plum blossom villa built by Xu Zichang during the Ming Dynasty was very magnificent and magnificent, and was known as the "third scenic spot in Jiangnan" after Hangzhou's West Lake and Suzhou's Tiger Hill. However, Sangtian canghai could not know the true face of its Lushan Mountain. However, there is a "Plum Blossom Villa" circulated in the world, or it can be glimpsed from it. (The following translation is from Liu Weiya)
Zhong Bojing wrote "Plum Blossom Villa": "The garden is in the water, the water is above and below the left and right, the high one is the platform, the deep one is the room, the virtual one is the pavilion, the curver is the corridor, the horizontal one is the ferry, the vertical one is the stone, the mover is the flower and bird, the visitor is the tourist, and there is no gardener." However, why should people have their own garden, be in the garden, do not know that it is a garden. In the garden, each has a garden, and then it is known that it is a garden, and this person is also humane.
Translation: Where is the garden? The garden is on the water. The water is up and down, high is the platform, deep is the house; hollow is the pavilion, the zigzag is the cloister; horizontal is the ferry, vertical is the stone; flying, planted are birds, flowers, tourists come and go, there is no place is not a garden. If so, then why do people have to have their own gardens? That's because I'm in a big garden, I don't think it's a garden, only there is a garden in the garden, and then I know that it is a garden. This is human nature.
The Humble Administrator's Garden has various walled divisions and garden-within-garden gardens
Is it for you to go around, but it is this passage that accurately clarifies the difference between gardens and natural scenery - separation, no partition, may be everywhere in the garden, it does not matter the garden, the reason why the garden can still be perceived by people is because of the "partition". Whether it is the wall or the partition wall in the garden, it is constantly dividing the space, which has a playful space.
Mr. Ye Shengtao has a clear explanation for this:
If we dismantle the traditional characters of the garden, we will find that the basic elements of the garden exist, and the elements in the wall can be regarded as the partition wall in the garden, dividing the overall garden into a separate and continuous spatial sequence.
Enclosure of Chinese gardens
Enclosure of Western gardens
Whether it is the West or the East, it confirms this sentence: the garden must be separated.
Only by separating the garden with a wall, people know the existence of the garden, people need a boundary emotionally, people need a definite space, so the garden has been a place of human nature since its birth, and people are the most important part of the garden.
Through the division of the wall between the scenery outside the garden and the scenery inside the garden, the contrast is interesting, echoing each other, and the magic of the place is seen in Si. This is even more true of what we said in the garden in the previous issue.
Most of the new Chinese landscapes do not even achieve the most basic "garden must be separated"
Let's talk about "Water Must Qu".
"Plum Blossom Villa" also yun: "The water of the three Wu is the big need, to the Fu Li (with straight) Shi Chang, the number of Wu outside the villa does not see the water, the water is inside the household, the cover is not a dark sinus, the water is diverted into the garden, the opening of the door is tanbu, and the Chrysanthemum Is passed... What you see in the pavilion is not all water. Where the pavilion spans, where the corridor goes, where the bridge is located, where the stone lies, and where the weeping yang repairs the bamboo, the shade is also water. ...... From the pavilion, you can see the corridor around the water, the wall around the gallery, and if there is a pavilion. The pavilion is outside the wall, the forest is algae, the river is green, and the clothes of people are dyed, but they cannot be immediately reached. ...... And wear a small unitary you3 cave, a seat to zhao shuang pavilion, moss stone mesh nie4 waves, known as Jinshu beach. The corridor of cultivation, the one who is outside the water, the bamboo tree inside the surface, the symphony of the flowing light, the division of the wind and the day, often can be immediate, and the warehouse is uncertain, and the corridor is marked."
Translation: About three Wu of water, until Fu Li is fluent. A few steps outside the plum blossom villa, there is no water, but the water is inside the door. It turned out that another dark hole was dug to divert water into the park. Open the door and step forward, pass through the Chrysanthemum... Not all that deng ge saw was water, but where the pavilion was located, where the wall outline was built, where the bridge was crossed, where the mountain stone was lying or standing, where the weeping yang xiu bamboo had green shade, it was all water... Looking far away from the pavilion, I can only see that the veranda is surrounded by water, the garden wall is surrounded by the veranda, and it seems that there are pavilions standing outside the wall. The trees at the water's edge, the floating algae in the water, make the whole river full of green, and the green seems to be used to dye people's clothes, and it seems to be able to hold it in hand, but it can't reach the water's edge immediately. ...... Then I passed through the small unitary cave and took a short rest on the Zhao Shuang Pavilion. The rocks and moss on the shore of the pavilion are interlaced and tightly bitten together like canine teeth in the river, called Jinshu Beach. Facing the place where the promenade is separated by the water, the bamboo and the green trees are each other's surface, emitting a sound, flashing green light, sharing the japanese wind, competing for daylight, and everywhere is approachable, but it cannot be named when it is in a hurry, so let's mark it with the corridor.
The plum blossom villa garden in the text is mainly water. Water use has hidden and obvious, inside and outside, and there are depressions and twists. And to make the water for my use, it is left and right by pavilions and corridors, etc., we can imagine from the text that the author has been guided by water when visiting the garden, no matter how the space changes, the water is like a reliable guide, guiding tourists while integrating with the surrounding environment.
And architecture also plays a role in it, acting as an environmental conciliator for seeing and being seen in the environment, and also making people feel the rhythmic changes in water and drought in the garden.
So it is said that "the garden will be separated, and the water will be curved"
3. Inscription and name of the garden
Culture is the soul of the garden, in addition to quoting the scriptures of the Yang Lian, the garden's scenic inscriptions, garden names also have a deep culture, let's talk about them separately:
Inscription
The scenery mood is born from the inscription, and the garden mood, which is invisible and intangible, is alive through the inscription in the hands of the garden builder. Wind and snow moon, objective existence, the garden builder can summon it to come, listen to my drive, then the realm comes out of itself.
Here to tell you a small story of the naming of scenic spots, it is said that Qianlong six times down the Jiangnan, every time to the Lion Forest to play, Qianlong twenty-seven years (1762) Qianlong three times down the Jiangnan, and then came to Suzhou Lion Forest to play, in the rockery is 4 hours to play.
After turning out of the rockery, Qianlong Shixing, facing the scenery in front of him, wrote down the three words "really interesting".
But to be honest, "really interesting" is colloquialism, and that mouth and writing are two feelings.
At this time, Huang Xi, who was accompanying the Qianlong Emperor, saw him on the side and felt a little tacky, so he said, "Wei Chen, please give the middle word to the slaves!" ”
The Qianlong Emperor understood his intentions, so he pushed the boat along the water and said that he had given him a reward for having a word. Naturally, my heart was very happy.
After the Qianlong Emperor left, the magistrate built a pavilion here, and made the name of the pavilion "True Fun" into a gold plaque according to the royal requirements, and it is said that "True Fun" was the imperial pen of the Qianlong Emperor. Now it seems that the real fun is indeed much higher than the really interesting realm, and it seems that Qianlong is really casual
Let's take a few specific examples. For example, the Master of Nets Garden, there is a pavilion named "Moon to Wind Pavilion", the west direction of the pond, there is a pink wall such as a screen, is picking up the essence of this scene, the wind and moon for me all.
In the Humble Administrator's Garden, there is a Linshui Xuan named "Who to Sit with", which uses the technique of rhetorical questioning to make you think about the scene of raising a glass to invite the bright moon in the viewing, whether it is the moon in the sky or the moon in the water, it is all alive through architectural inscriptions.
In the Garden of Retreat, there is also a water Xuan named "Yu Yu Sheng Liang Xuan", we can imagine autumn, the rain hits the pu, the cool breeze is accustomed, sitting in the Xuan Mood comes out of itself.
The three pools of the West Lake are printed with the moon, and if there is no pool, the scenery does not exist, which is called a point scene
We can summarize what laws these rather realmed inscriptions have:
We found that in addition to the meteorological changes of wind and snow, verbs are also the key to making the scenery habitat, and a proper verb elevates the mood.
Sometimes a scene, "there is no word about the benefits of looking at each other", it will be used to write an inscription, and the scene will be born. "Dream of the Red Chamber" describes the completion of the Grand View Garden project, and the pavilions and pavilions in various places should be titled on the forehead, saying, "If there is a big scenery, a number of pavilions, no word title, even if it is a flower and willow landscape, it will not be colored." It can be seen that the inscription plays the role of "point scene".
Let's take an example, "Yihong Courtyard" is the residence of the protagonist Jia Baoyu, hanging on the "Yihong Fast Green" plaque, "red" refers to the West House begonia on the west side of the door; "green" refers to the banana on the east side. The interior furnishings are all permeated with the owner's fat powder, which is the most gorgeous courtyard in the garden, and it is also a place where the sisters in the garden often meet and frequently participate.
In addition to the dot scene, the inscription must also linger on the scene and carefully ponder, which is called: "Looking for the scene"
Jiang Tao (pronounced [tāo]) of the Qing Dynasty had a poem: "I want to find poetry must be foolish, but poetry to find me is difficult to quit." This dynasty is again searched for by poetry, and when the eyes are full of streams and mountains. "Seeking scenery" reaches this realm, and the inscription shows the stroke of God. Let's take the moon to the wind pavilion as an example:
The Moon to the Wind Pavilion is the most romantic place in the Master of Nets Garden, the wind blows and the waves blow, and the pavilion is gently lifted by the waves, which is a romance from nature. And this imagination is used as a guide through words to remind you of the ideal space in your mind. This is the "introduction" of the inscription.
The name of the garden
The name of the garden has a trust meaning, not a general one. But most of them should be humble.
In the early Qing Dynasty, Yang Zhaolu built a near garden in Changzhou, and his record cloud: "Since returning from the cradle (disease) [kē], he bought six or seven acres of wasteland after the Zhujing Hall, and the operation was phased, and the calendar five years were in Zizi, near the garden, so the title was near the garden." "Near garden means something similar to a garden, obviously putting itself very low. Yuan Ming, modestly called.
Ma'anshan Yuhu Park, see a pavilion is very inferior, not yet named. It is my destiny, and my title is "Temporary Pavilion", which means to be unspoken, and man is at his own disposal.
Some of the garden names are just the opposite, Daguan Garden, Wanliu Hall, and the opposite of the pen.
This is also a typical example of gardening without a law, and I want to say that a good garden name, whether it is self-effacing or advocating, must have a clear attitude, which is the most important.
brief summary
Mr. Chen put forward three points from a macroscopic perspective: the garden is expensive in generalization; the garden must be separated, and the water must be curved; the inscription and the name of the garden are self-effacing and meaningful.
Generally speaking, it is a supplement to "Saying Garden", but its connotation has been extended a lot, summarizing that the simplification of garden elements is to be one when it is ten; the garden must be across the water and must be composed to say that the garden is implicit, cleverly borrowed; the inscription and the name of the garden not only explain the importance of culture, but also teach us how to name it to produce the effect of 1+1>2.
This issue will come here first, and we will talk about it in the next issue. I am a small ant brother, ant landscape, to see the big in the small, we will see it in the next issue, the original is not easy, praise support.