The Relationship between Traditional Gardens and Traditional Culture in China

Taoism is a native religion in China, and together with Confucianism and Buddhism, it has become an important part of China culture. Taoism respects Laozi as the leader. Philosophically, Laozi regards "Tao" as the highest category, thinks that "Tao" is the origin of the universe and the basis of the existence of all things, and points out: "Tao gives birth to one,-gives birth to two, gives birth to two, gives birth to three and gives birth to all things. At the same time, it advocates that "the land is transported by nature, the sage uses nature, and the natural person is also the Tao." "Later, Zhuangzi inherited and developed Laozi's thought of" Taoism is natural ",taking nature as his teaching and emphasizing inaction. He believes that nature itself is the most beautiful, that is, "there is great beauty in heaven and earth without saying anything." In Laozi and Zhuangzi's view, the beauty of nature lies not in its formation, but in its full and complete embodiment of the Tao of "doing nothing without doing anything". Nature itself didn't consciously pursue anything, but it created it invisibly-cut it. The reason why China classical gardens advocate and pursue nature lies not in the imitation of the formal beauty of nature itself, but in the exploration of "Tao" and "reason" in the potential nature. It can be seen that the Taoist view of nature is very important to the development of China's ancient literature and the formation of the national characteristics of ancient art, which is embodied in advocating nature, carefree and quiet, doing nothing, simple and noble, indifferent to freedom, romantic and elegant. Therefore, under the influence of Taoist immortal thought, gardens with natural fairyland as the theme of gardening art came into being. Such as Shanglin Garden built by Qin Shihuang in Weinan. According to Guan Zhongji, there are morning glory and weaver girl symbolizing Tianhe in Shanglinyuan, water-jet stone whale symbolizing Fusang in the East China Sea and Penglai Island. In addition, there is a large palace in Shanglinyuan-Zhangjian Palace. To the north of Zhangjian Palace is Taiye Pool, which is a fairly wide artificial lake and is famous for its three sacred mountains. According to the Records of Historical Records of Xiaowu, "The Great Pool in the North is gradually more than 20 feet high, and it is called Taiye Pool. Among them are Penglai, abbot, Yingzhou and Hu Liang, which are like hills in the sea and turtles and fishes? Quot This layout of "one pool with three mountains" has had a far-reaching impact on later gardens, and it has become a model for creating pools and mountains, which has promoted the development of garden art.. This paper holds that building islands in the palace gardens and widening them to imitate Shen Dong are of at least the following significance to the development of traditional garden space in China:

(1) Establish a complete main auxiliary water body: Hanshang Forest Garden not only has a large number of large and small ponds as auxiliary water bodies, but also has vast main water bodies such as Taiye Pool and Kunming Pool. The area of Kunming Pool Site is three or four times that of Yuanmingyuan, Changchun Garden and Wanchun Garden in Qing Dynasty. At the same time, there is a clear relationship between the main body and the affiliated water body. Ban Guyun said, "Before the Tang Dynasty, the water in the pool was too clear, so you can see the soup of the sea." There are a lot of water forms that set each other off and become interesting, and various water bodies are interspersed between the huge palace buildings and mountains, which greatly opens up the space of garden art and produces a harmonious rhythm.

(2) It laid a foundation for determining the landscape system of China. The relationship between mountains and water has changed from a long-term water ring and pool ring to a huge water body surrounding the three mountains, which greatly enriched and developed the art of garden space and promoted the development of garden art.

(3) With simple mountain or high-rise building as the core and road building as the link, the combined relationship of mountain, water and building with water as the link is established, adding a new pattern with water as the core and water as the link. This not only greatly enriches the means of garden art, but also promotes the emergence and development of more complex combination relationship among mountains, water, architecture and plant landscape, and prepares the necessary conditions for the traditional garden to finally adopt a smooth, soft and natural combination method.

The pattern of "one pool and three mountains" was later adopted by imperial palaces in past dynasties, and influenced gardens outside the palace. For example, Yangzhou once had a "Small Square Pottery Garden", Suzhou Lingering Garden had a "Little Penglai" and Hangzhou Santan silver moon Scenic Area had a "Little Yingzhou". Zen Buddhism is a Buddhist sect called China, which was formed on the cultural soil of China due to the eastward spread of Buddhist culture. It not only absorbs the strengths of previous schools of Buddhism and metaphysics, but also incorporates the essence of China culture on life issues, thus forming a harmonious whole with the China cultural tradition that pays attention to real life, and together with Confucianism and Taoism, it has become the three major achievements of traditional culture-it promotes people to achieve spiritual detachment and freedom through individual intuitive experience and meditation. Zen believes that people are not only in the universe, but also in people's hearts. Man and nature are not only interrelated, more precisely, they are a seamless whole. In order to show the whole state of the natural universe and human beings in the course of life, Zen believes that inner experience is the key to achieve this state, because everything in the universe originates from people's hearts. As Huineng, the sixth ancestor, said in the book, "Bodhi has no trees. The mirror is not a stage, there is nothing, so there is no dust. " It not only embodies the Zen purport of "not writing" and "seeing nature clearly", but also expounds Zen's pursuit of the universe itself, which is actually a kind of instant liberation of one's consciousness or feeling. Zen thought has the following characteristics:

(1) The monistic worldview of "Brahma and I are one", that is, my heart is the Buddha and the Buddha is my heart;

(2) Setting up the practice mode of epiphany, that is, seeing the true heart through gradual practice or epiphany;

(3) the inner experience of "heart-to-heart communication", "since the enlightenment" and "silence"

In the mid-Tang Dynasty, the rise of Zen aesthetics promoted the inner experience and intuitive feeling of the subject in aesthetics and art to a very high position, and deepened it, and integrated Zen thought into the construction of China garden forest, thus subliming the "painting scene" of garden space into "artistic conception". From the Zen point of view, everything in the world is the illusion or the true heart of Buddhism, that is, "green bamboo is dharma body, gloomy yellow flower." "This provides infinite possibilities for aesthetic experience for the limited natural landscape art of gardens, that is, it breaks the fundamental boundary between small nature and nature. In a certain ideological depth, the garden space of the factory literati garden is constructed, which is small and close to the mountains. Therefore, different from the royal gardens, the literati gardens full of Zen are often smaller in scale. On the one hand, the miniaturization of garden area and scale, such as mountain to mountain piling, water to small pond, flowers and trees to single plant transformation, static factors are increasing, while the swimability of natural landscape is relatively reduced; On the other hand, it is manifested in small thoughts. Seeing the big from the small is widely used in China's ancient culture and art with a long history. In painting, "thousands of miles away"; In terms of poetry, "five-line words are the most difficult, and it is advisable to say short words with insufficient meaning and sound." "The best in the garden is like the quatrain of a poem, which is a poem, a poem, a poem, a poem, a poem, a poem, a poem, a poem, a poem, a poem, a poem, a poem, a poem. Chase is too young to see. In Zen's view, the smaller the stipulation, the greater the space for imagination, so less wins more. Only by being simple to the extreme can we leave the greatest room for thinking and thinking. As Shen said in "Six Chapters of a Floating Life, Leisure", "Take the grass as the forest, the insects and ants as the beasts, the convex as the hills and the concave as the valleys." The "lightness" in gardens originates from Zen thought besides the creative method of seeing the big from the small. The lightness of gardens can be reflected in two aspects. First, the landscape itself has a dull or dull visual effect, among which simplicity, sparseness, antiquity and clumsiness can all constitute the means to achieve this effect. First, trigger your intuitive feelings through "plain" hints, so as to achieve some aesthetic experience in the transcendence of thinking.

In fact, the influence of China's ancient traditional philosophy and culture on China's classical gardens and people's understanding and pursuit of natural beauty are often closely related to drastic social changes, political turmoil and ideological activities. During the Spring and Autumn Period and the Warring States Period, Laozi and Zhuangzi's overall understanding of natural beauty happened to be the decline of the Zhou Dynasty, the separatist regime, and years of war. Qin Shihuang unified China, and when the national strength of Han Dynasty was strong, Confucianism rose to the orthodox position, and people's psychological characteristics were universal life and enterprising spirit. Serving the country, making contributions and making a name for future generations are the universal life ideals pursued by literati. The requirement and development of individual self-awareness is in a secondary position, and the pursuit of natural beauty is not the mainstream of society. Therefore, the era itself does not have the soil and conditions for in-depth exploration and development of natural beauty. The understanding of natural beauty deepened in the late Eastern Han Dynasty and the decline of Wei, Jin, Southern and Northern Dynasties. Coincidentally, private gardens and landscape paintings both appeared and flourished in this era: during the Wei, Jin and Southern and Northern Dynasties, with the further development of Confucianism and Taoism, theoretical propositions of "unspeakable" and "magical power of understanding Taoism" were put forward in art, which made the creation of landscape poems and paintings reach a realm of pursuing metaphysical meaning. Tao Yuanming's "Picking chrysanthemums under the hedge and seeing Nanshan leisurely" shows a profound feeling of pleasure and leisure for natural beauty. After the middle Tang Dynasty, the thinking level of the scholar-officials was improved and deepened. Since the Anshi Rebellion, the prosperous Tang Dynasty turned to mourning, and the scholar-officials' psychology was unbalanced in turn. At this time, Zen, which combined Laozi and Zhuangzi with metaphysics, developed rapidly. The intuitive experience and contemplative thinking mode advocated by it, as well as the understanding mode of epiphany and epiphany, have had a far-reaching impact on artistic creation. Therefore, in the process of pursuing natural beauty, people always like to associate objective "scenery" with subjective "emotion", and put themselves in the natural environment, so as to fully express their thoughts and feelings in their early creation. Accurately grasp the essence of natural beauty and reproduce it. Therefore, implicit artistic conception beauty is the highest realm pursued by China's classical garden art.