Briefly describe the influence of ancient Chinese poetry and painting on classical gardens?

The development of gardens has gone through a process from utility to aesthetics, from immaturity to maturity, and from unconsciousness to consciousness. Garden since the Yin Shang "囿", to the Qin and Han periods of the royal garden, in the function and composition of the elements on the development, but are only practical-oriented, mixed with a little aesthetic function. At this stage, people still only intuitively understand nature, the garden in the aesthetic aspects of the art creation is not much, landscaping is simply based on nature only. In the context of social unrest, the Wei and Jin scholarly interest began to turn to landscape flowers and birds, natural landscapes become people do not want to face the harsh reality of the ideal world, rich in the natural beauty of the interest of the garden came into being, the garden began to materialize to the spirit of the transformation. Sui and Tang dynasties, literati and ink masters in the social influence of the growing, they actively participate in the creation of gardens, poetry and painting of the interest and the combination of garden scenery, because the painting into a landscape, poetry into the garden. By this time, Chinese gardens had largely matured. In the Song Dynasty, there appeared the literati's painting theory, poetic feelings, poems and paintings of the mood and the meaning of the landscape garden. The gardens of the Ming and Qing dynasties inherited the form of landscape gardens of the previous generation on the basis of the development and comprehensive "humanization", thus moving towards the peak of the development process. In the understanding of the development of the garden, we can initially understand the true meaning of the Chinese classical garden is closely related to the ancient literati.

Ancient gardens were living spaces to enjoy family life while getting close to nature and living in harmony with nature. In the garden, there are not only material factors such as landscape, but also spiritual factors that unify the theme or mood of the whole garden. Of course, this spiritual factor is the main, internal. Therefore, Chinese classical gardens must perfect their artistic requirements with the help of literature, aesthetics and philosophy. Like classical poetry and painting, Chinese gardens in the creation and aesthetics of the pursuit of the mood and character, focusing on the trust and integration, hoping to show a broad realm in the limited things. This requires garden creators to have profound knowledge, deep literary skills and a deep understanding of beauty. Most of the gardeners are able to poems and paintings into the garden, do so that the landscape and the people's thoughts are compatible with their own feelings about the beauty of the natural landscape to be externalized, a few garden giants of the gods can even be in the hearts of visitors to stir up huge ripples, triggering unlimited feelings. In this kind of artistic creation and art appreciation, the formation of the concept of beauty and satisfaction is not the average person can achieve, whether it is the gardeners or visitors, need to have a considerable literary literacy and aesthetic level. And such literacy and level, but only at the time of the rich and talented literati only have. Poetry and painting of the literati are not lacking in the central and local important official positions, many officials are also well-known literati, painters, calligraphers, and even as the supreme ruler of the emperor is also among them, such as the South Tang Dynasty is known as "the emperor of the lyrics" after the Lord Li Yu, both painters and calligraphers of the Song Dynasty Huizong Zhao Ji, quite a literati heart of the Qing Emperor Emperor Qianlong of the Qing Dynasty, a man of letters, etc. Therefore, leading the traditional Chinese culture of intellectual groups - literati, politically government officials at all levels, economically and above the middle of the landlord, can be said to be the real master of the society at that time, dominated all aspects of life in ancient society.

The garden is the authentic "art of life, art of life" product, showing the literati love of freedom and nature. Since ancient times, mountain and water are regarded as a noble emotion, painting has been regarded as the literati "ink play" and "play", started in the Jin and Song dynasty landscape painting, because of the natural landscape as the object of artistic creation and attention. The mountains in the painting could be lived in, the water could be traveled, the landscape scenery cultivated the temperament of the literati, and they were obsessed with the natural landscape, "the poem could not be exhausted, overflowed into a book, and changed into a painting "1, thus creating a large number of landscape poems and paintings as a means of enjoying themselves. "Poetry is intangible painting, painting is tangible poetry" ②, both poetry and painting of the literati in the creation of poetry, calligraphy and painting gradually into one [1]. Landscape culture culture, so that only for the plane to appreciate the landscape painting can not meet the people of the natural landscape sent by the full range of feelings, coupled with the economic conditions of the license, the literati set off a vigorous gardening activities, so that "not out of the city, but can sit and enjoy the joy of the mountains and forests; do not go down to the feast, but can sit poor fountains and gullies of the ghost" ③. Historically, many gardens are operated, designed or evaluated by painters or poets. For example, Wang Wei and Bai Juyi of Tang Dynasty, Zhao Ji of Song Dynasty, Yu Zheng of Southern Song Dynasty, Ni Yunlin of Yuan Dynasty, Mi Wanzhong, Wen Zhengming and Wen Zhenhenheng of Ming Dynasty, and Shi Tao, Zhang Lian, Zhang Ran and Li Yu of Qing Dynasty. They were directly involved in gardening activities, borrowing the insightful theory of landscape painting to guide the creation of garden art, according to the landscape poetry to create a beautiful real-life entity for enjoyment. For example, Wang Wei got Song Zhiwen Lantian villa for "Rim River", in which the experience of material conditions, linger in the light, living a completely poetic Rim River life, for the later generations of literati to build gardens for emulation of the first choice of the object; Song Huizong is skilled in painting and calligraphy, designed the Shoushan Burgundy Yue, and also wrote "Burgundy Yue record" is known throughout the world; and there are endless gardens, are designed by famous poets and painters. The famous poets and painters were involved in the design. The general literati, even if not involved in gardening matters, but also generally keen to visit and appreciate the garden, comment on the garden. It can be seen that gardens and the lives of the literati were inseparably linked. Garden literature to the extreme, the literati talk about the garden as if talking about books, paintings, poetry and literature. Such as liu zongyuan's "zero ling three pavilions", "liuzhou east pavilion", fan zongshi's "jiang shouju garden pool record", etc., all contain insightful gardening insights; and the northern song dynasty - li gefei's "luoyang famous garden record", the end of the song and early yuan zhoumi's "wuxing garden record", etc., is to concentrate on narrating and commenting on the many famous gardens. There is not much difference between the literati and the gardeners in essence, they summarize a lot of insights and comments on the art of gardening and garden aesthetics, write down many specialized gardening theory works and published in the world. More representative is Ji Cheng's "garden metallurgy", Li fishery's "a family of words", Wen Zhenheng's "long things", Shen Fu's "six records of floating life" and so on [2]. Under the influence of the penetration of painting, poetry and literature and other arts, the art of gardening is blended with endless poetry, painting, fully established with the books, paintings, poetry and literature on an equal footing