What is the connection between the garden structure of the Summer Palace and Chinese aesthetics?

Chinese aesthetics in garden design, also known as Chinese aesthetics, refers to looking at garden landscapes from the perspective of traditional Chinese aesthetics. Aesthetics is an integral part of the worldview. Aesthetics is formed in human social practice and is closely related to politics, morality and other ideologies. People from different eras, different cultures and different social groups have different aesthetic values. Beauty is the product of human social practice, the manifestation of human active life, and the pleasant emotions caused by objective things in people's minds.

The garden architecture of the Summer Palace inherits the aesthetic characteristics of ancient Chinese garden art, that is, traditional characteristics and gardening techniques, and has developed to some extent. The garden architecture of the Summer Palace embodies the color and image characteristics of natural objects, such as clarity, beauty, splendor, elegance, cleanliness, etc., making people feel beautiful during the process. From an aesthetic perspective, agency reflects people's aesthetic feelings, tastes, experiences, opinions, and ideals. People transform and protect the environment in the direction of this feeling. This forms the mutual penetration of aesthetic consciousness and environmental consciousness, which is an emotional motivation for human beings to protect the environment, promotes the development of environmental consciousness, and partially penetrates into environmental consciousness to become an important content.

The first feature of the Summer Palace garden layout is the use of water. The vast surface of Kunming Lake is an excellent foundation for garden layout. The surrounding area of ??the garden is thirteen miles (six and a half kilometers), and the total area of ??the garden is more than 4,300 acres (about three square kilometers), of which the land area only accounts for a quarter. At that time, among the gardens in Beijing, water was the largest area. The biggest one. Therefore, the designers took advantage of the large water surface and designed the layout with the water surface as the main focus. The main buildings and scenic spots all face the lake or overlook the lake. At that time, it was named "Qingyou Garden", which means Qingbo Man Garden.

The combination of lakes and mountains is another feature of the Summer Palace. Located on the north bank of the vast Kunming Lake, there is a 58-meter-high Wanshou Mountain, standing like a green screen on the north. The clear lake water is like a mirror, reflecting the beauty of Wanshou Mountain. The lake and mountain scenery are closely integrated into a whole. When the ancient gardening artists and craftsmen designed and built this garden, they made full use of the superior natural conditions of the lake and mountain, and appropriately arranged the garden buildings and scenic spots. For example, the promenade and stone railings hugging the mountains and surrounding the lake clearly distinguish and closely connect the lake and the mountains. The Zhichunting Pavilion stretching into the lake, the flower windows with beautiful scenery facing the lake and reflecting the water, the stone pavilion built at the foot of the lake, etc., all cleverly combine the lake and the mountains. The psychological function most closely related to viewing the layout of the Summer Palace and aesthetic appreciation is perception. Observation is perceptual and intuitive, but what is presented to the subject's mind during observation is mainly perception. It is a comprehensive and complete perception as a whole, rather than scattered and partial sensory impressions. It embodies what Yan Yu of the Song Dynasty said: "The antelope hangs its horns, and there is no trace to be found. Therefore, its beauty is transparent and exquisite, and cannot be ignored. It is like the sound in the air, the color in the image, the moon in the water, and the image in the mirror. They are all described. "The meaning is endless." ("Canglang Poetry Talk. Poetry Analysis") Although it talks about the aesthetic realm of poetry, it can also be understood as the overall meaning of perception from the perspective of the layout of the Summer Palace garden.

There are many scenic spots arranged in the Summer Palace, and the scenery is different everywhere. These wind shadow points are composed of buildings, terraces, pavilions, pavilions, studios, halls, pavilions, pavilions, winding corridors and other buildings and rockery flowers and trees in different positions. It is worth noting that there are obvious separations between these scenic spots, but there are organic connections. Looking from this scenic spot to that scenic spot, they form a picture together. When people walk in the promenade or the Garden of Harmony, after taking a few steps, the surrounding scenery changes. This is the so-called "scenery changing with each step" in ancient garden layout, which is a layout technique in which scenic spots shift and change with each other. It profoundly embodies the basic propositions of "the unity of nature and man" and "the unity of all things" in Chinese philosophical thought. Through aesthetic observation, the subject enters the peak of aesthetic experience, interacts with the object in feeling and consciousness, and completely transforms into one. As Zhuangzi said: "If you use your will without distinction, you will concentrate on the spirit." ("Zhuangzi. Da") born")