China's architectural elements in the British natural landscape garden in the use of analysis?

British natural landscape garden is considered to be one of the outstanding representatives of the Western garden art, its revolutionary lies in the realization that: man and nature into one is the greatest success. This point is undoubtedly directly affected and inspired by the Chinese gardens, and therefore become a model of the European garden system alongside the French and Italian rule-based gardens. Since the end of the 20th century with the global energy and environmental crisis as the background, the value orientation of returning to the countryside has become increasingly mainstream in modern garden and landscape practice. China's traditional concept of the relationship between man and nature is an outstanding contribution to the world's cultural thought. This paper intends to explore the specific use of Chinese architectural elements in the natural landscape garden in the United Kingdom, as a glimpse of China's traditional architectural culture of extraterritoriality, one of the spots, in order to carry forward the excellent national culture has been beneficial.

1 British natural landscape gardens and the concept of British-Chinese gardens

From the Roman general Julius Caesar's invasion of Britain in 55 BC, the Roman rulers in the United Kingdom to create villa gardens began to build a geometric garden in the United Kingdom for 1800 years. To the mid-18th century, in overseas trade and the industrial revolution, the British in the art of gardening also took the lead in setting off a revolution, a complete rejection of the European continent's gardening traditions, abandoning the rules of geometric gardens, against the use of rigid straight-line graphics, sculpture and manually pruned into unnatural shapes of the trees, the practice of creating an irregular nature of the landscape garden.

The landscape garden was developed on the basis of the manor and mansion gardens of the new aristocracy and agricultural assets in the pastures and farms. From the aesthetic understanding to the use of garden elements, the British natural landscape garden, especially in its pictorial garden period of creation of a large number of absorbed Chinese things, the French called it "Chinese garden" (Jardin Chinois) or "English-Chinese garden "(Jardin Anglo-Chinois).

2 Types and methods of application of Chinese architectural elements in English landscape gardens

It is generally believed that the material elements of gardening include architecture, landscape and plants. However, the term "garden architecture" is understood differently in the East and the West. In China's landscape gardens, in addition to specializing in gardens such as pavilions, corridors, terraces, salons, garden bridges, etc., such as other halls, pavilions, halls, pagodas, and other large buildings, as long as the role of the landscape in the gardens, there is a landscape effect is also a garden building, such as the Humble Administrator's Garden in Suzhou, the far-heung Hall is an example of this.

The western garden refers to the main building around the outdoor space, mainly for leisure and gardening activities. Its garden architecture generally refers to small structures that do not include the main building, as well as flower beds, walls, railings, garden lights, sculpture, chairs, caves and so on. Examination of which specific use of Chinese architecture, from the function can be divided into the following types:

2.1 The first type of gardening structures, such as steps, gates, garden bridges, walls, fences, etc., which constitute the garden of the enclosure and topographical foundation, such as in the Horn Brothers for Charles, Jennings designed and built in the Gopsoe Gardens, the use of Chinese-style bridges and railings. John Grady's survey of 1749 shows the gardens on either side of the main building in the traditional utilitarian style, but on the south and east sides there are level grounds and manicured meadows in an attempt to integrate the gardens with the wider landscape. The main work of the Horn brothers was the addition of a series of different arbors, railings, small temples, recreational facilities, and this Chinese-style wooden bridge. The bridge sits over a channel on the side of the large pond and has a span of 24 feet. Its form is modeled after the staff railings commonly found in southern Chinese gardens, with the main elements being the columns, staff handrails, and latticework. The latticework is a combination of two variations of the short-rail style. The wooden balustrade adopts a diagonal variant of the Shakuhan style. Ji Cheng's "Garden Governance" says: "The balustrade is made by letter painting, and the reduction is elegant. There is work and fine, there is a reduction and text." China's Jiangnan garden railings pay attention to the appropriate complexity and simplicity, do not have to stick to, for the pavilion hall more Huaban carving decoration: bridge dismantling, it is less than the change. Horn design and construction of this wooden bridge and railings, appear simple and elegant, proportional and appropriate, ingenious system and not weak, this a little beyond the mainstream thinking of the design, to the expansion of the natural features of the British landscape added a fresh factor.

2.2 The second category is the landscape rest buildings, such as colonnades, towers, garden pavilions, temples and so on.

These buildings have two main functions: one is for people to relax, occasional encounters, or shelter from storms; the other is as the centerpiece of the local attractions in the garden, thus blurring the distinction between the main building and the inner and outer living space of the garden. The Chinese pagoda built by William Chambers (1723-96) in London's Mound Garden is a typical example. Chambers' elevation, drawn in 1761, shows some very interesting design details. It is a tower of masonry and stone in the form of a pavilion. It is octagonal in plan, 163 feet high,*** ten stories, with a gentle closing division from story to story. There is a corridor on the ground floor, which is the so-called "sub-step circumference" in the Song Dynasty's "Construction Method Style". The tower body of each floor has a tower eaves, flat seat, tower eaves each corner are decorated with porcelain gilded flying dragons, flat seat railing brushed bright red paint, the treasure item set up nine layers of phase wheel. In 1987 Gordon. When Wilson renovated it, the flying dragons on the eaves were removed. Chambers' design was inspired by the glazed pagoda at the Da Bien En Temple in Nanjing, only on a smaller scale and with simplified details. Of note is the flying dragon adorning the eaves, which takes the form of an evil dragon from Western mythology, with wings on its back and a fierce appearance. As a scholar well versed in Chinese culture, Chambers adopted a wholly pragmatic attitude in his own creations. The pagoda exists as a symbolic symbol of Chinese culture and is transformed according to his own understanding. Chambers made it the centerpiece of the garden's artistic composition, completely abandoning its religious connotations as a Buddhist building. The attraction of a strong exoticism and the fear of a strange and powerful culture are intertwined to reflect a subtle mood. 2.3 The third category is buildings dedicated to horticultural nurseries, such as greenhouses. Early greenhouses were intended purely for the protection of valuable evergreens such as roses, laurels, love trees, miscellaneous hollyhocks, some valuable orange trees and lemon bushes against the cold of winter. Built with branches or small poles, lightweight construction, and small pieces of glass to form a lattice window for ventilation. 18th century in the English landscape garden appeared in the use of cast iron or masonry greenhouses, the appearance of often made into the form of Turkish and Chinese palaces and temples, decorated with elaborate columns and linear foot to the arrangement of tree-covered, grassy garden corners, in addition to horticultural nursery function, often as a stand-alone landscape architecture. In 1805, the famous Brownian landscape gardener Repton designed an eclectic-style greenhouse for the Orange Garden at the Royal Outpost in Bridgetown. The conservatory was generally modeled on the form of a Chinese temple and consisted of three sections: steps, body and roof, with a four-pitched roof. The back of the greenhouse has a connecting porch with sloping eaves. However, in terms of material and detailing, the artist used different styles of architectural symbols according to his personal preference. Chinese-style shoji, sparrow replacements and tile-covered gables are mixed with the slim bundled columns of the Gothic style, presenting a cheerful and slightly comical appearance. 2.4 The fourth category is embellishments, including vases, stone or lead additions, and lounge tables and chairs. Many of the nouveau riche, who were keen on 'Chinese' art, displayed their collections of Chinese porcelain and other artifacts, as well as replicas of these, in ornate niches in their gardens.

Lounge seating was also an indispensable element of the garden. The horticulturist chose freely from classical, Gothic, Chinese, and Tudor patterns to suit the owner's tastes. Horticulturist William Newton designed Chinese-style seats for an earl's garden in 1765, using the common practice of beauty rests in Chinese gardens, placed inside a gazebo supported by four columns, which had a light, lively appearance and provided the quality of a calm, tranquil place in a country garden.

3 The process of spreading the application of Chinese gardening elements in English landscape gardens

From the 18th to the early 19th centuries, the practical application of Chinese gardening elements in English landscape gardens underwent a process from copying to mutation.

Before the material gardening techniques became familiar to the Europeans, the aesthetic ideas and natural philosophy of Chinese gardens had already influenced the intellectual elite and the upper class aristocracy in Britain. Cultural exchanges between Chinese and European gardens began in the mid-17th century. Europeans gained information about Chinese gardens through missionaries, merchants and travelers, and in the first half of the 18th century, a new wave of landscape gardens began to take hold, with small-scale and simple applications of Chinese gardening techniques, related to the architectural Palladian Revival, which was basically a period of improvement, in which gardeners chose to enrich their gardens with elements from the East, according to the owners' curiosity while retaining the original layout of the gardens. The original pattern of the garden was preserved. The Gopso Garden is a masterpiece of this period, its main building is Palladian style, but the garden landscape is built to reflect the transitional characteristics of the new mood of the natural landscape.

Some scholars compiled atlases that served as a medium and source of inspiration for the dissemination of Chinese gardening techniques, such as Chippendale's Instruction for Gentlemen and Carpenters (1754), which included many Chinese and Gothic garden buildings and detailed designs. By the time the "able" Brown left Stowe Gardens in 1751 to begin his practice, Langley's New Principles of Gardening had already been written for 20 years. These books prompted homeowners to move away from a preference for patterned, logos and decorations, and served as a source of advice and examples to be emulated by horticulturists working on estate improvements.

In the middle of the old century, a pre-romantic trend (sentimentalism) emerged in English culture, whose representative gardeners were Chambers and Walpole. They were tired and disappointed with the bland and boring Brown-style landscape, advocating the creation of absorbing Chinese interest, the development of Kent advocated the emotional elements of art and imagination, opened the Picturesque Garden (PicturesqueGarden) period. Chambers introduced Chinese architecture and the art of gardening in Designs for Chinese Buildings (1757), Dissertation On Oriental Gardening (1772), and other works. He said: "In the exquisite gardens, there are many beautiful and varied scenes. The Chinese gardeners, like the European painters, collect the best from the natural landscape." He placed Chinese arched bridges, pagodas, pavilions and stone lions in the garden, forming an eclectic Chinese-English garden. Influenced by him, one after another, some Englishmen studied Chinese gardens. At this time, "British Chinese garden" in Britain and even European countries reached the peak of its influence.

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