Chapter 13 Section 2 Ancient Gardens and Painting and Calligraphy

The relationship between gardening and painting is as close as that of classical literature. To some extent, among the three, gardening and painting seem to be closer.This is because painting was enlightened and matured earlier, and theories about painting appeared earlier and in greater numbers.As for the systematic theoretical writings on gardens, "Yuan Ye" by Ji Cheng did not appear until the end of the Ming Dynasty, and it was the only monograph.Other discussions about gardens are scattered in various writings.Most of the laws followed in the practice of gardening in history conform to the theory of painting, which is one of them.Second, many famous painters in history were also proficient in gardening art and participated in gardening planning, design and construction.There are still garden works of painters left in the world.As for the art of calligraphy, not only the various couplets and plaques in the gardens have to be written by famous masters to draw the outline of the garden buildings, but also the works of famous calligraphers are collected in many gardens, and carved stones are embedded between the corridor walls.Here is a treasure trove of calligraphic calligraphy in Chinese calligraphy.

The most important connection between gardens and paintings is that they are based on the natural landscape of the motherland.It's just that one is imitated with the four treasures of the study, and the other is imitated with wood, stone, water and soil. Chinese painting pays attention to the relationship between virtual and real, primary and secondary, and guest and host in composition. The layout of gardens is also based on these principles, highlighting the main scene and setting it off with secondary scenes to form a whole.There are many examples of prominent themes in gardens. The most typical one is the Buddhist Incense Pavilion in the Summer Palace. It is paved and elevated in another layer, no matter from the front or side view, it is always in the center, even in the large and small courtyards scattered throughout the garden, you can see its majestic silhouette.Because the Summer Palace is a large garden with an open space, if it does not highlight the main body, it will inevitably lead to scattered and chaotic scenery, and there will be no unified center.This is the same principle as dealing with the large composition of paintings, so it is easy to compose a picture with the Foxiang Pavilion as the object of painting, which itself contains the meaning of painting.

Highlight the main scene, generally highlight the hall in garden architecture, supplemented by corridors and pavilions.The main peak protrudes from the rocks, and there are rarely two rockeries of equal height facing each other, not only in terms of height, but also in terms of volume. The smaller rockery always forms a larger rockery in terms of body shape The role of peak matching.The main scene is prominent, the background is orderly, and the layers of the scenery are naturally presented. In an excellent classical garden, this primary and secondary relationship has been applied to every part and every corner.Three or five stones should have a primary and secondary, and three or five trees should also have a primary and secondary, which is exactly the same as the Chen style in paintings.

In Chinese landscape painting, the painting method of sketching different rocks and peaks is called "Cun (cun ​​village) method".This is a special term for expressing different images of rocks with different strokes, and this term is directly used in gardening stacked rockery.In the chapping method of painting, different chapping methods have different names, and they are all very vivid, such as "Jie Suo chapped", "Phimo chapped", "Raindrop chapped", "Skeleton chapped" and so on.There is also a kind of "folded belt chapped", as the name suggests, it means to turn the belt, and it is used to express the square rocks with sharp edges and corners. This kind of rockery is classified into the category of folded belts.When mining mountain rocks, there are always crack marks left on the rocks that are separated from the mountain body. The cracking method used by painters to express this kind of marks is called "axe splitting", and there is a difference between big axe splitting and small axe splitting.When Huangshi Mountain was built, sometimes the traces on a single stone were used, and sometimes the traces were simulated when the rocks were put together, which formed a "axe-cracked" rockery.The rockery stacked with Taihu stones is called Hushi mountain. The outline of Taihu stones and the cave in the middle are mostly round, and the expression is often expressed with "cirrus cloud".From this point of view, this stack of paintings all uses a "cracking method" to summarize its type and expression method.The mountains in the painting and the mountains in the garden have merged into one.The combination of Yuanshan and Huashan should be said to be the artist's credit.The flake mountain house designated as Shitao rockery is the work of a great painter.Monk Shi Tao was a master of landscape painting in the late Ming and early Qing Dynasties. For more than 300 years, his painting style and painting theory still influenced the creation of landscape paintings.At the same time, he is also a master of gardening and stacking mountains.The Pianshi Shanfang is indeed unique. Compared with Shi Tao's paintings, there are many similarities, especially the painter's expression techniques and artistic personality, which are very clear.Another rockery that is said to have been painted by a painter is the Lion Forest.It is earlier than Pianshishanfang, and was designed by four great painters Ni Yunlin and Zhu Dongrun in the Yuan Dynasty.The existing lion forest rockery is not all the original ones. Later, Ni Yunlin painted a picture of the lion forest. Many literati wrote poems on the painting, which had a great influence.These two places can be said to be influential rockeries left to us by influential painters.In fact, the craftsmen who stacked the rockery are all painters. The first to stack the rockery is the drawing, and the mountain is stacked based on the drawing.The painting of the rockery is naturally strong.On the basis of concentrating on observing nature and constantly imitating nature, Chinese landscape painters have stated that "the mountains in spring are light and bright like smiles, the mountains in summer are green and dripping, the mountains in autumn are bright and clean like makeup, and the mountains in winter are bleak and like sleeping".It is very consistent to use this artistic conception standard of landscape painting to measure the four seasons rockery in Geyuan.It seems that painting theory and garden theory are unified, and they are unified in the objective laws of natural landscape.Ancient Chinese gardens are the same as ancient Chinese paintings, both expressing form and freehand brushwork, using form to imply meaning in pictograms.

In the garden, white powder walls are used as "paper", and three or five green plantains are planted in front of the wall, and one or two rocks are dotted to show a picture of banana stones.There is a fan-shaped leaky window on the gable wall at the back of the house, and a few stalks of green bamboo are planted in the open space between the window and the garden wall, and a fan-face painting of secluded bamboo and dripping green is created.Whether it is landscape painting or flower painting, every visible corner of the famous ancient garden is a fresh picture composition.And they are in different poses and with different expressions as the seasons and the changes of cloudy, sunny, rainy and snowy, constantly updated.The three-dimensional picture in the garden is different from the picture on paper.If it is said that painting seeks movement in stillness, the more vivid it becomes, the more vivid it becomes; the painting in the garden seeks stillness while moving, and the quieter it becomes, the more vivid it becomes.Because what it pursues is the painting effect, which is exactly like a painting's painting effect.

Calligraphy in the garden is first of all the plaque above the garden gate. The real grass and the seal script must be inscribed by famous masters. The emperor's imperial pen in the royal garden is often also written by Hanlin.The three large plaques with gold characters in regular script on the East Palace Gate of the Summer Palace are considered by the cultural departments of several places to be the works of local calligraphers in the late Qing Dynasty, but there is still no conclusion yet.It can be seen that the calligraphy inscribed on the name of the garden is no small matter. However, the value of calligraphy in the garden lies in its collection of stone-carved calligraphy posts of past dynasties.Royal gardens, private gardens, and temple landscape gardens are all like this.In the royal gardens of the Qing Dynasty, there were several postcards. In the Changchun Garden, one of the three gardens of the Yuanming Dynasty, there was a Chunhua Pavilion, and the two corridors were embedded with re-engraved Chunhua Pavilion posts from the Song Dynasty.The Yuegu Building in Beihai was the place where the works of calligraphers from the Wei, Jin to Ming dynasties were collected during the Qianlong period. There are 495 carved stones inlaid between the walls. This is the famous "Sanxitang Fatie".Afterwards, the stone carvings of Sanxitang were collected and imitated, embedded in the Mo Miao Xuan of Huishan Garden, the garden of the garden in Qingyi Garden, called "Huishan Garden Fatie".Huishan Garden imitates Jichang Garden in Wuxi, and there is also a copy of Jichang Garden in Jichang Garden.Private gardens, such as the Lion Forest, also have calligraphy and stone carvings by famous artists.In the temple gardens, there are more than 260 inscriptions collected from the Six Dynasties to the Ming and Qing Dynasties, such as the Baomoxuan in Jiaoshan, Zhenjiang. The famous Yi (yiyi) crane inscription and Chengjiantang calligraphy in the history of calligraphy are among the treasures.Calligraphy and stone carvings in gardens are an almost indispensable content of ancient garden art, and even an important part.There have always been two schools of calligraphy in my country, stele and calligraphy, but they cannot be completely separated. The numerous calligraphy and stele inscriptions in gardens play an important role in promoting national culture and inheriting and developing the art of calligraphy.