Research On The Garden Aesthetics Of JiCheng

Ji Cheng(1582-1642)was a gardener,painter and literati in the late Ming Dynasty.In his early years,he was engaged in painting and traveled through Yan Chu.After his middle age,he began to build gardens,including Dongdi Garden,Wei Garden,and Shadow Garden.He used his 50-year professional reserve to write the earliest gardening professional book "Yuanye" in China,and summarized the gardening technology into a systematic theory.It provides a text combining theory and practice for the construction of Chinese garden art."Yuan Ye" is rich in literary style,and established the aesthetic ideal of gardening "Although it is artificially made,it exudes natural beauty" and the method of borrowing scenery to realize this ideal.The cultural qualities of Jicheng in writing poetry and painting and the characteristics of garden art have made the aesthetics of gardens embodied in this book a classic of Chinese gardens,especially literati gardens.It exudes a ubiquitous garden aesthetics that spans time and space.Spirit,its connotation will last forever.This article combs and discusses Jicheng’s "Yuanye" to clarify Jicheng’s garden aesthetics.The introduction part comprehensively introduces the research status and academic significance of Jicheng’s "Yuanye" aesthetics,and explains the basic ideas and research methods used in the development of the thesis.The first chapter is about Ji Cheng and "Yuan Ye",Through the three identities of Jicheng:painter,literati,garden maker and "Yuan Ye" replacement book title,whether the book is banned,and market circulation detailsComparing with the Japanese gardening book "Zuo Ting Ji" to understand Ji Cheng and "Yuan Ye".Combining the background of Jicheng’s time to explore the influence of poetry and painting art on the formation of Jicheng’s garden aesthetics,From the overall understanding of Jicheng and "Yuan Ye",Pave the way for the following research on his gardening art.The second chapter explains the aesthetic characteristics and natural concepts of literati gardens by combing the aesthetic ideal "Although it is artificially made,it exudes natural beauty" of Jicheng gardens."Although it is artificially made,it exudes natural beauty" shows the dialectical relationship between the subjective active"man-made" and the natural "openness",which is obviously influenced by the traditional philosophy-aesthetics concept of "the unity of nature and man",and has a tendency to be in harmony with nature.All have become the reason for the formation of the natural concept of Jicheng’s garden aesthetics.There are sentences about ecological protection in the whole book of "Yuan Ye",reflecting the ideals of gardening and ecological wisdom of learning from nature.The artistic level of literati gardens reached its peak in the Ming Dynasty,which also affected the pursuit of artistic conception and attitudes towards nature in the royal gardens and religious gardens.At this time,faraway Britain was experiencing a wave of thought similar to that of the late Ming Dynasty.Empiricist philosophy became the mainstream trend of thought in British society.Classical rules began to be replaced by perceptual experience.Geometric style gardens began to appear after half a century.Similar to the style of Chinese gardens.In the early Edo period(equivalent to the late Ming Dynasty and the early Qing Dynasty in China),Japanese gardens,which originated from Chinese gardens,had formed a garden aesthetic concept that was very different from that of Jiangnan literati gardens.In comparison with the above royal gardens,religious gardens,English gardens,and Japanese gardens,we can find the uniqueness of Jicheng’s aesthetic ideals.This ideal is accompanied by the triple aesthetic effects of intoxicating the senses,soothing the soul,and broad minded in Jicheng’s description.The third chapter is based on the theme of "Intended to be Written First and Intended For Painting" artistic conception,starting with the image of the object to the artistic conception,And the two aspects of scene blending to examine the production of artistic conception.Then,the similarity between the form level and the content level created by the three artistic conceptions of gardens,poems and paintings reveals Jicheng’s artistic route of learning from poetry and painting.On the formal level,the"layout" of the garden is "opposite" with poems,in order to form a visually patchy aesthetic.The shape of the rockery is derived from the shape of the mountain in the landscape painting,hoping to achieve the kind of mountain that can be lived and played as described by the Song Dynasty painter Guo Xi.At the content level,the garden landscape imitates the content of poetry shaping,in order to break through the objective time and space restrictions to reach a state of freedom.The painter has to express a very tall appearance when drawing a mountain,and the gardener has to deal with the waterscape in the garden to achieve a very wide appearance.They are all seeking to break through the finiteness of space.Ji Cheng understands this principle very well.He uses paving the ground and making artificial hills.Methods make people feel that they have reached that state of freedom.The fourth chapter takes as the theme the method of borrowing scenery in gardening,which is "skillful in borrowing,fine in physical fitness",to investigate Jicheng’s concept of "good at using reasons" and his borrowing theory."Although it is artificially made,it exudes natural beauty" is the artistic goal of building a garden,and "ingenious use of the objective environment to achieve a decent appearance" is the specific method to achieve the artistic goal,which is reflected in the historical concept of "ingenious use of the objective environment" and "Yuan Ye" The "Clever Use of the Objective Environment" was developed,linking with examples of gardens in Southeast China,and interpreting in detail the six borrowing models proposed by Jicheng.Chapter Five examines the combination of Jicheng’s gardening practice and its aesthetic concepts through the aesthetic norms embodied in the three gardens built by Jicheng as logical clues.He is good at "because of borrowing" the original objective environment in the garden to show the aesthetic interest of "seeing the big from the small","snaking and twisting",and "comprehensive reality".Dongdi Garden and Yuyuan Garden were built before the book "Yuanye" was written to provide Jicheng with practical opportunities for theoretical reserves.Yingyuan was built after"Yuanye" was written,and can be regarded as a successful case of its garden aesthetics theory guiding gardening practice..Ji Cheng is not only an advocate of garden aesthetics,but also a practical practitioner.This article attempts to enter the late Ming society from the perspective of aesthetics and cultural history,and compares it with imperial gardens,religious gardens,British "picturesque" gardens,Japanese gardens,poetry and painting art theories,and compares the gardening ideals of Yuanye,The pursuit of artistic conception,and the interpretation of Jicheng’s method of gardening,combing his complete gardening ideas,and the internal aesthetic logic between each gardening step,and this set of garden aesthetics logic is very advanced and mature.We are still using it today,and Jicheng’s garden aesthetics is worthy of our repeated study.