A Research On The Theory Of The Interest And Charm Of Painting In Garden Making Of Later Ming Dynasty

The garden making in our country particularly stresses the tradition that packing the painting into garden, with the painting producing the landscape, while the relationship between the garden making and the painting appeared a particular tendency in later Ming. As they presented a integrated theory of the interest and charm of painting in garden making, and affirmed its feasibility and aesthetic, which caused the big change in garden making of later Ming. To be brief, the builders of garden making followed the theories of paintings to make gardens, especially, they imitated and even copied the theories of the famous literati and painters in the period after Song and Yuan to build their gardens. Its style certainly was different from the one imitated the nature, and its aesthetic ways were different from the before as well.On the basis of the investigation and grooming of the styles and the characteristics of the gardens from Qin, Han dynasties and the after ones, especially in deeply tracing of some problems in later Ming, such as,the changes of the garden idea, the publishing of the books on garden aesthetic, the emergence of the garden builders and so on, this paper makes a summary conclusion on the particular time later Ming, which is the interest and charm of painting in garden making. To explore this problem, there follows three parts.Firstly, to explore the establish and practice of the theory on the interest and charm of painting in garden making. The interest and charm of painting in later Ming’s garden making did not refer to the artistic conception in traditional Landscape Painting, but the thoughts concluded under the ideas and theories of the painter, Dong Qichang, the builder, Zhang Nanyang, the litterateur, Zhang. Dai. And it is the demonstration of the practices under the garden builders. The principles of the interest and charm of painting in garden making were widely used in garden making of later Ming dynasty, which makes the style of gardens in this period turn the style of "marvel creation of the nature" into the style rich in "painter’s charm of stroke"Secondly, to make an analysis systematically on the situation of the garden making which influenced by the principles, and the points are that which one did they have imitated and which style did they appeared. The rockeries of Zhang Nanyang, for example, followed "the painter’smethod of samadhi",his interest and charm was just like the vein of Zhou Fang and Cheng Xiushi, his rockeries were seen as only stones without soil, he is skilled in building mainstream big-rock, also he tried to practise the exquisite the structure and the charm of stroke, the precision and the ingenious were both on. The rockeries of Zhou Danquan were based on the drawing of the horizontal hanging scroll, which shows us a style in exquisite and craggy.The gardens of Ji Cheng derived from the stroke of Jin Hao and Guan Qiong, as well imitated the paintings of Li Zhaodao and Huang Gongwang, and his selections of the rock were draw slightly on Ni Zan and deeply on Hunag Gongwang, his style of the gardens both presented the profound of paintings and the vigour of landscapes. While the rockeries of Zhang Nanyuan both had the strokes of the painters Huang Gongwang, Wang Meng, Ni Zan, Wu Zhen, which named as Four masters in painting of later yuan dynasty, and were much in the interest of Dong Qichang’s painting, so the visual beauty and imaginable curiosity of the elegant and delicate would well up from one’s heart.Thirdly, on the basis of the discussion of the values and influences of the theory on the interest and charm of painting in garden making of later Ming dynasty, to analyze the three main characteristics in the various styles of garden making of later Ming in detail, different styles of gardens have different ways of appreciation and aesthetic, also to reveal the nature and laws followed by the visual arts, especially to explore the pros and cons of taking attention to sense experience in the appreciation of gardens of later Ming. At the same, on the purpose in interpreting of "the principles" of the interest and charm of painting in garden making of later Ming, we have a comparison between western landscape tradition and this particularly, and thus we could get more references and contrasts in the text of environmental aesthetics to severed for the program and building of modern garden.Later Ming dynasty, is an age in which garden arts blossom. Garden making in pursue of the interest and charm of painting has its internal consistency on the whole, but individual analysis each appears its heterogeneity, the favors and imitation of the builders in some painters or painting theories would be seen the deepening from individuality to generality, which is very important for indicating the principles and property that the visual arts have followed, while this would take some ideas and methods for the designs of art and garden, maybe, inspire someone to architect modern garden and garden city with the method like ecological aesthetics.