In the architectural titles and couplets, a lot of elaborate allusions are also used to point out the scenery, so that the scenery of each courtyard is permeated with historical and cultural connotations, showing different tastes and far-reaching artistic conception in the rich and vivid spatial changes, forming a grand view of the mind. In an extremely long and splendid palace, I feel simple and kind.
The first courtyard is used as a garden, and the weather is fresh and elegant. The pavilion is built in the west of the garden, with its back against the palace wall and facing the center of the courtyard. It not only makes a detailed investigation on the layout and modeling, but also injects richer and deeper contents into the garden art creation and aesthetic image thinking by concentrating the exquisite allusions such as the historical origin, historical complex and historical evolution of Liubei Pavilion.
The overall conception and composition of Sui Chutang and Ningshou Palace gardens have played a finishing touch in many aspects and levels.
Ningshou Palace Garden is forbidden by the palace and lacks water. How to control water, as Shao Yong, a philosopher in the Song Dynasty, said in Sleeping Garden: "There is a water garden pavilion." This is really a thorny problem.
This pavilion is in an eye-catching position in the whole garden, and its size and shape are particularly prominent. It digs a well in a hidden place to get water, uses a clear stream of the Liu Bei Canal to go around, and connects it with elegant flowing water with the title of "Pavilion", which skillfully resolves the limitation of water shortage in the whole garden.
At the same time, the whole garden is divided into five scenic spots along the depth, and the pavilion is arranged in the prominent position of the first scenic spot, so that the image of water can flow into various scenic spots with vivid memories in the future, thus achieving extraordinary success in gardening art. Obviously, this layout and finishing touch method can be said to be extremely thoughtful.
The conception of Mu Ting originated from the elegance of Qianlong, centered on the artistic conception of Lanting story, and combined with the realistic conditions, it obviously has the formal characteristics of artistic image symbols. For example, in the poem Guanyin Pavilion, Gan Long wrote: There are rocks, stones, bamboo and stone canals in Shangliu Pavilion.
When he was in the Liao Dynasty, he treated the position of king and regarded the past as the present.
On the other hand, and more importantly, the name of the pavilion comes directly from the traditional pavilion, which is more subtle than the names of the flowing cup pavilions such as the sound of water in Xiyuan, the stone sitting in Yuanmingyuan and the fragrant water in the summer resort. In fact, it is also due to the careful conception of the overall concept of Ningshou Palace Garden.
In this way, in the gradual sequence of the whole garden space, the heart melody of Lanting story can be directly revealed through the moon-watching pavilion, and the profound cultural implication and aesthetic value contained in history can be borrowed to highlight the image of the "new village" of the whole garden, imitate the seclusion of literati, and never forget that "the scholar's ambition is in the Tao".
Different from the naming of Liu Beiting in other royal gardens, Zuoshang Pavilion is based on the overall conception of the whole garden and uses the subtle allusion of "Zuoshang". The ancient friendship metaphor of "left upper" is also used to compare "longevity", and further, from "left upper" to "Ningshou", the garden is the same as its Ningshou.
In fact, what Qianlong knows well is that "Mao" has the meaning of leading an honest and clean life, cultivating sacrifices, exorcising evil spirits, and praying for a better life since ancient times, which is the so-called "Mao, offering sacrifices." "Pray for help." Later, the appreciation activities of Qushui still inherited the friendship of celebrating the birthday.
In his later years, Qianlong claimed to be "the son of ancient Greece" and "the perfect old man", but in the face of the irresistible end of life, praying for a better life became his great wish.
In the business philosophy of Ningshou Palace and Ningshou Palace Garden, it is typical to express his wish to pray for longevity with allusions.
In the inscription of Ningshou Palace made by Qianlong Imperial Palace, it is said: Master the foundation to repair the sacrifice, and Ningshou heel.
In fact, this meaning is very clear. In addition, as stated in the imperial book "Keeping Harmony with Precious Houses", the "cleanliness" in the sentence is also the original meaning of "thinness", that is, "thinness is cleanliness."
In addition, as Gan Long's inscription on the plaque of "Traveling Together" and the couplet of "Pavilions and pavilions always live forever" clearly show, in his view, being as broad-minded as literati in previous dynasties and enjoying the pleasure of gardens is one of the realistic ways to keep the soul and seek immortality, which is precisely because of "reward" and "peace"
"Appreciation" is actually an aesthetic photo, a very concise word. It is in my mind, which makes "appreciation" sublimate from the original meaning of sacrifice to aesthetic "appreciation", which is more natural and leads the taste of gardens to the lofty aesthetic situation of Ceng Dian meteorology and Lanting story, that is, harmony between body and mind and vitality.
It goes without saying that the rational spirit of the scholar-officials in Qianlong is much better than that of many emperors in history who begged immortals to worship Buddha and even took risks to take pills.
The subtlety of the allusion "reward" in the pavilion is still used to express "the beginning of the year", that is, to express "Lao Zi's noble" retirement "and" plain ambition ",which is directly and organically related to the idea of the morning hall in the center of the park. As mentioned later, this is actually the key to the overall concept of Ningshou Palace Garden.
The so-called "retirement" is the original intention of retiring, which is similar or similar to the meanings of "retirement", "ambition" and "initial service" Early Sui Dynasty was written by Liu Xin in the Western Han Dynasty, which expressed his desire to escape from the world. Sun Chuo, a famous scholar in Lanting in the Eastern Jin Dynasty and a good friend of Wang Xizhi, taught himself gardens and endowed Sui and Chu with lofty standards. For example, Liu Yiqing's "Shi Shuo Xin Yu Pin Zao" was quoted in the Liu and Song Dynasties: When he recovered from his illness, he trusted metaphysical life, praised Laozi and Zhuangzi far away, expressed high depression, was out of keeping with the times, and claimed to give up everything.
Sun Chuo spent more than ten years wandering among the nymphs, melting Hyunri into the mountains and rivers, and was praised as a literati's pen at that time. He wrote poems such as "Poems on Mount Tiantai", which had a great influence on later generations and was praised as "the first landscape poem in the Southern Dynasties".
In contrast to the Lanting story, Sun Chuo's initial ambition, especially praised by later scholars, became an important allusion to reflect and flaunt his seclusion lifestyle.
In the Song Dynasty's Biography of You Mao, it was recorded that You Mao was favored by the emperor and served in three dynasties, becoming a prominent official. He was not allowed to leave his post until his death, and he was deeply interested in seclusion. So he gave Sun Chuo's "Sui Chu Fu" as his own name and gave it to Guangzong.
He called himself "a layman in the early Sui Dynasty" and his room name was "Sui Dynasty Guild Hall". Even his anthology is titled "Xiaoqiu in the Early Sui Dynasty". During the Yuan and Ming Dynasties, scholars followed suit one after another, such as Gui Youguang's "Tang Ji in the Early Sui Dynasty", which also talked about the "hermit thought and temperament change" of ancient and modern gentlemen at the beginning, pointing out that at the beginning, it was actually the "thank you sir" of gentlemen.
Qianlong was good at literati culture and was deeply influenced by the concept of seclusion of literati. Of course, he knew this story from the beginning. He repeatedly stressed that the original intention of naming Ningshou Palace Garden was to pray for 60 years of imperial rule and abdication in politics.
The reason why this building is arranged in the center of the garden, which is "tired and dusty during retirement", and it is famous from the beginning, is actually to publicize the orientation of this garden that Qianlong is proud of and willing to show off. Zhou Shu said that he should always be diligent. Chu Sao said, the first suit, Zheng Xie is suitable for his bow. The taste and use of a second language are different.
Among them, he not only refers to his diligence with the "Battle of the King" in Shangshu Zhaogu, but also refers to his seclusion with the "Retirement to resume my initial service" in Lisao, and uses the double meanings of the allusion of "initial service" to demonstrate the secret and reach of his initial ambition.
In Qianlong's view, his release and volume, that is, his initial service for diligence and seclusion, have their own uses and places. They successfully practiced the sage's ideal life pursuit of self-cultivation, governing the country and leveling the world, and achieved a perfect merit that they thought was rare in ancient times. Such a "great ambition" for the first time and the first time is of course.
It is out of this mentality that he focuses on perfectly displaying his hidden image. In front of Ningshou Palace and Sui Chutang, he naturally and incisively put his thoughts into the organization of garden space by appreciating the historical and cultural connotation of the pavilion.
The buildings and scenery in the back garden, such as Cuishanglou, Fuwangge and Leiatelier, including the peaks, hills, valleys and caves operated by a large number of stacked stones in the third and fourth courtyards of Sui Chutang, were all guided by this idea, and gradually showed a richer and deeper realm in the theme of seclusion in the early Sui Dynasty.
In the process of this aesthetic photo, the commercial location and use of the exhibition hall played a decisive role skillfully, which can be called the artist's masterpiece.
It should be pointed out that after Sui Chutang, there were rocky rockeries in the deep mountains with cliffs, which occupied two courtyards. In addition to the rugged mountain road, the path connecting the front and back yards is tortuous and blurred, and it is hidden in a deep cave, where there are two caves, one small and one large.
The spatial image of Dieshan Mountain is profound and dignified, and even makes people feel mysterious or depressed, which is completely different from the spatial atmosphere of the first two houses and backyard. In this regard, there have been criticisms that such overlapping mountains are too congested and dull, which is the deficiency in the artistic treatment of the whole garden space.
However, in order to manage this huge rockery, which is the center of gravity of the whole park, Qianlong specially selected and transported a large number of Taihu stones in Xiyuan, especially the nearly 400 South Taihu stones left by the two Jin and Qiong Islands from Bianjing in the Song Dynasty, which shows its importance.
Like his favorite water, this rockery, which Gan Long paid special attention to, is a more concrete and faithful visual art representation of the original allusions.
This is just as the couplets hanging in the hall in the early years of Sui Dynasty emphasized: Pingshan mirrors the water;
Luo waited for the wind to wait and see.
The "Pingshan" at the beginning of the church is the rockery behind it. The "mirror water" in the hall in the early years of Sui Dynasty is the flowing water in the pavilion in front.
It goes without saying that the profound meaning of mountains and rivers should be carried forward into the future, so that the whole Ningshou Palace garden can have a richer, deeper and more complete artistic appeal, and the image can be truly and vividly displayed, fascinating and reaching a lofty aesthetic realm, which is exactly what Qianlong deliberately pursued. Changchun Garden, a famous garden in Shi Jing.
Changchun Garden is located in Haidian District, Beijing, south of Yuanmingyuan. The original site was the "Tsinghua Campus" built by Ming Shenzong's grandfather Li Wei in the Ming Dynasty.
In the Qing Dynasty, Changchun Garden was built on the former site of Tsinghua campus, using the remaining water veins and rocks, as a summer palace in the suburbs. Ye Tao, a court painter, was responsible for the overall design of the landscape, and hired Zhang Ran, a gardener from the south of the Yangtze River, to manage the water by overlapping mountains, and at the same time renovated the Wanquan River system to introduce the river water into the garden. In order to prevent floods, a west embankment was built in the west of the park.
There are landscape buildings such as Qianhu, Houhu, Yihaitang, Qingyage, Shuiyin Pavilion and Huaju Pavilion in the park. According to the historical records of the Ming Dynasty, the park covers an area of about 1.200 mu, and is called "the first garden in Beijing".