The notion of landscape as a text with encoded meaning, a place of memory and association, an experiential space in which to stroll and enjoy the unfolding of sequential views or to sit quietly and ponder the thoughts prompted by the impressions of scenery upon the senses-these fundamentals were common to both East Asian gardens and the gardens developed in England in the eighteenth century. The reciprocal association between landscape design and painting that was first developed in China and then later adopted in Japan is similar to the eighteenth-century English sensibility that found in Claude Lorrain’s seventeenth-century paintings an appropriate idiom for the layout of the parks of great estates . Similarly, an affinity for landscape themes, prevalent in eighteenth-and nineteenth-century English literature, is especially common in the poetry of China and Japan. The Romantic appreciation for the sublime in nature, which caused William Wordsworth to attune his soul to "the sounding cataract . . . the tall rock , the mountain, and the deep and gloomy wood, ”was akin to the reverence for nature of Chinese scholars and mystics many centuries before.
景观的概念作为一种具有编码的意义的题目，作为记忆和联想的地方，作为散步和享受系列风景展开的体验空间，或坐下来静静地沉思风景对感觉所带来的印象----这些基本要素对于东亚园林以及后来十八世纪在英国所发展的园林是共同的。 / 景观设计和绘画之间的相互结合，在中国首先发展，后来在日本采用，类似于第十八世纪的英国感觉，像在洛兰克劳德的第十七世纪画的那个适合大屋的公园的风格布局。 / 同样，在第十八和十九世纪英国文学的流行的景观主题的亲和力，是在中国和日本的诗歌尤其是常见的。对自然界的极端浪漫的欣赏，使威廉华兹华斯的灵魂感受到“瀑布声..高高的岩石，山，和深邃幽暗的树林，”类似于许多世纪以前中国学者和神秘主义者对自然的敬畏。
But in spite of this apparent similarity between East and West, at a certain point in time with regard to each culture’s philosophical attitude toward landscape, the underlying differences between the historic gardens of Asia and those formed in Europe and America are fundamental and profound. Western environmentalists attempting to reforge the broken human contract with nature, who try to reason the causes for its rupture in the first place, must reckon with the Judeo-Christian tradition of a jealous God who tolerates no rivals and is situated in a remote Heaven, the true paradise as compared to the “false” paradise of this word. The ancient Greeks, who had dreamed their gods out of the ground and placed them in the sky upon Olympus, did not so thoroughly depopulate the earth of its divinities as did the monotheistic cultures of Judaism and Christianity. They journeyed to sacred places in nature, seeking oracular wisdom at Delphi and spiritual initiation at Eleusis. But it is to nature-oriented religions like Daoism and Shinto that one must look to find a more direct bond between people and Earth. In China and Japan, although nature was as thoroughly harnessed to serve human economic ends as in the West, the scholarly and ruling elites espoused and expressed through landscape design Buddhist precepts informed by Daoist and Shinto ideals emphasizing life lived in spiritual harmony with nature. Chinese Daoist thought fostered perceptions of qi, the “breath”, or inherent energy, possessed by all phenomena. In Japan, Shinto religion led participants to reverence kami , the spirits found in nature. Garden design in both countries reflected and nourished these ideals.
尽管东西方之间的相似性很明显，但是在一定时间内，因为对风景每一种文化有一种哲学态度，亚洲与欧洲和美国形成的历史园林潜在的差异是根本和深刻的。/ 西方的环保主义者试图修复打破的自然和人的联系，他们首先试图思考它破裂的原因，都必须了解犹太-基督教传说，一个嫉妒的上帝不能容忍对手，所以坐落在一个遥远的天堂的，这个故事是真
正的天堂与“假”的天堂的比较。/ 古希腊人曾梦见自己神出现然后把他们放在奥林匹斯山的天空，当犹太教和基督教的一神论文化存在时，古希腊人没有非常彻底地减少地球的神灵。/ 他们来到了大自然的神圣的地方，在Delphi寻求神谕的智慧和在埃莱夫西斯精神萌生。/ 但它是面向自然的宗教，例如道教和神道教，必须寻找人与地球之间的更直接利益。/ 在中国和日本，学术和统治精英 了解了道教和神道教的理念是强调生活中的精神与自然的和谐，支持并表示通过景观设计佛教戒律， 虽然在西方为人类的经济目的，自然被充分利用。/ 中国道家思想的培养所有情况下对“气”，“呼吸”，或内在的能量的感知。/ 在日本，神道教被敬畏神，在自然界中发现精神。园林设计在这两个国家都体现和滋养了这些理想。
Rocks---the mineral substance of nature---had as strong and aesthetic and associative value in East Asian gardens as representational sculpture in carved stone and cast bronze did in Western ones. In China, garden designers employed carefully selected, waterworn rocks with clefts and fissures. These spatially intricate rocks were usually intended to evoke the mist-shrouded mountain ranges of the larger landscape, for the Chinese attributed to their country’s peaks the same in-dwelling mystery and connection with the divine as did other civilizations. Such scenery might be termed sublime according to the aesthetics of the West. In Japan, where mountains are less dramatically formed, designers sometimes employed rocks in compositions that intentionally evoked scenes from Chinese painting, but more often rocks were placed in water or gravel “streams” as metaphorical islands. Japanese garden designers also displayed particular ingenuity in their selection of beautifully shaped flat stepping stones, positioning them so as to form, in conjunction with moss, ground-plane patterns of highly pleasing pattern and texture. Like the rocks in Chinese scholars, Japanese garden rocks were often associated with mythical or real animals of symbolical import. In both cultures, the viewer was encouraged to enjoy the abstract beauty of these mineral forms while also imagining their resemblance to other things.
岩石--自然的矿物物质--在东亚园林中具有强烈的审美的联想的价值，作为西方的园林的雕刻石和铸造青铜中具有代表性的雕塑。在中国，园林设计师精心挑选被水冲蚀的岩石结晶和裂缝。这些空间复杂的岩石通常是为了唤起薄雾笼罩的山脉的更大的景观，中国人认为他们的国家的山峰跟生活一样的神秘，山峰与神连接像其他文明一样。根据西方的美学，这样的风景可以被称为崇高的。在日本，在那里的山不太明显形成，设计师有时采用岩石的组成，故意诱发中国画的场景，但更多的往往是岩石被放置在水或砾石“流”作为隐喻的岛屿。日本园林设计师也在他们选择的精美形状的平坦的踏脚石时表现出特别的独创性，放置石头，结合苔藓，高度愉悦的图案和质地的地面平面图案。如中国学者的岩石，日本花园岩常与神话相关或象征引进真实的动物。在这两种文化中，观众被鼓励享受这些矿物形式的抽象美，同时也想象它们与其他东西的相似之处。
JI CHENG'S GARDEN MANUAL: THE YUAN YE
By the end of the Song period, the conventions of Chinese garden design were well established. As Chinese merchants prospered during the Ming dynasty, they, like the emperor himself, emulated the cultural elite, the mandarin class of scholar-officials. To help these arrivistes avoid the aesthetic blunders of the uneducated, garden designers began to write treatises that codified garden style and served as manuals for landscape builders.
到宋末,中国已经制定了良好的园林设计规范。随着明朝时期中国商人（在事业上）的
成功，他们，像皇帝他自己一样，模仿文化名流，士大夫中的满清官吏。为了帮助这些暴发户避免（出现）无知的审美失误，园林设计师开始写论文，整理园林风格以作为景观建筑师的手册。
Foremost among these was the Yuan ye, or The Craft of Gardens, by Ji Cheng ( b. 1582)of Wujiang in the province of Jiangsu. A noted garden builder himself, as well as a poet and painter, he completed his comprehensive three-volume classic on landscape theory and practice in 1634.
其中最重要的是园冶，又名花园工艺，由江苏省吴江县的计成所著。计成本人是一位著名的园林建造者，同时也是一个诗人和画家，1634年他完成了综合的三卷经典景观实践理论著作。
Ji Cheng's book is unusual, and perhaps unique, among garden manuals in its blend of practical advice and pattern-book instruction with poetic visualization and mood painting. Although specific in discussing the appearance of various kinds of stones and offering abundant diagrams for window and railing lattices, together with numerous door shapes and paving designs, the Yuan ye offers no static prescription for garden planning. The author firmly states that "there is no definite way of making scenery; you know it is right when it stirs your emotions," stressing that it is qi, the pulsating breath of life that must be the result of the designer's efforts.
计成的书是不同寻常和独一无二的，在其园林手册中融合了可行的意见、图案样式指导、诗歌的形象化和绘画的意境。具体讨论了各种石头的外观并提供了大量的窗户、栏杆格子、门洞形状以及铺装设计样的式图。园冶没有提供了园林规划中静态的指导（固定的设计范本）。笔者坚定地指出，“造园无明确的范本，当你的情绪被激起这就是正确的（造园）”，强调这是气，生命的脉动呼吸那一定是设计师的努力的结果。
Good siting is a primary ingredient of Ji Cheng's prescription for garden making. A garden designer must screen out what is ugly and offensive and make use of "borrowed scenery" (jiejing), whether a distant view of misty mountains, the rooflines of a nearby monastery, or the flowers of a neighbor's garden. A small piece of ground beside a dwelling can be turned into a garden by digging a pond, collecting stones with which to build up a "mountain," and making a welcoming gate for guests. Willows, a stand of bamboos, and some luxuriant trees and flowers are all that are needed to complete the picture and set the mood for poetry-writing parties and sitting in the company of one's favorite concubine melting snow water for tea.
良好的选址是计成造园指导的主要构成部分。一个花园设计人员必须筛选出什么是丑陋和讨厌的（东西），并利用“借景”，无论是迷雾山脉的远景、附近寺院的屋顶轮廓线，还是邻居的花园里的花。住宅旁边的一小块地面可以变成一个挖有池塘，收集石头来堆砌假山，和建有迎客门的花园。凉亭浮白，冰雕竹林风生；暖阁偎红，雪煮炉铛涛沸。
In Ji Cheng's manual, in the chapter "The Selection of Stones," he discusses in reverent detail the highly prized Lake Tai stones with their hollows and holes. He recommends that these be given pride of place like fine sculpture in front of big halls, within large pavilions, or beneath a stately pine tree. It is clear from the Yuan ye that stone selection was a highly developed skill limited to a small number of individuals who could successfully quarry fine specimens from the mountains or find them in river and lake beds. Sometimes to be found in museum collections of Chinese art today, these prize stones, with light and shade directing the eye as it travels in and out of their folds and hollows and up the flanks of an imagined mountain precipice, do appear to possess qi; their vibrancy is akin to that found in works of painting and calligraphy in the same galleries.
计成的手册里，“选石”的那一章中，他详细地论述了非常珍贵的太湖石头与它们的洞和孔。他建议（把石头）放在这些首要的位置，就像精雕细琢的大厅门前、大型展馆内或庄严宏伟的松树之下。很显然园冶中，选石是一个高度发达的技能仅限于少数个人谁能够成功地从山上采石场罚款标本或发现他们在河流和湖床的清晰。有时候，在中国美术馆藏品中找到的今天，这些奖品的宝石，加上光影指挥眼球，因为它在和他们的褶皱和空洞的，最多一个想象山崖的侧面移动，似乎的确具有补气;他们的活力是类似的是，在同一个画廊书画的作品中。
Ji Cheng also writes about wall design. The walls in Chinese gardens provide an important means of segregating space, screening from sight the mundane workaday reality of city streets while making the garden invisible to passersby, except for glimpses gained through latticed openings composed of thin tiles or east bricks. The walls of Chinese gardens often rise and fall according to the elevation of the ground. Curved roof tiles, sometimes following a wavy line, produce a sense of animated movement, while bas-relief friezes frequently add ornamental interest.
计成还写到了墙的设计。墙为中国园林提供了一个重要意义：分离空间，掩盖城市街道的世俗平庸日常的现实，同时使行人看不见花园，除了通过薄砖或东方砖块组成的网格状的开孔可以得以一瞥。中国园林的墙壁经常根据地面的海拔高低起伏。弧形的屋顶瓦片，有时沿着一条波浪线，产生活泼的运动感，同时浮雕檐壁还经常增添（游人）观赏兴趣。 Walls outline various courts and corridors within the garden, subdividing it into discrete though linked scenic units. These are often pierced by windows with tracery, for which Ji Cheng provided many patterns. Carefully placed windows and circular "moon gates" and vase-or gourd-shaped doors frame views of adjacent garden spaces. The white-washed surfaces of these walls are often brush-rubbed with ground yellow river sand mixed with a small amount of chalk to give them a lustrous waxy polish. The function of a Chinese garden wall is not, however, ornamental; rather, it is meant to serve, like the neutral silk or paper of a painting, as a background, capturing shadows in calligraphic patterns and acting as a foil for the rocks and plants in front of it.
花园里的围墙勾勒各种场地和廊道的轮廓，将它细分为离散但景观连续的个体。这些（围墙）经常被带有窗饰的窗口穿过，计成提供多款（窗饰的）样式图。小心放置窗和圆形的“月洞门”和花瓶或葫芦形的门框窥见邻近的花园空间。这些墙壁刷白的表面通常是用黄河沙和少量粉笔混合涂刷，给他们一个有光泽苍白的磨光（表面）。中国园林里的围墙没有功能，然而，却有观赏性；相反地，它的目的是服务，像一幅画的白色丝绸或纸，作为背景，捕捉书法图案阴影和充当在它前面的岩石和植物的陪衬。
In plan, a typical Southern Chinese scholar-garden, built in the manner codified by Ji Cheng, arranges the functional parts of the mansion and its adjacent series of courts around the edges of the site. The principal hall faces a central pond. which occupies approximately three tenths of the site(see Fig. 1). Like the arms of a lake in nature, the ends of the pond are made to disappear from sight, in winding coves, behind bridges, or beyond covered walkways. Buildings, rocks, water, paths, and plants are parts of a harmonious whole, the intent of which is to frame compositions of scenery and furnish various vantage points from which to enjoy a sequence of views. These views are intended to remind one of the kind of journey in nature that one experiences when looking at a Chinese landscape painting, mentally climbing up tortuous mountain paths or following the indented shore-line of a lake.
在平面图上，一个典型的南方文人园林，采用计成编纂成书的方法建造，安排宅邸的
功能分区和与其相邻的一系列围绕基地边缘的场地。主要面向大厅的中央池塘，占据基地的十分之三（参见图1）。像置身于大自然湖的怀抱，池塘的末端从视线中消失，在蜿蜒的小溪，桥的后面，或在廊道的远处。建筑物，岩石，水体，路径和植物构成一个和谐的整体，意图在于从风景组合中取景和提供各种有利位置去享受一系列景点。这些景点是为了当人们在欣赏中国山水画时唤醒人们在大自然中经历的旅程，在自然界中的一种，在精神上，攀登曲折的山路或沿着湖泊犬牙交错的湖岸线步行。
WANG SHI YUAN(GARDEN OF THEMASTER OF THE FISHING NETS)
The Wang Shi Yuan, or the Garden of the Master of the Fishing Nets, is one of several remaining scholargardens in Suzhou that give some impression of the lives led by the educated and bureaucratic elite in imperial China. Much literary meaning is packed into thisone-and-a-half-acre garden of idyllically arranged scenery, and the spaces within it bearthe kinds of poetical names that Jia Zheng's son Bao-yu was summoned to provied in TheStory of the Stone. First laid out in 1140, in early Southern Song times by a high courtofficial, it was restored in 1770 by another official, Song Zongyuan,as his retirement retreat. Though altered both before and after its appropriation by the municipal governmentin 1958, its outlines and principal features remain the same as in the Qing period (1644-1911). Like other scholar-gardens, it is highly compartmentalized, with courtyards androofed structures interlocking like pieces of a puzzle (Fig. 1).
网师园,是苏州幸存的几个给人留下深刻印象的文人园林之一，由中国封建时代的文人和官僚建造。这个充满诗意且布局规整的一亩半的园林包含着许多文学意义，园林里的各个空间都有着诗一样的名字，例如《红楼梦》里贾政之子，宝玉被传唤所提名之处。最初在1140年由南宋时期的一个高官设计建造，在1770年被另一位官员，宋龙，作为他的退隐居所所修复。 虽然它在政府于1958年拨款前后都进行了改造，但是它的轮廓和主要特征仍旧和清朝（1644-1911）时期相同。同其他文人园林一样，通过高度区划，将庭院和屋顶的结构像拼图一样互相锁定。
In former times, visitors arriving by palanquin would have entered the Wang ShiYuan through the main entrance on the south where the residential quarters are. Today access is through a narrow passageway from a side alley into the northern end of the complex., which leads more directly into the garden In either case, the route into the Placefor Gathering Breezes-the central garden space,dominated by a lake-is a circuitousone. Its chief focal point, as seen from the Duck Shooting Corridor adjacent to the familyhalls, is the Pavilion of the Arriving Moon and Wind, a delicate, six-sided structurewith soaring rooflines collected in a high finial. Poised on its appropriately scaled rockeryabove the surface of the lake, it is a resting place where one can gaze dreamily at thereflections in the water.A mirror inside increases the sparkling play of light on itssurfaces.
从前，宾客乘轿子就可以通过南正门进入网师园住宅区。如今通过侧巷到蜿蜒的北端的一条走廊进入，可以更加直接进到园内。在任何一种情况下，这条进入聚风地-以湖泊为主的中央公园的路线都是迂回的。从与家庭厅相邻的射鸭廊可以看到它的主要焦点，月到风来亭，一个精致，六面是高尖顶向高耸屋顶汇集的结构的亭。对其适当比例的假山湖面以上的准备，这是一个休息的地方，一个可以凝视朦胧在水中的倒影。镜子里增加了光在它的表面上的闪闪发光的发挥。
The visitor does not arrive by an obvious path to this spot but is diverted along theway by other pavilions and their adjacent courtyards. The Hall of Small Mountains and Osmanthus Spring
iscompletely screened from the lake by a tall mountain of earth and rock-work.From inside, one views this composition through windows framed with lacy fretwork On the south side of this structure lies a small courtyard containing many fine specimens of Lake Tai rocks placed in an undulating composition The bright white wall of thiscourtyard constitutes the pictorial ground upon which the shadows of the fragrant osmanthus trees are cast, forming a tracery pattern that complements the fretwork of the smallopenings in it as well as that of the windows of the pavilion.
游客不到明显的路径这一点但改道沿途其他组织和其相邻的院落。一座高大的山和岩石的工作，从湖上的小山和桂花的大厅。从内部，这一观点通过镶花边的浮雕组成，这种结构的南侧窗户是一个小院，含有许多细小的岩石标本太湖放在起伏的组成这个庭院的明亮的白色墙壁构成的桂花树的阴影图案的地面上，形成花纹图案这补充了浮雕的小开口在它以及展馆的窗户。
The Waterside Hall for Washing the Tassels of One' s Hat sits at the water's edge onthe southside of the lake opposite the Veranda for Viewing Pines and Looking at Paintings. The latter pavilion has a lake view seen through old pines and cypresses, which areset in a rockery. Besides these lakeside summerhouses, there are other garden pavilions,several of which serve the needs of the scholar. The Five Peaks Study, for instance,is alibrary. Since interior stairs are not favored in ornamental Chinese architecture, access toits second story was gained via steps set into a rockery next to its east wall. Adjacent to itis the House of Concentrated Study. Another study, the Cottage to Accompany Spring,had its own private pebble-paved courtyard garden to the south as well as another tinycourtyard on the north. The latter, which is framed from inside by beautifully carvedwindow surrounds, contains a delicate composition of bamboo, rocks, and floweringplants.
水边厅洗你的帽子流苏坐在水边上观看松树和看画湖对面的阳台南侧。后者亭湖看到通过老松树和柏树，是设置在假山。除了这些湖边的凉亭，还有其他的亭园，其中一些需要服务的学者。例如，五个山峰的研究是一个图书馆。从室内楼梯不在观赏中国建筑的青睐，获得二故事获得通过步骤设置成假山旁边的东墙。毗邻它是集中研究的房子。另一项研究，小屋陪春天，有自己的私人鹅卵石铺成的庭院花园，以南，以及另一个小庭院在北方。后者，它是由内被精美的雕刻的窗口包围，包含一个微妙的组成，竹子，石头，和开花植物。
The notion of landscape as a text with encoded meaning, a place of memory and association, an experiential space in which to stroll and enjoy the unfolding of sequential views or to sit quietly and ponder the thoughts prompted by the impressions of scenery upon the senses-these fundamentals were common to both East Asian gardens and the gardens developed in England in the eighteenth century. The reciprocal association between landscape design and painting that was first developed in China and then later adopted in Japan is similar to the eighteenth-century English sensibility that found in Claude Lorrain’s seventeenth-century paintings an appropriate idiom for the layout of the parks of great estates . Similarly, an affinity for landscape themes, prevalent in eighteenth-and nineteenth-century English literature, is especially common in the poetry of China and Japan. The Romantic appreciation for the sublime in nature, which caused William Wordsworth to attune his soul to "the sounding cataract . . . the tall rock , the mountain, and the deep and gloomy wood, ”was akin to the reverence for nature of Chinese scholars and mystics many centuries before.
景观的概念作为一种具有编码的意义的题目，作为记忆和联想的地方，作为散步和享受系列风景展开的体验空间，或坐下来静静地沉思风景对感觉所带来的印象----这些基本要素对于东亚园林以及后来十八世纪在英国所发展的园林是共同的。 / 景观设计和绘画之间的相互结合，在中国首先发展，后来在日本采用，类似于第十八世纪的英国感觉，像在洛兰克劳德的第十七世纪画的那个适合大屋的公园的风格布局。 / 同样，在第十八和十九世纪英国文学的流行的景观主题的亲和力，是在中国和日本的诗歌尤其是常见的。对自然界的极端浪漫的欣赏，使威廉华兹华斯的灵魂感受到“瀑布声..高高的岩石，山，和深邃幽暗的树林，”类似于许多世纪以前中国学者和神秘主义者对自然的敬畏。
But in spite of this apparent similarity between East and West, at a certain point in time with regard to each culture’s philosophical attitude toward landscape, the underlying differences between the historic gardens of Asia and those formed in Europe and America are fundamental and profound. Western environmentalists attempting to reforge the broken human contract with nature, who try to reason the causes for its rupture in the first place, must reckon with the Judeo-Christian tradition of a jealous God who tolerates no rivals and is situated in a remote Heaven, the true paradise as compared to the “false” paradise of this word. The ancient Greeks, who had dreamed their gods out of the ground and placed them in the sky upon Olympus, did not so thoroughly depopulate the earth of its divinities as did the monotheistic cultures of Judaism and Christianity. They journeyed to sacred places in nature, seeking oracular wisdom at Delphi and spiritual initiation at Eleusis. But it is to nature-oriented religions like Daoism and Shinto that one must look to find a more direct bond between people and Earth. In China and Japan, although nature was as thoroughly harnessed to serve human economic ends as in the West, the scholarly and ruling elites espoused and expressed through landscape design Buddhist precepts informed by Daoist and Shinto ideals emphasizing life lived in spiritual harmony with nature. Chinese Daoist thought fostered perceptions of qi, the “breath”, or inherent energy, possessed by all phenomena. In Japan, Shinto religion led participants to reverence kami , the spirits found in nature. Garden design in both countries reflected and nourished these ideals.
尽管东西方之间的相似性很明显，但是在一定时间内，因为对风景每一种文化有一种哲学态度，亚洲与欧洲和美国形成的历史园林潜在的差异是根本和深刻的。/ 西方的环保主义者试图修复打破的自然和人的联系，他们首先试图思考它破裂的原因，都必须了解犹太-基督教传说，一个嫉妒的上帝不能容忍对手，所以坐落在一个遥远的天堂的，这个故事是真
正的天堂与“假”的天堂的比较。/ 古希腊人曾梦见自己神出现然后把他们放在奥林匹斯山的天空，当犹太教和基督教的一神论文化存在时，古希腊人没有非常彻底地减少地球的神灵。/ 他们来到了大自然的神圣的地方，在Delphi寻求神谕的智慧和在埃莱夫西斯精神萌生。/ 但它是面向自然的宗教，例如道教和神道教，必须寻找人与地球之间的更直接利益。/ 在中国和日本，学术和统治精英 了解了道教和神道教的理念是强调生活中的精神与自然的和谐，支持并表示通过景观设计佛教戒律， 虽然在西方为人类的经济目的，自然被充分利用。/ 中国道家思想的培养所有情况下对“气”，“呼吸”，或内在的能量的感知。/ 在日本，神道教被敬畏神，在自然界中发现精神。园林设计在这两个国家都体现和滋养了这些理想。
Rocks---the mineral substance of nature---had as strong and aesthetic and associative value in East Asian gardens as representational sculpture in carved stone and cast bronze did in Western ones. In China, garden designers employed carefully selected, waterworn rocks with clefts and fissures. These spatially intricate rocks were usually intended to evoke the mist-shrouded mountain ranges of the larger landscape, for the Chinese attributed to their country’s peaks the same in-dwelling mystery and connection with the divine as did other civilizations. Such scenery might be termed sublime according to the aesthetics of the West. In Japan, where mountains are less dramatically formed, designers sometimes employed rocks in compositions that intentionally evoked scenes from Chinese painting, but more often rocks were placed in water or gravel “streams” as metaphorical islands. Japanese garden designers also displayed particular ingenuity in their selection of beautifully shaped flat stepping stones, positioning them so as to form, in conjunction with moss, ground-plane patterns of highly pleasing pattern and texture. Like the rocks in Chinese scholars, Japanese garden rocks were often associated with mythical or real animals of symbolical import. In both cultures, the viewer was encouraged to enjoy the abstract beauty of these mineral forms while also imagining their resemblance to other things.
岩石--自然的矿物物质--在东亚园林中具有强烈的审美的联想的价值，作为西方的园林的雕刻石和铸造青铜中具有代表性的雕塑。在中国，园林设计师精心挑选被水冲蚀的岩石结晶和裂缝。这些空间复杂的岩石通常是为了唤起薄雾笼罩的山脉的更大的景观，中国人认为他们的国家的山峰跟生活一样的神秘，山峰与神连接像其他文明一样。根据西方的美学，这样的风景可以被称为崇高的。在日本，在那里的山不太明显形成，设计师有时采用岩石的组成，故意诱发中国画的场景，但更多的往往是岩石被放置在水或砾石“流”作为隐喻的岛屿。日本园林设计师也在他们选择的精美形状的平坦的踏脚石时表现出特别的独创性，放置石头，结合苔藓，高度愉悦的图案和质地的地面平面图案。如中国学者的岩石，日本花园岩常与神话相关或象征引进真实的动物。在这两种文化中，观众被鼓励享受这些矿物形式的抽象美，同时也想象它们与其他东西的相似之处。
JI CHENG'S GARDEN MANUAL: THE YUAN YE
By the end of the Song period, the conventions of Chinese garden design were well established. As Chinese merchants prospered during the Ming dynasty, they, like the emperor himself, emulated the cultural elite, the mandarin class of scholar-officials. To help these arrivistes avoid the aesthetic blunders of the uneducated, garden designers began to write treatises that codified garden style and served as manuals for landscape builders.
到宋末,中国已经制定了良好的园林设计规范。随着明朝时期中国商人（在事业上）的
成功，他们，像皇帝他自己一样，模仿文化名流，士大夫中的满清官吏。为了帮助这些暴发户避免（出现）无知的审美失误，园林设计师开始写论文，整理园林风格以作为景观建筑师的手册。
Foremost among these was the Yuan ye, or The Craft of Gardens, by Ji Cheng ( b. 1582)of Wujiang in the province of Jiangsu. A noted garden builder himself, as well as a poet and painter, he completed his comprehensive three-volume classic on landscape theory and practice in 1634.
其中最重要的是园冶，又名花园工艺，由江苏省吴江县的计成所著。计成本人是一位著名的园林建造者，同时也是一个诗人和画家，1634年他完成了综合的三卷经典景观实践理论著作。
Ji Cheng's book is unusual, and perhaps unique, among garden manuals in its blend of practical advice and pattern-book instruction with poetic visualization and mood painting. Although specific in discussing the appearance of various kinds of stones and offering abundant diagrams for window and railing lattices, together with numerous door shapes and paving designs, the Yuan ye offers no static prescription for garden planning. The author firmly states that "there is no definite way of making scenery; you know it is right when it stirs your emotions," stressing that it is qi, the pulsating breath of life that must be the result of the designer's efforts.
计成的书是不同寻常和独一无二的，在其园林手册中融合了可行的意见、图案样式指导、诗歌的形象化和绘画的意境。具体讨论了各种石头的外观并提供了大量的窗户、栏杆格子、门洞形状以及铺装设计样的式图。园冶没有提供了园林规划中静态的指导（固定的设计范本）。笔者坚定地指出，“造园无明确的范本，当你的情绪被激起这就是正确的（造园）”，强调这是气，生命的脉动呼吸那一定是设计师的努力的结果。
Good siting is a primary ingredient of Ji Cheng's prescription for garden making. A garden designer must screen out what is ugly and offensive and make use of "borrowed scenery" (jiejing), whether a distant view of misty mountains, the rooflines of a nearby monastery, or the flowers of a neighbor's garden. A small piece of ground beside a dwelling can be turned into a garden by digging a pond, collecting stones with which to build up a "mountain," and making a welcoming gate for guests. Willows, a stand of bamboos, and some luxuriant trees and flowers are all that are needed to complete the picture and set the mood for poetry-writing parties and sitting in the company of one's favorite concubine melting snow water for tea.
良好的选址是计成造园指导的主要构成部分。一个花园设计人员必须筛选出什么是丑陋和讨厌的（东西），并利用“借景”，无论是迷雾山脉的远景、附近寺院的屋顶轮廓线，还是邻居的花园里的花。住宅旁边的一小块地面可以变成一个挖有池塘，收集石头来堆砌假山，和建有迎客门的花园。凉亭浮白，冰雕竹林风生；暖阁偎红，雪煮炉铛涛沸。
In Ji Cheng's manual, in the chapter "The Selection of Stones," he discusses in reverent detail the highly prized Lake Tai stones with their hollows and holes. He recommends that these be given pride of place like fine sculpture in front of big halls, within large pavilions, or beneath a stately pine tree. It is clear from the Yuan ye that stone selection was a highly developed skill limited to a small number of individuals who could successfully quarry fine specimens from the mountains or find them in river and lake beds. Sometimes to be found in museum collections of Chinese art today, these prize stones, with light and shade directing the eye as it travels in and out of their folds and hollows and up the flanks of an imagined mountain precipice, do appear to possess qi; their vibrancy is akin to that found in works of painting and calligraphy in the same galleries.
计成的手册里，“选石”的那一章中，他详细地论述了非常珍贵的太湖石头与它们的洞和孔。他建议（把石头）放在这些首要的位置，就像精雕细琢的大厅门前、大型展馆内或庄严宏伟的松树之下。很显然园冶中，选石是一个高度发达的技能仅限于少数个人谁能够成功地从山上采石场罚款标本或发现他们在河流和湖床的清晰。有时候，在中国美术馆藏品中找到的今天，这些奖品的宝石，加上光影指挥眼球，因为它在和他们的褶皱和空洞的，最多一个想象山崖的侧面移动，似乎的确具有补气;他们的活力是类似的是，在同一个画廊书画的作品中。
Ji Cheng also writes about wall design. The walls in Chinese gardens provide an important means of segregating space, screening from sight the mundane workaday reality of city streets while making the garden invisible to passersby, except for glimpses gained through latticed openings composed of thin tiles or east bricks. The walls of Chinese gardens often rise and fall according to the elevation of the ground. Curved roof tiles, sometimes following a wavy line, produce a sense of animated movement, while bas-relief friezes frequently add ornamental interest.
计成还写到了墙的设计。墙为中国园林提供了一个重要意义：分离空间，掩盖城市街道的世俗平庸日常的现实，同时使行人看不见花园，除了通过薄砖或东方砖块组成的网格状的开孔可以得以一瞥。中国园林的墙壁经常根据地面的海拔高低起伏。弧形的屋顶瓦片，有时沿着一条波浪线，产生活泼的运动感，同时浮雕檐壁还经常增添（游人）观赏兴趣。 Walls outline various courts and corridors within the garden, subdividing it into discrete though linked scenic units. These are often pierced by windows with tracery, for which Ji Cheng provided many patterns. Carefully placed windows and circular "moon gates" and vase-or gourd-shaped doors frame views of adjacent garden spaces. The white-washed surfaces of these walls are often brush-rubbed with ground yellow river sand mixed with a small amount of chalk to give them a lustrous waxy polish. The function of a Chinese garden wall is not, however, ornamental; rather, it is meant to serve, like the neutral silk or paper of a painting, as a background, capturing shadows in calligraphic patterns and acting as a foil for the rocks and plants in front of it.
花园里的围墙勾勒各种场地和廊道的轮廓，将它细分为离散但景观连续的个体。这些（围墙）经常被带有窗饰的窗口穿过，计成提供多款（窗饰的）样式图。小心放置窗和圆形的“月洞门”和花瓶或葫芦形的门框窥见邻近的花园空间。这些墙壁刷白的表面通常是用黄河沙和少量粉笔混合涂刷，给他们一个有光泽苍白的磨光（表面）。中国园林里的围墙没有功能，然而，却有观赏性；相反地，它的目的是服务，像一幅画的白色丝绸或纸，作为背景，捕捉书法图案阴影和充当在它前面的岩石和植物的陪衬。
In plan, a typical Southern Chinese scholar-garden, built in the manner codified by Ji Cheng, arranges the functional parts of the mansion and its adjacent series of courts around the edges of the site. The principal hall faces a central pond. which occupies approximately three tenths of the site(see Fig. 1). Like the arms of a lake in nature, the ends of the pond are made to disappear from sight, in winding coves, behind bridges, or beyond covered walkways. Buildings, rocks, water, paths, and plants are parts of a harmonious whole, the intent of which is to frame compositions of scenery and furnish various vantage points from which to enjoy a sequence of views. These views are intended to remind one of the kind of journey in nature that one experiences when looking at a Chinese landscape painting, mentally climbing up tortuous mountain paths or following the indented shore-line of a lake.
在平面图上，一个典型的南方文人园林，采用计成编纂成书的方法建造，安排宅邸的
功能分区和与其相邻的一系列围绕基地边缘的场地。主要面向大厅的中央池塘，占据基地的十分之三（参见图1）。像置身于大自然湖的怀抱，池塘的末端从视线中消失，在蜿蜒的小溪，桥的后面，或在廊道的远处。建筑物，岩石，水体，路径和植物构成一个和谐的整体，意图在于从风景组合中取景和提供各种有利位置去享受一系列景点。这些景点是为了当人们在欣赏中国山水画时唤醒人们在大自然中经历的旅程，在自然界中的一种，在精神上，攀登曲折的山路或沿着湖泊犬牙交错的湖岸线步行。
WANG SHI YUAN(GARDEN OF THEMASTER OF THE FISHING NETS)
The Wang Shi Yuan, or the Garden of the Master of the Fishing Nets, is one of several remaining scholargardens in Suzhou that give some impression of the lives led by the educated and bureaucratic elite in imperial China. Much literary meaning is packed into thisone-and-a-half-acre garden of idyllically arranged scenery, and the spaces within it bearthe kinds of poetical names that Jia Zheng's son Bao-yu was summoned to provied in TheStory of the Stone. First laid out in 1140, in early Southern Song times by a high courtofficial, it was restored in 1770 by another official, Song Zongyuan,as his retirement retreat. Though altered both before and after its appropriation by the municipal governmentin 1958, its outlines and principal features remain the same as in the Qing period (1644-1911). Like other scholar-gardens, it is highly compartmentalized, with courtyards androofed structures interlocking like pieces of a puzzle (Fig. 1).
网师园,是苏州幸存的几个给人留下深刻印象的文人园林之一，由中国封建时代的文人和官僚建造。这个充满诗意且布局规整的一亩半的园林包含着许多文学意义，园林里的各个空间都有着诗一样的名字，例如《红楼梦》里贾政之子，宝玉被传唤所提名之处。最初在1140年由南宋时期的一个高官设计建造，在1770年被另一位官员，宋龙，作为他的退隐居所所修复。 虽然它在政府于1958年拨款前后都进行了改造，但是它的轮廓和主要特征仍旧和清朝（1644-1911）时期相同。同其他文人园林一样，通过高度区划，将庭院和屋顶的结构像拼图一样互相锁定。
In former times, visitors arriving by palanquin would have entered the Wang ShiYuan through the main entrance on the south where the residential quarters are. Today access is through a narrow passageway from a side alley into the northern end of the complex., which leads more directly into the garden In either case, the route into the Placefor Gathering Breezes-the central garden space,dominated by a lake-is a circuitousone. Its chief focal point, as seen from the Duck Shooting Corridor adjacent to the familyhalls, is the Pavilion of the Arriving Moon and Wind, a delicate, six-sided structurewith soaring rooflines collected in a high finial. Poised on its appropriately scaled rockeryabove the surface of the lake, it is a resting place where one can gaze dreamily at thereflections in the water.A mirror inside increases the sparkling play of light on itssurfaces.
从前，宾客乘轿子就可以通过南正门进入网师园住宅区。如今通过侧巷到蜿蜒的北端的一条走廊进入，可以更加直接进到园内。在任何一种情况下，这条进入聚风地-以湖泊为主的中央公园的路线都是迂回的。从与家庭厅相邻的射鸭廊可以看到它的主要焦点，月到风来亭，一个精致，六面是高尖顶向高耸屋顶汇集的结构的亭。对其适当比例的假山湖面以上的准备，这是一个休息的地方，一个可以凝视朦胧在水中的倒影。镜子里增加了光在它的表面上的闪闪发光的发挥。
The visitor does not arrive by an obvious path to this spot but is diverted along theway by other pavilions and their adjacent courtyards. The Hall of Small Mountains and Osmanthus Spring
iscompletely screened from the lake by a tall mountain of earth and rock-work.From inside, one views this composition through windows framed with lacy fretwork On the south side of this structure lies a small courtyard containing many fine specimens of Lake Tai rocks placed in an undulating composition The bright white wall of thiscourtyard constitutes the pictorial ground upon which the shadows of the fragrant osmanthus trees are cast, forming a tracery pattern that complements the fretwork of the smallopenings in it as well as that of the windows of the pavilion.
游客不到明显的路径这一点但改道沿途其他组织和其相邻的院落。一座高大的山和岩石的工作，从湖上的小山和桂花的大厅。从内部，这一观点通过镶花边的浮雕组成，这种结构的南侧窗户是一个小院，含有许多细小的岩石标本太湖放在起伏的组成这个庭院的明亮的白色墙壁构成的桂花树的阴影图案的地面上，形成花纹图案这补充了浮雕的小开口在它以及展馆的窗户。
The Waterside Hall for Washing the Tassels of One' s Hat sits at the water's edge onthe southside of the lake opposite the Veranda for Viewing Pines and Looking at Paintings. The latter pavilion has a lake view seen through old pines and cypresses, which areset in a rockery. Besides these lakeside summerhouses, there are other garden pavilions,several of which serve the needs of the scholar. The Five Peaks Study, for instance,is alibrary. Since interior stairs are not favored in ornamental Chinese architecture, access toits second story was gained via steps set into a rockery next to its east wall. Adjacent to itis the House of Concentrated Study. Another study, the Cottage to Accompany Spring,had its own private pebble-paved courtyard garden to the south as well as another tinycourtyard on the north. The latter, which is framed from inside by beautifully carvedwindow surrounds, contains a delicate composition of bamboo, rocks, and floweringplants.
水边厅洗你的帽子流苏坐在水边上观看松树和看画湖对面的阳台南侧。后者亭湖看到通过老松树和柏树，是设置在假山。除了这些湖边的凉亭，还有其他的亭园，其中一些需要服务的学者。例如，五个山峰的研究是一个图书馆。从室内楼梯不在观赏中国建筑的青睐，获得二故事获得通过步骤设置成假山旁边的东墙。毗邻它是集中研究的房子。另一项研究，小屋陪春天，有自己的私人鹅卵石铺成的庭院花园，以南，以及另一个小庭院在北方。后者，它是由内被精美的雕刻的窗口包围，包含一个微妙的组成，竹子，石头，和开花植物。