The Moonlight and Breeze Pavilion in the Garden of the Master of the Fishing Nets the Arts of China

Why we propose this tour itinerary?

At that place are few bout itineraries like this designed for foreign tourists to thoroughly explore the southern Mainland china classical garden arts in Suzhou. Although Suzhou is quite nearly Shanghai and the classical garden arts of China is i of the two major garden arts in the world.

Suzhou, " T he Urban center of Classical Gardens" and around 90km to the west of Shanghai center, is famous for its classical gardens. Information technology is very easy for tourists from Shanghai to explore this spectacular arts in this area.

Suzhous classical gardens occupy an unique and irreplaceable position in the history of world landscape gardening. Do not like the western garden arts which is in pursuit of the artificial dazzler, Chinese gardens focus on the natural dazzler. As the traditional retreat of scholars and gentleman, the classical Chinese garden provided a place non only to meditate, merely also to socialize, play music, indulge in the calligraphic arts, paint, write, eat, drink, and play games. The beauty of classical Chinese garden and compages lies in its noesis about the world, its combination of aesthetic theory and architecture practice, and its containment and demonstration of the philosophy of aboriginal China.

Now in Suzhou, there are 4 most famous classical gardens: T he Surging Waves Pavilion - representing the garden fashion in Song Dynasty (960-1279 AD), Lion Woods Garden - representing the garden the style in Yuan Dynasty (1206-1368 AD), Humb le Administrators Garde n - representing the garden style in Ming Dynasty (1368-1644 Advertisement), Lingering Gard e n - representing the garden mode of Qing Dynasty (1644-1911 AD). All of them are in the UNESCO World Heritage List and volition exist visited in this itinerary. Other Earth Heritage List Gardens will exist visited in this itinerary are Ouyuan 1000 arde north (translated equally The Couples Retreat Garde n or Twin Courtyard s G a r d east n), Wangshi Garde north (Master-of-Nets Garden), Yipu Garden (Translated as Cultivation Garden or Art Plant nursery ).

Chief Tourist Attractions in the Itinerary:

Suzhou:

Tiger Hill, Liuyuan Garden (Lingering Garden, U N Due east S C O West o rl d H east r itag), Canglangting Garden(Surging Waves Pavilion, U N E S C O West o rl d H e r itag), Yipu Garden (Translated equally Cultivation Garden or Fine art Nursery, U N E S C O W o rl d H e r itag), Pan Gate (the only well preserved h2o and land metropolis wall gate in Communist china), Suzhou Museum, Zhuozhen Garden (Humble Administrators Garden, U N E South C O W o rl d H e r itag) and Chinese Classical Garden Museum, Pingjiang Historical and Cultural Street Cake, Shizilin Garden (Lion Wood Garden, U N E S C O W o rl d H e r itag), Ouyuan Garden (translated as The Couples Retreat Garden or Twin Courtyards Garden, U N E Southward C O West o rl d H e r itag), Wangshi Garden (Master-of-Nets Garden, U N East Southward C O Due west o rl d H e r itag).

Experience in the Itinerary:

1. In this itinerary, tourists can explore, savour and study the stunning beauty of the Chinese classical gardens, to know more than about Chinese arts such every bit garden arts, paintings, brush calligraphy, literature, philosophy and so on.

2. Visit the famous Suzhou Museum to know more most the Wu Culture (the local culture) in this surface area. Wu Culture occupies a very important position in traditional Chinese civilization.

More info about Suzhou city :

The aboriginal urban center of Suzhou occupies an area of 14.2 square kilometers, and the city was congenital as the majuscule city of the Wu Kingdom i n 514 BC by Wu Zixu, the primary mister of the kingdom by the order of Rex Helu. Hence the name of "Great Metropolis of Helu", the ancient name for Suzhou. With a history of more than than 2,500 years, the urban center (old city with effectually 14 square meters) all the same stands at its original site when it was established around 2500 years agone! The 2 moats inside and outside the metropolis wall and the city gates of Chang, Qi, Lou, Xiang, Pan and Xu remain basically unchanged. Suzhou is the only i ancient city in the globe which never moved its location for over 2500 years. According to the inscribed stone "Pingjiang Map" in the second yr of the Shaoding reign of the Southern Song Dynasty (1229), there were seven north-south rivers and 14 east-west rivers inside the city of Suzhou, totaling 82 kilometers, and 314 bridges. InSuzhoutoday, there are still 35 kilometers of rivers and more 160 bridges.

The layout of the ancient metropolis of Suzhouwas in the form of double chessboards, that is, rivers and streets run parallel to each other. The river and streets were intermingled, and the waterfront houses varied in peak, together representing a rich flavor of water town. In that location are numerous cultural heritages such equally ancient pagodas and temples, government offices, erstwhile residences of celebrities, gardens and mansions, bequeathed temples, halls and public places, archways and ancient wells in the city.

The ancient city of Suzhou has rich cultural heritages. There are now 47 historical and cultural areas and 126 historic sites under protection, including 11 nether national protection, 30 at provincial level and 85 at municipal level. In add-on, there are likewise many under controlled protection: 200 buildings, 22 sections of ancient revetments, 22 ancient archways, lxx ancient bridges, 37 gate towers with brick carvings, and 639 ancient wells. Of these cultural heritages, eight classical gardens have already been inscribed in the Earth Heritage Listing. The historical and cultural street blocks of Pingjiang, the Apprehensive Administrators Garden and Shantang, as typical areas of the ancient city of Suzhou, volition utilize for being inscribed in the Globe Heritage Listing. Now in Suzhou , totally at that place are still 69 ancient classical gardens with hundreds of years history.

Situated at the temperate zone and with subtropical oceanic monsoon climate, Suzhou enjoys four distinct seasons, a balmy temperature and abundant rainfall. The city spreads on a low terrain, with the patently covering 55% of the full area. With a network of rivers and canals as well as a fertile land, the city is rich in a variety of agronomical products. Major crops vary from rice to wheat, rape, cotton, mulberry, and fruit. Its specialties include Biluochun(Green Spiral Spring) Tea, Dao Fish from Yangtze River, Silver Fish from TaihuLakeand Hairy Venereal fromYangchenhuLake. Equally a well-known " Land of Fish and Rice " every bit well as a " Silk Capital " ,Suzhouenjoys a fame of " Paradise on Earth ".

The Classical Garden Arts of Suzhou

The Classical Garden of Suzhou is a grouping of gardens in Suzhou region which have been added to the UNESCO World Heritage List. Information technology is the form of harmony created by the man'southward artistic manipulation of nature and space .

Spanning a flow of almost one thousand years, from the Northern Song to the late Qing dynasties (11th-19th century), these gardens, near of them built by scholars, standardized many of the key features of classical Chinese garden design with synthetic landscapes mimicking natural scenery of rocks, hills and rivers with strategically located pavilions, chambers and corridors .

The elegant aesthetics and subtlety of these scholars gardens and their delicate style and features are often imitated past diverse gardens in other parts of China, including the diverse Purple Gardens, such as those in the Chengde Mountain Resort. According to UNESCO, the gardens of Suzhou "stand for the development of Chinese landscape garden pattern over more than than two thousand years," and they are the "virtually refined form" of garden art.

These mural gardens flourished in the mid-Ming to early-Qing dynasties, resulting in every bit much as 200 individual gardens. Today, there are 69 preserved gardens in Suzhou, and all of them are designated equally protected "National Heritage Sites." In 1997 and 2000, viii of the finest gardens in Suzhou along with one in the nearby ancient town of Tongli were selected past UNESCO as a World Heritage Site to stand for the art of Suzhou-fashion classical gardens. Their names are: the Humble Administrator's Garden, Lingering Garden, the Chief-of-Nets Garden, the Mountain Villa with Embracing Beauty, the Canglang Pavilion, the Lion Forest Garden (or translated equally Panthera leo Grove Garden), the Garden of Cultivation, the Couple's Garden Retreat, and the Retreat & Reflection Garden (except the last 1 which is in Tongli, a pocket-size town nigh Suzhou, other 8 gardens are in the aboriginal Suzhou metropolis proper.) Dating from the 11th-19th century, the above 9 gardens reflect the profound metaphysical importance of natural dazzler in Chinese culture in their meticulous blueprint - Valued by UNESCO World Heritage Website.

Design of the Classical Garden

A Chinese garden was not meant to be seen all at once; the programme of a classical Chinese garden presented the company with a serial of perfectly equanimous and framed glimpses of scenery; a view of a pond, or of a rock, or a grove of bamboo, a blossoming tree, or a view of a afar mountain meridian or a pagoda. The 16th-century Chinese author and philosopher Ji Cheng (1582 - ?), too one of the nigh famous garden designers in ancient Mainland china who wrote the first garden arts monograph in the earth "Yuan Ye" (ways "The Arts and crafts of Gardens"), instructed garden builders to "hide the vulgar and the common as far equally the center can meet, and include the excellent and the splendid."

Chinese classical gardens varied profoundly in size. The largest garden in Suzhou, the Humble Administrators Garden, was a trivial over ten hectares in area, with iii-fifths of the garden occupied by the pond. Merely they did non have to be large. Ji Cheng built a garden for Wu Youyu, the Treasurer of Jinling (the South Capital at that time, current Nanjign urban center), that was but under one hectare in size, and the bout of the garden was only four hundred steps long from the entrance to the concluding viewing indicate, just Wu Youyu said it contained all the marvels of the province in a single place .

The classical garden was surrounded by a wall, ordinarily painted white, which served as a pure properties for the flowers and trees. A pond of water was usually located in the center. Many structures, big and pocket-sized, were arranged around the swimming. In the garden described by Ji Cheng above, the structures occupied two-thirds of the hectare, while the garden itself occupied the other third. In a scholar garden the key building was usually a library or study, connected by galleries with other pavilions which served equally ascertainment points of the garden features. These structures too helped dissever the garden into individual scenes or landscapes. The other essential elements of a scholar garden were plants, trees, and rocks, all advisedly equanimous into pocket-sized perfect landscapes. Scholar gardens too oft used what was called "borrowed" scenery where unexpected views of scenery outside the garden, such equally mountain peaks, seemed to be an extension of the garden itself.

Compages

Chinese gardens are filled with architecture; halls, pavilions, temples, galleries, bridges, kiosks, and towers, occupying a large part of the space.

Some gardens have a picturesque stone pavilion in the form of a gunkhole, located in the pond. These generally had three parts; a kiosk with winged gables at the front, a more than intimate hall in the middle, and a two story structure with a panoramic view of the swimming at the rear.

Galleries are narrow covered corridors which connect the buildings, protect the visitors from the pelting and lord's day, and as well help split the garden into different sections. These galleries are rarely directly; they zigzag or are serpentine, post-obit the wall of the garden, the edge of the pond, or climbing the colina of the stone garden. They have modest windows, sometimes round or in odd geometric shapes, to give glimpses of the garden or scenery to those passing through.

Windows and doors are an important architectural feature of the Chinese garden. Sometimes they are round (moon windows or a moon gate) or oval, hexagonal or octagonal, or in the shape of a vase or a piece of fruit. Sometimes they accept highly ornamental ceramic frames. The window may carefully frame a co-operative of a pino tree, or a plum tree in bloom, or another intimate garden scene .

Bridges are another common feature of the Chinese garden. Like the galleries, they are rarely straight, but zigzag or arch over the ponds, suggesting the bridges of rural People's republic of china, and providing view points of the garden. Bridges are often built from crude timber or stone-slab raised pathways. Some gardens have brightly painted or lacquered bridges, which give a lighthearted feeling to the garden .

Gardens also often include small, austere houses for solitude and meditation, sometimes in the form of rustic fishing huts, and isolated buildings which serve every bit libraries or studios.

Artificial mountains and rock gardens

The artificial mount or stone is an integral chemical element of Chinese classical gardens. The mountain peak was a symbol of virtue, stability and endurance in Confucian philosophy and in the I Ching ( The Book of Change ).

The first rock garden appeared in Chinese garden history in Tu Yuan (literally " Rabbit Garden "), built during the Western Han dynasty (206 BC – 9 Advertisement). During the Tang dynasty (618-907 AD) , the rock was elevated to the status of an art object, judged by its form, substance, colour, and texture, too as by its softness, transparency, and other factors. The poet Bai Juyi (772–846) wrote a catalog of the famous rocks of Lake Tai, called Taihu Shiji. These rocks, of limestone sculpted by erosion, became the almost highly prized for gardens .

During the Song dynasty, the artificial mountains were made mostly of globe. Simply Emperor Huizong (1100–1125) virtually ruined the economy of the Song Empire by destroying the bridges of the Grand Culvert so he could comport huge rocks by clomp to his imperial garden. During the Ming dynasty (1368-1644 AD) , the use of piles of rocks to create artificial mountains and grottos reached its elevation. During the Qing dynasty (1644-1911 AD) , the Ming rock gardens were considered as well artificial and the new mountains were composed of both rocks and earth.

The artificial mount in Chinese gardens today usually has a small view pavilion at the acme. In smaller classical gardens, a unmarried scholar rock represents a mountain, or a row of rocks represents a mountain range.

Water
A swimming or lake is the central element of a Chinese garden. The master buildings are usually placed abreast it, and pavilions surround the lake to run into it from different points of view. The garden usually has a swimming for lotus flowers, with a special pavilion for viewing them. At that place are commonly goldfish in the swimming, with pavilions over the water for viewing them.

The lake or pond has an of import symbolic role in the garden. In the I Ching (The Book of Change), h2o represents lightness and communication, and carried the food of life on its journey through the valleys and plains. Information technology is also the complement to the mountain, the other key chemical element of the garden, and represents dreams and the infinity of spaces. The shape of the garden swimming often hides the edges of the pond from viewers on the other side, giving the illusion that the pond goes on to infinity. The softness of the water contrasts with the solidity of the rocks. The h2o reflects the sky, and therefore is constantly irresolute, simply even a gentle wind tin can soften or erase the reflections.

Pocket-size gardens have a unmarried lake, with rock, plants and structures around its edge. Centre-sized gardens volition have a single lake with one or more streams coming into the lake, with bridges crossing the streams, or a single long lake divided into two bodies of h2o past a narrow aqueduct crossed by a bridge. In a very big garden like the Humble Administrators Garden, the main characteristic of the garden is the large lake with its symbolic islands, symbolizing the isles of the immortals. Streams come into the lake, forming additional scenes. Numerous structures give different views of the water, including a rock gunkhole, a covered bridge, and several pavilions by the side of or over the water .

Some gardens created the impression of lakes by places polish areas of white sand, bordered by rocks, in courtyards. In the moonlight these looked like real lakes. This way of dry out garden was subsequently imported into Nippon and transformed into the Zen garden .

The streams in the Chinese garden e'er follow a winding course, and are hidden from fourth dimension to time by rocks or vegetation. A French Jesuit missionary, Father Attiret , who was a painter in the service of the Qianlong Emperor from 1738 to 1768, described one garden he saw :

" The canals are not like those in our country bordered with finely cutting stone, just very rustic and lined with pieces or stone, some coming forward, some retreating. which are placed so artistically that you lot would call up information technology was a work of nature . "

Flowers and Copse

Flowers and trees, forth with water, rocks and architecture, are the fourth essential element of the Chinese garden. They correspond nature in its most vivid course, and contrast with the straight lines of the architecture and the permanence, abrupt edges and immobility of the rocks. They change continually with the seasons, and provide both sounds (the sound of rain on banana leaves or the wind in the bamboo) and aromas to please the visitor.

Each bloom and tree in the garden had its ain symbolic pregnant. The pine, bamboo and Chinese plum (Prunus mume) were considered the "Three Friends of Winter" past the scholars who created classical gardens, prized for remaining dark-green or blooming in wintertime. They were often painted together past artists. For scholars, the pine was the keepsake of longevity and tenacity, as well as constance in friendship. The bamboo, a hollow straw, represented a wise man, modest and seeking knowledge, and was as well noted for being flexible in a storm without breaking. Plum trees were revered as the symbol of rebirth later on the wintertime and the inflow of spring .

The peach tree in the Chinese garden symbolized longevity and immortality. Peaches were associated with the classic story The Orchard of Xi Wangmu (The Mother of Kings), the Queen Mother of the West. This story said that in Xi Wangmus legendary orchard, peach trees flowered simply subsequently three g years, did not produce fruit for another three g years, and did not ripen for some other iii thousand years. Those who ate these peaches became immortal. This legendary orchard was pictured in many Chinese paintings, and inspired many garden scenes. Pear trees were the symbol of justice and wisdom. The word pear was also a homophone for quit or separate, and information technology was considered bad luck to cutting a pear, for it would lead to the breakdown of a friendship or romance. The pear tree could also symbolize a long friendship or romance, since the tree lived a long fourth dimension .

The apricot tree symbolized the way of the mandarin, or the authorities official. During the Tang dynasty, those who passed the purple exam were rewarded with the banquet in the garden of the apricot copse, or Xingyuan .

The fruit of the pomegranate tree was offered to immature couples so they would accept male person children and numerous descendants. The willow tree represented the friendship and the pleasures of life. Guests were offered willow branches equally a symbol of friendship .

Of the flowers in the Chinese garden, the most appreciated were the orchid, peony, and lotus (Nelumbo nucifera). During the Tang dynasty, the peony, the symbol of opulence and a bloom with a delicate fragance, was the most celebrated flower in the garden. The poet Zhou Dunyi ( 1017 -1073 ) wrote a famous prose to the lotus, comparing it to a junzi, a man who possessed integrity and balance. The orchid was the symbol of dignity. The lotus was admired for its purity, and its efforts to accomplish out of the h2o to bloom in the air fabricated it a symbol of the search for knowledge. The chrysanthemum was elegized the poet Tao Yuanming (352 or 365-427), who surrounded his hermits hut with the blossom, and wrote a famous poetry :

" At the feet of the Eastern contend, I selection a chrysanthemum, In the distance, detached and serene, I see the Mountains of the South."

The creators of the Chinese garden were careful to preserve the natural appearance of the mural. Trimming and root pruning, if done at all, tried to preserve the natural class. Dwarf trees that were gnarled and ancient-looking were especially prized in the miniature landscapes of Chinese gardens .

"Borrowing scenery", fourth dimension and seasons

According to Ji Cheng (1582 - ?) s 16th century volume "Yuanye" ("The Craft of Gardens", the commencement garden arts monograph in the world), "borrowing scenery" was the most of import matter of a garden. This could hateful using scenes outside the garden, such equally a view of distant mountains or the trees in the neighboring garden, to create the illusion that garden was much bigger than it was. The about famous instance was the mist-shrouded view of the North Temple Pagoda in Suzhou, seen in the altitude over the pond of the Humble Administrators Garden.

But, as Ji Cheng wrote, information technology could too be "the immaculate ribbon of a stream, animals, birds, fish, or other natural elements (pelting, wind, snow), or something less tangible, such equally a moonbeam, a reflection in a lake, morning time mist, or the red sky of a dusk." It could also exist a sound; he recommended locating a pavilion near a temple, so that the chanted prayers could be heard; planting fragrant flowers next to paths and pavilions, so visitors would appreciate their aromas; that bird perches be created to encourage birds to come to sing in the garden, that streams be designed to make pleasant sounds, and that banana trees be planted in courtyards and so the pelting would patter on their leaves. " A judicious borrowing does non take a reason." Ji Cheng wrote. "It is born simply of feeling created by the dazzler of a scene. "

The season and the time of day were as well important elements. Garden designers took into business relationship the scenes of the garden that would look all-time in winter, summer, bound and autumn, and those best viewed at night, in the morning or afternoon. Ji Cheng wrote: "In the centre of the tumult of the city, you should choose visions that are serene and refined: from a raised clearing, yous await to the distant horizon, surrounded by mountains similar a screen; in an open pavilion, a gentle and light cakewalk invades the room; from the front door, the running h2o of spring flows toward the marsh."

Actually borrowing scenery is the conclusive, last chapter of Yuanye that explains borrowing scenery as a holistic understanding of the essence of landscape design in its entirety. The ever-changing moods and appearances of nature in a given landscape in full action are understood by the author as an independent part that becomes an amanuensis for garden making. It is nature including the garden maker that creates.

Concealment and Surprise

Another of import garden element was concealment and surprise. The garden was not meant to be seen all at one time, information technology was laid out to present a series of scenes. Visitors moved from scene to scene either within enclosed galleries or by winding paths which concealed the scenes until the last moment. The scenes would suddenly appear at the turn of a path, through a window, or hidden behind a screen of bamboo. They might be revealed through round "moon doors" or through windows of unusual shapes, or windows with elaborate lattices that broke the view into pieces .

In art and literature

The garden plays an important function in Chinese art and literature, and at the aforementioned time fine art and literature have inspired many gardens. The schoolhouse of painting called "Shanshui" (literally mountains and h2o and with the actual meaning of mural), which began in the fifth century, established the principles of Chinese landscape painting, which were very like to those of Chinese gardening. These paintings were not meant to be realistic; they were meant to portray what the artist felt, rather than what he saw .

The mural painter Shitao (1641–1720) wrote that he wanted to "...create a landscape which was not spoiled by any vulgar banality..." He wanted to create a sense of vertigo in the viewer: "to express a universe inaccessible to man, without whatsoever road that led there, like the isles of Yinzhou, Penglan and Fanghu, where only the immortals tin live, and which a homo cannot imagine. That is the vertigo that exists in the natural universe. To express it in painting, you must show jagged peaks, precipices, hanging bridges, not bad chasms. For the effect to be truly marvelous, it must exist done purely by the strength of the castor." This was the emotion that garden designers wanted to create with their scholar rocks and miniature mountain ranges .

In his book, Craft of Gardens, the garden designer Ji Cheng (1582 - ?), 1 of the most famous garden designers in ancient China who wrote the first garden arts monograph "Yuan Ye" (means Gardening) in the world, wrote: "The spirit and the charm of mountains and forests must exist studied in depth; ...only the knowledge of the real permits the creation of the artificial, so that the work created possesses the spirit of the real, in part because of divine inspiration, but especially because of human try." He described the effect he wanted to achieve in the design of an autumn garden scene: "The feelings are in harmony with the purity, with the sense of withdrawal. The spirit rejoices at the mountains and ravines. Suddenly the spirit, discrete from the earth of small things, is blithe and seems to penetrate to the interior of a painting, and to promenade at that place..."

In literature, gardens were frequently the subject of the genre of poetry called "Tianyuan", literally fields and gardens, which reached its peak in the Tang dynasty (618-907) with such poets as Wang Wei (701–761). The names of the Surging Waves Garden and the Garden of Meditation in Suzhou are taken from lines of Chinese poetry. Within the gardens, the individual pavilions and view points were often dedicated to verses of poems, inscribed on stones or plaques. The Moon Comes with the Breeze Pavilion at the Couples Retreat Garden, used for moon-viewing, has the inscription of a verse by Han Yu :

" The twilight brings the Autumn

And the wind brings the moon hither ."

And the Peony Hall in the Couples Retreat Garden is dedicated to a verse by Li Bai (701-762):

" The spring breeze is gently stroking the balcony

and the peony is wet with dew."

Wang Wei (701–761) was a poet, painter and Buddhist monk, who worked first as a court official before retiring to Lantian, where he congenital 1 of the starting time wenren yuan, or scholars gardens, called the Valley of the Jante. In this garden, a series of twenty scenes, like the paintings of a scroll or album, unrolled before the viewer, each illustrated by a verse of poetry. For example, one scene illustrated this verse form :

" The white rock emerges from the torrent;

The cold sky with red leaves scattering :

On the mountain path, the pelting is fleeing,

the blue of the emptiness dampens our clothes."

The Valley of the Jante garden disappeared, only its memory, preserved in paintings and poems, inspired many other scholars gardens.

The social and cultural importance of the garden is illustrated in the classical novel Dream of the Red Chamber by Cao Xueqin (1715 ? -1763 ?) which unfolds almost exclusively in a garden.

Philosophy

The Chinese classical garden had multiple functions. It could be used for banquets, celebrations, reunions, or romance. It could be used to find confinement and for contemplation. It was a calm identify for painting, verse, calligraphy, and music, and for studying classic texts. It was a identify for drinking tea and for poets to go happily drunk on wine. Information technology was a showcase to brandish the cultivation and aesthetic taste of the owner. But it also had a philosophical message.

Taoism had a strong influence on the classical garden. Afterwards the Han dynasty (206 BC – 220 Advertisement), gardens were oftentimes constructed as retreats for government officials who had lost their posts or who wanted to escape the pressures and corruption of court life in the capital. They chose to pursue the Taoist ideals of disengagement from worldly concerns.

For followers of Taoism, enlightenment could be reached by contemplation of the unity of creation, in which club and harmony are inherent to the natural globe.

The gardens were intended to evoke the idyllic feeling of wandering through a natural landscape, to feel closer to the ancient way of life, and to capeesh the harmony between human and nature.

In Taoism, rocks and water were opposites, yin and yang, but they complemented and completed ane another. Rocks were solid but h2o could wearable away rock. The deeply eroded rocks from Lake Tai used in the classical garden illustrated this principle.

Borrowing scenery is a nigh fundamental idea in Ming menses garden making theory (see in a higher place).

The winding paths and zig-zag galleries bridges that led visitors from one garden scene to another also had a message. They illustrated a Chinese saying, "By detours, admission to secrets".

According to the landscape historian and builder Che Bing Chiu , every garden was "a quest for paradise. of a lost world, of a utopian universe. The scholars garden participated in this quest; on the one hand the quest for the home of the Immortals, on the other hand the search for the globe of the aureate historic period then love to the heart of the scholar."

A more contempo view of the philosophy of the garden was expressed by Zhou Ganzhi , the President of the Chinese Guild of Landscape Architecture, and Academician at the Chinese Academy of Sciences and the Chinese Academy of Engineering, in 2007: "Chinese classical gardens are a perfect integration of nature and piece of work by man. They are an imitation of nature, and fully manifest the dazzler of nature. They can too exist seen as an comeback on nature; one from which the lite of human artistic genius shines."

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