Creation and Appreciation of “Nature and Man in One” and Chinese Classic Beauty of Garden – Taking the Suzhou classic garden as an example

Abstract

Abstract. The ideology of "Nature and Man in One" from Taoism, one of the local schools that has the deepest influence on China, demonstrates an admiration and appraise for the nature and shows the thought that man and nature exist in harmony. The ideology "Nature and Man in One" is a basic principle for ancient people to deal with the relation between man and nature, and also provides a corresponding basis and reflects the wisdom of ancestors. The modern society has also provided a reference for harmonious and sustained development of man and nature. Chinese classic garden is an artistic works from the ancient craftsmen. As a representative of Chinese classic garden, Suzhou Garden complies with the philosophical concept "Nature and Man in One" to arrange the mountains and rivers. This article makes a deep analysis on the influence of Taoism cultural deposits on the arrangement of Chinese classic garden based on the connotation of "Nature and Man in One" ideology. Keywords. nature and Man in One; classic garden; Suzhou Garden; Taoism ideologyThe arrangement of Chinese classic garden is a demonstration of ancients' wisdom. In a higher hierarchy of philosophy, it records the development history of Chinese architectural culture. As a good representative of philosophy and aesthetics, the classic garden art has a broad and profound basic idea. The ideology "Nature and Man in One" is not only the essence of traditional culture, but also the composition principle with which our Chinese ancient buildings complied. Suzhou Garden, a representative of Chinese classic garden, is elegant in building types and reveals the ideological connotation and artistic rules with its profound cultural deposits. It is trying to provide a conducive inspiration for the artistic design of modern environment.

Crossing cultural boundaries: Integrating eastern mind–body techniques for diverse Western learners.

“…Many Chinese people appreciate the Taoist idea of "nature and man in one"; they admire nature and believe that human beings can become one with nature (Cui & Hu, 2015). They believe that human beings should behave according to the rules of nature to achieve ideal unity while living in nature.…”

“…They believe that human beings should behave according to the rules of nature to achieve ideal unity while living in nature. This Chinese philosophical wisdom is also applied to the Chinese art garden, which aims to enable people to feel at harmony with nature without the obstacle of artificial designs (Cui & Hu, 2015). That is, an arrangement of hill stones should elicit a feeling of natural construction rather than artificial design.…”

“…That is, an arrangement of hill stones should elicit a feeling of natural construction rather than artificial design. The classical Chinese art garden is focused on evoking a spiritual state of admiring nature and developing an exquisite arrangement as a reflection of natural Chinese philosophical rules (Cui & Hu, 2015). Another principle of the Chinese art garden is to find important things within ordinary things; the beauty of artistic conception should also meet people's psychological needs (X.…”

Spatio-Temporal Experience of Tour Routes in the Humble Administrator’s Garden Based on Isovist Analysis

“…Congzhou Chen and Dunzhen Liu have analyzed garden spaces from the perspectives of landscape creation and spatial intention [8,9]. In recent years, due to issues such as limited land resources, a scarcity of public spaces, and excessive carbon emissions in modern cities [10][11][12][13][14], the methods employed by CCGs to create diverse spaces within limited land and their ecological concept of 'Unity Between Man and Universe' have drawn increasing attention [15,16]. Some scholars have attempted to learn from CCGs in the design of public spaces and urban green areas [17][18][19][20], while others have analyzed and utilized the ecological functions of gardens [21][22][23][24][25].…”