Research On Planting Design And Culture Of The Jiangnan Private Garden In Literati Flower-and-bird Paintings Of Ming And Qing Period

Nowadays,the public demand for horticultural life is growing.With the exchange and collision of planting design ideas between China and the west,the introduction and breeding of herbaceous plants represented by perennial flowers and wild flowers are developing rapidly.However,relying on foreign introduction and imitating western planting methods for design can not meet the requirements of inheriting and developing Chinese excellent traditional culture.The current situation of flower landscape in classical gardens is single and repetitive,which is difficult to be a model for reference.The traditional research of plant landscape is also based on ten famous flowers and woody plants,and the research results of other flowers,especially perennial flowers are relatively scarce.The image research of classical gardens is mainly based on mountain and water paintings,which is insufficient in meso micro scale.This study focuses on the neglected materials of literati flower-and-bird paintings and the garden flowers with extensive meanings.It selects the six Jiangnan prefectures in the Ming and Qing Dynasties centered on Suzhou,and combines the methods of literature research,iconology and case study to divide the images,texts and examples of garden flowers including famous flowers,miscellaneous flowers,fruits and vegetables,and herbs.This paper analyzes the relationship between "painting" and "gardening" of literati,probes into the landscaping techniques and cultural implications,including spatial layout,planting form,species selection,collocation pattern,seasonal change,aesthetic characteristics and cultural expression to answer the questions of "what" "why" and "how to use" of flowers in Jiangnan literati gardens of Ming and Qing Dynasties.Literati flower-and-bird paintings and literati gardens are similar in theme,material selection and composition.In essence,they are literati's imitation of the natural environment and creation of the ideal space.Ming and Qing Dynasties are the common peak of literati flower-and-bird painting and literati gardening.The literati flower-and-bird painters represented by the Wu Painting School recorded their gardening practice and garden life in the form of painting,painting theory and painting postscript.Through the "hundred flower scroll","flower and fruit miscellany picture","garden flowers sketchbook","mountain,water and flower book" and other hand scroll and long scroll reflecting the flower sketching in the garden,they displayed the flower combination patterns with different forms,seasons and meanings,and the relationship with mountain,water,architecture and other garden elements show distinct characteristics in time-space layout and color matching.From the Ming Dynasty to the Qing Dynasty,the expansion of flower expression types and the emphasis on personal feelings reflected the change of literati's aesthetic from "elegance" to "interest" in the context of commodity economy.Besides the "elegance" and "worry" of literati,the scene of life and the wish of secularization were added.The research on the cultural implication and landscape making techniques of the flowers and plants in the flowers and birds paintings of the literati in Ming and Qing Dynasties has expanded the depth of the research on traditional flower culture and flower landscape making and the breadth of the research on the iconography in the field of classical garden.Among them,the summary of landscape making techniques can inspire the continuation and development of the traditional craftsmanship in the current flower application practice,and the discussion on cultural implication can help to enrich the current flower culture and the core of horticultural life.