中国的绘画艺术与园林艺术有不解之缘。从理论到实践,相互渗透,水乳胶溶。造园中的叠山、理水、比例等理论,多借助于画论。如“山脉之通按其水迳,水道之达理其山形”;“主山始尊,次相辅弼”;“山脊以石为领脉之纲,山腰用树作藏身之幄”;“其上峰峦虽异,其下岗岭相连”;“丈山、尺树、寸马、分人”以及“三远”的布局手法等。有些造园大师本人就是画家、文人。所以我国的园林中有文人山水园这一分支之说。唐代诗画家王维造“辋川别业”;北宋皇帝赵佶(宋徽宗)集诗画之长造“艮岳”;元代四大山水画家之一的倪云林造“狮子林”;明代文人 There is a bond between Chinese painting art and garden art. From theory to practice, mutual penetration, water emulsions. The theories of stacking mountains, diverting water, and proportions in gardening are often drawn by painting theory. For example, “the mountain pass is in accordance with its water channel, and the water channel is the best for its mountain shape”; “the main mountain is respected, and the second phase is complementary”; “the ridge is made up of stone as the lead vein, and the mountainside is used as the hiding place”; Although the peaks of the peaks are different, they are connected to the lower ridges;“ the layout techniques of Zhangshan, Yishu, inch horses, sub-humans, and Sanyuan are all included. Some garden masters are painters and literati. Therefore, in our country’s gardens there is a branch of the literati landscape garden. The Tang Dynasty poet painter Wang Wei made ”Yongchuan Dojo“; the Northern Song emperor Zhao Wei (Song Huizong) set poetry and painting to create the ”Yue Yue“; one of the four great landscape painters of the Yuan Dynasty Ni Yunlin made ”Lion Grove"; Ming Dynasty literati