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世界造园巨著《园冶》,成于明崇祯辛未四年(1631年),问世于民国十二年(1933年),相隔302年,历尽沧桑,多经磨难,实为造园界之憾事。其损失,延后了中国造园风格对世界造园的巨大推动力整整三个世纪。何之过?何之错?一言难尽。现将个中缘由说说,以明曲直。 明末江苏吴江(今吴江县)人计成,字无否(1582～?),一生擅长绘画,他常以五代后梁山水画家关全、荆浩(世称“荆关派”)的“笔墨两得、皴染兼备”的全景式山水图画为摹本,刻意攻之,直到“每崇之”地步。为作画,则漫游祖国山川,终以江浙自
The world gardening masterpiece “Yuan Ye” was born in the Ming Chong Zhen Xin Wei four years (1631), was born in the twelfth year of the Republic of China (1933), separated by 302 years, has gone through many vicissitudes and deaths. pity. Its losses have delayed the tremendous driving force of the Chinese gardening style on world gardening for a full three centuries. What’s wrong? What’s wrong? It’s hard to say. Now let’s talk about the middle ground, with a straight line. At the end of the late Ming Dynasty, Wu Jiang (now Wujiang County) in Jiangsu Province was a person with a few characters (1582 ~ ?). He was good at painting all his life. He often used the pen and ink of the five generations of Liang Liang Shan Shui painters Guan Quan and Jing Hao (the “King-Kuan School”). The panoramic landscape painting with the two birdseed and the grasshoppers is a copy of Sakamoto. It is deliberately attacked until the point of “every admiration.” In order to make paintings, the country’s mountains and rivers are roaming, and eventually they are from Jiangsu and Zhejiang.