“取景在借”是清代戏剧作家李渔在《闲情偶寄·居室部》中提出的环境美学理念,传统意义上来看,就是不拘泥于一个景象,通过变化小的物件来达到我们眼前所现“景”的多变。在借的时候一方面存于自身的景,另一方面,把观赏者的目光引向本身以外的景色,来突破有限的空间,达到无限的空间理论。李渔通过对“借景”的探索,突破小环境的阻碍,进入大环境,通过一扇窗,把室内外结合起来,从而达到“取景在借”的效果。本人从这一理念出发研究如何应用借景手法与室内空间更好地融合,以达到最佳艺术效果以及对现代居室设计的启示。 “Framing in the borrowing ” is the concept of environmental aesthetics put forward by Li Yu in the Qing Dynasty drama writer Li Yu in “Leisure and Occasional Mailing Room Department”. In the traditional sense, it is not restricted to a scene, but through changing small objects to reach us Now what “King ” changeable. On the one hand, when borrowing, it is stored in its own scene. On the other hand, the viewer’s attention is directed to the scenery outside himself to break the limited space and reach an infinite space theory. Through the exploration of “borrowing scenery”, Li Yu broke through the hindrance of small environment and entered into the great environment. Through a window, he combined the indoor and outdoor together to achieve the effect of “framing scenery”. From this concept, I started to study how to apply the method of borrowing scenery to better integrate with interior space so as to achieve the best artistic effect and enlightenment on the design of modern living room.