The same kinship can be found between landscape painting and garden
design (cf. Fu Baoshi 1973, 33â48). Both Chinese painters and garden
designers share, for example, the fundamental principle of
suggestiveness: showing no base of distant mountains, no roots in
distant forests, and no hulls of distant ships. Not rare at all in the
history of Chinese gardens were designs built on the basis of a famous
landscape painting. As a recent writer has rightly pointed out, Chinese
painting in effect sets the tone for Chinese garden making
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