Chinese name of the project: Laihetai Plaza.
English name of the project: LAI HE TAI SQUARE. Three points of appeal in the name design: New culture, new landmark, new wealth. Academic basis for the name design
1. The historical and cultural value of Yangzhou If we count from the time when the State of Wu built the city of Han in the ninth year of Duke Ai of Lu (486 BC) as recorded in the "Chun Qiu Zuo Zhuan" to connect the Yangtze and Huaihe Rivers, Yangzhou has a history of 2,488 years. In ancient times, Yangzhou was located on the riverside and the sea. It was also the north-south axis of the Grand Canal and the hub of the south and north of China. Its important geographical location made it a battleground for military strategists in troubled times, and it became a city where merchants gathered and a cultural exchange center in prosperous times. The rise and fall are frequent and the accumulation is rich. Therefore, the people of Yangzhou have been able to integrate the past and the present, integrate the north and the south, and create exquisite and elegant historical culture and life art, with profound regional cultural resources. These resources should be transformed into cultural capital and generate new wealth.
2. The legendary crane culture of Yangzhou. Among the traditional culture of Yangzhou, the most closely related to commercial civilization, the oldest, the most popular, and the most legendary resource is "Pocketed with one hundred thousand guan, riding on a crane." Yangzhou". It was first recorded in "Yin Yun Novel" of the Southern Dynasties
[1], and it has been more than a thousand years. This legend reflects the history of the ancient city of Yangzhou where Shang Mao and people were prosperous. In ancient times, Yangzhou was known as the "Crane City" [2]. There have been many large-scale buildings named after cranes, such as the Crane Temple, which was one of the four earliest mosques built after Arab merchants landed in China in the Song Dynasty. The name borrowed from the legend of Yangzhou's crane culture. According to the records in the "Historic Sites" section of Volume 23 of "Rebuilding Yangzhou Prefecture Chronicles" in the 15th year of Jiaqing in the Qing Dynasty, there used to be "Qihe Pavilion" in the north of Yangzhou City and "Qihe Tower" in the northeast. According to the records in "Yangzhou Huafang Lu" by Li Dou of the Qing Dynasty, there is a "Laihe Terrace" in Xiuyuan. In addition, there are Wenhe Pavilion, Laihe Village, etc. If we review the poetry about Yangzhou from the Tang, Song to Qing dynasties, there are hundreds of works citing this legend of crane culture. All this shows that the people of Yangzhou in the past dynasties have borrowed the imagery of this legendary story to express their best wishes to create a prosperous scene in Yangzhou. The naming of the square also reflects the inheritance of this cultural context.
3. The origin of "Laihe Terrace" Laihe Terrace is a famous landscape building in Yangzhou Xiuyuan in the late Ming and early Qing dynasties. The owner of the garden is Zheng Xiaru, whose courtesy name is Shijie and whose name is Qi'an. Gongsheng was born in the twelfth year of Chongzhen in the Ming Dynasty. Gong poetry and essays include "San Xiu Yuan Poems", "Xiu Yuan Poems", etc. Born into a family of salt merchants. His father, Zheng Zhiyan, whose courtesy name was Zhongjun and whose nickname was Dongli, was a scholar and proficient in business. He was the leader of Yangzhou salt merchants and the patron of cultural undertakings. He was known as the "Yanji (Yinjie) Sacrificial Wine" and the "Confucian Father-in-law". There are four sons, Zheng Yuansi, Zheng Yuanxun, Zheng Yuanhua and Zheng Xiaru. Both the Zheng brothers carefully constructed their gardens. Zheng Yuansi (also known as Changji) built the "Five Mu House Between Two Mu" and "Wang's Garden"; Zheng Yuanxun built the Shadow Garden; Zheng Yuanhua built the Jiashu Garden; Zheng Xiuru built the Xiu Garden. Among them, the Shadow Garden and the Xiu Garden can be regarded as masterpieces of Yangzhou gardens in the late Ming and early Qing dynasties. Xiu Garden was "the most complex structure, the most difficult to construct, and the most outstanding masterpiece among the Yangzhou gardens at that time."
[4] It was built on the former site of Zhu's garden in the Song Dynasty. It covers an area of ??more than fifty acres. There are more than 30 landscapes such as Laihe Terrace, Kongcuishan Pavilion, Golden Goose Bookstore, and Sanfeng Thatched Cottage, and contain works by first-class artists such as Wen Zhengming, Dong Qichang, and Xu Wenchang. During the Qianlong period, his son Zheng Weigang compiled eight volumes of "Xiu Yuan Zhi". According to the records of Song Jiesan's "Xiuyuan Zhi", Xiuyuan "is from the extreme north to the east, where it is like coming to Hetai. Looking into the distance is like being alone out of the fortress. It is also like the method of painting. If it is not open, it will not be secluded; if it is not sparse, it will not be dense. "If you don't see its simplicity, you won't be literary." It can be seen that Laihetai is a landscape that creates a high, distant and spacious mood in the garden. At that time, Xiuyuan was still an important cultural activity center in Yangzhou. According to "Yangzhou Huafang Lu", "Yangzhou's poetry and prose gathering is dominated by Ma's Xiaolinglong Pavilion, Cheng's Xiao (pronounced) Garden and Zheng's Xiuyuan. Cheng's Garden and Xiuyuan are also the most popular."
[5] One of the cultural implications of coming to Hetai is that it is a symbol of the prosperity of the Yangzhou area and the prosperity of business and people. Her name is directly taken from the legend of "riding a crane to Yangzhou". Secondly, Yangzhou gardens are models of Chinese gardens. Liu Daguan, a famous scholar in the Qing Dynasty, said: "Hangzhou is famous for its lakes and mountains, Suzhou is famous for its cities and restaurants, and Yangzhou is famous for its gardens and pavilions. The three of them stand side by side and cannot be separated." People at that time called it "Zhi Lun"
[6] So , Laihetai should be the outstanding building that best expresses the legend of Yangzhou’s commercial culture among ancient Yangzhou buildings. Third, it shows that Yangzhou merchants attach great importance to the relationship between economy and culture. The family of the owner of Laihetai has always been a giant among Yangzhou salt merchants, but they are also from Huizhou, and they have the unique atmosphere of Confucian businessmen who value culture among Huizhou merchants. They use their business profits to sponsor local cultural undertakings and form the center of local cultural activities. Fourth, it is a symbol of Yangzhou people’s love for their hometown and country. The people of Yangzhou are fond of the legendary crane culture of Yangzhou. Continuously construct buildings related to it. Express their love and best wishes for local life.
Modern docking and transformation of the concept of "Come to Hetai" The connotation of wishing Yangzhou's economic and cultural development and prosperity contained in coming to Hetai is exactly the ambition of the times for the people of modern Yangzhou. She is the inheritance and refinement of the unique commercial cultural spirit of ancient Yangzhou. She is an ancient legend, and the people of modern Yangzhou are about to transform her into reality.
She can inspire the people of Yangzhou to once again be proud of their history, once again experience the prosperity and wealth of the prosperous age, once again discover their own intelligence, and enter the era of innovation with confidence.
Name of the main attractions of the project The main attractions of the design square are the platform, bridge, waterscape and mountain view in the southeast corner. Now based on ancient poetry and allusions, a naming scheme is designed for adoption. The name "Laihetai" is the same as the name of the square. It uses a modern Taiwanese landscape architecture with classical imagery to express that the naming of "Laihetai Square" originated from "Laihetai" in Yangzhou Xiuyuan in the Ming and Qing Dynasties. The bridge - Fuyun Bridge is a reference to the poem "Yellow Crane Poems" written by Shen Quan of the Tang Dynasty: "The clouds travel all over the world", which uses the crane's soaring high to express the ambition of "Coming to Hetai Square" and its love for the world. Water - Nongying Pond is a reference to Bao Zhao's "Ode to Dancing Crane" of the Southern Dynasties: "Piling frost hair to create shadows", using the noble posture of the crane to express the unique and extraordinary image of "Laihetai Square". Mountain-Yushan is an allusion to Song Zenggong's "Dancing Crane Poem": "Suddenly I heard the music of Yao Qin playing, and then danced on Yushan Cen". The noble residence of the crane is a metaphor for the beautiful leisure and sightseeing environment of "Laihetai Square". Excellent value and leading property conditions. Name of the main functional area of ??the project Design The main functional area of ??the square consists of office buildings, business buildings along Wenchang West Road, boutique pedestrian streets, food pedestrian streets, etc. The names are refined and designed based on idioms, auspicious words and poetry with cranes as the theme. The office building—Yunhe Building is named after "Yunhe Youtian". This is the tallest building in the square, like the head and neck of a crane, located in the northwest. In the modern Feng Shui image of the square design, the northwest of the Book of Changes is taken as the stem and the hexagram in the heavenly position is created, creating "a crane lining the clouds in the clear sky, bringing poetry to the blue sky" (a poem by Liu Yuxi of the Tang Dynasty), expressing " "Come to Hetai Square" to show off your ambitions and prosper. The business building - the Zhuzhu Building is named after "the crane holds the pearl". In the modern Feng Shui image of the square design, the main axis extending from the northwest corner to the southeast corner implies the image of "a crane holding a pearl". The ancient numerology classic "Yi Lin" says: "The white crane holds beads, and eats at night to make the light bright. The ointment is moist and moist, and the country will be prosperous." It means that "coming to Hetai Square" is a geomantic treasure land to attract wealth and treasures, and enjoy prosperity forever. Food Pedestrian Street - Zhitian Street is known as "Peck a Grain of Zhitian". The crane feeds on Ganoderma lucidum, which expresses the functional characteristics of the food street and evokes people's association with the best delicacies. The seven buildings in "Chi Tin Street" are named after Ganoderma lucidum and Ganoderma lucidum. The row in the north from east to west is Jinzhi Pavilion, Yuzhi Pavilion, Xianzhi Pavilion and Lingzhi Pavilion; the three buildings facing the square in the north are Qingzhi Pavilion, Danzhi Pavilion and Xuanzhi Pavilion from east to west. Boutique Pedestrian Street - Baiyu Gallery is named after the phrase "White Feather Drunken Wind". One metaphor is that the goods in the boutique are as precious as the white feathers of the crane; the second metaphor is that the boutique operates with integrity and cherishes its feathers like a crane; the third metaphor is that the people walking on the boutique street are like cranes, comfortable and comfortable, as drunk as the spring breeze. The shopping plaza - Suihua Garden takes the poem written by Pan Tianshou in modern times: "Crane and plum blossoms create Suihua." Mascot name design Mascot name: Yiming mascot is a small crane wearing a Tang suit and holding a small flag. The name "Yi Ming" not only means that this little crane will be extraordinary in the future, soaring into the sky and making people famous; it also implies that Hetai Square will have a bright future and become famous all over the world.