Ancient gardens are living spaces that are close to nature and live in harmony with nature while enjoying family life. In the garden, there are not only material factors such as landscape, but also spiritual factors that unify the theme or interest of the whole garden. Of course, this spiritual factor is the most important and the most intrinsic. Therefore, China classical gardens must improve their artistic requirements through literature, aesthetics and philosophy. China gardens, like classical poetry and painting, pursue artistic conception and character in creation and aesthetics, pay attention to sustenance and blending, and hope to show a broad realm in limited things. This requires garden creators to have profound knowledge, profound literary skills and a deep understanding of beauty. Most gardeners can infiltrate poetry and painting into gardens, combine landscapes with people's thoughts, and externalize their feelings about the beauty of natural landscapes. The thoughts of a few garden masters can even arouse huge ripples in the hearts of tourists, causing infinite emotion. In such artistic creation and appreciation, the formation and satisfaction of the concept of beauty can not be achieved by ordinary people. Both gardeners and tourists need to have considerable literary literacy and aesthetic level. And this kind of accomplishment and level, only knowledgeable and talented literati at that time. There are also many literati who hold important positions in the central and local governments who have both poetry and painting. Many officials are also well-known writers, painters and calligraphers, and even the emperor as the supreme ruler is among them, such as Li Yu, the queen of the Southern Tang Dynasty, who is known as the "Ci Emperor", Evonne, Song Huizong, who is both a painter and a calligrapher, and Emperor Qianlong of the Qing Dynasty, who is quite scholar-like. Therefore, the intellectuals who led China's traditional culture were government officials at all levels politically and landlords above average economically, so they were the real masters of society at that time and dominated all aspects of ancient social life.
Garden is the product of "artistic life, artistic life", which shows the literati's love for freedom and nature. Since ancient times, Leshan and Leshui have been regarded as a noble emotion, and painting has always been regarded as a literati's "ink play" and "clear play". Landscape painting originated in the Jin and Song Dynasties, and was valued for its artistic creation of natural landscapes. The mountains in the painting can live and the water can swim. Landscape edifies the temperament of literati. They are also obsessed with natural landscapes. "Poetry is inexhaustible, and it becomes a book and a painting." A large number of landscape poems and paintings have been created as a means of celebration. Poetry is an invisible painting, and painting is a tangible poem. Scholars who are also proficient in poetry and painting gradually integrate poetry and painting in their creation [1]. With the vigorous development of landscape culture, landscape painting just for plane appreciation can no longer satisfy people's all-round feeling of natural landscape. In addition, when economic conditions permit, literati set off vigorous gardening activities, making them "stay out of the city and enjoy the joy of the mountains;" Don't go to the party, but you can sit in the quiet and poor spring valley. Historically, many gardens were managed, designed or evaluated by painters or poets. Such as Wang Wei and Bai Juyi in the Tang Dynasty, Evonne in Song Huizong in the Northern Song Dynasty, JUNG WOO in the Southern Song Dynasty, Ni Yunlin in the Yuan Dynasty, Mi Wanzhong, Wen Zhiming and Wen Zhenheng in the Ming Dynasty, Shi Tao, Zhang Lian, Zhang Ran and Li Yu in the Qing Dynasty. They directly participate in gardening activities, guide the creation of garden art with the incisive theory of freehand brushwork landscape painting, and create beautiful real life entities for sightseeing according to the artistic conception of landscape poetry. For example, Song Wang's Lantian villa "Bie Ye in Wangchuan", in which he experienced the world and lingered, lived a completely poetic life in Wangchuan, which was the first choice for later literati to follow when gardening; Song Huizong is good at calligraphy and painting. He designed the Shoushan Genyue and wrote Genyue Ji, which is spread all over the world. There are countless gardens here, all designed by famous poets and painters. Ordinary literati are generally keen to visit and evaluate gardens even if they don't participate in garden affairs. It can be seen that gardens have an indissoluble bond with the lives of literati. Garden literature is at its peak, and scholars talk about gardens just like books, paintings and poems. For example, Liu Zongyuan's "Three Pavilions in Lingling", "Dongting in Liuzhou" and Fan Zongshi's "Jiangdu" contain incisive views on gardening. Li's "Luoyang Famous Garden" in the Northern Song Dynasty and meticulous gardens in the late Song Dynasty and early Yuan Dynasty. Described and commented on many famous gardens. There is not much difference between a scholar and a gardener in essence. They summarized many views and comments on gardening art and aesthetics, wrote many specialized works on gardening theory and published them all over the world. Typical examples are Ji Cheng's Yuanye, Li Yu's Story, Wen Zhenheng's Chronicle, and Shen Fu's Six Chapters of a Floating Life [2]. Influenced by the infiltration of painting, poetry and other arts, garden art has integrated endless poetic and artistic meaning, and completely established the same status as book, painting and poetry art.