从《园冶》看禅宗对晚明园林景观设计与营造的影响
The Influence of Zen Buddhism on the Design and Creation of Landscape Architecture in the Late Ming Dynasty from the Perspective of “Yuanye”

明代园林在宋元园林已基本形成的美学风格基础上，进一步成熟，园林美学理论体系也在明代形成，在《园冶》一书成型的万历朝，佛教尤其是佛教中的禅宗得到再兴，其书及中晚明时期的园林设计修建营造实例深受禅风影响。《园冶》提出的“境仿瀛壶，天然图画”园林最高审美理想暗合于禅宗一路。在禅宗思想的影响下，《园冶》对园林修建营造提出了“纳千顷之汪洋，收四时之烂漫”的要求，在园林的修建与营造中试图打通空间、超越时间，最终在园林中实现最高的审美追求。
On the basis of the aesthetic style that had already formed in the Song and Yuan dynasties, Ming Dynasty gardens further matured, and the theoretical system of garden aesthetics was also formed in the Ming Dynasty. In the Wanli Dynasty, when the book “Yuanye” was formed, Buddhism, especially Zen Buddhism, was revived. Its books and examples of garden design and construction in the middle and late Ming dynasties were deeply influenced by the Zen style. The highest aesthetic ideal of gardens proposed in “Yuanye”, which is to imitate Japanese jars and create natural paintings, is closely related to Zen Buddhism. Under the influence of Zen ideology, “Yuanye” proposed a requirement for garden construction and creation to “absorb a thousand hectares of the ocean, and harvest four seasons of prosperity”. In the construction and creation of gardens, it attempted to connect space, transcend time, and ultimately achieve the highest aesthetic pursuit in the garden.