Garden Appreciation

A garden is a three-dimensional space comprehensive artwork. It is a spatial art entity with trees, landscapes, architectural structures and multiple functions that are combined through artificial construction methods. In other words, it is a typical artificial landscape realm that uses the environment to express nature. According to this definition, the author believes that the structure of the garden is mainly composed of three elements: trees, landscape and architecture. Moreover, the three elements are in an organic combination, forming a complete and indispensable spatial art realm. For example, if there are only trees without artificially modified landscapes and buildings, it is no different from a botanical garden or a forest farm; if there are only buildings without trees or landscape, it is no different from ordinary factories, schools, hospitals, and residential buildings. The three elements are skillfully blended together to form the comprehensive artistic entity of garden.

1． Garden, as the name suggests, must first have a "forest", not only a forest, but also flower beds, flower beds, lawns, grasslands, etc. In short, the layout of green space including trees, flowers and grass is one of the important tasks of garden planning and design. The principle of green design is to organize the artistic conception of the landscape through the ornamental characteristics of individual plants. For example, first lay out single plants, rows of trees, hedges, groves, groups of trees, flowerbeds, flower beds, lawns, grasslands, etc. with independent ornamental significance, and then consider the changing characteristics of the environment and the artistic conception requirements of the scenic spots, and then combine them organically to form a Green spaces with different picturesque meanings. Tao Yuanming of Jin Dynasty said in "Peach Blossom Spring": "There are no miscellaneous trees and the grass is delicious." That is to say: the peach blossoms are planted in groups and viewed from a distance, with the green shade lining the flowers, the painting's meaning is self-evident. This shows his foresight in planting flowers and trees in scenic spots. Ancient Chinese gardens paid great attention to the characteristics and planting locations of flowers, plants and trees. For example, the Liuyuan Garden in Suzhou has many white pine trees, the Yiyuan Garden has many pine and plum blossoms, and the Canglang Pavilion is planted with bamboos, each with its own unique style. Another example is the maple poplars in the Humble Administrator's Garden in Suzhou and the ancient cypresses in the Master of the Nets Garden. They are both the victory of one garden and influence the overall situation. If these picturesque ancient trees are gone, the scenery of the whole garden will be reduced. West Lake Manjuelong leads to a secluded path, surrounded by several peaks, so it is equipped with osmanthus bushes, the fragrance lingers, and the springs flow, the mountain air is soft, and the flowers are rich and fragrant. It is suitable for admiring osmanthus in autumn, and tourists stroll around and forget to return. . It shows that cinnamon creates an excellent induction atmosphere. However, in recent years, we have not paid attention to this problem, and the plant varieties have been confused, and the individuality of each garden has been weakened. It seems that we should take a warning. Guo Xi of the Song Dynasty put it well: "Mountains use water as their blood, grass as their hair, and smoke and clouds as their spirit." This is true for grass, not to mention trees! Secondly, when planting trees and greening trees in the garden, we must also consider the selection of hidden and exposed parts. For example, if you plant trees in a small garden, those with fragrance should be surrounded by walls; banana leaves should not be broken by the wind, so they should be planted at the corner of the wall; peonies, fragrant flowers that bloom toward the sun, should be planted in the south of the main hall. Small garden trees should have many deciduous leaves, so plant them sparsely and make sure they are clear; large garden trees should be properly supplemented with evergreens, so that there are things in the open space. This is the method of sparing out the obstruction and filling the open space with density. Another example is willow, a common tree species that decorates gardens. The masterpieces of famous gardens with ten thousand willows are often seen in ancient poems, but they are rare in gardens in the south of the Yangtze River because willows are suitable for being close to water. It should be planted in rows of three to five, with heavy leaves and dense branches, like curtains and curtains, with little leakage, which is not commensurate with ordinary small gardens. The northern gardens, on the other hand, are vast in area, with tall willows looming over the clouds and long strips brushing the water, full of tenderness and unique charm, which add a lot of color to the gardens.

2. Landscape is an indispensable element in the garden structure.

The characteristics of a garden are the interdependence of mountains and rivers, and it is particularly important to dig a pond to divert water. Ancient Chinese gardeners understood this truth best. They regarded water as the eye of the land, and they paid attention to water conservation in areas with a lot of land. Areas with a lot of water were good at keeping water away. Not only does he know how to divert water to create landscapes, but he also makes good use of water to improve the environment and climate. There are rivers, villages, lakes, lotus ponds, water chestnut marshes, crab fish villages, and aquatic products as well as fertile farmland, which not only increases income, but also adds attractions. Wang Yuyang's poem says: "The river stems are all populated by fishermen, and the Liumo Lingtang area is sparse. Fortunately, after the sun sets and the wind calms down, half of the river is filled with mangroves selling sea bass." The charm is natural and most pleasant. Zhong Bojing also said in "The Story of Plum Blossom Villa": "The water of Sanwu starts to flow when it reaches Fuli (the angle is straight). There is no water a few steps outside the villa, but the water is inside the house. The building is a dark sinus, and the water is diverted into the garden. , open the door and walk calmly, pass by Qi Juzhai... What you see when you climb up to the pavilion is not all water. However, the pavilions span, the corridors go, the bridges stand, the rocks lie and stand, and the shades of weeping poplars and bamboos are all there. Water." It can be seen how important water is in garden composition.

The rocks in the garden often blend with the water to form a wonderful realm. The so-called "Mountains have veins, water has sources, veins are connected, and the whole garden is vivid." This is the truth. Guo Xi, an ancient Chinese scholar, said: "Water has stone as its surface" and "water is charming when it is surrounded by mountains." Chen Congzhou, a contemporary garden connoisseur, also said that "water flows with mountains", "mountains are alive because of water" and "streams become folds due to mountains, and mountain paths (roads) become low and flat everywhere." These wise sayings are used to illustrate the relationship between mountains and rivers. of relationship. The overlapping of mountains and waters in the garden creates the realm of "although it is made by man, it seems to have been created by heaven". Especially for gardens in small and medium-sized cities that rely on mountains and rivers, we should try our best to make them full of gardens wherever there are mountains. There would be no scenery without water. The city will be wonderfully constructed because of its different scenery.

Constructing rockery and stacking rocks is an art. There are many poems about rockeries in Tang poetry, which shows that rockeries and gardens have formed an indissoluble bond. Later, many names for building rockeries appeared in the past dynasties, summarizing a lot of experience in stone-breaking. For example, the "ten basic forms" (also known as cross tactics) of combining mountains and rocks are popular among northern workers: An, Lian, Jie, Dou, Feng, Pin, Xuan, Jian, Ka, and Zhong. The "seven-character formula" spread in the Jiangnan area: fold, vertical, spell, press, hook, hang, and palm. They also vividly pointed out: "The wonder of the rockery in the garden lies in its realism, its beauty lies in the natural interest, and its ingenuity lies in the artificiality." "The rockery is flat and high and low, straight and zigzag, look at the big picture and start small."

Due to the different stone materials used in rockeries, the requirements for stacking rocks on mountains are also different. For example, Huangshi Mountain has few changes, so when stacking rocks, it must be face-to-face, with many twists and turns, and it is necessary to see etherealness in the solidity. It should be subtle and colorful, less artificial, and should be both ethereal and profound. By the Ming Dynasty in my country, the layout of rockeries, including corridors, platforms, main peaks, caves, etc., was most intriguing in its changeable opening and closing. If the mountain is opened, it must be divided, and the valley is the outlet, and the Yuyuan Garden Rockery in Shanghai is a good example; if it is combined, the main peak must be abrupt and the layers must be clear, and the remaining veins of the mountain and the scattered spots of stones are all opened. During the reign of Tongzhi and Guangxu in the Qing Dynasty, rockeries tried to be clever but became weak. In fact, all the rockeries that excelled in craftsmanship came from heavy clumsiness. Therefore, the beauty of yellow stone lies in its heavy clumsiness, which is a natural principle.

3. Garden architecture is the most important part of the garden structure. In ancient my country, most gardens were built with buildings as pathways. Especially for private gardens, you must first build a flower hall and then arrange trees and stones. Shen Yuanlu wrote about Yiyuan: "The one who builds the shape of a garden is no better than a hall; the one who excels according to the shape of a garden is no more than a mountain." Building a garden is mainly built with buildings, supplemented by trees and stones, and trees and stones are the connectors of the buildings. .

Garden architecture should have the following characteristics:

①The beauty lies in the scenery: the layout of garden architecture is not symmetrical on an axis like palaces, temples and ordinary houses, but is adapted to local conditions and makes full use of The environment and building location should have the best sightlines and viewing points, and the principle of decency should be taken. The biggest function of gardens is appreciation. To achieve viewing, you need to create a landscape, and the landscaper is a specific person. Therefore, the key to constructing a garden lies in the composition of the characters, the depth lies in the thoughtfulness, the beauty lies in the taste, and the ability to understand. Du Fu's "Ten Poems on Tours with General He's Mountains and Forests with Zheng Guangwen" and "Five Poems on Overcoming He's Garden" describe the gardening ideas of having scenery in the garden, people in the scenery, people and scenery harmonizing, and scenery based on people's wishes. He wrote: "The famous garden is surrounded by green water, with wild bamboos rising up to the sky." "The green bamboo shoots are folded in the wind, and the plum blossoms are red and plump." These are the scenery in the garden. "When the mood moves, there is no need to sweep away, just sit on the berry moss at will", "The stone fence is tilted and the pen is tilted, and the Wu leaves are sitting on it to write poems", these are the people in the scene. Only when people have this realm can they understand the divine principles of Gouyuan.

The key to gardening lies in "enlightenment". Enlightenment means understanding the artistic conception of gardening and the reality of architecture. The artistic conception varies depending on the situation. Wang Guowei's "Renjian Ci Hua" talks about realm: different objects have different expression methods, so poems have poetic realms, words have lyric realms, and music has melodic realms. "The winding path leads to a secluded place, and the Zen room is deep with flowers and trees", which is also a poetic scene. "After the dream, the tower is high and locked, and the curtain is low when you are drunk." This is the context of the poem. "Withered vines, old trees, dim crows, small bridges and flowing water, people live in houses", this is a meandering environment. The same is true for the artistic conception of garden architecture. Its poetic and artistic conception is reflected in actual things, which is the artistic conception of the garden. If garden architects can "understand" the realm of the ancients' praise of scenery, "the realm is small when the scenery is exposed, and the realm is big when the scenery is hidden", "pavilions and terraces are close to water everywhere, although there are many houses, there are no mountains", "a few towers can't be visited". At the end, a stream of water is entangled with each other" and so on, then the artistic conception will naturally arise. In ancient times, many garden buildings were either fake or fake. The Grand View Garden in "Dream of Red Mansions" has some real ones, but also some fake ones. There are things that the author witnessed, and there are also things that the author made up. Therefore, if a rockery is real, it will be wonderful, but if a real mountain is fake, it will be strange; if a real mountain is like a statue, a statue will be like a real person. This is where it confuses people. The way to build a garden is just like this. It is said to seek virtuality where there is reality, and get reality from virtuality. It should be light but not thin, and thick but not stagnant. Just like the central peak in the garden, there is also the principle of containing truth within falsehood. In appreciating the title, one can understand the object emotionally and further achieve personification.

Under the guidance of the above-mentioned ideas of landscape creation and object understanding such as scenery and people, virtuality and reality, it is not difficult to understand and apply the techniques of landscape composition.

② Focus on twists and turns: The spatial processing of garden buildings is different from the general closed and square layout. Try to avoid symmetry and require twists and turns. Such as winding paths, winding bridges, winding corridors, etc. When designing, the straightness should be contained within the windings, and they should be used flexibly and with ease. There are landscapes on both sides of the garden, and the twists and turns allow visitors to look left and right to see the scenery. Walking along can extend the distance and deepen the interest. It can be seen from this that the song itself rises straight up, and the important thing is the twists and turns. According to this principle, the roads in the garden should be curved rather than straight. If there are more small paths than the main roads, the scenery will be quiet and the guests will be scattered, so that there are scenery to find, springs to listen to, and stones to stay and meditate on. As the saying goes, "If you go into the mountains, you're afraid it won't be deep, and when you go into the forest, you're afraid it won't be dense." It is necessary to climb the mountain, but you can stand still and look forward. Therefore, in ancient times, the Ding Road was often used.

The variety of garden architecture can also give visitors the feeling of having a broad view of a small garden or a short view of a large garden. Ancient Chinese gardens were mostly closed, using a limited area to create infinite space. The essence of this is the use of "ethereal" techniques. The beauty of potted plants is to see the big in the small. "The small trees are planted in the pots, shrinking the peaks and becoming green." This is a sign of ingenuity. The water is not deep, the beauty lies in the twists and turns. To make tourists feel that they have a view to enjoy, the way is to change the curvature of the banks and embankments to create the artistic conception of "the water bends because of the shore, and the water separates because of the embankments". The garden in southern Jiangsu has many meandering pools and a gentle environment. The garden of Ningshao has many other directions, and its scenery is flat and straight. Therefore, water is intangible, and it is formed by its banks. Whether it is straight or winding, water mouths and embankments are important means of forming the shape of the water surface. As for the softness of water, the hardness of water, and the steady flow of water, they are all affected by the embankments.

The size of a garden is relative, not absolute. The separation of the garden space is deep, and the smoothness is shallow. The more separated it is, the bigger it feels and the more changes there are. It uses a limited area to create infinite space. Therefore, in the design, a large garden is often included in a small garden, and a large lake is wrapped in a small lake. There are many examples of this, such as Jingxinzhai, Haopujian and Huafangzhai in Beihai Park in Beijing, Huaqu Garden in the Summer Palace, Loquat Garden and Haitangwu in Humble Administrator's Garden in Suzhou, etc. If you enter the park, you will feel that it is a large garden. The interior is empty and bland, which is daunting. Even if you enter the garden, you may not be able to visit the whole garden. If the scenery is unique and changeable, and the tour is not enough, come back next time.

Whether it’s a scenic spot or a garden, you don’t have to visit them all in one go.

In addition to dividing the space with walls, corridors and other buildings, rocks and trees should also be interspersed to make the space flexible and not rigid. A flower wall or a leaky window on the wall not only has a beautiful shape, but also allows the spaces to penetrate each other. Through the contrast of the size of the divided space, people feel that the scenery is endless. This is one of the characteristics of my country's garden architecture technology.

③ Nature is the most important thing: The beauty of the garden is nature, and nature only retains its authenticity. Buildings play the role of "point of view" and can be said to be the icing on the cake, but the flowers cannot overwhelm the cake. Based on this requirement, the garden should try its best to create a state of "although it is made by humans, it seems to be created from the sky". Many Dieshan masters in ancient my country have always advocated that garden landscapes should be close to nature, and garden architecture should also be in harmony with the natural environment. For example, Pinggang Xiaopo, Lingfu Peiban, etc. advocated by Zhang Nanheng in the late Ming and early Qing dynasties. If today's gardeners can understand this principle, they will not make garden architecture too far away from nature, and can more or less present the wonderful realm of the blending of water and stone. For example, as a hotel for a rest, it should focus on the surrounding quiet environment, where you can stroll around and wander around. Therefore, the indoor and outdoor spaces echo each other to allow for the circulation of resources. You can have a morning meal in the morning and take a pillow in the evening. , small things can make you think big things. On the contrary, the mountains are dominated by tall buildings, surrounded by cars, with loudspeakers blaring in their ears, and good birds flying in fright. Looking down at the lower world, there are small houses, small in size, and small in size. The buildings of the city take away the wild beauty of the mountains and forests, only damaging the scenery. It's just a disappointment for tourists. Therefore, some garden experts have repeatedly advocated that buildings in scenic areas (including gardens) should be hidden rather than visible, should be scattered rather than clustered, should be low rather than high, and should be at the foot of the mountain rather than at the top of the mountain (mountain top). They should be varied and arranged as appropriate. , cleverly borrowing, retaining the style of folk houses, and seeking a simple taste, such as small courtyards with curved doors, whitewashed walls with flower shadows, and "urban forests", which are the best of both worlds. In this way, the buildings in the park can face each other, and the beautiful scenery outside the park can be borrowed into the park. The buildings themselves can be combined with the terrain, and are suitable for crossing mountains and rivers. Some can even be combined with rocks and caves to form a building that blends nature and artificiality. . At the end of the Ming Dynasty, Zhang Dai recalled Changbai Garden (i.e. Gaoyi Garden in Tianping Mountain, Suzhou) in "Tao'an Dream Memories": "Outside the garden there is a long embankment, a peach and willow curved bridge, and the west of the Panqu Lake, and the bridge all reaches the garden: the garden gate. It is small, with long corridors and walls near the door, leading to the foot of the mountain. It has a long pavilion and a secret room, so it is hidden from people."

At present, there are some scenic spots in our country. and gardens, moving in many buildings that are incompatible with the natural environment. For example, Yanziji in Nanjing can be seen on the waterside side, but on the other side there are dark clouds rolling in, threatening to hit the Yangtze River. Someone was sitting in Shiji Opera and wrote a limerick saying: "Swallows, swallows, why don't you fly high and live here for a long time, sitting and waiting to die." In short, the historical sites should be mainly ancient, the gardens should be secluded and beautiful, and the natural scenic spots should be... The natural beauty is the main priority and must not be moved into an uncoordinated building. Otherwise, the motherland’s natural beauty, great rivers and mountains, and splendid culture will be greatly damaged.

In order to avoid the disadvantage of being far away from nature, the layout of garden architecture first requires the coordination of the individual building with the artistic conception of the environment, or the artificial transplantation of a certain external atmosphere. The latter can be achieved through the so-called model mountains and waters. For example, the architecture in the lake area of ??the Chengde Summer Resort mainly imitates the scenic spots in the south of the Yangtze River, and adopts the Suzhou style of architecture. The paintings focus on light tones and prohibit heavy colors to match the lake light and have a Jiangnan sentiment outside the Great Wall. The plains and mountainous areas mainly imitate the northern scenery, plus the strange peaks and scenery outside the park, forming the northern scenery. The villa imitates the scenic spots across the country and recreates the design taking into account the local environmental characteristics, so it is both beautiful in the south and beautiful in the north.

④The method lies in borrowing scenery: The way to express the expected realm with urban garden elements is to adapt to local conditions, highlight key points, and look for borrowed scenery. The eternal masterpiece of Tao Yuanming of the Jin Dynasty: "Picking chrysanthemums under the eastern fence, leisurely seeing the Nanshan Mountain" is a kind of "borrowed scenery". The Old Summer Palace in Beijing is also "a landscape created by water and borrowed from the Western Mountains". The scenery in the garden is all built by water, and the western mountains are drawn into the garden, eventually becoming a "garden of ten thousand gardens". Wuxi Jichang Garden is a garden at the foot of a mountain. The scenery is all facing the mountain, and the mountain scenery outside the garden is included in the garden. It can be seen that many gardens have gardens outside the garden and scenery outside the scenery. The crux of the matter is "borrowing". Mr. Chen Congzhou proposed: "The beauty of the scenery outside the garden lies in 'borrowing', and the beauty of scenery outside the scenery lies in 'time'. Flower shadows, tree shadows, cloud shadows, water shadows, the sound of wind and water, birds singing, flower fragrance, intangible scenery, tangible scenery The scenery becomes a symphony." Nowadays, urban gardening has become a trend, but to achieve its beauty, the key is to "borrow scenery" and invite the mountains outside the city and distant temples and pagodas into the garden.

⑤The strange thing is the scenery: the garden needs to borrow scenery, but also needs to separate the scenery. Especially the city garden. There is often a situation where one end wants to "borrow" and the other end wants to "separate". Borrowing it brings beautiful scenery inside the garden; separating it brings the ugliness of Pinggu outside the garden. Comparatively speaking, the combined version also complements each other. If it is not separated from the vulgarity, it is difficult to attract its elegance. If it does not cover up its ugliness, how can it be beautiful? In landscaping, there are often those who can see one side and those who can see both sides. The key is to choose appropriately. For example, the Jingxinzhai in Beihai Park in Beijing has its back wall adjacent to Di'anmen West Street. If side corridors are not used to "separate" the buildings, the hustle and bustle of the city will be vividly visible, thus damaging the atmosphere of the ancient garden. When visitors enter the garden today, their eyes are completely blocked by the corridors and pavilions. Even though they are surrounded by the streets, they still do not have the feeling of abandoning the fairyland. Yuyuan Garden in Shanghai is also an example: the green and beautiful hall of this garden is at the end of the building. Behind the hall is the street, but it faces a large rockery and is hidden deep in the northern foothills. You can see how wonderful the separation is! Our country's Jiangnan city gardens all have preludes. Although Canglang Pavilion is a semi-enclosed garden, the scenery in the garden is breathable across the water. Walking into the garden slowly, the prelude is orderly, and it is believed to be a success.

⑥Characteristics: Although a garden is composed of trees, mountains, rivers, and buildings, this is unique; but each garden has its own characteristics, which is individuality. For example, among the four famous gardens in Suzhou, the Master of Nets Garden is mainly about tranquility, the Humble Administrator's Garden is about movement, the Canglang Pavilion is about ancient times, and the Lingering Garden is about splendor. Each of them has its own characteristics, attracting visitors. Another example is northern gardens. Most buildings do not use roofs with ridges, but use rolling shed roofs (such as rolling sheds hanging on mountains, rolling sheds resting on mountains, etc.) in order to achieve lightness and curved outlines. The roof wing angles of the buildings in southern gardens are raised with tender ridges, which highlights the roof curve. In order to express the realm of fairy mountain pavilions, the ancient imperial gardens concentrated the magical skills of the skilled craftsmen at that time and created rich and colorful garden buildings, such as the Yellow Crane Tower and Tengwang Pavilion, which still reflect the exquisite architectural forms of ancient times, as well as the turrets of the Forbidden City in Beijing and the Buddhist Incense in the Summer Palace. Pavilion, painting in the middle of the tour, etc. These buildings pay more attention to shape and outline than ordinary buildings, expressing the essence of ancient Chinese gardens, and their appeal is concentrated in the characteristics and style of the buildings. There are also some gardens, such as the Suzhou Master of Nets Garden, which has a pavilion named "The Moon Comes and the Wind Comes". Facing the pond, it has a pink wall like a screen, which captures the essence of the wind, flowers, snow and moon. It embodies the objective artistic conception that the wind and moon are coming and they are all mine. Therefore, the pavilion has become a unique point-of-view building in the Master of Nets Garden. Another example is the Three Pools Reflecting the Moon in the West Lake, which is one of the landmark buildings of the West Lake. Without the pools, the scene would not exist. People often say: the finishing touch breaks through the wall, and the reason is the same. Sometimes a scene "doesn't say a word about the beauty of it", so it must be used as an inscription, and the scene comes into being after the words are spoken. Many pavilions and pavilions in our country have antithetical inscriptions, and these inscriptions all play the role of "spotting the scenery".

⑦The first thing is spirit: giant mountains and rivers, historic sites and famous gardens, the first thing is spirit. The so-called spirit refers to the overall situation, overall style or style of garden architecture. It is the gene that determines the local individual architecture of the garden. If any garden architect does not first consider the overall situation, style and air, but blindly pursues trivial issues, he will inevitably end up in a situation where it is difficult to reach a conclusion. The reason why the "Five Mountains" are famous mountains in the world lies in their strong "spirit". Today's planning of scenic spots or gardens, if one does not understand the "spiritual spirit", will inevitably become vulgar and low-level, and pollute the spirit of the mountain. Another example is the style of Suzhou garden architecture, which is soft, which is called "nuo" in Wu dialect; the style of Yangzhou garden architecture is multi-elegant and healthy. Only after the style is determined, can we describe the local units, the pavilions and pavilions that should be built, the pavilions that should be built, the mountains that are stacked together, and the water that leads to them. In short, these individual buildings must follow the characteristics of style.

⑧The value lies in the level: The mountain is not high, the value lies in the level. The beauty of the peaks and ridges lies in their beauty. Like mountain scenery, gardens should also be deep, beautiful and rich in layers. When laying out the layout, it is necessary to cover it when it is suitable, to screen it when it is suitable, to open it when it is suitable to be open, to separate it when it is suitable to separate it, and to divide it when it is suitable to divide it. "I often lean on the curved lantern to look at the water, and I am uneasy about the surrounding walls and fear of covering the mountain." Seeing its fragments does not show the whole picture. There are paintings outside the picture. They are close at hand and thousands of miles away, and the aftertaste is endless. For example, when building a pavilion in a garden, it should be slightly lower than the top of the mountain. When planting trees, the peak should not be exposed. The foot of the mountain should be exposed but not the top. The top should be exposed but not the feet. The top of the tree should be visible but not the roots. The roots should not be visible. These are all ways to increase the level of the garden. The measures that characterize the gardening art are in line with the landscaping mechanism of "a distant mountain has no feet, a distant tree has no roots, and a distant boat has no body". Some gardens, such as the Plum Garden in Wuxi and the Hongmei Pavilion Garden in Changzhou, have many plum groves planted inside. It is best to "outline" them with corridors, so that every part of the garden is mapped, so that less can defeat more and small can see big. In short, these gardening techniques have the effect of increasing depth of field and layer changes.