The environment, exquisite theme, profound connotation and meaningful charm have become a wonderful flower of world garden art, and its aesthetic thought of reappearing nature is deeply influenced by Taoist spirit. Compared with other schools, Taoism pays more attention to the aesthetic temperament of everything in the world and the aesthetic relationship between man and nature, showing a simple psychological tendency. Related to this, the concepts and categories used by Taoism are more universal in aesthetics, and are often adopted and applied by landscape designers in China. Therefore, the ancient gardens in China advocated and pursued nature, explored "Tao" and "reason" in the potential nature, and finally integrated into the Taoist spirit of harmony between man and nature. 2. Taoist spirit and artistic pursuit Taoism believes that "Tao" is the source of all things, "man and earth, earth and heaven, heaven and nature." Tao can do nothing but biochemical things. "It is not dangerous to go around without changing independently." Respecting and conforming to nature is the essence of Taoist thought and culture. According to Zhuangzi and Taoist philosophy, nature has two meanings: one is nature, and nothing is man-made. For example, in Chapter 37 of Laozi, it is said that "Tao often does nothing", and inaction is nature. Wang Bi, a philosopher of the Wei and Jin Dynasties in the Three Kingdoms, explained that "Tao often does nothing" and said: "It is natural." Let nature take its course, that is, obey everything itself, so regular and undisturbed. This is the fundamental nature of Tao. Another meaning is to praise the beautiful natural environment and regard it as the home of body and mind. For example, Zhuangzi's Journey to the North said, "The sum of mountains and forests and the sum of high soil make me relaxed and happy." In Zhuangzi's view, only by naturalizing in the universe and returning to the realm of heaven and earth can people enjoy themselves. The Wei, Jin, Southern and Northern Dynasties were divided into wars, and the society was turbulent and dark, which made many literati greatly dissatisfied. The Taoist thought of "advocating nature" has a great influence on them, so they seek detachment and sustenance in the famous mountains and rivers, and the natural landscape has become a kind and dependent material environment in their real life. However, it is impossible for people to realize their dream of traveling around the world, so they arrange landscape flowers and trees in the garden, which can not only realize their ideal of living simply in the mountains, but also get the pleasure of roaming the universe. It can not only entrust the realm of immortals, but also be regarded as a place to transcend the secular and settle down. In addition, in order to get rid of the shackles of traditional ethics, literati also like to build landscape gardens to express their thoughts and feelings. It can be seen that Taoist aesthetic thought played an obvious role in the emergence of ancient gardens in China. The aesthetic view of "Taoism is natural" provides a direction for China ancient architectural art and its design. The reason why ancient gardens in China advocate and pursue nature lies not in the imitation of the formal beauty of nature itself, but in the fact that there is no trace of individual consciousness in nature. The embodiment of this consciousness is more of affinity, equality and integration with nature. Taoist nature is integrated with nature, conforming to nature and expressing nature-this is the place where China ancient gardens embody the national culture of "harmony between man and nature", which is the biggest feature independent of the world forest and the fundamental reason for the eternal vitality of art. No matter from the conception and layout of gardens to the theme distribution of scenic spots, from the superficial meaning of scenery itself to the symbolic relationship between scenery, from the material expression of gardens to the spiritual pursuit, Taoism, as one of the three major components of China traditional culture, has had a far-reaching influence on ancient gardens in China with its unique cultural characteristics, and has been integrated with Buddhism and Confucianism, which has played a role in the development of garden art in China. It can even be said that the Taoist spirit constitutes the most important cultural heritage of China ancient garden aesthetics. 3. The influence of Taoist spirit on the site selection of ancient gardens in China is influenced by Taoist thought of "Taoism is natural". China architecture not only pays attention to the beauty of the nearby environment, but also pays attention to the affinity with the wider nature, so as to achieve the ideal state of harmonious coexistence between man and nature. The relationship between architecture and nature is harmonious and peaceful, so ancient temples should be "hidden" in the mountains, not suddenly exposed like castles in Europe. This spirit is more prominent in gardens. In the late Ming Dynasty, there was a monograph on garden management, which called the process of gardening and site selection "fragrant embankment". Limited by conditions, generally due to the limitation of floor space and existing surrounding conditions, the base sites where gardens can be built are mostly irregular, and the floor plans of ancient famous gardens in China are almost all irregular planes. Faced with these difficult terrain, gardeners should adjust measures to local conditions, not only consider the light, water source and wind direction, but also consider the coordination with the surrounding building environment, and even the implication of landscaping. In addition, in the process of site selection, "Feng Shui" was largely used. Yin and Yang, infinity, Qi and Tao in China's garden geomantic theory are not only the inheritance of the Book of Changes, but also the further development and summary of the Taoist view of natural heaven and earth. The ancients believed that heaven and humanity are consistent, and nature and interpersonal are similar. Zhuangzi said: "Heaven and earth are born with me, and everything is one with me." They emphasize the unity of heaven and man, trying to trace the similarities between heaven and man in order to coordinate and unify them. "Harmony between man and nature" is the most prominent philosophical thought of China in ancient times, and it is also the ideological basis of the concept of geomantic omen. The theoretical premise of the concept of geomantic omen is that heaven, earth and man are inseparable whole, and there is a close restrictive relationship among them. The concept of geomantic omen is a classic according to Laozi's famous saying, "All things are negative and embrace Yang, while rushing is thought to be harmonious". It is believed that the unity of heaven, earth and man exists in this "qi" of yin and yang. Although this concept has many shortcomings, it also contains a simple understanding that people should adapt to and follow the universal laws of nature, which leads to great concern about the relationship between man and the natural environment and the recognition, harmony, coordination and consistency between man and nature in architectural activities. Feng Shui is keen to pursue the "harmony between man and nature" in terms of weather, geographical location and human harmony. Many principles that Feng Shui believes in are in line with the right time and place, or they are in line with the right time and place. Needham said: "Feng Shui contains obvious aesthetic elements, which can be used to illustrate the unparalleled beauty of farmland, houses and villages all over China." He also spoke highly of the tradition of full integration of architectural community and natural environment, which was formed by attaching importance to nature in the concept of geomantic omen and conforming to the consciousness of natural environment: "No other place shows their great ideal like China people: man and nature cannot be separated." It is this simple and strong concept of attaching importance to the environment and conforming to nature that has formed the rational tradition of fully blending ancient gardens in China with the natural environment. 4. The influence of Taoist spirit on the structural space of ancient gardens in China. Due to the influence of Taoism, the ancient gardens in China demanded to get rid of the shackles of traditional ethics and advocate returning to simplicity. Therefore, the layout of the gardens adopted the basic principle of taking nature as the foundation and being higher than nature, trying to make artificial beauty and natural beauty cooperate with each other and add color to each other. Its architecture does not seek axial symmetry, and there is no law to follow. The mountain embraces the water and twists and turns. Not only do flowers and trees leave the original appearance of nature, but even artificial buildings try to conform to nature and blend harmoniously, so that architecture, landscape and plants can be organically integrated into one, so as to achieve the realm of "although people do it, it seems natural". This requires China ancient gardens to create infinite artistic conception in a limited area. Obviously, to achieve this goal, we can't copy the natural landscape, but the gardener must understand nature and create subjectively. Specifically, in the gardening activities, this is mainly achieved through the creation of garden space. The change of reality and reality and seeing the big from the small are two major characteristics of ancient garden space in China. The elements of ancient gardens in China are various: the mountains are real, the water is empty, the verandahs, pavilions and verandahs are also virtual and real, and the arrangement of flowers and trees in the garden has created the effect of virtual and real. On the plane layout, it is as regular, geometric and symmetrical as western gardens, but it is uneven, tortuous and patchy. In terms of spatial layout, they are interconnected and interspersed with flowers and trees, so that the scenery is hidden or present, or hidden or exposed, resulting in more changes in reality and reality. At the same time, the spatial treatment of the combination of reality and reality has caused another feature of ancient gardens in China: "Seeing the big from the small." In the treatment of space, we often use implicit, hidden, tortuous, suggestive illusion and other techniques and skillfully use the perception of time and space to make people linger; In addition, if we can flexibly use the techniques of borrowing scenery, comparing scenery, leaving without dying, and contrasting, we can enrich the spatial level, make people feel that there is a scenery outside the scene and a garden outside the garden, and achieve the effect of "seeing the big from the small". The population management of Suzhou Lingering Garden is the most representative. In its population streamline, a number of small spaces have been consciously arranged, and good results have been achieved by using the methods of light and shade, truth and falsehood, zigzag closure and long and narrow. Shen Fu's "Six Chapters of a Floating Life" talks about the art of virtual reality: "If there are pavilions, suites, cloisters, and stacked stone mountains, you can grow flowers, and you can see the small in the large and medium, the big in the small, the real in the virtual, the real in the virtual, or hidden or exposed, or shallow or deep, which is both repeated and laborious." For example, Shen Fu said: "Those who have empty objects, or those who are at the end of their tether, suddenly become enlightened;" Or the porch pavilion has a kitchen and you can drive to another courtyard. If you are really free, you can't open the door to the courtyard, and you can reflect it with bamboo and stone. If you are really free, you are empty. " Putting a short fence on the wall is empty, just like having a platform on it. "Visible," virtual reality "and" virtual reality "are to expand the viewer's psychological sense of space. In addition, in order to achieve diversity and unity, and to achieve the artistic effect of seeing the overall situation in a limited space, China ancient garden art also used a variety of composition techniques, such as contrast, infiltration and hierarchy, which made China ancient garden a typical example of time and space flow, and made us feel an invisible unified whole in the process of transformation and dispersion, without looking for traces such as clear axis, tight symmetry and geometric modeling. Only by watching the whole garden step by step can people feel the pain of ingenuity. The whole process is like enjoying a long scroll of mountains and rivers, reaching a profound and far-reaching artistic realm! 5. The influence of Taoist spirit on the landscape design of ancient gardens in China In ancient gardens in China, there were no irregular street trees, hedges, flower beds and mowed lawns, and the planting of flowers and trees followed the original vegetation distribution pattern of nature. 35-35 clusters, free gathering, pool or rock, wild interest, elegant and moist scenery. In the design and construction, it is a natural layout, with no rows of trees and no positioning stones. "The mountain has the potential to bow to the host and the guest, and the water has the feeling of winding and lingering", which is completely a winding and flowery natural scenery. Even the buildings in the garden are in accordance with the overall trend of the landscape, which is tortuous, rugged, well-tailored, reflecting the moon and dotted with the artistic interest of the natural landscape. This natural ancient garden in China is different from the conventional geometric gardens in the West, because the gardening art and construction techniques of ancient gardens in China are determined by Taoist thought. Taoism is the guiding principle of landscape art and design in China. China's ancient aesthetic thinking and artistic design have always been influenced by this basic logic. Under the guidance of the thought of "Taoism and Nature", the goal of landscape design is to find the appropriate expression of personal feelings and enjoy the beauty of nature beyond the secular level. Beauty is the product of the harmonious balance between subjective and objective, emotion and reason. "Tao and nature" established the connection between Tao and nature, implied the operation law of the whole universe, and emphasized a profound respect for nature. Everything in the world, including human activities, should abide by the law of natural operation dominated by Tao, which is a decisive point in Taoist philosophy. This conclusion has a decisive influence on China's landscape design art. In ancient gardens in China, mountains, water, plants and buildings are the main landscape elements. The aesthetic judgment of landscape design depends largely on the combination of these elements and their significance in a specific environment, not the quantity. Based on the understanding of the place and the consideration of the relationship between the artificial environment and the natural environment, the landscape designer arranges the spatial order of the artificial landscape and the building on the logical basis of human activities. By showing reasonable functions, pleasant proportions, proper layout, unique ideas and precise design techniques such as colors and materials, the realm of "Taoism is natural" can be achieved. Taking the application of "stone" technique in China ancient garden design as an example, stone is a static and lifeless natural material, but it is personified by China's ancient thinking, and its function, use and emotion are endowed with the symbol of life. Rocks can show rich emotions in the specific time and space of the garden: "Spring Mountain is as plain as a smile, Summer Mountain is as green as a drop, Autumn Mountain is as bright as makeup, and Winter Mountain is as bleak as sleep. "A rockery is like a rockery that grows from the ground. Whether it is placed in front of a hall, under a window or by the water, it can connect the artificial environment with the natural environment in space. As a three-dimensional landscape element, stone plays an upward role in guiding the line of sight, which can enrich the light and shadow changes and visual effects in the garden; As a barrier, it also plays the role of separating space. It can be said that the rock has become a bridge between man and nature, perfectly transforming the garden from an orderly architectural space into a free natural space. In the abstract and symbolic sense, it successfully completed the transition from man to earth and from earth to heaven, thus achieving the harmonious unity of heaven, earth and man. Similarly, other gardening elements such as flowing water, swimming fish, flowers and trees in China ancient garden design can also achieve the realm of "Taoism is natural" through combination. China gardens seek wonders with stones, returns with corridors, bends with water, seclusion with roads, rockeries with green flowers and strange trees. There are many forms of water in ancient gardens in China, such as lakes, rivers, springs, ponds and canals. Calm rivers, gurgling streams, deep and ethereal pools, magnificent waterfalls and exquisite springs can all inject deep vitality into ancient gardens. Water flows around the mountains, and the mountains still flow. There is stillness in the movement, and there is lurking movement in the stillness. The mountains and rivers complement each other, giving the ancient gardens endless vitality. The reason why designers are so meticulous is to give people a feeling of returning to nature. Li Yu said in "Leisure Story". Stone house. Rock: "You have to live in seclusion and thunder. You can't live under a stone and with wood and stones, so you can use a roll instead of a mountain and a spoon instead of water. It is the so-called seedless extreme thinking. "However, it is a magical skill to turn the city into a mountain forest, attract people to fly to the top of the mountain and let them live on the ground. It is also a miracle to install a fake hand, and you can't watch it. " It means that in Xiaotian's landscape architecture, the city is turned into a mountain forest, and the Qifeng is moved to the flat, so that people who can't live under rocks and live in wooden and stone houses can use the landscape to compensate their feelings for the natural landscape and enjoy the pleasure of the landscape. The ancient literati painters were intoxicated by the landscape, trying to poeticize their life, melting their favorite poetic ideas into the garden, and pursuing elegant and detached artistic conception. Many literati painters in past dynasties directly participated in landscape design, such as Bai Juyi and Wang Wei in Tang Dynasty. Su Dongpo in Song Dynasty; Plans for the late Ming dynasty; Li Yu and others in Qing Dynasty are outstanding representatives. Literati painters often take landscape as the blueprint, poetry as the theme, color painting, landscape painting, emotion in the landscape, implication in the form, emotion conception, vivid in the form, and integrate couplets, poems and garden buildings into one, which is poetic and intriguing. Take Hangzhou West Lake as an example. Su Causeway flies like a Changhong on the lake, connecting Baihuazhou, Fanghua, Diancui, Fu Bi, Lipu and Xixin. It is not only an important landscape, but also plays a role in dividing the water surface. You can conform to nature, treat people's ease with water, and exchange the nine-day galaxy for a few performances. The scenery changes endlessly with the clear sky: before sunrise, the lake seems to be sleeping in a dream, without a ripple, and the West Lake is particularly soft and quiet. Surrounded by mountains in the distance, the water in front of the pavilion is as clear as a mirror, and the forest behind the pavilion is densely shaded with beautiful scenery. The moon is bright, the moonlight is bright, the blue sky is Wan Li, sparkling, boating on the lake, the breeze is blowing gently, and melodious southern songs are floating in the distance, which is a paradise on earth. It is "the boundless water is full of lakes, and people are on the edge of Su Causeway. We can see the moon at a glance and we can see that it is in the garden here. " When the rain is raining, the mountains and lakes can be seen in full view, and the Yunshan is looming, just like an elegant ink landscape painting. In the early years of the Qing Dynasty, a painter from the south of the Yangtze River waved Shou Ping to describe his feelings in Suzhou gardens: "The autumn rain is long and the beautiful scenery is refreshing. Sitting alone in the south porch, I hope that the stone piles on the other side will be presented to Linqing pool, and the road between saltpetre will move. There are many pagodas, willows and cypresses standing proudly on the forest surface. The dike is surrounded by hibiscus, red and green, overlooking the clear. It is not difficult to see that in his eyes, the garden has become a place where nature and people blend, and it has become his poetic dwelling and spiritual home. The design art of ancient gardens not only embodies the function, but also reflects people's understanding of the natural spirit. It is such a Taoist philosophy, which embodies the impermanence of nature and the complementarity of all things, that guides the design principles of ancient gardens in China. 6. The highest realm of "harmony between man and nature" Taoist philosophy advocates the free realm of "everything and me are one" and thinks that this realm is the highest beauty. This is the origin of the extremely important artistic conception in China's garden aesthetics. In any era, there are always unhappy people and problems that cannot be solved. For these people, painting painters, building gardens, expressing their feelings for mountains and rivers, and finding the spiritual connection between nature and themselves are the ways to get pleasure and comfort. Taoist philosophy can create a spiritual realm for people, but it can not solve problems but can cancel them. This is called "digestion". Therefore, it is not difficult to find the shadow of Laozi and Zhuangzi from various gardens and famous temples. The influence of this philosophical thought determines that Chinese gardens are not places to show off, but emotional sustenance of their owners. The object of communication is not the secular world, but the more essential natural world. This spirit of "harmony between man and nature" is not only the basic spirit of China's philosophy, but also the highest spirit of ancient gardens in China. The "harmony between man and nature" in gardens is mainly reflected in the following aspects: First, the whole gardening concept pays attention to taking nature as the teacher and taking natural days as the highest beauty. Ji Cheng, a master gardener in the Ming Dynasty, said, "It is natural and does not disturb people." Emperor Qianlong of the Qing Dynasty described the beauty of this natural ecology in the Story of Jingming Garden: "If the husband has mountains and rivers, cranes and deer roam, kites and fish are all happy, Yanting Xiting, fragrant grass and ancient trees have natural interests, and people forget the world. "Second, garden beauty is the unity of natural beauty and artificial beauty. China gardens emphasize local conditions and make full use of the original landscape. The artificial landscape in the garden should also be in harmony with the overall atmosphere, conform to the natural trend and social principles, and should not be artificially infiltrated. Cao Xueqin set up a grange in A Dream of Red Mansions, which is obviously made by human power: there is no neighboring village, almost no profile, no pulse on the back of the mountain, no passive water by the water, the tower of Wuyin Temple is high, and there is no bridge leading to the city, so it is steep and isolated, which looks like a grand view. (Cao Xueqin's seventeen chapters of A Dream of Red Mansions) Third, building a garden advocates the unity of law and impossibility. Gardening has laws, but it can't. Law is a rule, not a creation. Out of nothing, out of nothing, out of nothing. Fourthly, the ancient gardens in China let people feel a kind of spiritual freedom, which is connected with the spirit of the universe, gods and Tao. The couplet of Wuzhu Youting Pavilion in Suzhou Humble Administrator's Garden reads: "Take advantage of the cool breeze and bright moon to watch the flowing water and mountains. "borrow the wind and the moon, view the water and the mountains, how friendly people are with nature. This affinity is based on human empathy. There is a couplet in Canglang Pavilion in Suzhou, which reads, "The breeze and the bright moon are priceless, and there is love near the water and far away from the mountains. "Not only is empathy, and empathy. Confucius said, "Wise people enjoy water, while benevolent people enjoy Leshan. "Water becomes a symbol of wisdom, and mountains become a symbol of kindness. According to China people, the reason why people can find bosom friends from nature is because the essence of man and nature belongs to one noumenon-Tao, that is, "the unity of man and nature". The artistic pursuit of "harmony between man and nature" makes China's garden creation attach great importance to the affinity between man and nature, which makes people feel moved by the blending of scenes. Its rich natural artistic conception gives people inspiration and reverie: "Look at the vast waves of smoke and think about its artistic conception, and look back and feel its momentum." "Move day shrink in my arms. In the outside world, don't create a fantasy, let people enjoy infinite space in a limited garden. Although I am in the garden, I seem to be in the real natural mountains and rivers, and I have achieved "plowing bamboo for several poles, stalagmites for several feet" and "sound in the wind and rain, shadow in the sun and moon, affection in poetry, trouble in leisure and companionship." "From watching the sunset and lonely fog and long autumn water, I entered the dreamland of' returning to the sky and feeling the infinity of the universe'"; From the artistic conception of "embracing the distant mountains and swallowing the Yangtze River, it is boundless" to the lofty ideological realm of "worrying about the world first, and enjoying the world later". This is the highest artistic realm pursued by China's traditional art: from limited to infinite, and then from infinite to limited, so as to achieve the natural expression of self-emotion and interest. The harmony between man and nature, humanized nature and humanization of nature's world view have been fully demonstrated in the garden design of China. 7. Conclusion Looking at the development of ancient gardens in China, we can see that this view of gardens with the aesthetic characteristics of ancient people in China is not only limited to the general visual feeling of modeling and color and the psychological description of human conquest of nature, but more importantly, it is the inevitable product of cultural development, that is, through the adjustment of garden art to people's living environment, we can grasp the existence and significance of people themselves. The forms of expression of garden art always conform to the existence of nature and the needs of humanistic spirit, thus integrating nature and humanism without being far-fetched, creating a feeling of "harmony between man and nature" invisibly, and relaxing and wandering the spirit. We can find that the artistic style of ancient gardens in China is natural and emotional, based on nature and higher than nature; It is the fusion of architectural beauty and natural beauty; It is the re-expression of the artistic conception of landscape poetry and painting; It is the emotional experience and personality support of the ancients.