Exploring the correlation of space creation in Suzhou classical gardens and the Chinese calligraphy Yan Zhenqing’s three manuscripts

Abstract

Chinese calligraphy and Suzhou classical gardens exhibit unique and distinctive formal attributes and layout styles. This paper examines the interrelationships from a spatial perspective, using classical gardens such as the Humble Administrators’ Garden, the Lingering Garden, and the Master of Nets Garden, alongside Yan Zhenqing’s Three Manuscripts (颜公三稿), as illustrative examples. From the theoretical stance of “Heterogeneous Homology”, this investigation assesses the comparability between calligraphy and garden design. It highlights the shared spatial features of “Emptiness-Substance” and “Denseness-Sparseness”, analyzing their specific applications within each realm. Furthermore, the “Correspondence and Guidance” is fulfilled to effectively integrate the spatial boundary within their respective domains. The findings reveal profound similarities in spatial construction between calligraphy and garden design, highlighting the traditional Chinese aesthetic pursuits of emptiness, distance, and externality. These findings affirm the ancient Chinese pursuit of the natural philosophical concept of “the unity of nature and human”. Consequently, it is proposed that future design and urban spatial planning should emphasize the application of the spatial techniques and cultural meanings embedded in these arts. This approach aims to provide a multidimensional and detailed interdisciplinary perspective on future research concerning Asian architectural culture and art history.

Keywords

• chinese calligraphy
• suzhou classical gardens
• denseness-sparseness
• emptiness-substance
• correspondence and guidance