园林是造在人间的天堂,是人们最高理想的生活场所的模型。凡理想都有它的历史背景和文化背景。历史、文化不同,理想就不同,因此,园林的风格也就不同。在法国,国王路易十四时代最鲜明地将那“朕即国家”的绝对君权制度反映在它的造园艺术里。英国也认为只有见到它的园林风光,才能了解本国十八世纪中产阶级的性格、感情和道德教养,了解他们当时在政治上经济上的飞黄腾达。在我国封建社会的私家园林所标榜的“归来”和“遂初”,其实也是一种政治态度和相应的道德评价。失意的士大夫坐在榭里听橹声、赏荷花,这些园林里回荡着整个封建士大夫的进退和荣辱;苦闷和追求;无奈和理想。 Garden is a paradise built on earth and a model of people’s highest ideal place of life. Every ideal has its historical background and cultural background. History and culture are different and ideals are different. Therefore, the style of the garden is different. In France, the era of king Louis XIV most vividly reflected the absolute monarchy of the “Yan is the country” in its garden art. Britain also believes that only by seeing its garden landscape can one understand the character, feelings, and moral cultivation of the middle class in the eighteenth century in the country, and understand that they were politically and economically prosperous. The “return” and “early days” that are advertised in the private gardens of China’s feudal society are actually a kind of political attitude and corresponding moral evaluation. The frustrated doctors were sitting on the pipa and listening to the buzzing sounds and admiring the lotus flowers. These gardens echoed the advancement and retreat of the entire feudal scholars; they were depressed and pursued; helplessness and ideals.