Suzhou can be considered one of the most exquisite cities in the whole of China, and the Suzhou gardens are the most vivid embodiment of this refinement. Throughout history, Suzhou has had a total of 802 gardens, and the praise of being a “city of half gardens and pavilions” is by no means an empty phrase. It is not so much that Suzhou provides a dwelling place for gardens, but rather that the gardens spread throughout the entire city have created a Suzhou city steeped in the gentle language of the Wu dialect. So what exactly are Suzhou gardens? They serve as a window to China's aesthetic facing the world, and with the completion of the Chinese-style courtyard Mingxuan in the Metropolitan Museum of Art in 1980, modeled after the Master of the Nets Garden's Dianchunyi, it spreads aesthetic elements unique to China to the world.
In spring, Suzhou gardens become sea of flowers, undoubtedly the most beautiful time of the year for gardens. The early magnolias in March, the wisteria at the end of March, and the peonies in late April, with flowers of various colors blooming in succession, adorn the Suzhou gardens as sea of flowers. Even those who have no knowledge of gardens can get the most direct sense of beauty from these blooming flowers.
The short three months of spring cannot contain the vigorous vitality of the garden's sea of flowers. From the first blooming wintersweet in January to the fragrant osmanthus in early October, Suzhou gardens are always in full bloom for over three-quarters of the year. Suzhou's climate is indeed unique, as both the evergreen pine from the north China and the cold-tolerant and rain-loving banana trees from the Lingnan region can coexist in the same garden, providing an unparalleled richness of plant landscapes.
For us living in modern urban areas, the landscape plants that accompany us day and night and indicate the changing seasons are not unfamiliar. However, in Suzhou gardens, the situation is somewhat different: it is not the trees that serve people, but rather people who serve the trees. Sometimes, the history of a tree is even longer than that of the garden itself—it is precisely because the garden owner values this tree that they create an entire garden based on its natural growth trajectory.
The attention-grabbing flowers and trees are undoubtedly the protagonists of the garden, but the inconspicuous grass should not be overlooked. The most common is a grass resembling leek leaves, evergreen throughout the four seasons, modestly flowering without ostentation, willingly serving as the best complement.
Even the moss in the corners of the walls is also part of the landscape creation, much like the dotted moss technique in landscape paintings, giving a touch of life to the cold rocks. Through observing the flowers and plants, one can see the ingenuity and refinement of garden design, and this refinement must be traced back to the city of Suzhou that nurtured the gardens. In this article, let us follow the footsteps of Didao Fengwu and experience the unique charm of Suzhou gardens.
Suzhou, one of the most exquisite cities in China
The underlying essence of Suzhou is, first and foremost, opulence. Known as the “paradise on earth” for eight centuries, referred to by Marco Polo as a “city of considerable wealth and importance,” hailed during the Ming and Qing dynasties as a place of unparalleled wealth and elegance in the mortal realm, and currently recognized as the “top prefecture-level city in the world,” these timeless labels define this city.
Centuries of opulence have naturally fostered prosperity in the realms of culture and education. Over the past 1300 years since the imperial examination system was established, Suzhou has held the top spot in the nation with 56 Zhuangyuan scholars, and during the Qing Dynasty, Suzhou produced as many as 28 Zhuangyuan scholars, comprising a quarter of the total number of Zhuangyuan scholars in the country from just one prefecture.
Similar to young people today, scholars and officials inevitably experience their own spiritual conflicts, and finding solace in nature has always been the primary outlet for ancient Chinese to alleviate their inner turmoil. Even amidst the torment of the work schedule, modern people often seize the scarce moments of rest to go camping outside the city with a tent, enjoying a brief respite from the urban hustle and bustle. However, for scholars and officials, their mindset is profoundly conflicted.
These literati, who are active between the lines of Chinese textbooks, have been immersed in the classics since childhood, carrying aspirations and fervor to make a difference in the world. Yet, they are often confined by worldly matters, unable to fulfill their ambitions. However, should they decide to completely withdraw from the world and seclude themselves in the mountains, they still cannot shake off the sense of social responsibility.
Ultimately, they have no choice but to bring a piece of the mountains and rivers into the city, carving out a small world of their own amidst the bustling world. Thus, Suzhou gardens have become the favored haven of peace for literati and officials, where figures like Su Shunqin, Wen Zhengming, and Yuan Mei have left their own marks, each excelling in their respective eras.
Appreciating gardens amidst mountains and waters
Suzhou residents may never have imagined that a stone could become the catalyst for the downfall of a dynasty – about around 900 years ago, Emperor Huizong of the Song Dynasty lavishly promoted the “Hua Shi Gang (花石纲),” transporting various rare treasures from the southern regions led by Taihu stones to the capital of Kaifeng, resulting in great waste and stirring up public resentment and unrest. However, the people of Suzhou, adjacent to Taihu Lake, do not need to have such concerns; they naturally enjoy the gifts of nature.
The term “Jia Shan (假山, rockery)” not only sets clear boundaries from real mountains in its name but also signifies borrowing – blending the majestic aura of real mountains, akin to the Song dynasty landscape emerging from yellowed scrolls, where few can find exact corresponding landscapes, it embodies an artistic expression that derives from life but transcends life, pointing to the ideal nature in the minds of literati.
Where there are mountains, water must also be present. With robust mountains and flowing waters, they are like inseparable yin and yang, essential to each other. The attachment of Suzhou residents to mountains and waters has reached an almost obsessive level: even if it is impossible to introduce flowing water due to natural constraints, they will inevitably lay floor tiles around the rockeries in patterns resembling cracked ice.
If the layout of these Suzhou gardens were visually represented through a plan, water would undeniably hold a significant position. All the various buildings and landscape layouts revolve around the element of water. In the prominent Humble Administrator's Garden, which surpasses all other gardens in Suzhou in terms of size, the garden owner has dedicated about seventy percent of the area to ponds and streams that can only be admired from a distance. Water not only defines the gardens but also infuses Suzhou with a dynamic soul. Within the boundaries of present-day Suzhou, there are 21,454 intersecting rivers and 323 scattered lakes, with a total water area of 3768 square kilometers, accounting for 44% of the city's total area (8488.5 square kilometers).
This intricate network of waterways, as fine as hairs, has formed a complete circular system with the seven main horizontal and vertical rivers in the ancient city, weaving various gardens seamlessly together in Suzhou's cityscape, echoing with the sounds of paddles and oars, constructing the gentle bones of Suzhou City.
The epitome of Chinese aesthetics
Compared to Western architecture's preference for stone, ancient Chinese revered delicate wood. This was not a result of insufficient materials and technology, but rather a belief in the vitality of wood. The flourishing and withering of trees, akin to the cycle of life and death in humans, symbolized the cycle of life. Dwelling places built with wood naturally possessed their own vitality. Suzhou gardens exemplify this vitality most tangibly. The construction of these gardens, akin to the meticulous building of churches in the West, was far from a quick task: it took 15 years to complete the Bu Garden in the Humble Administrator's Garden, while the Master of the Nets Garden underwent continuous renovation under the stewardship of Li Hongyi for 22 years, spanning two generations.
Among the most time-honored structures in Suzhou gardens is the Canglang Pavilion, with a history dating back to the Northern Song Dynasty, though many layouts we see today are predominantly remnants from the Qing Dynasty. Each generation of garden masters infused their preferences into the gardens, accompanying the seasonal growth of flowers and trees, cyclically bestowing each era with fresh vitality – this was not merely a masterpiece crafted by garden owners and artisans together, but a model of the harmonious unity of man and nature.
If we were to isolate the pavilions and structures from the gardens and analyze them based on architectural scale, the results would undoubtedly appear quite dull: they would simply be a few ordinary residential buildings, lacking the grandeur and magnificence of palaces and temples. The subtle Suzhou residents have always been experts in creating a sacred space within a small realm, often looked down upon by those who dislike their modesty, yet truly understanding Suzhou garners endless praise for its intricacy.
Take, for example, windows – in the West, a window is just a window, allowing light and fresh air to enter. But for the people of Suzhou, it is a frame, capturing the beautiful scenery of the garden outside. The diverse styles of flower windows naturally serve as windows, even the ponds act as “windows”: meticulously trimmed water lilies and lotus flowers do not line the shore continuously, but reflect the sky, clouds, mountains, and pavilions in a staggered manner.
Each garden owner has upheld the standard of Chinese aesthetics, becoming a window through which Chinese aesthetics face the world. When the once magnificent Qili Shantang was destroyed during the turmoil of the Taiping Heavenly Kingdom, Lingering Garden miraculously survived amidst the rubble and ashes, enduring through the ages.
As the Republic was established and Western influences grew, many old-style flower windows in the Lion Grove Garden and the Humble Administrator's Garden were replaced with Western-style glass windows, akin to a classical and elegant lady donning a cheongsam and stylishly perming her hair. Amidst the ever-changing tides of history, Suzhou gardens have witnessed numerous significant events. However, what remains unchanged is the profound intricacy etched into their very essence.