Abstract: Chinese traditional gardens share similar origin and principles with the classical Chinese poetry and literature. Since the ancient times, the perception has been that gardening is similar to writing poetry. Chen Congzhou proposed a theory of "gardening based on classical Chinese poetry" and believed that "studying Chinese traditional gardens should start with classical Chinese poetry". Studies involving the poetic context of gardens have attracted extensive attention. Current studies focus on the artistic conception of the relationship between Chinese classical poetry and gardens. However, studies involving Chinese traditional garden construction mainly relied on the "space" theory of modern architecture. They are greatly limited in tracing the origins of Chinese traditional garden construction principles. The typical structure of the classical Chinese poetry is based on Introduction-Development-Transition-Culmination (IDTC) sequence, which affected the construction of Chinese traditional gardens. Based on the theory developed by Chen Congzhou and the IDIC principle, this study investigated the construction of Liuyuan, which is a picturesque and poetic literati gardens in Jiangnan region during the Liu (1794-1860) and Sheng periods (1873-1911), and since1953. The study analyzed historical documents, such as travel notes, couplets, and poems. Additionally, the illumination intensities in Liuyuan were tested in different seasons, weathers, and periods of the day by combining visitors' appreciation and experience. Finally, the construction of Chinese traditional gardens similar to poetry were summarized as: "the beginning requires gradual progress from the inversion peak, the development needs repetition, the high tide requires contrast and turning, and the end shall be circuitous and endless". Specifically, the starting sequences used the "inversion-peak" modes of "come to the point directly" and "better off", thus generating confused entry experiences. The structure formed by continuous overlay and repeated developmental sequences contributed to the up-and-down and progressive succession in appreciation. A profound impact of "pathways from mountains and waters" was generated. The sudden changes and the relationship between mountains and water in transition sequences contributed to the contrast and changes in landscape and visiting experience. The theme of "exploring the mysterious and adventuring scenes" was highlighted by contrasting relationships, such as subject vs. object, dynamic vs. static environments, flat paths vs. steep mountains, mountains vs. water, and virtual scene vs. physical scenes. The culmination sequences were placed in the surrounding courtyards or pavilions in the high sites, creating an endless artistic conception. Although both poetries and gardens are common in context structure and creation logic, the techniques of "gardening without styles", "creation without fixed pattern" and "IDTC" are used routinely. Further, a relatively dynamic succession was observed during sequence transition and turning. In the context of contemporary cultural renaissance in China, tracing the construction skills of Chinese traditional garden is important to provide a unique perspective for further studies.

Key words: Chinese classical gardens, Liuyuan, poetry-based gardening technique, construction rules, appreciation sequence

摘要： 中国古典园林与诗画艺术一脉相承，理法相通。自陈从周先生提出“诗文造园”以来，园林的诗情文脉研究得到广泛关注。然而目前中国古典园林的研究多依托于现代建筑“空间”论，在溯源传统造园理法上仍存在较大局限性。鉴于此，通过拓展“诗文造园”理论，以中国传统诗文“起承转合”的结构章法为基础，选取典型的江南文人园林留园为研究对象，分析其不同时期观赏序列的营造逻辑，并结合园景光照度实验验证游观体验，总结“起需逆锋渐起，承需重复铺陈，转需对比转折，合需迂回无尽”的“类诗”构园特征，以求回溯中国古典园林的构园规律。

关键词: 中国古典园林, 留园, 诗文造园, 构园章法, 观赏序列