Abstract: As a typical representative of Lingnan gardens established in the late Qing Dynasty, Pun Tin Qua's garden in Liwan, Guangzhou was built by Pun Tin Qua, a wealthy businessman, but it disappeared in the late 19th century. The site of Pun Tin Qua's Garden is now a part of Liwan Lake Park in Guangzhou. Based on social communications and the traveling experiences of Pun Tin Qua, this study investigated construction intention, interest of the garden, and knowledge source from a synchronic perspective, aiming to clarify the origin, evolution, and construction mechanism of Pun Tin Qua's garden. The spatial evolution of the Xiguan Liwan area in the historical map of Canton was analyzed through a hierarchical superposition method. The spatial structure and construction mechanism of Pun Tin Qua's garden and its predecessor (Tangli Yuan) were traced in combination with the historical painting Tang Li Yuan Tu by Chen Wuzi in the late Qing Dynasty. This study attempted to complete a restoration of the plane of Pun Tin Qua's garden in its heyday and analyze its spatial layout and daily life based on the paintings of Xia Luan, pictures taken by Chinese and Western photographers, and associated historical materials in Chinese and foreign languages. It was found that Pun Tin Qua's garden presented a unique spatial production mode and construction process under the background of Chinese-Western style integration and the rapid development of merchant's gardens in Guangzhou in the 19th century. Its construction style was integrated with the agricultural landscape of Liwan in Canton during the Ming and Qing Dynasties. A unique spatial pattern which used fruit-based ponds as a foundation and a Penglai-style environment was reconstructed. On the one hand, Pun Tin Qua's garden inherited the profound influence of the reclamation of farmland in Lingnan since the Ming and Qing Dynasties, and continued the spatial pattern of water and land of Tangliyuan and the agricultural landscape characteristics of fruit-based ponds. On the other hand, Pun Tin Qua's early experiences of making friends and visiting famous gardens around China gave him inspiration for the garden. He had an explicit goal in spatial construction and paid close attention to individual aesthetics and emotional expressions, thus giving the garden extremely high spatial integrity and spiritual elements. Pun Tin Qua adopted a comprehensive spatial construction strategy for transforming an agricultural landscape of fruit-based ponds in Tangliyuan into a famous Lingnan garden: 1) Based on the garden model derived from the Penglai myth and traditional environmental ideas, Pun Tin Qua carried out spatial reconstruction of the fruit-based pond with the goal of creating a "sacred mountain on the sea", thus forming a spatial layout centered around Zhuyun Building, a main building in the garden. 2) Combining with the distribution characteristics of base-pond enclosure and parallel connections, he established several controlling garden buildings (including Zhuyun Building, Wenhai Building, and the Snow Pavilion) by observing the principle of the "immortal pavilion". Moreover, field domains that used base-ponds as units and had different functions were built. In this way, the point-to-surface global layout was controlled. 3) A veranda was built with composite cultural spaces. Moreover, Pun Tin Qua built a linear cultural space that had not previously appeared in Lingnan gardens through the embedding of stone carvings while forming a water path which traveled between connected parks. In a word, Pun Tin Qua's garden achieved a high degree of integration of the construction intention and agricultural production landscape of the fruit-based pond through a systematic space construction. On this basis, a new garden model was developed, which was different from the typical characteristics of merchant's gardens in the same period.

Key words: Lingnan garden, merchant's gardens, Pun Tin Qua's garden, Pun Tin Qua

摘要： 海山仙馆系晚清广州富商潘仕成所建私园。作为清末岭南园林发展盛期的典型代表，海山仙馆与奢华的行商花园保持着相当大的距离。以潘的交往游历为基础，考察园主的造园意志和日常生活，尝试廓清海山仙馆的源流变迁与空间布局，并对主要园林建筑进行空间溯源。海山仙馆的空间格局源于明清广州城西围垦造田形成的果基鱼塘，经由唐荔园的早期私园化，实现从农业生产景观到岭南名园的转变。潘借鉴蓬莱神话衍生的园林模式，顺应基塘围合并联的分布特征，将其与日常生活相结合，使海山仙馆具备了雅集、贮藏等诸多功能，并发展出相应的空间系统。

关键词: 岭南园林, 行商园林, 海山仙馆, 潘仕成