I’m visiting Suzhou’s gardens during the National Day holiday. My previous visit, as a student, was underwhelming – I knew little about them, and only the Lion Grove Garden’s rockery maze stuck with me. To avoid a repeat, I did some prep work. Now, they’re far more intriguing, and I’m excited to go.

Expecting crowds, I’m not aiming for great photos. If I get any, I might expand this into a travelogue. Otherwise, these notes will do.

My main source is the podcast “园林里的中国故事” (Chinese Gardens' Stories), a summary of key facts about several gardens. I’m unfamiliar with the host, but I’ve verified the information. The host’s deep historical and cultural knowledge, and clear connections, make it a worthwhile listen.

Globally, three garden systems stand out: Chinese classical, European geometric, and Japanese gardens.

Chinese classical gardens have three branches: imperial gardens, Jiangnan’s private gardens, and Lingnan gardens. Lingnan gardens, historically on the periphery, lacked the literati influence and wealth, developing a distinct, folk-influenced style.

China’s Four Great Gardens are the Summer Palace, Chengde Mountain Resort, Humble Administrator’s Garden, and Lingering Garden.

Canglang Pavilion, Lion Grove Garden, Humble Administrator’s Garden, and Lingering Garden represent the four major Suzhou gardens, showcasing Song, Yuan, Ming, and Qing dynasty styles, respectively.

Origins and History

Chinese gardens originated in the Qin and Han dynasties, alongside ancient Chinese architecture, but were initially imperial hunting grounds. Earlier rulers had similar areas, but not true gardens. These took the form of tai (platforms), you (pastures), and zhao (ponds).

Emperor Wu of Han expanded Shanglin Yuan into the largest garden ever. It served as a zoo, botanical garden, farm, mine, and military training ground.

The Wei, Jin, and Southern and Northern Dynasties marked China’s second ideological liberation, after the Spring and Autumn and Warring States periods. Previously, literati talents served solely political ends. The 300-year chaos of the Wei, Jin, and Southern and Northern Dynasties freed literati, making them an independent class.

Imperial gardens stagnated during this time. Meanwhile, literati, disillusioned by the turmoil, embraced reclusion, cultivating unique theories, spiritual worlds, and garden art.

Taoism rose concurrently, and Buddhism, introduced in the Han Dynasty, peaked. Temple gardens flourished, often in remote locations, opening up scenic areas for future generations.

Gardens peaked in the prosperous Tang Dynasty, displaying a bold, magnificent style. This era represented a zenith in Chinese military, economic, and cultural power. Gardens, poetry, and other cultural outputs reflected this confidence. The largest Tang imperial garden surpassed even the later Forbidden City in size.

The Tang Dynasty boasted advanced flower cultivation, and private gardens began to prioritize landscaping, unlike the simpler, often field-like gardens of the Wei, Jin, and Southern and Northern Dynasties.

During the Song and Yuan dynasties, gardens shifted from concrete to abstract, pursuing artistic conception. This mirrored a broader cultural trend. The Song Dynasty prioritized civil over military matters. Though militarily weaker, its economy and culture thrived. The recreational pursuits of later literati fully developed during the Song Dynasty.

Emperor Huizong of Song, a notable artist, pioneered the use of Taihu stones for garden rockeries.

The Southern Song Dynasty saw a rise in public gardens, allowing ordinary people to experience garden aesthetics.

The Yuan Dynasty’s key contribution was establishing Yuan Dadu, Beijing’s predecessor. The formation of Beijing’s core, the water supply from the Western Hills, and the Grand Canal project were all completed during the Yuan Dynasty, laying the groundwork for Ming and Qing imperial gardens.

The Ming and Qing dynasties shaped China’s enduring political and economic landscape. Beijing became the political center, while Jiangnan served as the economic and cultural hub.

While the north of the Ming Dynasty faced frequent wars, Jiangnan prospered. Garden development in Jiangnan remained largely unaffected by political instability.

In the late Ming and early Qing dynasties, Yangzhou, a Grand Canal hub, thrived on commerce, particularly the salt trade. Yangzhou’s gardens were then the most famous, though few survive. Because the owners were primarily merchants, these gardens lacked the prestige of literati gardens. Yangzhou declined with Qing salt reforms and the rise of maritime transport.

During the Qing Dynasty, Beijing’s imperial gardens flourished, reaching their peak.

Humble Administrator’s Garden (Zhuozheng Yuan)

Built between 1509 and 1530, during the mid-Ming Dynasty’s Zhengde era, the imperial court was declining while the common people enjoyed a period of economic and cultural prosperity. The strict frugality of Zhu Yuanzhang (the first Ming emperor) had faded, allowing for lavish gardens like this.

Wang Xianchen, the garden’s creator, retired from official service in his 40s. He transformed a dilapidated temple, old residences, and low-lying land into his private garden.

Zhuozheng Yuan is the largest private garden. It currently covers 78 mu (about 13 acres), though it was originally 100-200 mu. Most Suzhou gardens are under 20 mu.

The garden’s name comes from the Jin Dynasty’s “Idle Dwelling Fu,” suggesting that “clumsy” tasks like gardening are the true path. This reclusive philosophy influenced later private gardens.

Wang Xianchen is a controversial figure. His career declined in middle age, including a prison stint. While praised by literati like Tang Yin and Wen Zhengming, official records paint him as corrupt, suggesting his imprisonment stemmed from graft or factionalism, and that he used family influence to seize the temple.

Zhuozheng Yuan’s fame is largely due to Wen Zhengming’s writings and paintings, especially the “Thirty-One Scenes of Zhuozheng Yuan.” These records suggest the original garden was more like a vegetable garden, with the intricate landscapes appearing during the Qing Dynasty.

Wang Xianchen died in his 70s, and his son reportedly gambled away the garden in one night.

During the Qing Dynasty, Zhuozheng Yuan was famous and often housed Suzhou’s highest-ranking official. Some believe Cao Xueqin’s family (author of Dream of the Red Chamber) bought part of the garden, inspiring the Grand View Garden’s setting.

During the Xianfeng era, the Taiping Heavenly Kingdom occupied Suzhou, and the Loyal King, Li Xiucheng, made Zhuozheng Yuan his palace, even expanding it. After the rebellion, Li Hongzhang, shocked by its extravagance, protected and maintained it. It then returned to being an administrative site, preserving the garden’s layout.

Key areas:

• East Garden: The largest (almost half the area), with a rustic landscape and scattered buildings.
• Central Garden: The main, most exquisite scenic area. It centers on the Distant Fragrance Hall (Yuanxiang Tang), facing north to a “one pond, three mountains” layout. This design imitates the mythical mountains of Penglai, Yingzhou, and Fangzhang, a pattern originating in Qin Shi Huang’s gardens. The Little Flying Rainbow (Xiao Feihong), a covered bridge, is another highlight.
• West Garden: For entertainment – music, flowers, and mandarin ducks. A pavilion, “With Whom Shall I Sit?” (Yu Shui Tong Zuo Xuan), is named after Su Dongpo’s line: “With whom shall I sit? The bright moon, the cool breeze, and me.”

Zhuozheng Yuan, and similar gardens, greatly influenced later ones, making them famous for literary associations. Suzhou’s flourishing culture and abundant literati were key. To balance opportunities, the court restricted southern literati’s access to officialdom. Those excluded poured their energy into garden art, leading social trends.

Late Ming garden development also solidified construction methods. Imitating natural landscapes with endless variations, architectural design broke free from limited functional building types, elevating classical architecture.

Lingering Garden (Liu Yuan)

Built during the Ming Dynasty’s Wanli era, Liu Yuan is the newest of the major gardens.

At 35 mu, it’s second only to Zhuozheng Yuan, and much larger than others in Suzhou.

Three treasures:

• Cloud-Capped Peak (Guanyun Feng): A Taihu stone, said to be from Emperor Huizong of Song’s palace.
• Five-Peak Immortal Hall (Wufeng Xian Guan): Built with nanmu wood, it’s one of only two civilian nanmu halls. Its construction date and the reason for using restricted nanmu are unknown.
• Rain-Clear Sky Painting (Yu Guo Tian Qing Tu): A stone with natural marble patterns resembling a painting.

Liu Yuan’s spatial planning is exceptional; its artistic merit is arguably the highest among Suzhou gardens.

In the Ming Dynasty, it was called East Garden (Dong Yuan). The builder, Xu Taishi, a fourth-rank official like Wang Xianchen, was also an architect. He served as chief of construction in the Ministry of Works, overseeing repairs to Cining Palace and the imperial tombs.

East Garden wasn’t actually east of Suzhou’s old city. Xu Taishi’s residence was larger; the residential area was west, and the garden area to the east was named East Garden.

Unlike Zhuozheng Yuan, Liu Yuan’s location and layout are largely unchanged, preserving the original design.

After the Xu family declined, East Garden was briefly abandoned. During the Qing Dynasty, a new owner, surnamed Liu, renamed it Hanbi Villa (Hanbi Shanzhuang), adding many Taihu stones.

This new owner was a literatus and avid collector of unusual stones. Cloud-Capped Peak was then just outside the northeast corner. Unable to acquire the land, he built a structure to admire it from across the wall.

Hanbi Villa was one of the few Suzhou gardens to survive the Taiping Rebellion. Afterward, Sheng Xuanhuai’s father bought it. The Sheng family adopted the previous owner’s surname, Liu, changing it to a homophone (留, “linger”). They also incorporated Cloud-Capped Peak by expanding the northeast corner. This explains the mostly square Liu Yuan’s protruding northeast corner. The garden we see today largely reflects the Sheng family’s influence.

Sheng Xuanhuai was a key figure in the late Qing Dynasty’s Self-Strengthening Movement and a prominent industrialist. He founded Tianjin University and several Jiaotong Universities. As Li Hongzhang’s right-hand man, he proposed merchant ships to fund the navy and a telegraph industry, both adopted by Li. Sheng also took advantage of struggles between Li Hongzhang and Zuo Zongtang to crush Hu Xueyan’s business empire.

Sheng Xuanhuai’s industries were vast, including shipping, telecommunications, textiles, education, banking, mining, and public welfare institutions like libraries. He also founded the Red Cross Society of China.

Lion Grove Garden (Shizi Lin)

Built in 1341, during the late Yuan Dynasty, Shizi Lin began as a Zen temple garden, a place for a high monk’s lectures, built by his disciple.

The name “Shizi Lin” (Lion Grove) honors the monk’s lineage. He was a disciple of a monk from Lion Rock (Shizi Yan) on Tianmu Mountain. “Lion” also symbolizes a high monk in Buddhism.

It wasn’t a traditional temple, lacking typical Buddhist buildings. It remained primarily a garden, not emphasizing ritual.

Ming Dynasty painter Ni Zan visited, helped plan, and painted “Shizi Lin Tu,” giving it cultural prestige.

Yao Guangxiao, the monk Daoyan, Zhu Di’s advisor, was from Suzhou and reportedly Shizi Lin’s abbot. He advised Zhu Di to seize the capital and oversaw Beijing’s construction and the Yongle Encyclopedia’s compilation. Yao Guangxiao remained a monk, refusing official positions. He later wrote Dao Yu Lu, criticizing the popular Neo-Confucianism of Cheng and Zhu.

Until the Qing Dynasty, Shizi Lin was a semi-garden, semi-temple. Emperor Qianlong, who loved it, imitated it in the imperial gardens and inscribed the True Delight Pavilion (Zhenqu Ting), giving it royal favor.

During the Republic of China period, the Bei family bought and renovated Shizi Lin. I.M. Pei spent part of his childhood here.

I.M. Pei is a world-renowned architect. His masterpieces include the Louvre Pyramid, the Suzhou Museum, and the Museum of Islamic Art. He deeply understood cross-cultural architectural art. He famously said, “Let light do the design.”

Canglang Pavilion (Surging Wave Pavilion)

Canglang Pavilion is the oldest documented garden, built in the early Northern Song Dynasty. At that time, the Northern Song hadn’t unified the country, and Suzhou was under Wuyue Kingdom rule.

The builder was a Wuyue military governor, who used it as a private villa.

During the Northern Song Dynasty, the literatus Su Shunqin, facing career setbacks and demotion, came to Suzhou. He bought the garden for 40,000 coins, building Canglang Pavilion. With a literatus' endorsement, its fame soared.

During the Southern Song Dynasty, anti-Jin general Han Shizhong lived here, renaming it Han Garden.

From the Yuan Dynasty onward, Canglang Pavilion was abandoned. Monks built a temple, which lasted through the Ming Dynasty.

In Kangxi’s 23rd year, the Jiangsu governor built the Su Gong Shrine (Su Gong祠) on the site to commemorate Su Shunqin. Canglang Pavilion became a public building.

In Kangxi’s 34th year, another governor restored Canglang Pavilion nearby. The original was a waterside pavilion; the restoration was a mountain pavilion, built on a rockery. The garden’s focus shifted from lake to mountain.

Canglang Pavilion was mostly destroyed during the Taiping Rebellion. Today’s version is a large-scale Tongzhi era reconstruction, based on the mountain pavilion. The Ming Dynasty appearance is lost.

Canglang Pavilion’s influence lies in its name and spirit. Su Shunqin took “Canglang” from a short song: “When the waters of Canglang are clear, I can wash my hat tassels. When the waters of Canglang are muddy, I can wash my feet.” This reflects a scholar-official’s attitude: serve in enlightened times, cultivate oneself in dark ones.

Su Shunqin invited Ouyang Xiu to write an essay, and Ouyang Xiu wrote: “The clear breeze and bright moon are priceless, but sadly they only sold for 40,000 coins.” Song Dynasty officials were well-paid; 40,000 coins were about two months' salary for a county magistrate. Ouyang Xiu’s words further elevated the garden’s fame.

Master of the Nets Garden (Wangshi Yuan)

Wangshi Yuan was built during the Southern Song Dynasty. The literatus Shi Zhengzhi built a residence, Wanjuan Tang (Ten Thousand Volumes Hall). A small garden with water, Yuyin (Fisherman’s Retreat), was Wangshi Yuan’s predecessor.

During the Qianlong era, retired official Song Zongyuan bought Wanjuan Tang and, inspired by Yuyin, renamed it Wangshi Yuan. Wangshi means “fisherman” in ancient Chinese.

Wangshi Yuan changed hands several times and was extensively renovated during the Guangxu era, resulting in its current form.

During the Republic of China period, Zhang Zuolin gave the garden as a birthday gift to his teacher.

During the War of Resistance Against Japan, Zhang Daqian and his brother, Zhang Shanzi, lived in Wangshi Yuan for four years. Zhang Shanzi, famous for painting tigers, actually kept tigers in the garden. He painted a “Flying Tiger” for Claire Chennault, the American pilot, and Chennault’s squadron became the Flying Tigers (though the exact timeline is unclear).

Wangshi Yuan’s most famous scene is Dianchunyi (Hall of Late Spring), a small, independent courtyard and study in the northwest corner, with a distinct Ming style. “Dian” means “behind,” Dianchun means late spring (peony season), and “yi” means small house. The name means “a small study in the peony season.”

In 1978, during the establishment of US-China diplomatic relations, a delegation of American museums visited. A Chinese-American consultant from the Metropolitan Museum of Art, having collected Ming-style furniture, asked Chinese garden master Chen Congzhou how to display it. Chen recommended replicating Dianchunyi. Due to diplomatic factors, the cooperation proceeded smoothly. This marked the first appearance of a Chinese garden in a foreign museum, taking garden culture global.

Even now, the Metropolitan Museum of Art is the only place to see a complete Ming-style garden. Because of the brief Tongguang Restoration during the late Qing Dynasty, most gardens were renovated in the more elaborate Qing style. Ming-style gardens have a rustic, scholarly atmosphere.

Summary

Key features:

• Zhuozheng Yuan: Largest, most luxurious, Taiping Heavenly Kingdom’s Loyal King’s palace.
• Liu Yuan: Newest, best preserved, highest artistic achievement, Sheng Xuanhuai.
• Shizi Lin: Rockeries, Qianlong’s inscription, Yao Guangxiao and I.M. Pei.
• Canglang Pavilion: Oldest, literati spirit, Su Shunqin and Ouyang Xiu.
• Wangshi Yuan: Zhang Shanzi painted tigers, Dianchunyi went global.