摘要：Shaping a Zen garden is about creating a dynamic harmony and thoughtful arrangement of the coexistence of pairs of symbolic elements which replicate the pattern of the world. As for the formal approaches and attitude to the balance between full and empty space,there are no great differences between shaping a garden and composing a picture painted with diluted India ink. Mountains,rivers,trees and empty space - in both cases they exist as symbolic entities. The article asserts that it is quite possible that there are also in architecture,at least in the shaping of interior space ('the void' making residence possible),elements which should remind the user of the possibility of unification with all that is. This applies to the introduction of a pronounced contrast in the form of a slim, naturally shaped column - which means the achievement of a powerful fine art effect - but also a symbolic overcoming of differences in the perception of the world. The accentuated organic stick-shape beneath an angular bed,in relation to a created form,points to perfection in the imperfection of nature. A calligraphic brush stroke,in writing a character,possesses the same energy as a stroke in painting,and therefore it is logical that the text accompanying the painting combines the two elements into a uniform,meaningful whole. Because the master's strokes are full of life, the work of art looks real. It is for this reason that this art has such power and symbolic significance in the Far East. The text,after all,indirectly indicates that contradictions are (also) in architecture,as an aggregate of pairs of opposite but interdependent entities,an integral part.
其他摘要：V oblikovanju zenovskega vrta gre za ustvarjanje dinamične harmonije in za premišljeno uravnano sožitje dvojic simbolnih elementov,ki ponavljajo vzorec sveta. Glede oblikovalskih prijemov, odnosa do ravnovesja med polnim in praznim prostorom,ni velikih ra
关键词：the art of shaping space;Taoism;interdependent pairs;void;fine art; natural flow;traditional painting
