Yanshanyuan ji 弇山園記

Yanshanyuan ji 弇山園記 is a book on Yanshan Garden in Taicang 太倉, Jiangsu. It was written during the late Ming period 明 (1368-1644) by Wang Shizhen 王世貞 (1526-1590), who created the compilation Yanzhou Shanren xu sibu gao 弇州山人續四部稿.

Wang Shizhen authored several essays titled "Record of gardens". Among the more renowned ones, aside from the current text, are Anshi xilin ji 安氏西林記 and You Jinling zhuyuan ji 游金陵諸園記. He also assembled a collection of poems and essays on garden art from past dynasties, named Gujin mingyuan shubian 古今名園墅編.

In his later years, his thoughts turned towards Buddhism and Daoism, and he grew fond of Daoist teachings. He even studied the Dao, taking Lady Tan Yangzi 曇陽子 (her Daoist name) as his teacher, the daughter of Counsellor-in-chief Wang Xijue 王錫爵 (1534-1611). In the city of Taicang, he built a garden for his personal cultivation, naming it Yanshan Garden (Yanshan Yuan 弇山園) or Yanzhou Garden (Yanzhou Yuan 弇州園).

The reference to Yan Mountain originates from the Shanhaijing 山海經, where it is described as the dwelling place of ancient immortals. This aligns with Wang's self-styled title "Hermit of Yanzhou" (Yanzhou Shanren 弇州山人), reflecting his refined appreciation for divine and mystical traditions. From both the artistic conception of the Yanshan Garden and the ideas expressed in its "Record", it is clear that Wang Shizhen's thought incorporated elements of Confucianism, Daoism, and Buddhism.

The basic content of the 8-juan-long Yanshanyuan ji is divided into eight parts. Part One offers a general overview of the garden's terrain and landforms, the geographical environment, geomantic qualities, and its relationship with the surrounding scenery. It outlines "What my garden possesses" (Wu yuan zhi you 吾園之有). Then follows "The general outline of my garden" (Wu yuan zhi gai 吾園之概) and "The uses of my garden" (Wu yuan zhi yong 吾園之用). Finally, the author records "The joys of my life in the garden" (Wu ju yuan zhi le 吾居園之樂), "The hardships I suffer in the garden" (Wu zai yuan zhi ku 吾在園之苦), and offers an explanation of the origin of the name Yanshan. Against this backdrop, the author reflects that the mountains, rivers, and great earth were all illusions; he merely used words of illusion to record his own illusion. This thought embodies the meditative spirit of both Daoist and Chan (Zen) philosophies.

Taken as a whole, the defining feature of this work is its remarkably detailed descriptions. Its length is therefore unusual among many celebrated garden records throughout Chinese history. The essay not only emphasises accurate documentation but also reveals the author's aesthetic vision and emotional response to the garden scenery within that factual record. This gives the piece the quality of a classic in garden aesthetics. Simultaneously, the Yanshan Garden it describes embodies a cultural synthesis of Confucianism, Daoism, and Buddhism. For this reason, the Yanshanyuan ji serves as a valuable source for studying the rich and complex cultural meanings of traditional Chinese gardens.

The text is included in the series Zhongguo lidai mingyuan ji xuanzhu 中國歷代名園記選注 (1983).