<p class="ql-block">原创: 倪捷儿 摄影：千喜</p> <p class="ql-block">Original content by Ni Jie’er. Photography by Qianxi.</p> <p class="ql-block">【美篇导语】：三百年时光那头，李渔在芥子园垒石栽梅，将半生闲情写进《闲情偶寄》；三百年时光这头，我们穿过高楼霓虹，推开那扇虚掩的月洞门——忽见秋光仍停在粉墙斑驳处，戏衣的柳色还沾着昨夜的露水。这不是一次简单的怀旧，而是一场与美学的郑重相逢。让我们暂忘秒针的催促，循着石径上淡去的青苔痕，走进这座“芥子纳须弥”的东方梦境，看古人如何把日子过成诗，又如何在这方寸园林中，安放我们至今仍在寻觅的，那份从容与丰盈。</p> <p class="ql-block">[Meipian Introduction]: At the end of three hundred years, Li Yu built stone structures and planted plum trees in Jiziyuan, weaving half a lifetime of leisure into “Reflections of Leisure”; at the beginning of three hundred more years, we pass through towering skyscrapers and neon lights, push open the half-open moon gate – and suddenly see that autumn still lingers at the spot where the pink walls are weathered. The willow garments still bear the dew from the previous night. This is not just a simple nostalgia; it’s a solemn encounter with aesthetics. Let us momentarily forget the urgency of the second hand’s ticking and follow the fading traces of moss on the stone path, entering this Eastern dream where “a mustard seed can contain a miniature universe.” See how the ancients lived their days like poetry and how they found tranquility and abundance within this small garden, which we are still seeking today.</p> <p class="ql-block">李渔，明末清初文坛奇士，集戏剧家、美学家、出版家于一身，堪称中国史上难得的“通才妙人”。其美学思想以“人本、自然、尚俭”为核心，将高深义理化为可触可感的“闲情美学”，精髓尽在“宜简不宜繁，宜藏不宜露”。戏曲上，《笠翁十种曲》文采斐然；小说中，《无声戏》《十二楼》等短篇集精巧机趣；生活美学领域，《闲情偶寄》堪称“17世纪生活艺术全书”，尽显生活智慧与审美旨趣。</p> <p class="ql-block">Li Yu, a remarkable figure in the literary world during the late Ming Dynasty and early Qing Dynasty, was a master of drama, aesthetics, and publishing. He can be described as a rare “all-around genius” in Chinese history. His aesthetic philosophy revolves around the core principles of “humanism, nature, and simplicity,” transforming profound philosophical concepts into tangible and relatable “idyllic aesthetics.” The essence of his ideas can be summarized as “simplicity is preferable to complexity, concealment is preferable to exposure.” In terms of drama, Li Yu’s “Ten Operas of Laogong” is renowned for its literary brilliance. In novels, collections like “Silent Play” and “The Twelve Floors” are characterized by their intricate and amusing content. In the realm of life aesthetics, “Idle Moments and Leisure Pursuits” is hailed as a comprehensive guide to the art of living in the 17th century, showcasing both practical wisdom and aesthetic sensibilities.</p> <p class="ql-block">芥子园是李渔美学思想的集大成者与实践典范。南京芥子园建造于1677年，因其 “地止一丘，故名芥子” ，状其小巧，设计精髓：在极有限的空间内（“不及三亩”），通过 “尺幅窗”、“无心画” 等巧思，实现 “芥子纳须弥” 的意境。一花一木、一窗一景都经过精心设计，将“借景”、“藏露”、“简雅”等理念发挥到极致。它不仅是居住之所，更是其会友、演剧、出版的文化沙龙。</p> <p class="ql-block">Ji Zi Yuan is the epitome of Li Yu’s aesthetic philosophy and a prime example of its practical application. Built in 1677 in Nanjing, Ji Zi Yuan is named after the phrase “Ji Zi represents a single mound of earth,” symbolizing its diminutive size. Its design essence lies in achieving the concept of “Ji Zi containing Mount Sumeru” within extremely limited space (“less than three mu”). Thoughtful elements such as “scaled windows” and “careless paintings” are employed to achieve this effect. Each flower, tree, window, and scene have been meticulously designed, fully embodying concepts like “borrowing scenery,” “concealment and revelation,” and “simplicity and elegance.” It serves not only as a place of residence but also as a cultural salon where one can socialize, perform plays, and publish works.</p> <p class="ql-block">李渔去世后，其女婿沈心友主持，借“芥子园”之名编纂出版的《芥子园画传》，这套画谱系统整理了中国画的技法与图式，成为此后三百多年中国画启蒙的“标准教材”，影响远超园林本身。“芥子园”由此升华为一个中国艺术教育与文人美学的标志性符号。“芥子园”因此超越了物理空间，成为李渔生活美学精神的代名词——一种在有限中创造无限、在世俗中经营诗意、将生活全面艺术化的理想境界。</p> <p class="ql-block">After Li Yu’s death, his son-in-law, Shen Xinyou, took charge of compiling and publishing the “Jiziyuan Painting Manual” under the name of “Jiziyuan Garden.” This collection systematically organized the techniques and patterns of Chinese painting, becoming the “standard textbook” for the education of Chinese painting for the next three hundred years. Its influence extended far beyond the garden itself. “Jiziyuan” thus evolved into a symbol of Chinese art education and literary aesthetics. It transcended physical space and became synonymous with Li Yu’s philosophy of life aesthetics – a vision of creating infinite possibilities within limitations, cultivating poetry in the mundane, and fully artisticizing life.</p> <p class="ql-block">时光流逝，园林寻梦。她一身柳色戏衣立于桥阶，折扇半收，恰好接住一斜秋阳——眉目间戏妆犹在，还蓄着方才戏里的温软。李渔说“衣以章身，不贵丽而贵雅”，这柳色衬着秋光，便是“雅”字最恰好的注解。我们早已惯于屏幕间流转的快，此刻望着她，却忽然贪恋起这一晌戏外的慢。原来时光是可以这样揉进衣袂、染上秋阳的，心也跟着轻了，轻得似折扇上那一缕拂过的，轻巧又温柔的秋风。</p> <p class="ql-block">Time passes, and one dreams of the gardens. She stands in a willow-colored costume on the bridge’s steps, her fan half-closed, perfectly catching a slanted autumn sun. The makeup on her face still lingers, retaining the warmth and softness from her previous performance. Li Yu once said, “Clothing should enhance one’s appearance, not by being flashy but by being elegant.” This willow-colored attire, set against the autumn light, perfectly embodies the essence of “elegance.” We have grown accustomed to the swift movements on screens, but now, gazing at her, we suddenly yearn for the leisurely pace of life beyond the performance. It turns out that time can be woven into one’s attire and dyed with the hues of autumn sunlight. The heart becomes lighter, light as the gentle breeze that brushes past the fan, light and tender.</p> <p class="ql-block">指尖触到柳丝的刹那，水袖随风舒展，软软地漾开，如一瓣云轻轻化在风里。她抬眼时，秋光漫过鬓边珠翠，竟把那一抹凉沁沁的柳色，也焐出了戏文般的温软。李渔曾写：“柳贵垂，不垂则可无柳。”这垂丝依依，便是最天然的趣致。我们惯于在楼宇间衡量分秒，此刻见她指尖那轻轻一碰，忽然醒觉——原来“自在”从不需筹划，是心随着柳枝，随风，微微地晃了一晃。</p> <p class="ql-block">The moment her fingertip touched the willow silk, the water sleeves unfurled with the wind, gently spreading out like a delicate cloud drifting in the breeze. As she raised her eyes, the autumn light cascaded over the pearls and jewels on her hairline, transforming that faint shade of willow green into something warm and soft, akin to a theatrical performance. Li Yu once wrote, “Willows are beautiful when they droop; if they don’t, they cease to be willow trees.” This gentle swaying of the willow branches is the most natural of charms. We are accustomed to measuring time and moments within the confines of buildings. But upon witnessing her fingertip’s light touch, we suddenly realized – that “freedom” does not require planning. It is as if her heart follows the willow branches, drifting with the wind, gently swaying.</p> <p class="ql-block">她拢袖立在桥心，身后的苔痕与秋树便都静成了背景——戏毕的松泛融着秋意，连衣摆绣纹里的花，也似刚从戏中探身，沾了满衣的园光。李渔说“取景在借”，这桥、这树，原是借了她眸中的余韵，才成了此刻画里的诗。我们总携一身琐碎行色，却忽被这画面温柔裹住——原来戏里的梦与戏外的秋，真能把人心深处那点仓皇或者说是一点“慌”，轻轻熨作一片妥帖的宁静。</p> <p class="ql-block">She stood with her sleeves gathered, standing at the center of the bridge. The moss stains and autumn trees behind her had become mere backdrops – the pine trees, after the play had ended, exuded a sense of autumn. Even the flowers embroidered on her dress seemed to have just emerged from the play, their petals dusted with the light of the garden. Li Yu said, “The beauty of a scene is derived from its surroundings.” This bridge and these trees were originally shaped by the lingering impressions in her eyes, making them a poetic depiction in this moment. We often carry with us the burdens of everyday life, but suddenly find ourselves enveloped in the gentle warmth of this scene. It turns out that the dreams within the play and the autumn outside the play can indeed gently smooth away the sense of panic or “fear” that resides deep within our hearts, transforming it into a serene tranquility.</p> <p class="ql-block">戏台檐角挑着秋阳，“粉墨長生”的匾额浸在光里——她拢袖立在台心时，恰好应了李渔“戏台宜精不宜阔”的讲究，窄窄一方天地，偏盛得下《游园》里的姹紫嫣红。此刻她未开腔，眼尾那点戏妆的柔，正像戏词里“没揣菱花，偷人半面”的怯，连指尖都攥着“步香闺怎便把全身现”的羞。裹着现代人藏在奔波里的、对“慢下来”的贪念。</p> <p class="ql-block">The eaves of the stage are adorned with the rays of autumn sunlight. The plaque bearing the inscription “Painted Life Eternal” is bathed in light. As she stood with her sleeves gathered at the center of the stage, it perfectly aligned with Li Yu’s principle that “the stage should be refined rather than spacious.” In this narrow space, the vibrant colors of “Visiting the Garden” could flourish. At this moment, she had not yet spoken, but the gentle hint of theatrical makeup on the corner of her eyes mirrored the timidity expressed in the lines, “Unable to gaze into the mirror, I steal a glimpse of another’s face.” Even her fingertips felt the shame of “revealing one’s entire self in the fragrant boudoir.” It was a manifestation of the modern desire to slow down, hidden within the hustle and bustle of daily life.</p> <p class="ql-block">水袖一舒，便把李渔“衣袂务使相宜”的分寸揉进了风里——她抬臂的弧度软得像戏词里“云髻罢梳还对镜”的懒，眉梢那点笑，是《惊梦》里“恰三春好处无人见”的娇。水袖落时，恰应了“翠生生出落的裙衫儿茜”的艳，连戏台的雕纹都像沾了戏里的温。我们看惯了倍速播放的视频，此刻望着这展袖的慢，忽然懂了：原来美从不是抢来的，是像这水袖一样，把时光抻成恰好的弧度。</p> <p class="ql-block">With a gentle movement of her sleeves, she infused Li Yu’s principle of “ensuring that the garments and sleeves complement each other” into the wind. The curvature of her raised arm was as soft as the languidness described in the lines “After parting my cloud-like hair, I return to the mirror.” The faint smile on her eyebrows was the delicate charm of “The Dream Awakened” where “the best of spring is unseen by anyone.” As her sleeves fell, it perfectly matched the beauty described as “the vibrant and colorful skirts and dresses.” Even the intricate carvings on the stage seemed to be imbued with the warmth of the performance. Having grown accustomed to videos played at accelerated speeds, we suddenly understood: beauty is not something that can be stolen; it is like these flowing sleeves, stretching time into the perfect curve.</p> <p class="ql-block">白袖旋成云的刹那，她眼尾的胭脂漫成了“原来姹紫嫣红开遍”的软——李渔说“歌舞之妙，全在容情”，这水袖的起落里，偏裹着“似这般都付与断井颓垣”的怅，又掺着现代人藏了太久的“敢自在”。我们总在算“效率”和“ 结果”，此刻见她旋袖的疯，忽然松了：原来心里的“野”，能借着戏里的“良辰美景”，在这戏台上周旋成诗。</p> <p class="ql-block">As her white sleeves swirled into a cloud, the rouge on the corner of her eyes transformed into a soft depiction of “the vibrant colors of the world have spread everywhere.” Li Yu once said, “The beauty of music and dance lies entirely in the expression of emotions.” Within the rise and fall of these water sleeves, there lay a sense of longing akin to “all of this has been left to decay and ruin.” Additionally, it blended with the “courage to be free” that modern individuals have kept hidden for too long. We often focus on “efficiency” and “outcomes,” but now, witnessing her frenzied act of swirling her sleeves, it suddenly dawned on us: the “wildness” within her heart can be channeled through the “beautiful moments” in a play, transforming it into poetry on this stage.</p> <p class="ql-block">水袖垂落时，她眸子里还留着戏里的软——像《惊梦》尾声“牡丹亭上三生路”的怅，又恰好应了李渔“收场要留余韵”的妙。她指尖轻颤，像还攥着点怯，眉梢却漾着“没揣菱花，偷人半面”的甜。我们揣着生活的琐碎来听戏，此刻被这凝眸撞着：原来戏里的梦从不是假的，是借这戏台，把现代人心里的空，轻轻填成了妥贴的暖。</p> <p class="ql-block">As her water sleeves drooped, her eyes still retained the softness of the play – akin to the melancholic ending of “The Peony Pavilion: The Path of Three Lives” in “Amazing Dream”. This perfectly aligns with Li Yu’s wisdom that “the conclusion should leave a lingering impression”. Her fingertips trembled slightly, as if still clutching some timidity, yet her eyebrows exuded the sweetness of “not gazing into the lotus mirror, but stealing a glimpse of someone’s face”. We listen to the play with the trivialities of life weighing heavily on us. Now, our gaze is struck by this moment: it turns out that the dreams within the play are never false; rather, they use this stage to gently fill the emptiness within modern hearts with a comforting warmth.</p> <p class="ql-block">苔痕漫过石桥的纹路时，秋意已悄悄在石缝里结了霜——这是芥子园戏散后的余韵，连栏杆上的雕纹，都浸着刚落罢的戏腔软意。李渔说“园亭之妙，在虚中有实”，此刻这空石桥恰是“实”里的留白，风一吹，便漾开满院的清寂。我们这些裹在现代烟火里的人，站在这旧石前忽然懂了：原来“闲”不是空，是戏散后，能接住这天地间的静。</p> <p class="ql-block">As the moss-like stains spread over the patterns on the stone bridge, autumn had already subtly frozen within the crevices of the stone – this is the lingering aftertaste of the performance at Jiziyuan. Even the carvings on the railings are imbued with the lingering softness of the recently concluded play. Li Yu remarked, “The beauty of gardens and pavilions lies in the interplay of emptiness and reality.” At this moment, the empty stone bridge serves as a blank space within the “reality,” and when the wind blows, it spreads throughout the courtyard, filling it with tranquility. As individuals wrapped in the hustle and bustle of modern life, we stood before this ancient stone and suddenly understood: “Idleness” is not mere emptiness but the ability to embrace the stillness of the world after the performance has ended.</p> <p class="ql-block">秋日芥子园，恰是李渔“宜简不宜繁，宜藏不宜露”的注脚。疏影斜落，叶息轻悄，时光静默。青衫素帕，衣纹褪尽繁饰，只留形影相语。廊间天光漏下，轻抚衣衫上的绣纹，如秋风在素笺留痕。纹由此隐，融入光、石、苔色之中，藏非消失，是与万物共呼吸；简非空无，是在留白处听见回音。芥子纳须弥，于此方寸间，李渔的哲思成了可步入、可欣赏的景。每一处收敛，皆拓出一片精神的山水。</p> <p class="ql-block">The Autumn Garden of Mustard Seed is the perfect illustration of Li Yu’s philosophy: “It is better to be simple rather than ornate, to be concealed rather than exposed.” The sparse shadows fall gracefully, the leaves rustle softly, and time stands still. In this setting, the green robe and plain scarf reveal the fading of intricate patterns, leaving only silhouettes to converse. The light from above trickles through the corridors, gently caressing the embroidery on the garments, akin to the autumn wind leaving traces on a plain scroll. The patterns fade into the background, blending with light, stone, and moss color, concealing rather than disappearing; they share a breath with all things. Simplicity is not emptiness but rather the presence of echoes in the empty spaces. The Mustard Seed Garden encapsulates Li Yu’s philosophical insights, making them accessible and beautiful to behold. Every restraint reveals a realm of spiritual landscapes.</p> <p class="ql-block">倚栏的身影，是将“借景”的妙谛化入呼吸的静默。不必招揽满园秋色入画，只教檐角垂落的一隙阴影、天边淡入的一痕草木，轻轻染上衣襟袖口，作了这身戏服最天然的衬色。人便这样立着，不争一草一木的生意，不夺一光一影的韵律，仿佛是从粉墙的斑驳里、从砖缝的青苔间、从岁月的淡墨中，自然而然生长出来的——一点淡影，半幅清韵。小景之中见得天地，方寸之间，已蓄满无声的深远。</p> <p class="ql-block">The figure leaning against the railing has transformed the profound essence of “borrowing scenery” into the silent tranquility of one’s breath. There is no need to capture the entire autumn landscape within the painting; merely the faint shadow cast by the eaves and the faint outline of vegetation in the sky, gently coloring the garments’ sleeves and collars. This serves as the most natural backdrop for the attire. The person stands thus, not vying for the beauty of a single blade of grass or a single tree, nor seeking to dominate the rhythm of light and shadow. It seems as if they have naturally grown from the intricate patterns on the pink walls, the moss between the bricks, and the subtle strokes of time – a faint shadow, a half-transparent grace. Within this small scene, one can see the vastness of the world; within this small space, there is already a profound silence.</p> <p class="ql-block">拢袖的弧度间，藏着“态为先，色次之”的通透。浅妆由青衫托住，钗环简净，却不及手腕一转、指尖一舒间的婉转。姿态自有语言——那举止深处的活趣与生动，胜过所有华饰。这恰似芥子园的布局：以小见大，于秋日静谧中，戏韵与园景天然交融。每一处停顿、敛袖，都成了画中留白的笔法，说不尽、道不完的，全是东方美学的含蓄情致。</p> <p class="ql-block">The curvature of the sleeves conceals the principle of “attitude first, appearance second.” The light makeup is supported by a green robe, with simple hairpins and jewelry. However, it pales in comparison to the gracefulness conveyed through a mere twist of the wrist or a gentle movement of the fingertips. Posture itself speaks a language – the liveliness and vitality hidden within one’s movements surpass all external embellishments. This is akin to the layout of Jiziyuan: To see the big picture from small details, in the tranquility of autumn, the playfulness and harmony of the garden seamlessly blend together. Every pause and movement of the sleeves becomes a brushstroke of white space in the painting, embodying the subtle charm of Eastern aesthetics that cannot be fully expressed.</p> <p class="ql-block">现代人沉浸于昆曲《游园惊梦》，从唱腔的流转、词句的凝练到身段的舒卷，皆可收获超越观赏的心灵滋养——心因此定，神由此静，情得以柔，而生命内在的力量，亦悄然生长。那水袖一拂、眼波一送的韵律，仿佛将人引向一个呼吸放缓、时光舒展的境地。这不仅是艺术的欣赏，更是一场久违的身心回归：在程式之美中寻得专注，在含蓄之美中学会沉淀，最终，在至柔的韵律里，遇见至韧的自己。</p> <p class="ql-block">Modern people are captivated by the Kunqu opera “Dreaming in the Garden.” From the fluidity of the singing style, the concision of the lyrics, to the graceful movements of the body, one can gain profound spiritual nourishment that transcends mere viewing—the heart becomes calm, the spirit peaceful, emotions gentle, and the inner strength of life quietly grows. The rhythm of the water sleeves being waved and the eyes sending out waves seems to lead one into a state where breathing slows down and time unfurls. This is not merely an appreciation of art; it is a long-awaited return of the mind and body: finding focus within the beauty of form, learning to settle within the beauty of restraint, and ultimately, encountering one’s resilient self within the gentle rhythms.</p> <p class="ql-block">李渔与现代人，芥子园和现代空间，游园惊梦与现代音乐等有何关联和借鉴，正触及了古典美学穿越时空的核心价值。李渔的哲学、芥子园的实践，与《游园惊梦》的意象，为苦闷、焦虑的现代人，提供了一套珍贵的心灵解药与生活启示：既有空间美学，于“芥子”中见“须弥”，又有时间哲学，于“惊梦”中觅“出神”。既有自主姿态，以“藏”与“简”修心，又有生活艺术化，将“寻美”落实为日常。</p> <p class="ql-block">What are the connections and lessons between Li Yu and modern individuals, Ji Zi Yuan and modern spaces, Yuanyuan Jing Meng and modern music, and how do they touch upon the core values of classical aesthetics transcending time and space? Li Yu’s philosophy, the practices of Ji Zi Yuan, and the imagery of “Yuanyuan Jing Meng” offer a precious set of remedies for the troubled and anxious modern individual, providing insights into the mind and life: it encompasses spatial aesthetics, where “Ji Zi” reveals “Su Mi,” as well as temporal philosophy, where “Yuanyuan Jing Meng” seeks “out of the ordinary.” It includes a sense of autonomy, cultivating the mind through “concealment” and “simplicity,” as well as the artisticization of life, translating the pursuit of beauty into everyday practice.</p> <p class="ql-block">空间美学：于“芥子”中见“须弥。“芥子虽小，能纳须弥。”芥子园是物理空间的微型化与意境空间的无限化。它启示我们，美与境界不取决于面积与奢华，而在于设计与用心。我们不一定拥有园林，却可营造 “精神上的芥子园”，一个阳台的绿意、一面墙的书架、一盏灯的光晕，只要经过巧妙构思与情感投入，便能成为安顿身心的“须弥山”。将窗外光影、四季变迁引入生活，拓展心灵的疆域。</p> <p class="ql-block">Spatial Aesthetics: Discovering the “Mount Sumeru” within the “Lesser Sphere”. Although the Lesser Sphere is small, it can contain the Mount Sumeru. The Lesser Sphere Garden represents the miniaturization of physical space and the infinitization of imaginative space. It teaches us that beauty and realm are not determined by size and opulence, but by design and attention to detail. We may not necessarily own a garden, but we can create a “Lesser Sphere Garden of the Spirit” – a balcony filled with greenery, a bookshelf on a wall, the glow of a lamp. With careful planning and emotional investment, these elements can become “Mount Sumeru”s for calming the mind. Bring the light and shadows outside, as well as the changes of seasons, into your life to expand the boundaries of your soul.</p> <p class="ql-block">时间哲学：于“惊梦”中觅“出神”。《游园惊梦》中的这场梦，它代表一种高度专注、物我两忘的心流状态。我们被碎片化的“屏幕时间”和功利的“效率时间”填满，唯独稀缺“审美时间”。游园赏秋的本质，是主动创造一次惊梦，将全然的身心交付于一片秋色、一段曲韵、一次安静的漫步。这片刻的出神，不是逃避，而是精神的吸氧与重整，用以对抗现代性带来的持续焦虑与意义感缺失。</p> <p class="ql-block">Time Philosophy: Seeking “Transcendence” in “Amazing Dreams”. This dream in “Amazing Dream in the Garden” represents a state of highly focused, self-forgetful mental flow. We are filled with fragmented “screen time” and utilitarian “efficiency time,” yet we lack the precious “aesthetic time.” The essence of enjoying autumn in the garden is to proactively create an amazing dream, surrendering one’s entire being to the beauty of autumn, the melody of a song, and a peaceful stroll. This brief moment of transcendence is not about escape but about oxygenating and reorganizing the spirit in order to counteract the persistent anxiety and sense of meaninglessness brought about by modernity.</p> <p class="ql-block">自主姿态：以“藏”与“简”修心。“宜藏不宜露”是谦逊的智慧，“宜简不宜繁”是选择的艺术。“态为先，色次之”，则强调内在气质远重于外在装饰。在一个鼓励展示、崇尚繁复、信息过载的时代，这套哲学是教我们在表达上追求含蓄的深度，而非喧嚣的曝光； 在消费上崇尚简约的质感，而非符号的堆砌；在处世中修养从容安定的“态”，取代匆忙浮躁的“秀”。帮助我们找到更真实、自足的生活节奏。</p> <p class="ql-block">Autonomous stance: cultivate one’s mind through “concealment” and “simplicity”. “It is better to conceal than to reveal” embodies the wisdom of humility, while “it is better to simplify than to overcomplicate” represents the art of selection. “Appearance comes first, color follows.” This emphasizes that an individual’s inner character is far more important than external adornments. In an era that encourages display, venerates complexity, and is plagued by information overload, this philosophy teaches us to strive for the profound restraint of expression rather than the cacophony of exposure; to cherish the simplicity of quality in consumption rather than the clutter of symbols; and to cultivate a composed and serene “demeanor” in dealings with others, replacing hurried and restless “showmanship.” It helps us find a more authentic and self-sufficient rhythm of life.</p> <p class="ql-block">生活艺术化：将“寻美”落实为日常。李渔将美学从理论延伸到造园、服饰、仪态、娱乐，让美渗透于衣食住行的每一个细节。我们常将“美”供奉于殿堂，或将“休闲”等同于消费。寻美可以是精心搭配一件衣裳的雅趣，可以是午后品一盏茶时的专注，也可以是上班路上对一树光影的会心一瞥。当我们有意识地将这些瞬间仪式化、审美化，便是在日常中，时刻体验“游园惊梦”般的诗意光彩。</p> <p class="ql-block">Artistic Living: Translate “seeking beauty” into daily practice. Li Yu extended aesthetics from theory to gardening, clothing, demeanor, and entertainment, allowing beauty to permeate every detail of daily life, from food and shelter to living arrangements. We often venerate “beauty” in sacred halls or equate “leisure” with consumption. Seeking beauty can be the delightful pleasure of carefully selecting an outfit, the focus during a leisurely afternoon sipping tea, or the momentary appreciation of a tree’s light and shadow on the way to work. By consciously ritualizing and aestheticizing these moments, we can experience the poetic splendor akin to “surprising dreams in a park” in our daily lives.</p> <p class="ql-block">古典的美学旨趣与园林戏曲，并非尘封的标本，而是映照现代困境的明镜与可深挖的矿藏。我们要把生活视为一座可以精心营构、悠然游赏的“园林”，每个人都是自己生活“园林”中的“李渔”，需要以“借景”的智慧利用环境，以“藏简”的哲学管理心绪，以“惊梦”的专注滋养灵魂。把被现代生活压得扁平的时空，重新活成立体、有韵味的场景，这或许是我们这个时代，最为稀缺又最为重要的一种“自救”。</p><p class="ql-block"> </p> <p class="ql-block">The classical aesthetic principles and the art of garden theater are not relics of the past but rather mirrors reflecting the modern predicament and valuable resources waiting to be explored. We should view life as a meticulously crafted and leisurely to be enjoyed “garden,” where each individual is like Li Yu from their own “garden,” needing to utilize the environment with the wisdom of “borrowing scenery,” manage one’s emotions with the philosophy of “concealing simplicity,” and nourish one’s soul with the focus of “startling dreams.” By bringing the flat, monotonous spaces and times of modern life back to life as three-dimensional, evocative scenes, this may be one of the most scarce and essential forms of “self-help” in our time.</p> <p class="ql-block">编辑：倪捷儿 文字：倪捷儿 出镜人：倪捷儿 摄影：千喜 视频：千喜 化妆：金金 参考资料：闲情偶寄等书籍 审读：鄢祖锋 拍摄时间：2025年深秋 拍摄地点：兰溪芥子园</p> <p class="ql-block">Editor: Ni Jie’er Writer: Ni Jie’er Presenter: Ni Jie’er Photographer: Qianxi Video Producer: Qianxi Makeup Artist: Jin Jin References: “Leisure Moments” and other books Reviewer: Yan Zu-feng Filming Date: Late Autumn 2025 Filming Location: Lanxi Jiziyuan</p>