“一座园林就像一方壶中天地，园中的一切似乎都可以与外界无关，园林内外仿佛使用着两套时间，园中一日，世上千年。就此意义而言，园林便是建造在人间的仙境。”——高居翰、刘珊珊、黄晓，《不朽的林泉：中国古代园林绘画》
“迷园：云南遇见江南”的主题是相遇和交融。用当代影像再造传统园林体验，结合现实中的云南景致与影像中的江南景致，让观者在游园中渐入佳境，不辨云南与江南，不辨古代与现代，不辨图像与实景……
“迷园”分布木、火、土、金、水五个庭院。木庭以场地原生树林为中心，悬挂周仰长期摄影项目《不朽的林泉》系列中的影像，引导观者逐渐深入到作品中。火庭、金庭、水庭和土庭以白色金属围栏为界限，围栏两侧印制不同图案形成光栅效果，一面为周仰《不朽的林泉》系列的当代摄影图像，另一面选择古代绘画中的景致，形成古今对话。
场地的核心设立艺术装置。以透明材料将古今园林中的假山影像叠加重合，形成盆景式假山，置于镜面展台上，象征来自仙境的海上仙山，作为整个作品的精神源点。这些影像来自周仰《不朽的林泉》系列中的江南园林假山石影像、新近在云南庾园中拍摄的假山和古代绘画中的假山。
‘A garden is like a whole world in a wine gourd… There seems to be two different time systems within and outside the garden. A thousand years could have passed in the outside world while spending only one day in the garden. In this sense, a garden is a fairyland built in the realm of the Mortals.’ --James Cahill, Liu Shanshan, Huang Xiao, Garden Paintings in Old China
The theme of ‘Garden of Images: Where Yunnan Meets Jiangnan’ is encounter and blending. This garden installation aims to recreate the experience of traditional literati gardens, using contemporary images and combining the real Yunnan scenery with the image of the gardens of Jiangnan region, so that the audience can gradually enter the fantastic realm in the garden, without distinguishing Yunnan and Jiangnan, ancient and modern, image and real scene…
‘Garden of Images’ consists of five courtyards: wood, fire, earth, gold and water, according to the five elements in Chinese Taoist belief. The Courtyard of Wood is centered on the native trees on the site, with hanging images from Zhou Yang's long-term photography project of literati gardens, ‘Faërie’, guiding the audience to gradually enter the works. The Courtyards of Fire, Gold, Water and Earth have white metal poles as boundaries, with different images printed on both sides of the fences to form a grating effect. On one side are Zhou Yang's contemporary photographic images from the ‘Faërie’ series, while on the other side are selected ancient paintings, so as to form a dialogue between the past and the present.
An image-based installation is set up at the core of the site. The images of rockery in ancient and modern gardens are printed on many layers of transparent materials. Overlapping with each other, they form a bonsai-style rockery, which is placed on a reflective surface, symbolizing the three Immortals’ Islands in East China Sea according to Taoist legends. Such legends could be viewed as the spiritual source of the whole work. These images are from the rockery images of southern China gardens in Zhou Yang's ‘Faërie’ series, the rockery recently shot in the Daguan Park of Kunming and the rockery in ancient paintings.
周仰，摄影师、译者，作品关注记忆、文化遗产与神话。拥有上海外国语大学广播电视新闻专业学士学位和英国威斯敏斯特大学报道摄影硕士学位，目前在英国伯明翰城市大学艺术学院攻读博士学位。作品曾在连州国际摄影年展、天水摄影双年展、浙江美术馆、集美·阿尔勒国际摄影季等展出，并获集美·阿尔勒Madame Figaro女性摄影师奖提名、徕卡奥斯卡·巴纳克摄影奖提名。
ZHOU Yang is an artist using the medium of photography. Her research and practice explore themes of memory, cultural heritage and myths, and has been exhibited in major photo festivals in China in the past decade, such as Lianzhoufoto, Jimei x Arles International Photo Festival, and Image of Silk Road Photography Biennale of Tianshui. Having a MA in Photojournalism at the University of Westminster in UK and a BA in Broadcasting and Television Journalism at Shanghai International Studies University, Zhou’s practice now takes leave from the reality and ventures into the spiritual realm. She believes in photography’s ability to reveal the unseen and the invisible. Zhou is now a PhD student at Centre for Chinese Visual Art, Birmingham City University, UK.
刘珊珊，北京建筑大学副教授，曾任同济大学城市与规划学院副研究员、荷兰阿姆斯特丹大学访问学者。近年主持国家自然科学基金1 项，发表30 余篇学术论文，出版《奇趣景观：小博物馆大历史》《现代日本家与居》等专著和译著。
Shanshan Liu ( liuss10@hotmail.com ), associate professor of Beijing University of Civil Engineering and Architecture, got her PhD degree from the School of Architecture of at Tsinghua University. She was associate researcher of at Tongji University and a visiting scholar of at the University of Amsterdam, Netherlands. In recent years, she has presided over one a National project sponsored by the Natural Science Foundation of China, published more than 30 academic papers, and published several monographs in Chinese, including Garden Paintings in Old China (2012) , Most Beautiful Architecture in China（2014）, Unique Landscapes: Little Museums, Big History（2021）, The Zhi Garden Album: A Portrait of Peach Blossom Spring（2022）. She is the co-translator of the Chinese edition of House and Home in Modern Japan（2021） by Jordan Sand.
黄晓，北京林业大学副教授、博士生导师、中国风景园林思想研究中心秘书长，曾为美国乔治城大学访问学者。近年主持国家自然科学基金2 项，发表40余篇学术论文，出版《古代北方私家园林研究》《自然天成：北京园林》等专著。
两人均为清华大学建筑学院博士，2012 年与高居翰合著出版《不朽的林泉：中国古代园林绘画》，是国内外第一部系统讨论园林绘画的学术专著。近年合著出版《止园梦寻：再造纸上桃花源》《止园图册：绘画中的桃花源》《美丽建筑》等著作。
Xiao Huang ( xingying003@163.com ) , associate professor of Beijing Forestry University, secretary general of Chinese Landscape Architecture Thought Research Center, and a former visiting scholar of Georgetown University. He got his PhD degree from the School of Architecture of at Tsinghua University. In recent years, he has presided over two national projects sponsored by the Chinese National Natural Science Foundations on garden painting, published more than 40 academic papers, and as well as six monographs in Chinese, including Garden Paintings in Old China (2012) , Private Gardens in Northern China（2019）, Rediscovering Zhi Garden: a Ming Dynasty Peach Blossom Spring（2022）etc..
