文章以苏州狮子林为例，通过实地考察苏州狮子林，收集有关狮子林的历代画作资料，帮助笔者深入了解园林艺术与园林山水画蕴含的独特魅力与人文精神，并以此为基础对笔者园林山水创作展开探讨。研究目的是通过分析园林艺术与园林山水画之间的比较，包括艺术理念的共通点、表现手法的多样性，总结狮子林对个人创作思想与创作样式的启发，记录构思与布局，呈现表现语言与技法的演变，归纳笔者在进行园林山水创作时的创新点。 历代狮子林的范围一直在变化，规模也逐渐扩大，建筑日趋密集。诸多画家曾画过狮子林，其中也不乏各个时期狮子林的面貌，通过倪瓒《狮子林图》、杜琼《师林图》、吴冠中《狮子林》等画作的分析，探讨画者的创作思路和具体技法。对于笔者个人而言的创作启发，一是绘画仍重在画面表现力，而非景物的照搬描写，画面布局不必过分追求各景之间的具体位置关系，有时为了画面需要可适当删减或挪动物象。二是强调创新要有法可依，以习古为基础前提进行演变转化。园林艺术与园林山水画是相辅相成的关系，二者皆以自然为师，崇尚自然，但又不止于简单地模仿自然。园林造园方法是从自然中提取元素，以山水画的布局方式，将花木、山石、池水、建筑几个要素有机地结合起来，从而表现出典型化的自然。在表现手法上又呈现出多样性的特点，在空间对比、蜿蜒曲折、花木配置、掇山置石等方面两者虽然各有区别但却又互相联系，更是善长以小见大这样类似的方法来传达造园者和画家的个人思想。 文章的重点放在狮子林对笔者园林山水创作的影响上，如何在继承传统的基础上有所创新是难点，可具体细分为工具材料的创新、技法的创新、布局的创新。狮子林奇峰繁复、怪石嶙峋，于画面而言以小见大就显得格外重要了。创作时始终强调用线表现对象的质感，倡导绘画大于个人思想，绘画是个人思想的表达方式、传递载体。章法布局上，反倒将景物更多安排在四周，突出画眼处湖心亭，形成四周密集而中间疏朗。创作期间尝试不同的水墨绘画技法，如破墨法、渴笔法等等，与常规布局手法有所区别的方式表现物象。对完整的创作呈现进行逐步梳理，包括题款与画面之间的联系。笔者的毕业创作仍处于探索阶段，许多画面中触及的笔墨问题繁杂而多，学习过程中需要不断地反复调整。

Taking the Suzhou Lion Grove as an example, the article collects materials about the Lion Grove from past dynasties through field trips to the Suzhou Lion Grove to help the author understand the unique charm and humanistic spirit contained in garden art and garden landscape paintings, and use this as a basis for personal garden landscapes. Create a discussion. The purpose of the research is to analyze the comparison between garden art and garden landscape painting, including the common points of artistic concepts and the diversity of expression methods, to summarize the inspiration of the Lion Grove on personal creative ideas and creative styles, to record the concept and layout, and to present the language of expression And the evolution of techniques, sum up the author’s innovations in the creation of garden landscapes. The scope of the Lion Grove in the past has been changing, the scale has gradually expanded, and the buildings have become denser. Many painters have painted the Lion Grove, including the appearance of the Lion Grove in various periods. Through the analysis of Ni Zan's "Lion Grove", Du Qiong's "Shi Lin", Wu Guanzhong's "Lion Grove" and other paintings, the artist's creation is discussed. Ideas and specific techniques. For the author’s personal creative inspiration, one is that the painting still focuses on the expressiveness of the picture rather than the copying and description of the scene. The layout of the picture does not need to pursue the specific positional relationship between the scenes. Sometimes it can be cut or moved appropriately for the needs of the picture. Object image. The second is to emphasize that innovation must have laws to follow, and to evolve and transform based on learning tradition. Garden art and garden landscape painting have a complementary relationship. Both take nature as a teacher and advocate nature, but they are not limited to simply imitating nature. The method of gardening is to extract elements from nature, and organically combine the elements of flowers, trees, rocks, ponds, and buildings in the layout of landscape paintings, so as to show the typical nature. In terms of expressive techniques, it also presents the characteristics of diversity. Although the two are different in spatial contrast, winding, flower and tree configuration, and stone setting, they are related to each other, and they are also similar to each other. The method to convey the personal thoughts of garden builders and painters. The focus of the article is on the influence of the Lion Grove on the creation of personal garden landscapes. How to innovate on the basis of inheriting the tradition is difficult. It can be specifically subdivided into the innovation of tools and materials, the innovation of techniques, and the innovation of layout. The stone is complex and rugged, and it is very important to see the big from the small in the picture. When creating, always emphasize the use of lines to express the texture of the object, advocating that painting is greater than personal thought. Painting is the expression and transmission carrier of personal thought. In terms of composition and layout, on the contrary, the sceneries are arranged more around, highlighting the lake pavilion where the eyes are painted, forming dense surroundings but sparsely in the middle. During the creation period, I tried different ink painting techniques, such as breaking ink, thirsty brushwork, etc., to express objects in a different way from conventional layout techniques. Gradually sort out the complete creative presentation, including the connection between the question and the picture. The author's graduation creation is still in the exploratory stage. Many of the pen and ink problems touched in the paintings are complex and numerous, and need to be adjusted repeatedly during the learning process.