潜庐为清束官员扬艺芳于清朝末期所建的别墅园林,该时期私家园林较少,而潜庐布局紧凑,设计巧妙,其体现出的造园思想和文化内涵对了解近代江南园林的风格特征、研究中国传统造固艺术有着重要的参考价值.笔者分析了潜庐蕴涵的隐选文化及风水观,解析了潜庐造园理水的空间布局,认为潜庐的园林被分割为东西两大区域,东部为厅堂、西部为住宅,东部按中轴线对称布局,西部则为自由布局.点出了潜庐运用了隔景、借景、障景等造固手法,叠石成山的传统造园技艺,利用植物的“比德”属性营造出的文化意境替庐造景运用了隐喻和象征的手法附加于园林装饰物上,笔者重点解析了园中出现频率较高的仙鹤装饰扣特色万字符拼石地面,反映了解读装饰物对挖掘潜庐文化内涵的作用.%Qianlu Villa is a private garden owned by YANG Yi-fang, a government official in the end of the Qing Dynasty. There and Only a few private gardens in that period, Qianlu Villa stands out for its compact layouts and artful designs, its gardening concepts and cultural connotations are of great referential value to understand garden styles in the southern regions of the Yangtze River and traditional Chinese gardening arts. By analyzing the seclusion cultures and Fengshui doctrines implied in Qianlu Villa, as well as its water layouts, it was proposed that Qianlu Villa is divided into two major areas: eastern area and western area, the former includes mainly halls which are symmetrically designed along the central axis, and the latter is mainly residential spaces in a free layout. Gardening arts such as divided scenery, borrowed scenery, winding scenery and traditional gardening techniques such as stone layouts in Qianlu Villa are pointed out, the "virtue-like" attributes of plants are utilized to create cultural and artistic concepts. Metaphor and symbolism are applied in the landscaping via garden ornamentals, in this study, the frequently-applied crane ornamentals and special " " pavement are introduced to demonstrate the significance of interpreting ornamentals for exploring cultural connotations of Qianlu Villa.
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