Spatial Composition Principles of Chinese Landscape Painting in Urban Park Design: A Case Study of Sanqin Park, China

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Changzhou has a rich historical heritage of Taoist culture, and the preserved Taoist cultural heritage there boasts a long history. Contemporary urban park designs in China predominantly adopt Western functionalist frameworks without integrating local cultural characteristics, resulting in increasingly homogeneous public spaces devoid of distinctive cultural identity. Research on how to incorporate Taoist indigenous culture into park design remains limited. Meanwhile, Taoist philosophical concepts have profoundly influenced traditional Chinese landscape painting. This study explores the spatial organizational logic of traditional Chinese landscape painting, analyzes the cultural and aesthetic characteristics underlying its spatial composition, and examines the transformation patterns and significance of these principles in the design of Sanqin Park. This study employs a research-through-design approach, analyzing representative landscape paintings from the Qing Dynasty to identify three key spatial features: spatial layering of foreground, midground, and background; water bodies linking spaces; and an S-shaped trail system. These spatial characteristics from landscape paintings were translated into a park design framework and developed into a conceptual renovation proposal for Sanqin Park. Analysis reveals that the spatial composition logic of Chinese landscape painting prioritizes not functionality but rather the modulation of spatial rhythm and sequence to create a harmonious natural atmosphere, effectively mitigating the sense of fragmentation caused by functional zoning. Compared with earlier design proposals for Sanqin Park, the optimized design demonstrates enhanced spatial continuity.