In the long history of Chinese classic garden design, there is only one book Yuan Ye, first published in 1634, extant today that addresses the topic. This is striking given that in other Chinese scholarly artistic fields such as poetry, calligraphy and painting theoretical writings are plentiful. This thesis attempts to explain this curious omission. Without written reference books how did the Chinese tradition of garden design persist for 3000 years? This thesis examines the role that Chinese traditional painting and painting theories played in communicating the knowledge of the garden. In doing so, this thesis argues that relationships between the natural world and humanity, the attitudes towards philosophy, literature and aesthetics that existed within Chinese gardens, were adapted from discoveries made and recorded in Chinese painting.

This thesis argues that Chinese painting, with its history as old as Chinese garden design, was the vehicle through which garden knowledge was transmitted. In this, one can understand the Chinese saying that "To be a good garden designer, one must first become a good painter."