Scottish poet and artist Ian Hamilton Finlay is best-known for his concrete poetry of the 1960s and his later work which presents a unique combination of poetry, sculpture and gardening. Finlay approached gardens as ‘a text’. This essay offers ‘a reading’ of his stone column bases, i.e. bases of classical columns installed in front of real, growing trees. To clarify the symbolic role of the column, attention is drawn to the art of the Archaic period of the Greek culture. Finlay’s artistic concept is seen as representing kosmopoeisis, a process of transforming chaos into the cosmos, which is, by its nature, of an artistic character. The artwork as a complex artistic statement touches upon a number of crucial topics (such as nature, cultivation, order, beauty, piety, or violence); this essay tries to elucidate their interrelationship.

苏格兰诗人和艺术家伊恩·汉密尔顿·芬莱以其 1960 年代的具体诗歌和他后来的作品而闻名，该作品呈现了诗歌、雕塑和园艺的独特结合。Finlay 将花园视为“文本”。这篇文章提供了对他的石柱基座的“解读”，即安装在真实生长的树木前的古典柱基座。为了阐明柱子的象征作用，人们关注希腊文化的古代艺术。Finlay的艺术概念被视为代表kosmopoeisis，将混沌转化为宇宙的过程，就其本质而言，具有艺术特征。艺术作品作为一种复杂的艺术陈述，触及了许多关键主题（如自然、修养、秩序、美、虔诚或暴力）；本文试图阐明它们的相互关系。