During the ensuing Six Dynasties era (A.D. 220-589), Chinese gardens began to reflect the beliefs of the new religion of Buddhism. The lake-and-island gardens of the aristocracy ceased to represent the legend of the misty isles and became instead a symbol of the Western Paradise of Amida Buddha. As time passed, the growing influence of Taoism deepened the Chinese feeling for nature itself without reference to any particular legend. In later years, as scholars sought out mountain retreats in the rugged south of China, soaring peaks came to be part of the standard landscape garden, a need sometimes realized by situating the garden against a backdrop of distant mountains or by piling up rocks on the island in the garden lake. The interest in garden art continued to grow during the T'ang dynasty (618-907), as poets and philosophers increasingly turned to nature for religious and artistic inspiration. Interestingly enough, their perception of nature was not idealized in the manner of the Florentine landscapists but rather emphasized the rugged, untamed qualities of the mountains and streams. It was this sense of nature as the embodiment of a free spirit that they tried to capture in their gardens. Theirs was a reverence for nature as it was in the wild; if it must be domesticated into a garden, the sense of freedom should be preserved as far as possible. When the Shinto nature worshipers of Japan encountered the advanced civilization of China, they may have recognized in the Chinese Taoist feeling for nature a similarity to their own beliefs. It had never occurred to the Japanese to construct a domestic abstraction of nature for contemplation, but the new idea of a garden seems to have had its appeal. When a copy of the Chinese capital was created in Nara, the Japanese architects were careful to include a number of landscape gardens around the imperial palace. After the government moved to Kyoto and launched the regal Heian era, a rage for things Chinese became the consuming passion of the Japanese aristocracy; Heian nobles built Chinese-style houses and lake-and-island gardens, complete with Chinese-style fishing pavilions extending out over a lake. Since these pleasure parks were intended for parties of boaters and strollers, they had few religious overtones. Instead the lake became a thoroughfare for pleasure barges, on which idle courtiers cruised about dressed in Chinese costume, and reciting Chinese verses. These gardens were rich with plum and cherry trees, pines, willows, and flowering bushes, and often included a waterfall near at hand, in keeping with Chinese convention. The central island gradually lost its original symbolism as an Elysian holy isle as the nobles linked it to shore with stone footbridges. In these grand parks the Heian nobles gave some of the most sophisticated garden parties ever seen.