Abstract: The “Six Features” theory is one of the most important theories of traditional garden construction. The analysis of its artistic conception can provide a useful supplement for the theory and practice of landscape architecture. Based on literature research and field investigation, this paper discusses the meanings of the “Six Features” of Hu Garden in Luoyang and Kenroku-en in Kanazawa. By studying the background and historical evolution of the two gardens, it explores three groups of artistic conception of the “Six Features” theory, which are “water-courses and panoramas”, “spaciousness and seclusion” and “artifice and antiquity” from the aspects of site selection, layout and styles. Hu Garden is located on the plain, featuring a large scale and rich water-courses. It achieves the meaning of “panoramas” and “seclusion” by constructing rockeries and creating complicated spaces. Kenroku-en is located on the terrace with a good view and built from the quiet place. It achieves the meaning of “water-courses” and “spaciousness” by constructing canals and expanding the view outwards. The two gardens were built by many people over generations. The buildings are interspersed in the gardens. They are elegant and simple, showing the artistic conception of seeing artifice in the antiquity. Through the analysis of the relationship between the artistic conception and the garden space, the paper develops new ideas for the practice of contemporary landscape architecture and the study of garden history in the Tang Dynasty and Song Dynasty.