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A Treatise on the Garden of JiangnanOn the Design of Garden

A Treatise on the Garden of Jiangnan: On the Design of Garden [As mentioned in the last chapter, scenic constituents are the material basis of the garden’s scenic structure, and they consist of two antitheses—natural and artificial constituents. Natural constituents—the lay of the terrain, plant life, and animal life—are the dominant factor that determines the natural features of a scenic image. Mountains, water, flowers, trees, birds, beasts, insects, and fish are the essential means to emulating a natural environment, and they form the basic content of the garden’s viewing capacity. Therefore, natural constituents are the basic ingredients of the scenic constituents and hence the basic material that constitutes a garden. Without the natural constituents, architecture alone—no matter how ingeniously planned and executed—cannot bring to fruition a landscape garden. A perfect garden is always outfitted with the natural constituents—topography, fauna, and flora—that help create an animated garden landscape intended to reflect the natural ecological environment. Vegetation is the core of the natural constituents, and gardens that feature flowers and plants only are omnipresent throughout the world. Hua yuan, or flower gardens, and ornamental botanical gardens belong to this garden type. In the Jiangnan region, classical Chinese gardens such as Mei Zhuang in Yangzhou of the Qing period is an example of the hua yuan that accentuates the display of flowers and plants. Vegetation and water, due to their salubrious properties, become the most congenial natural ingredients favored by people. However, many gardens are free of water resources or even feature no vegetation. Sand and stone in their raw state are also natural ingredients; therefore, sand and stone alone can be garden-making materials as well. The abstract and symbolic dry landscape garden is a singular example in the art of Japanese garden making. The solely sand-and-stone composed dry landscape garden (or the sand garden, as otherwise termed), however, bears no manifestation of waste desert, bare mountains, or dry ravines, but rather the varied scenes are significative for dynamic themes—mountain peaks shrouded in mist, rocks withstanding the rapids, or the “Eastern Sea and immortal mountains”—that in effect are latent with profound suggestiveness. This is a refined garden type that is impregnate with philosophical content. As such, the view that a garden is not a garden without greenery is therefore confronted with challenge. What about potted landscape? With its miniature plants, rockery, and cascade, a potted landscape is still a potted landscape, and not a garden. As far as the world garden making experience is concerned, one can only imagine that a garden made of no natural constituents does not exist.] http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png

A Treatise on the Garden of JiangnanOn the Design of Garden

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Publisher
Springer Nature Singapore
Copyright
© Springer Nature Singapore Pte Ltd. 2022
ISBN
978-981-16-6923-1
Pages
59 –550
DOI
10.1007/978-981-16-6924-8_3
Publisher site
See Chapter on Publisher Site

Abstract

[As mentioned in the last chapter, scenic constituents are the material basis of the garden’s scenic structure, and they consist of two antitheses—natural and artificial constituents. Natural constituents—the lay of the terrain, plant life, and animal life—are the dominant factor that determines the natural features of a scenic image. Mountains, water, flowers, trees, birds, beasts, insects, and fish are the essential means to emulating a natural environment, and they form the basic content of the garden’s viewing capacity. Therefore, natural constituents are the basic ingredients of the scenic constituents and hence the basic material that constitutes a garden. Without the natural constituents, architecture alone—no matter how ingeniously planned and executed—cannot bring to fruition a landscape garden. A perfect garden is always outfitted with the natural constituents—topography, fauna, and flora—that help create an animated garden landscape intended to reflect the natural ecological environment. Vegetation is the core of the natural constituents, and gardens that feature flowers and plants only are omnipresent throughout the world. Hua yuan, or flower gardens, and ornamental botanical gardens belong to this garden type. In the Jiangnan region, classical Chinese gardens such as Mei Zhuang in Yangzhou of the Qing period is an example of the hua yuan that accentuates the display of flowers and plants. Vegetation and water, due to their salubrious properties, become the most congenial natural ingredients favored by people. However, many gardens are free of water resources or even feature no vegetation. Sand and stone in their raw state are also natural ingredients; therefore, sand and stone alone can be garden-making materials as well. The abstract and symbolic dry landscape garden is a singular example in the art of Japanese garden making. The solely sand-and-stone composed dry landscape garden (or the sand garden, as otherwise termed), however, bears no manifestation of waste desert, bare mountains, or dry ravines, but rather the varied scenes are significative for dynamic themes—mountain peaks shrouded in mist, rocks withstanding the rapids, or the “Eastern Sea and immortal mountains”—that in effect are latent with profound suggestiveness. This is a refined garden type that is impregnate with philosophical content. As such, the view that a garden is not a garden without greenery is therefore confronted with challenge. What about potted landscape? With its miniature plants, rockery, and cascade, a potted landscape is still a potted landscape, and not a garden. As far as the world garden making experience is concerned, one can only imagine that a garden made of no natural constituents does not exist.]

Published: Aug 3, 2022

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