Exploring Visitors' Subjectivities Toward Authenticity of the Suzhou
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Montreal Architectural Review
Montreal Architectural Review Between Dream and Shadow: The Aesthetic Change Embodied by the Garden of Lion Grove Hui Zou University of Florida Abstract During the late 18th century, the Chinese emperor Qianlong ordered the construction of the Garden of Lion Grove and the Western Garden within his garden complex of Yuanmingyuan in Beijing. His Garden of Lion Grove was an imitation of the original Garden of Lion Grove in Suzhou, which was well known for its rockery labyrinth. Comparing the original Lion Grove and its replicas through poetry and architectural representation, Qianlong sought for truth of the cosmic world. My previous research has uncovered the cross-cultural history regarding the design of the Western Garden within the Yuanmingyuan. This essay translates and interprets the poems and garden records of the Lion Grove in Suzhou to reveal the aesthetic change of the garden from the original Buddhist Chan (Zen) idea of the Yuan dynasty to the secular labyrin- thine ecstasy of the Qing dynasty. The labyrinthine theatricality of the Lion Groves, including the original one and its replicas, was well documented by Qianlong through his poems and his frequent reference to master painter Ni Zan’s painting scroll of the Lion Grove in Suzhou. The essay draws a conclusion that the MAR Volume 5, 2018 6 Hui Zou | Montreal Architectural Review : Vol. 5, 2018 aesthetic transition from Buddhist Chan (Zen) to labyrinthine ecstasy at the Lion Grove in Suzhou took place in a particularly historical age, namely the Ming dynasty, when the philosophical issues of dream and fantasy became trendy in Chinese gardens and garden literature. -
Singapore Airlines Flies
JOURNALS china A N E T Following in M O the footsteps of China’s ancient P U roving royalty, TOM O’MALLEY E R discovers how the inspection R tours of old helped establish a O O template for travel in the Middle R’ F Kingdom today. S C H I N A A pedestrian bridge over West Lake cuts A a fine silhouette against a backdrop of stormy skies and undulating mountains in Hangzhou. 70 | SILVERKRIS.COM SILVERKRIS.COM | 71 JOURNALS china nlookers in scroll painting. Qianlong sacrifices and generally fine robes line was the sixth emperor of remind the provinces the edge of the the Qing Dynasty, ruling who’s boss. water as the from 1735 to 1796 in what Strictly speaking, a tourist magnificent was considered a golden is defined as one who travels Obarge cuts through the canal. age, where he beefed up for pleasure, but Qianlong In the background I spy grand China’s economy, expanded clearly had plenty of business pagodas and walled gardens its borders, and enhanced to take care of on route. And overhung by native ornamental cultural and intellectual life. yet, both Kangxi and Qianlong scholar trees. Elaborate He’s also, to my mind, China’s commissioned a set of 12 theatrical performances unfold greatest tourist. humongous scrolls – surely on stages along the shore, Qianlong and his the 18th century equivalent and the great Chang Gate in grandfather Kangxi revived of travel photography – to Suzhou, the Venice of the East, an Imperial tradition that recount the story of this stands ready to receive its most had fallen out of favour with ultimate pleasure cruise. -
A Cluster Analysis Comparison of Classical Chinese Gardens with Modern Chinese Gardens
ABSTRACT A CLUSTER ANALYSIS COMPARISON OF CLASSICAL CHINESE GARDENS WITH MODERN CHINESE GARDENS By Yiwen Xu Garden designers and scholars are interested in the differences and similarities between traditional design and modern designs. This investigation examines the similarities and differences of classical Chinese gardens and modern Chinese gardens. The comparison is accomplished by ordinating the design elements and basic principles for each garden. Three classical Chinese gardens in Suzhou, China and five modern gardens in Xiamen, China were selected to study. A mathematical method called Cluster Analysis was applied in this research. Seventy-five variables were selected from literature review and site photos. According to the result of Principal Component Analysis, the eigenvalues represent seven meaningful dimensions can be used for analysis. This research focused on studying the first two principal components for the garden comparison. The results indicate that the first principal component can be a way to identify the difference between classical Chinese gardens and modern Chinese gardens. The second principal component indicates the modern gardens can be grouped into two different categories. Keywords: Landscape Architecture, Environmental Design, Historic Gardens, Contemporary Gardens, Horticulture, Historic Preservation. ACKNOWLEDGEMENTS First, I would like to thank my major advisor Dr. Jon Burley, FASLA, Professor, Michigan State University School of Planning, Design and Construction, for his patient guidance and invaluable assistance through all stages of my work. I am grateful to my other two committee members, Dr. Patricia Machemer and Dr. April Allen, professors in Michigan State University School of Planning, Design and Construction, for all the advices, support and encouragement. I would also like to thank Dr. -
Classical Chinese Gardens
Contemporary Urban Affairs 2018, Volume 2, Number 1, pages 33–44 Classical Chinese Gardens: Landscapes for Self-Cultivation Donia Zhang * Oxford Brookes University, UK A R T I C L E I N F O: A B S T R A C T Article history: This paper examines the design philosophy of classical Suzhou gardens in China, with Received 30 July 2017 regards to their natural and architectural elements on the moral education of the Accepted 07 Augusts 2017 inhabitants. Through studying the metaphorical connotations of garden elements, the Available online 08 Augusts author reflects on their propositions for contemporary environmental ethics, aesthetic 2017 appreciation, and moral education. As such, the article is structured around three Keywords: themes: classical Chinese gardens cultivating environmental ethics, classical Chinese Chinese landscape gardens cultivating appreciation of aesthetics, and classical Chinese gardens architecture; cultivating moral characters. The essay finally suggests that classical Chinese gardens Chinese garden; are landscapes for self-cultivation. Chinese philosophy; Ethics; CONTEMPORARY URBAN AFFAIRS (2018) 2(1), 33-44. DOI: 10.25034/ijcua.2018.3654 Aesthetics; Morality. www.ijcua.com Copyright © 2018 Contemporary Urban Affairs. All rights reserved. 1. Introduction interconnection between gardens and the A garden is a form of art that is related to nature universe from an earlier time. as well as culture. One aspect of their perpetual Historically in China, mountains were viewed as appeal to people is that in a garden, art and connections between heaven and earth, and science, mind and nature, finally intersect. Many water as a reflection of the vast emptiness of the world philosophies or religions regard the planet universe. -
Translating the Past: Suzhou Garden As a Generator in Architecture
Translating the past: Suzhou garden as a generator in architecture Linfan Liu University of Pennsylvania, Philadelphia, PA ABSTRACT: Until today, extensive studies on the traditional Suzhou gardens have primarily considered it a cultural artifact. The academic subject of garden history and garden art has crafted a rich narrative to define and refine the material culture of China’s past. This essay, however, investigates the use of the ancient gardens as a generative means in contemporary architectural practice in China. The study mainly analyzes and compares two specific projects and their garden “prototypes” to explore the topic in detail. The first project is I. M. Pei’s Suzhou Museum (2002-06) and his childhood garden Lion Grove Garden; the second one is Wang Shu’s LiBrary of Wenzheng College (1999-2000) and The Garden of Cultivation. Although Both architects acknowledged traditional gardens as the major inspiration of their modern designs, the two architects revealed distinct focuses and approaches in the process of translation, which are explained in the thematic and comparative discussions, including the symBolic image and the spatial type, cultural narrative and bodily experience. The initial interpretive analyses of the two projects anchor on the articulated aspects of the individual architect’s interpretation respectively. The suBsequent comparative study further demonstrates the complexity and parallels in the process of translation, thus realizing the comprehensive associations Between the garden prototypes and architects’ own design philosophies. Through this comparative study, the essay aims to shift the interpretative paradigm of architecture through the lens of Suzhou garden. In contrast to the narrative constructed through ideological frameworks, the essay reasons how this spatial art is re-defined within a design discipline, and how the extracted concepts and techniques further shape contemporary architectural practice. -
Classical Chinese Gardens: Landscapes for Self-Cultivation
Contemporary Urban Affairs 2018, Volume 2, Number 1, pages 33–44 Classical Chinese Gardens: Landscapes for Self-Cultivation Donia Zhang * Oxford Brookes University, UK A R T I C L E I N F O: A B S T R A C T Article history: This paper examines the design philosophy of classical Suzhou gardens in China, with Received 30 July 2017 regards to their natural and architectural elements on the moral education of the Accepted 07 Augusts 2017 inhabitants. Through studying the metaphorical connotations of garden elements, the Available online 08 Augusts author reflects on their propositions for contemporary environmental ethics, aesthetic 2017 appreciation, and moral education. As such, the article is structured around three Keywords: themes: classical Chinese gardens cultivating environmental ethics, classical Chinese Chinese landscape gardens cultivating appreciation of aesthetics, and classical Chinese gardens architecture; cultivating moral characters. The essay finally suggests that classical Chinese gardens Chinese garden; are landscapes for self-cultivation. Chinese philosophy; Ethics; CONTEMPORARY URBAN AFFAIRS (2018) 2(1), 33-44. DOI: 10.25034/ijcua.2018.3654 Aesthetics; Morality. www.ijcua.com Copyright © 2018 Contemporary Urban Affairs. All rights reserved. 1. Introduction interconnection between gardens and the A garden is a form of art that is related to nature universe from an earlier time. as well as culture. One aspect of their perpetual Historically in China, mountains were viewed as appeal to people is that in a garden, art and connections between heaven and earth, and science, mind and nature, finally intersect. Many water as a reflection of the vast emptiness of the world philosophies or religions regard the planet universe. -
Modernity Through Syncretism and Eclecticism: Wu Guanzhong's Artistic Practice in the Cultural and Political Environment of Th
0 MODERNITY THROUGH SYNCRETISM AND ECLECTICISM: WU GUANZHONG’S ARTISTIC PRACTICE IN THE CULTURAL AND POLITICAL ENVIRONMENT OF THE PRC (1949 -1989) BY WENWEN LIU A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy Victoria University of Wellington 2019 Acknowledgments I wish to express my great gratitude to my supervisors Dr Luo Hui and Dr Dennitza Gabrakova for their wise guidance and full-hearted support. I also wish to express my great appreciation to Dr Rebecca Rice, Dr Ellen Soulliere and Dr Lidu Yi for their detailed and insightful comments on this thesis. I owe my special thanks to Professor Yiyan Wang, Professor Clunas Craig, Dr Keren Chiaroni, Dr Catherine Churchman, and Peter HaJecek for their helpful suggestions. This thesis is dedicated to my husband Liu Xin. Had it not been his love, this thesis would not have come to fruition. Abstract This thesis examines Wu Guanzhong’s 吴冠中 (1919-2010) art and art theory in the context of socialist and post-socialist China. Wu’s art came to maturation through a sophisticated syncretism of Chinese and Western painting styles and techniques. Aesthetic considerations notwithstanding, each of Wu’s artistic breakthroughs was also a direct response to the cultural policies of the Chinese Communist Party or to the larger cultural and political currents at important junctures of twentieth-century China. Mirroring the syncretistic style and political nature of his artwork, Wu’s art theory is characterised by an eclecticism that mediates between Chinese and Western artistic concepts and walks a thin line between creative agency and political correctness. -
Garden, Power, and the Other: the Cultural Politics of the Dr.Sun Yat Sen Garden
Garden, Power, and the Other: The Cultural Politics of the Dr.Sun Yat Sen Garden By Dongyang Liu A Thesis Submitted to the Faculty of Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Graduate Studies University of Manitoba @ Copyright by Dongyang Liu, 1994 N€t¡onal Liþrary Bibliothèque nat¡onale l*l du Canada Acqu¡sitions and Direction des acquisit¡ons et B¡bliographic Services Branch des services bibliograph¡ques 395 Wellington Street 395, rue Wellinglon Onawa, Ontario Otlâwa (Onlario) K1A ON4 K1AON4 The author has granted an L'auteur a accordé une licence irrevocable non-exclusive licence irrévocable et non exclusive allowing the National Library of permettant à la Bibliothèque Canada to reproduce, loan, nationale du Canada de distribute or sell copies of reproduire, prêter, distribuer ou his/her thesis by any means and vendre des copies de sa thèse in any form or format, making de quelque manière et sous this thesis available to interested quelque forme que ce soit pour persons. mettre des exemplaires de cette thèse à la disposition des personnes intéressées. The author retains ownership of L'auteur conserve la propriété du the copyright in his/her thesis. droit d'auteur qui protège sa Neither the thesis nor substantial thèse. Ni la thèse ni des extraits extracts from it may be printed or substantiels de celle-ci ne otherwise reproduced without doivent être imprimés ou his/her permission. autrement reproduits sans son autorisation. ISBN 0-315-92322-9 C¡nadä ¡to. Þ1,ttt,ttîtLot L,u O¡*r¿ ose select ihe one sub¡ect which most neorly describes the content of your disserlolion. -
Teaching Material Culture and Chinese Gardens at American Colleges
ASIANetwork Exchange | fall 2012 | volume 20 |1 Teaching Material Culture and Chinese Gardens at American Colleges Han Li Abstract: The paper reflects upon the experience of designing and teaching a course on material culture and Chinese gardens. Involving traditional philosophy, ethics, religion, painting, calligraphy, craft, literature, architecture, and horticulture, a clas- sical Chinese garden can be considered a microcosm of Chinese culture. This essay discusses the textbooks and general organization of the course, particularly focusing on how students study the key elements (rocks, water, plants, and architecture) in building a Chinese garden. Some Chinese literature with representations of gardens that can be used for this class is also introduced. In addition, this essay uses two classical Chinese gardens built in the United States (the Astor Court and the Garden of Flowing Fragrance) to discuss the appropriation of “Chinese-ness” in different geographical, physical, and cultural environments. Finally, some available online resources and technologies that have enhanced student understanding of the subject matter are introduced. Keywords Material culture; Classical Chinese gardens; Suzhou; Yangzhou; Classroom Involving traditional philosophy, ethics, religion, painting, calligraphy, craft, literature, Han Li is currently Assistant architecture, and horticulture, a classical Chinese garden is a microcosm of Chinese culture. Professor in the Department As such, teaching Chinese culture through the lens of traditional Chinese gardens can be of Modern Languages and Literatures at Rhodes College. highly productive. In addition to being admired as works of art, Chinese gardens are at Her research interests include the same time valuable pieces of real estate. They have economic importance and func- seventeenth century Chinese tion socially as status symbols. -
Lotus Leaves Fall 2018 Volume 21 Number 1
SOCIETY FOR ASIAN ART Lotus LeavesVolume 21 Number 1 Chinese Gardens in the United States: Past, Present, and Future by Patricia J. Yu 3 The Sogdian Belt and Road Fall 2018 by Albert E. Dien 17 Around the Asian: Ashurbanipal by Bob Oaks 27 About the Society Board of Advisors Directors 2018–2019 The Society for Asian Art is a 501(c)(3) 2018–2019 Mitra Ara, PhD nonprofit organization that was incorporated President Terese Bartholomew, MA in 1958 by a group of enlightened citizens Trista Berkovitz dedicated to winning Avery Brundage’s Patricia Berger, PhD Past President magnificent art collection for San Francisco. Anne Adams Kahn M.L. Pattaratorn Since that time, we have been an Chirapravati, PhD Vice President independent support organization for the Margaret Edwards Kim Codella, PhD Asian Art Museum-Chong-Moon Lee Center Vice President Robert J. Del Bonta, PhD for Asian Art and Culture. Ehler Spliedt Renee Dreyfus, PhD For more than sixty years, we have offered Secretary Penny Edwards, PhD a wide range of innovative, high-quality Greg Potts Munis D. Faruqui, PhD educational and cultural programs, along Treasurer Karen Fraser, PhD Ed Baer with social (and culinary) events where Nalini Ghuman, PhD participants share their knowledge and Margaret Booker Robert Goldman, PhD enthusiasm. SAA’s popular, Arts of Asia Agnes Brenneman Sally Sutherland Lecture Series, open to all, is the core of the Deborah Clearwaters* Goldman, PhD museum’s docent-training curriculum. We Sheila Dowell Munir Jiwa, PhD sponsor foreign and domestic travel, visits to Phyllis Kempner private art dealers and collections, in-depth Sanjyot Mehendale, PhD Etsuko Kobata Adelman study groups, special lectures by leading Mary-Ann Milford- scholars, literature courses and symposia. -
The Glistening Charm of Jiangnan 烟雨江南·现代风华
WHERE UNIQUENESS BELONGS 您专属的旅程 7D5N THE GLISTENING CHARM OF JIANGNAN 烟雨江南·现代风华 Shanghai / Hangzhou / Shaoxing / Jiaxing / Suzhou 上海 / 杭州 / 绍兴 / 嘉兴 / 苏州 CHINA Tour Code : MH-CPS-6 Highlights • Best picturesque spot - Yue He Ancient Town - Shaoxing Water Town • Hangzhou Top Scenic Sites: - West Lake, Longjing Tea Village - City God Pavilion • Romance of Song Dynasty Show • Authentic Shao Wine tasting • An artist’s home - Rainbow Bookstore • World Largest Starbucks Cafe • Shanghai landmark -The Bund - Huangpu Night River Cruise • World Heritage - Lion Grove Garden 行程亮点 • 水乡老城 - 月河古镇、绍兴古城 • 杭州风景名胜 - 西湖、龙井村茶园、城隍阁 • 华丽歌舞表演 - 宋城千古情 • 品尝著名绍兴酒 • 新文化地标彩虹书店 - 钟书阁 • 世界文化遗产 - 狮子林 • 苏州古城平江路老街 • 上海星巴克咖啡烘焙工坊 • 全景天窗景观巴士环游陆家嘴 • 上海地标 - 新外滩、夜游黄浦江 Validity: March - November 2019 goldendestinations.com 7D5N The Glistening Charm of JIANGNAN Shanghai / Hangzhou / Shaoxing / Jiaxing / Suzhou Tour Code : MH-CPS-6 SPECIAL ARRANGEMENTS - Free 2 boxes of Longjing tea - Free 1 bottle of Shao-wine (150ml) - Crawfish (Jun - Sep) - Hairy Crab (Oct - Jan) **Crawfish & Hairy Crab are subject to seasonal condition Lion Grove Garden Longjing Tea Farm West Lake City God Pavilion Song Dynasty Show Rainbow Bookstore Day 1 KUL/ Shanghai/ Hangzhou • Walking tour of Yue He ancient town, a well-known (Meal on Board/ Dinner) picturesque spot for the traditional buildings and stone • Arrive at Shanghai arch-bridges. • Depart for Hangzhou. • Depart for Suzhou (1.5-hour). • Immerse yourself in a unique Rainbow Bookstore, Zhongshu Bookstore. Day 2 Hangzhou (Breakfast / Lunch / Dinner) Day 5 Suzhou/ Shanghai • Enjoy a boat cruise to West Lake. (Breakfast / Lunch / Dinner) • Visit City God Pavilion and be treated by the Jiangnan • Visit “The Kingdom of Rockery” Lion Grove Garden (Shizilin). -
Suzhou's Palatial Gardens
CHINA DAILY August 21, 2014 Page 7 AROUND JIANGSU Suzhou’s palatial gardens Known as China’s “city of gardens”, were more than 200 gardens in Suzhou. cy and to find shelter from worldly chestnut brown wood pillars. Suzhou has the highest number of gar- Today, 69 of them remain in well-pre- affairs. Hills and waters, flowers and The Classical Gardens of Suzhou, Hum- dens among all cities in the country. The served condition. trees, pavilions, terraces, towers and ble Administrator’s Garden, Lion Grove city’s art of gardening has a history of The idea of building gardens in halls make up the basic elements in the Garden, Lingering Garden and Canglang 1,500 years, dating to the Eastern Jin Suzhou originated from the desire to city’s gardens and most are prominent Pavilion represent styles from the Song, Dynasty (317-420). At one time, there retire from the rigors of bureaucra- for their dark roof tiles, gray bricks and Yuan, Ming and Qing dynasties. HUMBLE ADMINISTRATOR’S GARDEN THE LINGERING GARDEN One of the four famous gardens of China, the Humble Administrator’s Garden is the largest Built in 1593 during the Ming Dynasty (1368-1644), ownership of the Lingering Garden has as well as the most famous in Suzhou. It contains nearly all of the features found in Suzhou’s changed hands several times. Like other famous gardens in Suzhou, it has stunning natural other historical gardens and, in 1997, was listed as a World Heritage Site by UNESCO. It is landscapes within a confined space.