Exploring the Distribution of Gardens in Suzhou City in the Qianlong Period Through a Space Syntax Approach
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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. -
Suzhou Museum
江 苏 Culture Scenery Gourmet Useful Info © Xie Guanghui Introduction & Map 苏州简介&地图 of SUZHOU Cultural Suzhou is one of the oldest cities in China. Canglang Pavilion, Lion Grove 历史文化 History Garden, Humble Administrator's Garden and Lingering Garden are iconic cultural sites built in the Song, Yuan, Ming and Qing dynasties respectively. Small bridges and running brooks at the ancient towns of Luzhi, Tongli and Humble Administrator's Garden Zhouzhuang spell out exquisiteness for the city. The Tianping Mountain in the southwest Suzhou is one of the four major Being one of then famous landscaped gardens in Suzhou, built in Ming maple viewing attractions in the country. dynasty, this garden is designed base on a waterbody, surrounded by pavilions, rock sculpture, and lush greenery which resemble the Southern Chinese’s fond of appreciating the natural splendours. N LIANYUNGANG Night Tour in Master of the Nets Garden XUZHOU Built since the Southern Song dynasty, the highly notable garden introduced night SUQIAN tour to tourists since year 1990, which is now HUAI'AN highly recommended by UNESCO as one of the must-visit tourist product ones should YANCHENG not miss. During the night tour, tourists will be able to listen to ancient operas and experience themselves the thoughtfully planned landscapes. © Chu Kit YANGZHOU NANJING TAIZHOU Zhouzhuang Water Town NANTONG ZHENJIANG Built since the Northern Song dynasty, the water town now features 60% WUXI CHANGZHOU architecture from the Ming and Qing Beijing dynasties. Canals run through the town SUZHOU and bridges connect the neighbourhood Shanghai Jiangsu from one end to another. Its beautiful Province SHANGHAI sceneries are a testament to the town's fame as the 'Venice of the East'. -
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. -
Copyrighted Material
INDEX Aodayixike Qingzhensi Baisha, 683–684 Abacus Museum (Linhai), (Ordaisnki Mosque; Baishui Tai (White Water 507 Kashgar), 334 Terraces), 692–693 Abakh Hoja Mosque (Xiang- Aolinpike Gongyuan (Olym- Baita (Chowan), 775 fei Mu; Kashgar), 333 pic Park; Beijing), 133–134 Bai Ta (White Dagoba) Abercrombie & Kent, 70 Apricot Altar (Xing Tan; Beijing, 134 Academic Travel Abroad, 67 Qufu), 380 Yangzhou, 414 Access America, 51 Aqua Spirit (Hong Kong), 601 Baiyang Gou (White Poplar Accommodations, 75–77 Arch Angel Antiques (Hong Gully), 325 best, 10–11 Kong), 596 Baiyun Guan (White Cloud Acrobatics Architecture, 27–29 Temple; Beijing), 132 Beijing, 144–145 Area and country codes, 806 Bama, 10, 632–638 Guilin, 622 The arts, 25–27 Bama Chang Shou Bo Wu Shanghai, 478 ATMs (automated teller Guan (Longevity Museum), Adventure and Wellness machines), 60, 74 634 Trips, 68 Bamboo Museum and Adventure Center, 70 Gardens (Anji), 491 AIDS, 63 ack Lakes, The (Shicha Hai; Bamboo Temple (Qiongzhu Air pollution, 31 B Beijing), 91 Si; Kunming), 658 Air travel, 51–54 accommodations, 106–108 Bangchui Dao (Dalian), 190 Aitiga’er Qingzhen Si (Idkah bars, 147 Banpo Bowuguan (Banpo Mosque; Kashgar), 333 restaurants, 117–120 Neolithic Village; Xi’an), Ali (Shiquan He), 331 walking tour, 137–140 279 Alien Travel Permit (ATP), 780 Ba Da Guan (Eight Passes; Baoding Shan (Dazu), 727, Altitude sickness, 63, 761 Qingdao), 389 728 Amchog (A’muquhu), 297 Bagua Ting (Pavilion of the Baofeng Hu (Baofeng Lake), American Express, emergency Eight Trigrams; Chengdu), 754 check -
Juexiao Mo Thesis (PDF 13MB)
MASTER OF DESIGN (RESEARCH) – EXEGESIS Submitted in fulfilment of the requirement for the degree of Master of Design(Research) Written and submitted by Mo, Juexiao School of Design Creative Industries Faculty 2018 Statement of Originality The work contained in this thesis has not been previously submitted to meet requirements for an award at this or any other higher education institution. To the best of my knowledge & belief, the project contains no material previously published or written by another person except where due reference is made. Signature: QUT Verified Signature Date: April 2018 1 / 110 ACKNOWLEDEGMENT This work would not have been possible without the incredible support and encouragement I have received over the years from my supervisors, my friends and my family. First, I would like to thank my principal supervisor, Dr Deb Polson, who has mentored me and always support me. Words cannot express the thanks I have to Deb, who first inspired me on the ARG when I was doing my MCI degree. Without your encouragement and support this research would never have been possible. I am thankful for the great attention you showed whenever we met, and your words of wisdom over many meetings, emails and phone calls. I would also like to thank you for your mountains of support on this project. Second, I would like to express my thanks to my associate supervisor, Dr Gavin Sade, who provided valuable feedback and advice in editing and writing this exegesis towards the end of my research journey. Many thanks for your support and amazing attention to detail, a wealth of theoretical knowledge and a helpful guiding hand. -
On the Enlightenment of the Construction of Poetic Garden Landscape Art Jiping Hai Xi'an Academy of Fine Arts, Department of Architectural Environmental Art
2019 9th International Conference on Education and Social Science (ICESS 2019) On the Enlightenment of the Construction of Poetic Garden Landscape Art Jiping Hai Xi'an Academy of Fine Arts, Department of Architectural Environmental Art Keywords: Classical poetry, Garden conception, Landscape culture. Abstract. By interpreting the artistic conception and spiritual connotation of classical poetry, this paper analyzes the concept of Chinese traditional garden construction and the philosophy of poetry. With demonstration of the inner relationship between classical poetry and artistic conception in the garden, this paper explores its poetic spatial culture and landscape artistic conception to supply inspiration for contemporary landscape design from the conception of mirror, the situation and the artistic . "Chinese gardens and Chinese literature are intertwined and difficult to separate. So I think that studying Chinese gardens should start with Chinese poetry and must be based on the original, and then study the source, and then there are many problems are naturally solved. If we only study the garden from the image, then we can't understand its’ connotation.” Mr. Chen Congzhou explained in his book "Chinese Poetry and Chinese Garden Art" that poetry is the soul of Chinese classical gardens, and it has deep artistic origins with classical poetry. In his comments on the classical garden art of the East and the West, the writer Cao Lindi pointed out that "Western gardens are like epics with strong rational colors and oil paintings with strong sense of form, which are arrogant, rational expression and rational emotion; Chinese gardens are like lyric poems which can express inner feelings lyrical people, You can put your emotions and empathy in in the scenery with cherish and lovely words outside the verse. -
The Neolithic Ofsouthern China-Origin, Development, and Dispersal
The Neolithic ofSouthern China-Origin, Development, and Dispersal ZHANG CHI AND HSIAO-CHUN HUNG INTRODUCTION SANDWICHED BETWEEN THE YELLOW RIVER and Mainland Southeast Asia, southern China1 lies centrally within eastern Asia. This geographical area can be divided into three geomorphological terrains: the middle and lower Yangtze allu vial plain, the Lingnan (southern Nanling Mountains)-Fujian region,2 and the Yungui Plateau3 (Fig. 1). During the past 30 years, abundant archaeological dis coveries have stimulated a rethinking of the role ofsouthern China in the prehis tory of China and Southeast Asia. This article aims to outline briefly the Neolithic cultural developments in the middle and lower Yangtze alluvial plain, to discuss cultural influences over adjacent regions and, most importantly, to examine the issue of southward population dispersal during this time period. First, we give an overview of some significant prehistoric discoveries in south ern China. With the discovery of Hemudu in the mid-1970s as the divide, the history of archaeology in this region can be divided into two phases. The first phase (c. 1920s-1970s) involved extensive discovery, when archaeologists un earthed Pleistocene human remains at Yuanmou, Ziyang, Liujiang, Maba, and Changyang, and Palaeolithic industries in many caves. The major Neolithic cul tures, including Daxi, Qujialing, Shijiahe, Majiabang, Songze, Liangzhu, and Beiyinyangying in the middle and lower Yangtze, and several shell midden sites in Lingnan, were also discovered in this phase. During the systematic research phase (1970s to the present), ongoing major ex cavation at many sites contributed significantly to our understanding of prehis toric southern China. Additional early human remains at Wushan, Jianshi, Yun xian, Nanjing, and Hexian were recovered together with Palaeolithic assemblages from Yuanmou, the Baise basin, Jianshi Longgu cave, Hanzhong, the Li and Yuan valleys, Dadong and Jigongshan. -
This City in China Has the Most Unesco-Recognized Gardens in the World
This City in China Has the Most Unesco-Recognized Gardens in the World Suzhou has more than 60 gardens dating back to 600 AD, and nine have collective World Heritage status By Jennifer Billock smithsonian.com July 23, 2018 1:31PM The rise of the Tang Dynasty, beginning around 618 A.D. and continuing through the early 900s, saw the formation of myriads of gardens throughout China, particularly in the city of Suzhou. Today, this modern-day suburb of Shanghai is dotted with elaborate and well-preserved classical gardens and zigzagged with canals and bridges that draw comparison to Venice and Amsterdam. The gardens in and around Suzhou are believed to have evolved from the tradition of imperial hunting grounds dating as far back as the 3rd century B.C.—but at the time of their creation many centuries later, the gardens in these parts were not intended for hunting, despite their likely origins; nor were they designed as a quiet place to sit and reflect on the day. Rather, the ability to create and own a lush private garden was considered a symbol of wealth and social status. “They were obviously places of quiet and contemplation, but this interior, introspective enjoyment was coupled with the desire to invite in their colleagues and show off the cleverness of their garden designs and the erudition in naming their gardens’ halls and pavilions and even their choices of poetic couplets sprinkled around the grounds,” Stephen Koss, author of “Beautiful Su: A Social and Cultural History of Suzhou, China,” told Smithsonian.com. The gardens in Suzhou followed a traditionally Chinese style, consisting of endless combinations of four primary elements: water, rocks, plants and structures. -
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. -
Suzhou Is an Ancient City Whose Profound History Plays a Large Part in Its Culture and Way of Life, Even Today
Suzhou is an ancient city whose profound history plays a large part in its culture and way of life, even today. Located in the Jiangsu Province, around 60 miles west of Shanghai, it’s easy for travelers to get to via train or car, making it a worthwhile and convenient day trip. Though one day isn’t enough to fully experience the Venice of China. Suzhou is a special place, one defined by canals, classical gardens, silk industry, “su bang cai” or Suzhou cuisine and more. It’s a city that still retains sections of old world charm, giving travelers the opportunity to take a step back in time and appreciate one of the most beautiful cities in China. Canals 42 percent of this unique city is covered by water. That means you really can’t explore Suzhou without crossing numerous stone bridges over lakes, canals and rivers. One of the coolest ways to tour the city is by boat. Boat trips give you a whole different look at life in Suzhou, as they float through the backs of homes and businesses. Head over to Downtown Suzhou to experience a Suzhou-style gondola tour on the Weichang River, which showcases sites including Panmen Gate and the Couple’s Retreat Garden. This area is home to nine east-west canals and 12 north-south canals. Alternatively, explore the charming area of Pingjiang Street by foot, where you can watch these traditional Chinese boats pass on the Pingjiang River while sipping tea in one of the quaint teahouses or popping in and out of the street’s many boutique shops. -
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. -
A Study of the Modern Chinese Magazine Literary Renaissance
A Brief Flowering: A Study of the Modern Chinese Magazine Literary Renaissance Thesis submitted for the degree of Doctor of Philosophy by Katalin Till School of Oriental and African Studies University of London 1995 ProQuest Number: 10673091 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10673091 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract The modem Chinese magazine Literary Renaissance ^ jgfJ|JIL was published monthly in Shanghai between January 1946 and August 1949, edited by Zheng Zhenduo and Li Jianwu Its launch expressed widespread hopes for the revival of Chinese literature after the war and intentions of working towards that revival. The purpose of this study is to examine whether there was indeed a post-war Literary Renaissance reflected by the magazine. Since the editors perceived a parallel between the European Renaissance and the envisaged revival of Chinese literature, various interpretations of the connection are looked at before the magazine's own literary philosophy is traced through the published editorials, reviews and theoretical articles. Creative contributions are discussed according to genre, devoting a chapter each to poetry, short stories, novels and drama.