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Bonsai Times
ISSN 1177-7761 Volume 7 Issue 4 October / November / December 2013 Official Publication of NZBA BONSAI TIMES Hawkes Bay Bonsai Society CLUBS President Neil McCorkell – 06 878 7230 Contact: [email protected] Auckland Bonsai Society 18a White St, Taradale, Napier 4112 President Les Honeyfield— 09 576 7616 Meetings: 2nd Wed 7:30 Clive Community Hall, Napier Contact: [email protected] Matamata Bonsai Club Secretary: David Radue—09 535 7907 President Graeme Hancock Contact: [email protected] Kaimai View Garden Centre SH7, Matamata Meetings: 2nd Thurs 7:30pm Auckland Horticultural Meetings: By arrangement contact Graeme Council, 990 Great North Road, Western Springs, Auck- land http://sites.google.com/site/aucklandbonsaisociety/ Manawatu Bonsai President: Greg Tuthill Avon Bonsai Society Secretary: Rachel Beaver President Beverley Van Contact: [email protected] Sec: Lyn Kennedy, 45 Claridges Road, Bishopdale, Chch 8 Rewa Street, Takaro, Palmerston North 4412 Contact:[email protected] Meetings: 3rd Wednesday 7pm PN Community Leisure- Meetings: 1st Wed 7:30 Isleworth School, Centre, 569 Ferguson Street $2 hall hire Farrington Ave, Bishopdale, Christchurch Nelson Bonsai Bay of Plenty Bonsai Society President Nigel Sutton President John Vercoe Contact: [email protected] Sec: Sue Vercoe - 07 576 4874 11 Torlesse Street, Wakatu, Stoke, Nelson 7011 Contact: [email protected] Meetings: 1st Mon 7:30 (Except Public Holidays) Meetings: Last Sunday of the month phone 07 572 4345 Nikau Gardens, 411 Nayland Rd (Summer) Stoke Hall, for details Stoke (Apr/Aug) Website: http://bonsaibop.googlepages.com/ New Plymouth Bonsai Club Inc Blenheim Bonsai Kai President Glenys Jackson – 06 753 9644 President Dave Hunt - 03 577 8679 Contact: [email protected] Contact: [email protected] 4 Waiwera Place New Plymouth 4312 7 Hale Street, Blenheim Meetings: Last Sun 2pm Royal NZ Foundation for the Bonsai Study Group Blind, 131 Vivian, St, New Plymouth Bob Langholm - 09 629 3662 Otago Bonsai Society Contact: [email protected]. -
Lan Yuan: a Garden of Distant Longing: Book Review Ian Henderson
Lan Yuan: A Garden of Distant Longing: Book Review ian henderson Lan Yuan: A Garden of Distant Longing, James Beattie and Duncan Campbell, Ian Henderson is Lecturer, Department Dunedin: Dunedin Chinese Gardens Trust and Shanghai: Shanghai Museum, of Landscape Architecture, Unitec 2013; ISBN 978–0–473–25799–6 Institute of Technology Private Bag 92025, Auckland 1142, Aotearoa f some currency in landscape architecture is a concern with issues of place- New Zealand. Omaking and responsiveness to the particulars of locality (Burns & Kahn, Telephone: +64–9–815–4321 ext 7271 2005; Griffiths, 2013; Jackson, 1994; Relph, 1976). Recently, interest has been Fax: +64–9–815–2905 growing in the exchange of stylistically designed cultural artefacts in the form Email: [email protected] of gardens. The new Chinese garden in Dunedin is one of these, and James Beattie and Duncan Campbell have chronicled its inception, commission and construction in Lan Yuan: A Garden of Distant Longing. While these two ideas – of localness and the exotic – may appear at polarity with each other, they may have more in common than is at first apparent. The title refers to the lot of the Cantonese gold miners who came to Otago in the latter part of the nineteenth century, for whom this garden is a memorial, and to the continuing place of following generations of these immigrants, for whom this garden is a celebration. The book begins with the story of these early arrivals, why they came and descriptions of the place from which they originated. It covers the construction of the built elements in China, their assemblage in Dunedin and aspects of design, typical of southern Chinese gardens of the Ming (1368–1644) and Ching (1644–1912) dynasties built by the literati. -
A Synopsis of the Culture of Chinese Gardens..Pdf
A Synopsis of the Culture of Chinese Gardens Prepared by Malcolm Wong – Chairman of the Dunedin Chinese Gardens Trust (February 2009) Introduction In his book Yuan Ye, which was completed in 1634, Ji Cheng wrote that although the garden is made with the hand of man it must look as though it was made in heaven. To fully understand the concept of the Chinese garden is to understand how the Chinese view the universe. This may seem a bold statement but over two thousand years of history gives it some credence. What then makes this so and why have Chinese gardens so fascinated the West? When did this fascination begin and why can’t these Gardens be recreated by western gardeners? In the 1920’s an educated Chinese gentlemen, on visiting Europe, commented when shown a “mown and bordered lawn which, while no doubt would be of interest to a cow, offers no interest to human beings”. Therein lies the fundamental difference in gardening between East and West. Chinese build gardens whereas the West plant gardens. However, if the difference was as simple as that to master, Chinese gardens would have been replicated with ease by the great western landscape architects. The fascination by the West of things Chinese began on the eve of 1699 when the Court of France held a Chinese festival to commemorate the coming new year. The term “chinoiserie” was coined at this time and so began the West’s great desire for all things Chinese. This interest included porcelain, artwork, furniture and ceramics and then extended to gardening. -
Cultivating Orientalism
The Newsletter | No.73 | Spring 2016 12 | The Study Cultivating Orientalism (1918-2000) in the late 1970s, the design team had proposed Although the transplantation of Chinese gardens to the Western world over that the ‘Late Spring Abode’ (Dianchun yi) in the western section of the ‘Garden of the Master of Nets’ (Wangshi yuan) the past few decades might appear far removed from the topic of Edward Said’s in Suzhou be recreated at the New York site. A long-defunct imperial ceramic kiln was reopened, a special team of loggers classic study, the cultural essentialism of which it partakes shares much with dispatched to the province of Sichuan to source appropriate timber, and a full-scale prototype constructed in Suzhou. Said’s original conception of Orientalism. But this is a form of Orientalism The garden was then meticulously assembled in New York early in 1980 by a team of Chinese experts, after a ritual exchange in which the power relationship has shifted dramatically. of hardhats with their American counterparts, before being officially opened to the public in June 1981. Stephen McDowall As if anticipating the “locus of infinite and unbridled creativity” that Bolton wants us to see at the Met, Chen Congzhou claimed that the opening of the Astor Court “served IN JUNE 1664, John Evelyn took an opportunity to view precisely for their lack of exoticism. As Oliver Impey has to promote the ever deepening trend towards the intermingling “a Collection of rarities” shipped from China by Jesuit missionar- observed, “people knew exactly what they wanted a ‘Chinese’ of the garden cultures of China and the rest of the world.”15 ies and bound for Paris. -
Dunedin Chinese Garden – East Meet West
Dunedin Chinese Garden – East meet West This paper is about the design and construction of the garden and how some of the differences between how things are done in Shanghai and in New Zealand were resolved and accommodated in the garden construction. Also some of the things which had to be done to maintain the authenticity of the garden, both as to form and appearance, as well as highlighting some of the challenges which in the end were overcome by finding pragmatic solutions and the great deal of goodwill which was present both in the community and in the authorities we had to deal with. Authenticity of the Garden. While the initial design concept for the Garden was prepared by Bruce Young, an Auckland Architect, as part of the original Planning Application it was felt that if the Garden was to be an authentic one it should be designed in China by Chinese with expertise in traditional Chinese Garden design using materials sourced from China and be built using traditional Chinese methods by artisans skilled in those techniques. Through the relationship built up with the Shanghai Museum and Professor Tan Yufeng in particular, such a designer was identified in Dr Cao Yongkang and the detailed design of the garden is essentially his work. The Chinese design was for the above ground work while the below ground work and services etc would be provided by local people. Authenticity was so important not only to the Chinese Gardens Trust but also the Shanghai Museum that a requirement in the Contract with the builders of the Garden, The Shanghai Construction and Decoration Company, was that the construction be authenticated on completion by someone appointed by the Shanghai Museum. -
What's New in Dunedin
What’s New in Dunedin November 2018 Cuisine Scene Bay Road Peanut Butter Factory & Café Opens What could improve on having a factory making super fresh peanut butter in Dunedin? Having a café on the factory site – that’s what! Bay Road Peanut Butter has infused the food and beverages menu with seriously local flavour, with Common Ground Espresso, Windy Ridge Milk, toast from Spelt Bakery and jams from Eat with Kate all close at hand. https://www.facebook.com/bayroadnz/ New Ocho Chocolate Factory & Café Opening Soon Already renowned for its range of single-origin craft bean-to-bar chocolate and for running a stylish compact café, Ocho Chocolate moved to a bigger factory space early in 2018. It’s due to open a new shop and café on the site before Christmas, still showcasing the varied flavours of Pacific-grown beans. Ocho is also planning to host tours, delivering a great package of coffee, chocolate and insider’s knowledge. https://ocho.co.nz/ Moiety A revelation in taste, newcomer Moiety is an exciting addition to Dunedin’s funky Warehouse Precinct. The ever-changing menu reads like a list of innovative ingredients and features enticing snack options or a more decadent five-course degustation-style option. It’s impossible to define a particular style of food here, but there is an undercurrent of Japanese flavours that runs throughout the menu and everything is almost religiously based on locally-sourced, seasonal ingredients. https://www.moiety.restaurant/ Ombrellitos Ombrellos has often been lauded as one of Dunedin’s best café bars, with a huge selection of craft beers on tap and a large and varied menu. -
A Synopsis of the Culture of Chinese Gardens
A Synopsis of the Culture of Chinese Gardens Prepared by Malcolm Wong – Chairman of the Dunedin Chinese Gardens Trust (February 2009) Introduction In his book Yuan Ye, which was completed in 1634, Ji Cheng wrote that although the garden is made with the hand of man it must look as though it was made in heaven. To fully understand the concept of the Chinese garden is to understand how the Chinese view the universe. This may seem a bold statement but over two thousand years of history gives it some credence. What then makes this so and why have Chinese gardens so fascinated the West? When did this fascination begin and why can’t these Gardens be recreated by western gardeners? In the 1920’s an educated Chinese gentlemen, on visiting Europe, commented when shown a “mown and bordered lawn which, while no doubt would be of interest to a cow, offers no interest to human beings”. Therein lies the fundamental difference in gardening between East and West. Chinese build gardens whereas the West plant gardens. However, if the difference was as simple as that to master, Chinese gardens would have been replicated with ease by the great western landscape architects. The fascination by the West of things Chinese began on the eve of 1699 when the Court of France held a Chinese festival to commemorate the coming new year. The term “chinoiserie” was coined at this time and so began the West’s great desire for all things Chinese. This interest included porcelain, artwork, furniture and ceramics and then extended to gardening. -
City of Literature Vision
1 United Nations Designated Educational, Scientific and UNESCO Creative City Cultural Organization in 2014 This publication was written as part of Dunedin City’s bid for UNESCO City of Literature status in March 2014. Some information has been updated since its publication mid-2015. Thank you to all of the people who contributed to developing Dunedin’s bid and in particular the Steering Team members Bernie Hawke, Noel Waite, Annie Villiers and Liz Knowles. A special thank you also to Eleanor Parker, Michael Moeahu, Lisa McCauley; and Elizabeth Rose and Susan Isaacs from the New Zealand National Commission of UNESCO. ISBN: 978-0-473-32950-1 | PUBLISHED BY: Dunedin Public Libraries 2015 | DESIGNER: Casey Thomas COVER IMAGE: Macandrew Bay, Dunedin by Paul le Comte ONE OF THE WORLD’S GREAT SMALL CITIES Otago Harbour by David Steer CONTENTS New Zealand: It's People and Place in the World 3 Multi-cultural Heritage 13 • Books for Children 29 • Bookshops 29 Dunedin's Literary Cultural Assets 14 About Us: Dunedin 7 • Musical Lyricists 31 • City's Layout and Geographical Area 10 • Te Pukapuka M¯aori – M¯aori Literature 17 • Literature-focused Festivals 31 • A Great City for Writers 19 • Population and Economy 10 • Residencies and Awards 21 Dunedin's Creative City Assets 32 • Infrastructure 11 • Impressive Publishing Heritage 24 • Arts and Culture 33 • Municipal/Government Structure 11 • Centre for the Book 25 • Events 37 • Urban Planning, Policy and Strategy 11 • Libraries 27 • Educational Institutes 41 Panoramic of the Steamer Basin, Dunedin by Paul le Comte NEW ZEALAND ITS PEOPLE AND PLACE IN THE WORLD Aotearoa New Zealand. -
Cultural Representation and Chinese Gardens Abroad
Cultural representation and Chinese gardens abroad: An exploratory study of Dunedin Chinese Garden, New Zealand Jing Cui A dissertation submitted to Auckland University of Technology in partial fulfillment of the requirements for the degree of Master of International Tourism Management (MITM) 2013 School of Hospitality and Tourism Supervisor: Dr. Jane Legget Table of contents List of figures......................................................................................................................... IV List of tables ............................................................................................................................ V List of Abbreviations.............................................................................................................. VI Attestation of Authorship ...................................................................................................... VII Acknowledgement ............................................................................................................... VIII Abstract ................................................................................................................................. IX 1. Introduction ...................................................................................................................... 1 1.1. Research rationale and objective ............................................................................... 3 1.2. Definitions ...............................................................................................................