DOCSLIB.ORG

Japanese Garden

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Japanese Garden 満開 IN BLOOM A PUBLICATION FROM WATERFRONT BOTANICAL GARDENS SPRING 2021 A LETTER FROM OUR 理事長からの PRESIDENT メッセージ An opportunity was afforded to WBG and this region Japanese Gardens were often built with tall walls or when the stars aligned exactly two years ago! We found hedges so that when you entered the garden you were out we were receiving a donation of 24 bonsai trees, the whisked away into a place of peace and tranquility, away Graeser family stepped up with a $500,000 match grant from the worries of the world. A peaceful, meditative to get the Japanese Garden going, and internationally garden space can teach us much about ourselves and renowned traditional Japanese landscape designer, our world. Shiro Nakane, visited Louisville and agreed to design a two-acre, authentic Japanese Garden for us. With the building of this authentic Japanese Garden we will learn many 花鳥風月 From the beginning, this project has been about people, new things, both during the process “Kachou Fuugetsu” serendipity, our community, and unexpected alignments. and after it is completed. We will –Japanese Proverb Mr. Nakane first visited in September 2019, three weeks enjoy peaceful, quiet times in the before the opening of the Waterfront Botanical Gardens. garden, social times, moments of Literally translates to Flower, Bird, Wind, Moon. He could sense the excitement for what was happening learning and inspiration, and moments Meaning experience on this 23-acre site in Louisville, KY. He made his of deep emotion as we witness the the beauties of nature, commitment on the spot. impact of this beautiful place on our and in doing so, learn children and grandchildren who visit about yourself. Since that time, he visited again in March 2020. We have our garden. had multiple Zoom calls with his team and have shared hundreds of emails. Working with the Nakane team has Once we raise the funds to get started with this elegant been a wonderful learning experience, as have all our addition to the landscape of our region, we will witness efforts, struggles, and successes associated with this the building of a cultural center in Louisville that will project. I have learned about Japanese culture, business remain long after we are gone. Join us in learning more practices, communication, and the importance about the Japanese Garden while it is being built by of nature in our lives. Japanese craftsmen. Enjoy a walk over the arched bridge, a visit to the amazing bonsai garden, and an authentic tea ceremony in the Tea House. I believe you and I will be changed forever. Kasey Kasey Maier, President LEFT TO RIGHT: KENJI TASHIRO, YUKIHIRO NAKANE, KURT GRAESER, KASEY MAIER, DAVID GRAESER, SHIRO NAKANE OUR VISION Planting seeds and growing minds for more sustainable cities. STAFF Shalonda Brown Wanda Peck Kat Rivers Nejma Piagentini HR Administrator Youth Education Adult Education Vice-Chair Kasey Maier Specialist Coordinator Environmental President Elizabeth Chandler Scientist Development Duncan Cherry Brett Shepherd Jeff Cummins Manager Office Manager Director of Capital David Grey Director of Finance Campaigns Secretary Allison Whitehouse Chelsea Hicks and Operations Senior Data Scientist Adult Engagement Horticulturist of Global Production, Jamie Burghardt, Manager OFFICERS OF Brown-Forman Director of Dan Cash THE BOARD Horticulture and Andrew Hagerty Facilities Coordinator Susan Howard, Education Lead Horticulturist Jon Salomon Treasurer Ryeshia Reves Chair Lesley Kinney Amy Defigueiredo Special Events Assistant Director of Tax Partner, Tachau Services, Dean Dorton Director of Staff Accountant Manager Meek PLC Development Allen Ford, PLLC 中根史郎氏 INTRODUCING SHIRO NAKANE の紹介 Shiro Nakane was born in Kyoto in 1950. He received his THE FORMATIVE BEAUTY OF ISHIGUMI first lessons in traditional Japanese Garden design as a (ROCK ARRANGEMENT): very young child from his father, noted Japanese Garden …the apparent admiration and esteem enjoyed by the Japanese designer, Kinsaku Nakane, the former President of the Garden throughout the world is presumably attributable to the Osaka University of Arts. recognition of its universal artistic merits, which transcend all racial, religious, and cultural differences. Mr. Nakane graduated from the Gakushuin University in Philosophy in 1975, and joined the staff of the Nakane Upon examining the design features and botanical cultivation Garden Research Institute that same year. of Japanese Gardens, one also notices the astonishing extent to which these have conformed to changes in the environment. Research into the classic aspects of Japanese Gardens could His career started as a first class supervision engineer conceivably shed light on the urgent challenge to modern society for landscape gardening construction. In 1985, he was presented by environmental considerations and attempts to promoted to Executive Vice President of the Nakane coexist with nature. Corporation, and became President in 1995, following in the footsteps of his father. Japanese Gardens, with their history of 1,400 years and the traditional design features that have persisted in this sphere, 1995 Director, International Federation of Landscape Architects of Japan are of profound historical interest as regards investigation of the 2000 Director, Japanese Institute of Japanese Garden Japanese classics. In addition, they provide training with respect 2012 Councilor of the Japan Garden Society to the techniques of natural and subtle balancing or harmonization in the formative arts and elucidate the challenges of ensuring harmony with nature and developing methods for their control and Excerpts from “Structure in the Japanese Garden,” application. These important aspects of the art, which transcend a The Antioch Review, Volume 64, Number 2, 2006 mere appreciation of the garden, appear to contain answers to the by Shiro Nakane: vital questions at hand. Building a garden is like painting on a three-dimensional canvas. Rocks are one of the most important elements. They are “Reproduction of natural environment” and “coexistence with arranged according to the laws of perspective, in well-balanced nature” are not so difficult. The traditional techniques and attitude compositions based upon the triangle. But the master Japanese of the Japanese were originally based on coexisting with nature, gardener learns his craft through natural observation, not saving resources, and decreasing waste materials. theoretical study. As in a painting, literalism and abstraction play a part in the Japanese Garden; we judge each in terms of both I hope the essential beauty of the Japanese Garden will give composition and technique. you an enlightened appreciation of the Japanese Garden that will enable you to incorporate its elements into your own garden designs, creating something like the best of the Japanese Gardens, something that springs from your unique sense of the natural world. COVER FLORA Front: Japanese Apricot (Prunus mume) Back: Japanese Iris (Iris ensata) BOARD OF Greg Buccola Margaret (Peggy) Grant Caroline Lussky Kenisha Thompson Managing Principal, Retired, Stites & Pharmaceutical Rep, Gray Matter Strategy DIRECTORS KPFF Consulting Harbison PLLC Ascend Therapeutics Consulting Engineers Margaret Bell Dominic Gratto Scott Neff Brian Voelker Retired, Former Karen Dahlem Senior Director Co-CEO, The Glenview Director, Care Marketing, Managing Director, Fort President, Dahlem of Construction, Trust Company Humana Washington Investment Consulting CVS Health Advisors Merry-Kay Poe Bill Wade Kevin Fennell Will Greene President, Unbridled National Program Greg Braun Senior Director of Owner, Vanguard Films LLC Director, BMW Owner & Founder, Maid Design, 21c Hotels Cleaning Solutions of CCA Foundation Chase Sanders in Louisville Louisville & Lexington Matt Gardiner Payment Integrity Gerry-Lynn Gordon Brown Owner & President, Bob Hill Analyst, The Rawlings Wichmann, MD Retired, Former Boone Gardiner Retired, Owner, Hidden Group Medical Director President & CEO, Home Landscape and Farm Hill Nursery of Substance Use, Valerie J. Smith of the Innocents Louisville Veterans Tourism Consultant, Affairs Medical Center Photographer WATERFRONT BOTANICAL GARDEN | 2021/03/03 R I V E R R O A D Updated Master Plan 最新のマスタープラン CONSERVATORY PALISADES GARDEN THE BEARGRASS HILLSIDE ARBORETUM CREEK CHILDREN’S THEATER GARDEN THE WELCOME WOODLANDS JAPANESE GARDEN WATER THE MEADOW GARDEN GARDEN BEARGRASS LAWN OVERLOOK FRANKFORT AVENUE THE OVAL FORMAL GARDEN GRAESER FAMILY VISITOR EDUCATION CENTER SENSORY CENTER GARDEN MARY LEE DUTHIE GARDEN THE TRELLIS HELEN HARRIGAN GARDEN ENTRY GARDEN ELLEN T. LESLIE BOTANICAL CLASSROOMS EVERGREEN TAPESTRY INTERSTATE 71 The original master plan, released in 2014 by across Frankfort Avenue. The walkway is ADA- Perkins+Will, has recently been updated. accessible, traverses a water feature in the northwest corner of the property and through the curving paths The Visitor Center remains on the western side of a hillside Welcome Garden. The path meets the of the site and still includes a green roof atop vehicle drop-off area on the south side of the Visitor an entrance lobby, exhibit space, cafe, gift shop, N Center just outside the main lobby and utilizes the 0 25 50 100 200 and administrative office. The pedestrian walkway current driveway entrance from Frankfort Avenue. connects the future parking lot farther west and WATERFRONT BOTANICAL GARDEN | 2021/03/03 R I V E R R O A D CONSERVATORY PALISADES GARDEN THE BEARGRASS HILLSIDE ARBORETUM CREEK CHILDREN’S THEATER GARDEN THE WELCOME
Load more

Recommended publications
  • LOT TYPESET LOW HIGH 7000 German Porcelain Figural Group
    LOT TYPESET LOW HIGH 7000 German porcelain figural group, depicting a pianist and dancers, each dressed in classical $ 500 $ 700 attire with crinoline accents, marked with underglaze blue mark, 11.5"h x 16"w x 9"d 7001 Framed group of 32 Wedgwood jasperware medallions, each depicting British royalty, $ 300 $ 500 overall 17.5"h x 33"w 7002 (lot of 2) Continental polychrome decorated pill boxes, including a Meissen example, $ 300 $ 500 largest 1"h x 2.5"w 7003 (lot of 2) Meissen figural candlestick group 19th century, each depicted holding a child, one $ 1,200 $ 1,500 figure in the Bacchanalian taste, having a grape cluster wreath, each depicted in Classical attire, and rising on a Rococco style base with bird form reserves, underside with underglaze blue cross sword mark, 13,5"h 7004 Continental style gilt bronze footed compote, having a garland swag decorated frieze $ 600 $ 900 flanking the ebonized bowl, above the fish form gilt bronze standard, and rising on a circular marble base, 8.5"h x 8"w 7005 (lot of 8) French hand painted porcelain miniature portraits; each depicting French royalty $ 800 $ 1,200 including Napoleon, and numerous ladies, largest 4"h x 3"w Provenance: from the Holman Estate in Pacific Grove. The Holman family were early residents of the Monterey Peninsula and established Holman's Department Store in the center of Pacific Grove, thence by family descent 7006 French Grand Tour style silver gilt mythological figure, depicting Bacchus or Dionysus, $ 1,500 $ 2,000 modeled as standing on a mound of grapes and leaves holding
    [Show full text]
  • Notes Toward a Study of Neighborhood Festivals in Modern Tokyo
    The Shrine : Notes toward a Study of Neighborhood Festivals in Modern Tokyo By A.W. S a d l e r Sarah Lawrence College When I arrived in Japan in the autumn of 1965, I settled my family into our home-away-from-home in a remote comer of Bunkyo-ku3 in Tokyo, and went to call upon an old timer，a man who had spent most of his adult life in Tokyo. I told him of my intention to carry out an exhaustive study of the annual festivals (taisai) of a typical neighbor­ hood shrine (jinja) in my area of residence，and I told him I had a full year at my disposal for the task. “Start on the grounds of the shrine/，was his solid advice; “go over every tsubo '(every square foot3 we might say)，take note of every stone, investigate every marker.” And that is how I began. I worked with the shrines closest to home so that shrine and people would be part of my everyday life. When my wife and I went for an evening stroll, we invariably happened upon the grounds of one of our shrines; when we went to the market for fish or pencils or raaisnes we found ourselves visiting with the ujiko (parishioners; literally，children of the god of the shrine, who is guardian spirit of the neighborhood) of the shrine. I started with five shrines. I had great difficulty arranging for interviews with the priests of two of the five (the reasons for their reluc­ tance to visit with me will be discussed below) ; one was a little too large and famous for my purposes，and another was a little too far from home for really careful scrutiny.
    [Show full text]
  • Look Through the Heart Teahouse”
    ShinKanAn Teahouse – The “Look Through the Heart Teahouse” 1. Introduction: History and Name • Our Teahouse in unique on the Central Coast. It is a traditional structure, using mostly Japanese joinery instead of nails, traditional tatami mats and hand-made paper sliding doors. Additionally, it is perhaps the only traditional Japanese Teahouse between the Greater Los Angeles area and the San Francisco peninsula, and the only one in California using California natives in an intentional Japanese style. • It was originally built in Kyoto during the postwar period: a wooden plaque on the wall near the entry doors commemorates the architect and the date: 1949. The Teahouse was a gift from the President of the Nippon Oil Company to a local resident, Mr. H. Royce Greatwood, as an expression of appreciation for his assistance after the war. It was shipped in wooden boxes, each piece numbered, and reassembled in Mr. Greatwood’s Hope Ranch lemon orchard in the early 1950’s. This teahouse is evidence of the tremendous efforts that were made to renew the ties of friendship between former wartime adversaries. • The rich cultural tradition of Cha-do, The Way of Tea, graces this teahouse. In 2000, it was given the name ShinKanAn , meaning “Look Through the Heart” by the 15th Grandmaster of the Urasenke Tea school, an unusual event. • The name was generously given in honor of Heartie Anne Look, a teacher of flower arrangement and Japanese culture for many years in the Santa Barbara community. This teahouse is being used and maintained in a manner authentic to the tradition of Cha-do.
    [Show full text]
  • Based on the Most Classic Cocktails, but with an Asian Twist, These Cocktails Have Been Created by Roji for Anyone Who Follows the Path of Roji
    Based on the most classic cocktails, but with an Asian twist, these cocktails have been created by Roji for anyone who follows the path of Roji. Please feel free to order your favorite classic cocktail even if it is not mentioned on this menu. The Nomu 13 Ketel One Vodka, Cointreau, Yuzu, Litchi, Bitters, Egg White Sweet with a Japanese twist Walking To Paradise 14 Johnnie Walker Black Label, Raspberry Liqueur, Lime, Butterscotch, Egg white Keep Walking... Budo 13 Hendrick’s Gin, Cointreau,Grapes, Cucumber, Elderfower, Lime Perfect Start Of Your Wonderful Evening Rojitini 14 Mount Gay Eclipse Rum, Elderfower, Lime Sweet & Classy Mao 15 Mount Gay Eclipse Rum, Zacapa 23 Rum, Lime, Liquor 43, Almond Syrup, Bitters Tiki Style Man with the Red Face 14 Strawberry and basil infused Don Julio Bianco, dry vermouth, lime Spicy challenge My Medicine Penicillin 16 Monkey Shoulder Whiskey, Laphroaig 10, Ginger syrup, Honey syrup, lime Smokey, Spicy A Bitter Berry 14 Tanqueray N°Ten, Campari, Homemade Strawberry Shiso shrub Twist on a Negroni After Dinner Cocktails Smokey ‘Cohiba’ Crusta 15 Zacapa 23, Maraschino liquor, Cherry Brandy, Lime, Smoke It’s Allowed To Smoke Inside... Gentlemen’s Agreement Club 29 Johnnie Walker Blue Label, Px Sherry, Poire Williams Eau de Vie, Bitters The Perfect After Dinner at The Fire Place Lost in Translation 14 Bulleit Rye Whiskey, Fernet Branca, Sugar, Bitters Champagne Cocktails Bellefeur Champagne 14 Roji Champagne, Elderfower ‘Belfeur’ The New Bellini Champagne Russian S. Punch 15 Belvedere Vodka, Raspberry Liqueur, Crème de Cassis Topped With Our Own Roji Champagne... Roji’s Mocktails Bangkok Non-Stop 7 Blue Eyes Tea, Litchi Syrup, Ginger Syrup, Yuzu Juice and Coke.
    [Show full text]
  • Fact Sheet a Look Inside the Portland Japanese Garden
    Fact Sheet A look inside the Portland Japanese Garden Address: Hours: Key Personnel: 611 SW Kingston Ave Summer Public Hours (March 13 - Sept. 30): Stephen Bloom, Chief Executive Officer Portland, Oregon 97208 ● Monday: Noon - 7 p.m. Sadafumi Uchiyama, Garden Curator ● Tuesday - Sunday: 10 a.m. - 7 p.m. Diane Durston, Arlene Schnitzer Curator of Culture, Art & Education Website: japanesegarden.org Cynthia Johnson Haruyama, Deputy Director Phone: 503.223.1321 Winter Public Hours (Oct. 1 - March 12) Cathy Rudd, Board of Trustees President Email: [email protected] ● Monday: Noon - 4 p.m. Dorie Vollum, Board of Trustees President-Elect and Cultural ● Tuesday - Sunday: 10 a.m. - 4 p.m. Crossing Campaign Co-Chair Quick Facts: Pricing: ● Year Established: 1963 Adults: $14.95 ● Total Annual Attendance: 356,000 in 2016 (up 20% from 2015) Seniors (65+): $12.95 ● Total Acreage: 8 public gardens spread over 12 acres College Students (with ID): $11.95 ● Total Volunteer Hours: 7,226 in 2016 Youth (6 - 17): $10.45 ● Total Members: 11,000 Children 5 and under: free ● Total Staff: 83 regular employees, including eight full-time gardeners ● Total Operating Budget: $9.5 million Photos, Videos & Logos: ● Click here for Photos of the Garden in every season ● Click here for Photos of Cultural Programming & Art Exhibitions ● Click here for Videos & B-roll ● Click here for Logos Media Inquiries: Erica Heartquist | [email protected] | 503.542.9339 Page 1 of 3 About the Portland Japanese Garden For more than 50 years, the Portland Japanese Garden has been a haven of serenity and tranquility, nestled in the scenic West Hills of Portland, OR.
    [Show full text]
  • “The China of Santa Cruz”: the Culture of Tea in Maria Graham's
    “The China of Santa Cruz”: The Culture of Tea in Maria Graham’s Journal of a Voyage to Brazil (Article) NICOLLE JORDAN University of Southern Mississippi he notion of Brazilian tea may sound like something of an anomaly—or impossibility—given the predominance of Brazilian coffee in our cultural T imagination. We may be surprised, then, to learn that King João VI of Portugal and Brazil (1767–1826) pursued a project for the importation, acclimatization, and planting of tea from China in his royal botanic garden in Rio de Janeiro. A curious episode in the annals of colonial botany, the cultivation of a tea plantation in Rio has a short but significant history, especially when read through the lens of Maria Graham’s Journal of a Voyage to Brazil (1824). Graham’s descriptions of the tea garden in this text are brief, but they amplify her thorough-going enthusiasm for the biodiversity and botanical innovation she encountered— and contributed to—in South America. Such enthusiasm for the imperial tea garden echoes Graham’s support for Brazilian independence, and indeed, bolsters it. In 1821 Graham came to Brazil aboard HMS Doris, captained by her husband Thomas, who was charged with protecting Britain’s considerable mercantile interests in the region. As a British naval captain’s wife, she was obliged to uphold Britain’s official policy of strict neutrality. Despite these circumstances, her Journal conveys a pro-independence stance that is legible in her frequent rhapsodies over Brazil’s stunning flora and fauna. By situating Rio’s tea plantation within the global context of imperial botany, we may appreciate Graham’s testimony to a practice of transnational plant exchange that effectively makes her an agent of empire even in a locale where Britain had no territorial aspirations.
    [Show full text]
  • Growing an Herbal Tea Garden
    Growing an Herbal Tea Garden By Lynn Heagney March 1, 2019 Teas if you please Growing an herbal tea garden is fun and rewarding. It involves selecting the site for your garden, deciding which herbs you’d like to grow, choosing a design, then planting, harvesting, and using the herbs you’ve grown in delicious teas. When you’re finished, not only will you have a wonderful source for all of your favorite teas, but you’ll also have a place that attracts butterflies, bees, and hummingbirds. Your first major decision is deciding where you’d like to locate your garden. Be sure to pick a site that has lots of sun, at least 4-6 hours per day because most herbs like sunny locations. Also, pick an area that drains well. Only mint likes “wet feet;” the rest prefer drier areas. If your only option is a damp area, you might consider planting your herbs in a raised bed, or in containers. It’s also nice if you can find a site that’s relatively close to your house so you can have fast and easy access to fresh herbs. Now you’re ready to choose which herbs you’d like to include in your garden. You can decide to establish a site exclusively for herbs used only in teas, or you can combine those with culinary herbs. You can also mix both types of herbs with a variety of flowers. If you’d like see how these combinations might work, plan a visit to the Discovery Gardens in Mount Vernon, where the Herb Garden and Cottage Garden provide inspiring examples of these strategies.
    [Show full text]
  • Mizumoto Japanese Stroll Garden October, Open Daily 10 A.M.- 6 P.M
    Hours Welcome to the April-September, open daily 10 a.m.- 7 p.m. IZUMOTO Mizumoto Japanese Stroll Garden October, open daily 10 a.m.- 6 p.m. M AN Admission Fees JAP ESE Adults: $3 Free admission, with member ID, ROLL GARDEN Children under 12: Free to members of Friends of the ST Garden or American Horticultural eene/Close Nathanael Gr Memorial Pa Koi fish food available: $1 Society reciprocal gardens. in ic Ave., Springfi eld, Miss rk 2400 S. Scen ouri 65807 Rentals & Tours The Mizumoto Japanese Stroll Garden and the * Stepping stones make it essential to look down and see adjacent Japanese Garden Pavilion are available for The Zig-Zag Bridge slows you down to where you are placing your feet. This act of slowing down rentals and weddings. Call 417-891-1515 or visit help create a meditative state. allows for a greater opportunity for contemplation. ParkBoard.org/Botanical/Rentals. Guided group tours and field trips may be scheduled through the Botanical Center or call 417-891-1515. Park Rules • Pets are permitted on a leash. • No swimming, wading, boating or fishing. • No harvesting of flowers, fruit, or plants. The Moon Bridge is curved to reflect the roundness of • No hammocks or attaching anything to trees. the rising moon. Japan is known as the Land of the Rising The Gazebo’s open-air design makes it • Weddings, special events and any activity including Sun. The moon is an important part of Japanese culture, ideal for meditation, tea ceremonies or 30 or more people requires a rental.
    [Show full text]
  • The Superlative Artistry of Japan
    The Superlative Artistry of Japan gikou_fix.indd 1 2018/02/28 21:41 Foreword The Japan Foundation is a specialized public agency, which was established in 1972 with the goal of promoting international understanding through cultural exchange. The foundation organizes a variety of projects in three primary areas of activity: arts and cultural exchange, Japanese-language education abroad, and Japanese studies and intellectual exchange. In the field of visual arts, part of our arts and cultural exchange program, we strive to introduce Japanese art through reciprocal exchanges between Japan and other countries. As part of these activities, we have regularly organized traveling exhibitions, which tour the world. These events are made up of works from the foundation’s own collection and deal with a diverse range of subjects including crafts, painting, photography, architecture, and design. Some 20 exhibitions are constantly underway and are held at some 100 cities every year. On this occasion we are pleased to present “The Superlative Artistry of Japan”, a traveling exhibition that presents a cohesive collection of works and materials from various different genres that each place great emphasis on highly skilled techniques, ingenious expressions and concepts, and a high level of perfection that take viewers by surprise. Introducing elaborate Meiji era (1868 – 1912) kogei works that played a significant role in initiating the Japonism trend in 19th century Europe as a starting point, the exhibition in addition to numerous contemporary works of superlative artistry, also comprises capsule toy figures and food samples that illustrate a strong commitment to craftsmanship. Through this exhibition we intend to introduce the outstanding techniques of each work as well as the worlds of expression that even serve to surpass such skill and finesse, in hopes that viewers will be able to appreciate this specific part of Japan’s creative culture that honors craftsmanship and has constantly shown a thorough sense of meticulousness and devotion towards production processes.
    [Show full text]
  • Japanese Gardens at American World’S Fairs, 1876–1940 Anthony Alofsin: Frank Lloyd Wright and the Aesthetics of Japan
    A Publication of the Foundation for Landscape Studies A Journal of Place Volume ıv | Number ı | Fall 2008 Essays: The Long Life of the Japanese Garden 2 Paula Deitz: Plum Blossoms: The Third Friend of Winter Natsumi Nonaka: The Japanese Garden: The Art of Setting Stones Marc Peter Keane: Listening to Stones Elizabeth Barlow Rogers: Tea and Sympathy: A Zen Approach to Landscape Gardening Kendall H. Brown: Fair Japan: Japanese Gardens at American World’s Fairs, 1876–1940 Anthony Alofsin: Frank Lloyd Wright and the Aesthetics of Japan Book Reviews 18 Joseph Disponzio: The Sun King’s Garden: Louis XIV, André Le Nôtre and the Creation of the Garden of Versailles By Ian Thompson Elizabeth Barlow Rogers: Gardens: An Essay on the Human Condition By Robert Pogue Harrison Calendar 22 Tour 23 Contributors 23 Letter from the Editor times. Still observed is a Marc Peter Keane explains Japanese garden also became of interior and exterior. The deep-seated cultural tradi- how the Sakuteiki’s prescrip- an instrument of propagan- preeminent Wright scholar tion of plum-blossom view- tions regarding the setting of da in the hands of the coun- Anthony Alofsin maintains ing, which takes place at stones, together with the try’s imperial rulers at a in his essay that Wright was his issue of During the Heian period winter’s end. Paula Deitz Zen approach to garden succession of nineteenth- inspired as much by gardens Site/Lines focuses (794–1185), still inspired by writes about this third friend design absorbed during his and twentieth-century as by architecture during his on the aesthetics Chinese models, gardens of winter in her narrative of long residency in Japan, world’s fairs.
    [Show full text]
  • Teahouse N I T O
    n i northwest:scale 1/8" t o b teahouse ea.r.thomson 2002 southeast:scale 1/8" N The Japanese Teahouse : Ritual and Form Buddhism had branched after about 600bc, into several distinct teachings. Of these, A Paper for M.Cohen’s Seminar on Architectural Proportion Mahayana (meaning 'big raft') Buddhism worked its way to Tibet, Mongolia, China, Korea May 2002, UBC | SoA and Japan. Of these five regional variations is the 'intuitive' school of Mayahana - or Zen. Submitted by a.r.thomson Zen (strictly literally!) means, 'meditation that leads to insight'. In order to make some sense of the Teahouse design, and more specifically its mode of Mahakasyapa, apparently, was the only acolyte present at The Flower Sermon, who proportioning, scale and materiality, it is necessary to understand something of the context understood. The Flower Sermon, it is said, was one where, "Standing on a mountain with his out of which the ‘Culture of Tea’, aka. ’Teaism’ first developed. This paper will attempt to disciples around him, Buddha did not on this occasion resort to words. He simply held aloft distill some sense of this ambient culture, and then relate the aesthetic of Zen, to the a golden lotus." (H.Smith, pg 134) components of the Teahouse proper, and finally, conclude with an examination of the proportions used in the Teahouse design. UBC’s Nitobe Teahouse was the primary resource Mahakasyapa was declared the Buddha's successor. 28 patriarchs later, in 520ad, studied, which is unique in that it is a ‘traditional’ structure on foreign soil, and thus Bodhidharma introduced the teaching of Zen to Japan.
    [Show full text]
  • Japonisme in Britain - a Source of Inspiration: J
    Japonisme in Britain - A Source of Inspiration: J. McN. Whistler, Mortimer Menpes, George Henry, E.A. Hornel and nineteenth century Japan. Thesis Submitted for the Degree of Doctor of Philosophy in the Department of History of Art, University of Glasgow. By Ayako Ono vol. 1. © Ayako Ono 2001 ProQuest Number: 13818783 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 13818783 Published by ProQuest LLC(2018). 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 4 8 1 0 6 - 1346 GLASGOW UNIVERSITY LIBRARY 122%'Cop7 I Abstract Japan held a profound fascination for Western artists in the latter half of the nineteenth century. The influence of Japanese art is a phenomenon that is now called Japonisme , and it spread widely throughout Western art. It is quite hard to make a clear definition of Japonisme because of the breadth of the phenomenon, but it could be generally agreed that it is an attempt to understand and adapt the essential qualities of Japanese art. This thesis explores Japanese influences on British Art and will focus on four artists working in Britain: the American James McNeill Whistler (1834-1903), the Australian Mortimer Menpes (1855-1938), and two artists from the group known as the Glasgow Boys, George Henry (1858-1934) and Edward Atkinson Hornel (1864-1933).
    [Show full text]