The "Freeola Customer Forum" forum, which includes Retro Game Reviews, has been archived and is now read-only. You cannot post here or create a new thread or review on this forum.
Garden design in China is a very old tradition, in fact, it is believed that the Chinese have the oldest continuous tradition of garden design in the world. Part of this could be due to the fact that China, and much of Eastern Asia, missed out on the last Ice Age, so many plant species that were wiped out in other parts of the world still existed there.
Many of the ways and traditions of Chinese gardens have their origins in two philosophies that developed as early as 6th Century BC. These were Confucianism and Taoism (Daoism). Confucianism dealt with man’s relationship with his fellow man, social order, advancement, loyalty and the like. Taoism was more spiritual, how man fitted into his surroundings, how he was a part of nature and how he could best fit into this great universe that was all around him.
Though these two schools of thought were very different, with Taoists often opting out of the social hierarchy based upon Confucian ideals, over time they became each other’s complement. In fact, Chinese garden design and planning seems to be made up from equal parts Taoist’s love of nature and Confucian’s encouragement of self-cultivation.
The house and the garden were always kept very separately, and differently. In many cases the garden would be some distance from the house, with the distance thought to enhance the enchantment of the garden. The typical Chinese house would have symmetry, formality, and a degree of order. In stark contrast, the garden would be spontaneous, imaginative and full of wonder and confusion with winding waterways, huge rockeries and tree-shaded pavilions.
Whilst these themes were true of both the great parks of the Emperor’s and of the private gardens of common folk, the less wealthy did have a more practical need for their gardens, and used them for the production of millet, rice, fruits and vegetables. Linen was produced from the flax that they grew, and bamboo was an essential tool in construction.
Another important aspect of the Chinese garden was the garden as a microcosm, a representation of the world in an enclosed space. The streams and ponds or lakes would represent the rivers and the seas, the rockeries and rocky areas would represent the mountains, and the plants would represent life. But this was not the only symbolism attached to these features. The Taoist ideas of man fitting into the universe, meant that these things were given human properties, water being the blood that flows through us and rock being the strength of our bones, so these were two of the five essential and sacred parts of a garden. Also considered necessary was the pine tree, to signify a strength of character, bamboo as a symbol of lasting friendship and longevity, and plum blossom to represent the life circle, for what will live shall one day die.
Dating back to the early Chinese dynasties the rulers set aside huge areas of land for hunting and military exercise. Over time artificial lakes and terraces were built into the area, not only to improve the military training, but also for purpose of beauty.
In the 4th Century BC a royal garden was described as having scarlet balconies, latticed pavilions, winding waterways and views of distant mountains, by a collection of Southern poems. An example of such a garden can be seen 10km north of Beijing, the Yi He Yuan. Known as the Palace, or Garden of Happy Harmony, it has been destroyed on a number of occasions, only to have been restored to almost exactly it’s original state. Many gardens of this type were open to the public, and used for religious rituals, especially under model rulers, such as King Wen of the Zhou dynasty (1027-256 BC). Other rulers were less kind, and extended their parks for their own use, bringing in bird and beast for the first time.
Under the dynasty of Qin Shi Huang, beginning in 221 BC, the relevance of bringing in birds and beasts changed significantly. Shanglin Park became home to rare animals and vegetation, collected from the furthest reaches of the conquered Empire, and were symbols of imperial power. When Qin gave way to the Han Dynasty, (206BC - 220 AD) his collection was continued, and the great poems of the time describe the gardens as being miniature versions of the whole Empire.
Also during the time of the Han Dynasty, the garden was used as a search for immortality. Chinese religious beliefs gave birth to the ‘Chinese Immortals’ that were said to have lived in the Western Mountains, and on movable islands in the Eastern Sea. Like the Immortals themselves, the islands would disappear into the mist as humans approached them. After Qin Shi Huang’s unsuccessful search for the islands Emperor Han Wudi took a different approach, building replica islands in a great lake, in an attempt to attract the Immortals. Although Han’s life was not unusually long, this trend has lasted right up to modern times.
The gardens of Sui dynasty Emperor Yangdi (604-18) combined all of the elements of Chinese gardens up to the time; the islands of the Immortals, the microcosm of the Empire’s riches and the embellishment of the natural landscape, as well as fascinating devices, simply for the entertainment of his guests. A collection of extravagant mechanical figures, 60cm high and fully dressed, sailed in boats along specially constructed channels, performing some 72 scenes from China’s history. It is said that a million people worked to create the park and constantly renew the artificial flowers, keeping it at it’s maximum beauty and enchantment.
Unfortunately Yangdi’s garden was destroyed by the first Emperor of the Tang dynasty, who then went on to create a garden for entertainment around his ‘Palace of Great Brilliance’, and further Emperor’s continued the tradition with their own extravagant gardens. Tang Xuan Zhong (712-55) built many gardens for his mistress, one at Hua Qing Gong, 20km east of Xian included a fascinating pavilion, contrived so that the water rose up inside the four pillars situated in the corners, and fell as screens, rather than having walls. Also at Hau Qing Gong was a hot spring, and it had been the site for a short-stay royal villa, but it wasn’t until the time of the Tang dynasty that it grew into an elaborate palace. Though it was badly damaged over time, a bathing pool still remains, and many of the building have been rebuilt, and opened to the public.
The golden age of Chinese gardens is considered to be during the Song dynasty’s, (960-1270), with many gardens in cities open to the public during festivals. Perhaps the most famous of imperial gardens was Gen Yue, built in 1117-23 by Emperor Zhoa Ji of the Northern Song dynasty. It was built under the advice of Chinese geomancers, practitioners of feng shui. The most fascinating feature was a gigantic rockery, believed to increase the Empire’s stability. Bizarre rocks were collected from all around and used in this rockery, and around the rest of the garden. All that remains of this feature now though are two huge, monolithic rocks. This garden also had what appeared to be a microcosm of not just China, but of the whole world, spread out so that it could appear that everything could be held in ones hand, when stood on the great pavilion atop the Peak of Ten Thousand Years’ Longevity.
These traditions of fascinating gardens continued, with a great garden-maker, Qian Long writing:
“Every Emperor, when he had retired from audience and finished his public duties, must have a garden in which he may... refresh his heart. If he has a suitable place to do this, it will regulate his emotions and relax his mind. If not, he will become engrossed in sensual pleasures and lose his will power.”
As extravagant as the gardens of the Emperors were, there were also private gardens, though literary records are scarce and no archaeological evidence of such exists. What evidence there is suggests that these gardens had similar themes, and when possible were just as extravagant, mimicking the great gardens, with the garden of Yuan Guanhan said to contain a rockery 30m high, and Cao Wei’s having eight gullies and nine streams.
Recreating the Chinese garden is a task that required much skill and imagination, as well as an understanding of the principles of feng shui, or kan yu. At it’s very basic level feng shui is the practice of ensuring that the streams of ‘vital spirit’ or ch’i run through the earth according to it’s topography. These currents are then believed to influence the fortunes of individuals and their descendants, depending upon where they place their houses and their graves. As early as the 3rd century BC feng shui experts, such as Qu Yuan would advise on where to place dwellings in regard to the winds (feng), waters (shui), hills (kan) and valleys (yu). Experts would also advise if under a spell of bad fortune, perhaps suggesting the planting or pruning of trees, digging ditches, moving furniture, even hanging mirrors in an attempt to deflect evil spirits.
There are two main schools of thought on the practice of feng shui, one based on physical features of the locality such as hills, rocks and trees, the other on orientation and alignment. Both, however, suggest that the ideal dwelling would face south, two-thirds of the way up a hill, on dry ground, with lower hills to the east and to the west. There should be a body of water beneath, a pool or lake, to gather a reservoir of benevolent forces. A river or stream would be considered to flow too swiftly, and carry these forces straight past. It was thought that evil influences travelled in straight lines, so roads and walls would wind, following the path of the landscape.
The garden was ideally situated at the back of the house, or to the east. As the western direction was cardinally known as the White Tiger, a garden would only be built there if the site offered no alternative. To counter the danger of placing the garden upon the mouth of the White Tiger a gate would be opened in the east wall of the residence to create another courtyard.
The garden always had to be surrounded by walls to preserve peace. There were no large doors either, as these might let out the accumulated good influences. Inside the walls would be further winding walls, that would not only further concentrate the good, but also add to the charm and seclusion of the garden. Old trees were considered to be repositories of ch’i, and plants such as magnolia, peonies and laurel suggested happiness and wealth. Water would also symbolise wealth, and it would take a gentle path through the garden landscape, gathering in pools by pavilions. The departure of the water would be obscured by rocks, making it as inconspicuous as possible.
Over the centuries feng shui has gathered much superstition, but it’s basic rules are endorsed by scientific ideas of psychology and physical well-being, they have also contributed greatly to the aesthetic beauty of China’s past.
Feng shui is not the only consideration when trying to recreate a Chinese garden. A modern historian, Chuin Tung claimed that;
“The question of reality will not bother the visitor as long as he ceases to be in the garden and begins to live in the painting.”
So rather than trying to create a practical garden it would be more appropriate to concentrate on the wonder of confusion, on creating a series of linked yet separate views for visitors as they stroll along the winding paths. The available space would be subdivided by walls around the trees and rocks, with varying courtyards, large and small, open and enclosed, disguised or in the open, all connected like a puzzle. Visitors would be lead through on pebble-patterned pathways, open doorways, with the constant suggestion that something new lay ahead by having latticed windows giving brief opportunities to glance through.
The focus of gardening for the Chinese is very much of piling rocks and digging ponds rather than planting, so rocks and water would form the structure of the gardens, followed by the architecture, with the trees shrubs and flowers coming last of all.
Yin and Yang, the elemental forces that the Chinese believe lay behind all creation are also given consideration in the garden. Everything must have a balance, so a relatively high area of the garden would be followed by a lower one, shady areas would be followed by bright, the contrasts constant, creating an illusion that the garden is much bigger than it is in reality.
No Chinese garden is considered to be complete without what the Chinese call the ‘Three Friends of Winter’, the pine, the plum and the bamboo, and other plants are used for their symbolism too. Despite China having one of the richest natural floras in the world, it is this symbolism that is given more consideration than the beauty of the plants when selecting plants. The lotus, for instance, symbolises the Buddhist soul rising, and the orchid represents a true gentleman, because of it’s subtle scent. The peach promises immortality, the peony wealth and elegance. Chrysanthemums are possibly the oldest cultivated flower in China, and are grown in pots and placed on terraces, and the Chinese bonsai, peng jing would be tended to in special courtyards of their own.
One striking distance between the gardens of China, and of England are that in China there are no open areas of grass. The appeal of lawns was questioned by a visitor to England from China;
“A mown and bordered lawn which, while doubt of interest to a cow, offers nothing to the intellect of a human being.”
The Chinese garden is a sensuous delight, and a place to engage the intellect, full of joy as well as peaceful contemplation.
Many of the ways and traditions of Chinese gardens have their origins in two philosophies that developed as early as 6th Century BC. These were Confucianism and Taoism (Daoism). Confucianism dealt with man’s relationship with his fellow man, social order, advancement, loyalty and the like. Taoism was more spiritual, how man fitted into his surroundings, how he was a part of nature and how he could best fit into this great universe that was all around him.
Though these two schools of thought were very different, with Taoists often opting out of the social hierarchy based upon Confucian ideals, over time they became each other’s complement. In fact, Chinese garden design and planning seems to be made up from equal parts Taoist’s love of nature and Confucian’s encouragement of self-cultivation.
The house and the garden were always kept very separately, and differently. In many cases the garden would be some distance from the house, with the distance thought to enhance the enchantment of the garden. The typical Chinese house would have symmetry, formality, and a degree of order. In stark contrast, the garden would be spontaneous, imaginative and full of wonder and confusion with winding waterways, huge rockeries and tree-shaded pavilions.
Whilst these themes were true of both the great parks of the Emperor’s and of the private gardens of common folk, the less wealthy did have a more practical need for their gardens, and used them for the production of millet, rice, fruits and vegetables. Linen was produced from the flax that they grew, and bamboo was an essential tool in construction.
Another important aspect of the Chinese garden was the garden as a microcosm, a representation of the world in an enclosed space. The streams and ponds or lakes would represent the rivers and the seas, the rockeries and rocky areas would represent the mountains, and the plants would represent life. But this was not the only symbolism attached to these features. The Taoist ideas of man fitting into the universe, meant that these things were given human properties, water being the blood that flows through us and rock being the strength of our bones, so these were two of the five essential and sacred parts of a garden. Also considered necessary was the pine tree, to signify a strength of character, bamboo as a symbol of lasting friendship and longevity, and plum blossom to represent the life circle, for what will live shall one day die.
Dating back to the early Chinese dynasties the rulers set aside huge areas of land for hunting and military exercise. Over time artificial lakes and terraces were built into the area, not only to improve the military training, but also for purpose of beauty.
In the 4th Century BC a royal garden was described as having scarlet balconies, latticed pavilions, winding waterways and views of distant mountains, by a collection of Southern poems. An example of such a garden can be seen 10km north of Beijing, the Yi He Yuan. Known as the Palace, or Garden of Happy Harmony, it has been destroyed on a number of occasions, only to have been restored to almost exactly it’s original state. Many gardens of this type were open to the public, and used for religious rituals, especially under model rulers, such as King Wen of the Zhou dynasty (1027-256 BC). Other rulers were less kind, and extended their parks for their own use, bringing in bird and beast for the first time.
Under the dynasty of Qin Shi Huang, beginning in 221 BC, the relevance of bringing in birds and beasts changed significantly. Shanglin Park became home to rare animals and vegetation, collected from the furthest reaches of the conquered Empire, and were symbols of imperial power. When Qin gave way to the Han Dynasty, (206BC - 220 AD) his collection was continued, and the great poems of the time describe the gardens as being miniature versions of the whole Empire.
Also during the time of the Han Dynasty, the garden was used as a search for immortality. Chinese religious beliefs gave birth to the ‘Chinese Immortals’ that were said to have lived in the Western Mountains, and on movable islands in the Eastern Sea. Like the Immortals themselves, the islands would disappear into the mist as humans approached them. After Qin Shi Huang’s unsuccessful search for the islands Emperor Han Wudi took a different approach, building replica islands in a great lake, in an attempt to attract the Immortals. Although Han’s life was not unusually long, this trend has lasted right up to modern times.
The gardens of Sui dynasty Emperor Yangdi (604-18) combined all of the elements of Chinese gardens up to the time; the islands of the Immortals, the microcosm of the Empire’s riches and the embellishment of the natural landscape, as well as fascinating devices, simply for the entertainment of his guests. A collection of extravagant mechanical figures, 60cm high and fully dressed, sailed in boats along specially constructed channels, performing some 72 scenes from China’s history. It is said that a million people worked to create the park and constantly renew the artificial flowers, keeping it at it’s maximum beauty and enchantment.
Unfortunately Yangdi’s garden was destroyed by the first Emperor of the Tang dynasty, who then went on to create a garden for entertainment around his ‘Palace of Great Brilliance’, and further Emperor’s continued the tradition with their own extravagant gardens. Tang Xuan Zhong (712-55) built many gardens for his mistress, one at Hua Qing Gong, 20km east of Xian included a fascinating pavilion, contrived so that the water rose up inside the four pillars situated in the corners, and fell as screens, rather than having walls. Also at Hau Qing Gong was a hot spring, and it had been the site for a short-stay royal villa, but it wasn’t until the time of the Tang dynasty that it grew into an elaborate palace. Though it was badly damaged over time, a bathing pool still remains, and many of the building have been rebuilt, and opened to the public.
The golden age of Chinese gardens is considered to be during the Song dynasty’s, (960-1270), with many gardens in cities open to the public during festivals. Perhaps the most famous of imperial gardens was Gen Yue, built in 1117-23 by Emperor Zhoa Ji of the Northern Song dynasty. It was built under the advice of Chinese geomancers, practitioners of feng shui. The most fascinating feature was a gigantic rockery, believed to increase the Empire’s stability. Bizarre rocks were collected from all around and used in this rockery, and around the rest of the garden. All that remains of this feature now though are two huge, monolithic rocks. This garden also had what appeared to be a microcosm of not just China, but of the whole world, spread out so that it could appear that everything could be held in ones hand, when stood on the great pavilion atop the Peak of Ten Thousand Years’ Longevity.
These traditions of fascinating gardens continued, with a great garden-maker, Qian Long writing:
“Every Emperor, when he had retired from audience and finished his public duties, must have a garden in which he may... refresh his heart. If he has a suitable place to do this, it will regulate his emotions and relax his mind. If not, he will become engrossed in sensual pleasures and lose his will power.”
As extravagant as the gardens of the Emperors were, there were also private gardens, though literary records are scarce and no archaeological evidence of such exists. What evidence there is suggests that these gardens had similar themes, and when possible were just as extravagant, mimicking the great gardens, with the garden of Yuan Guanhan said to contain a rockery 30m high, and Cao Wei’s having eight gullies and nine streams.
Recreating the Chinese garden is a task that required much skill and imagination, as well as an understanding of the principles of feng shui, or kan yu. At it’s very basic level feng shui is the practice of ensuring that the streams of ‘vital spirit’ or ch’i run through the earth according to it’s topography. These currents are then believed to influence the fortunes of individuals and their descendants, depending upon where they place their houses and their graves. As early as the 3rd century BC feng shui experts, such as Qu Yuan would advise on where to place dwellings in regard to the winds (feng), waters (shui), hills (kan) and valleys (yu). Experts would also advise if under a spell of bad fortune, perhaps suggesting the planting or pruning of trees, digging ditches, moving furniture, even hanging mirrors in an attempt to deflect evil spirits.
There are two main schools of thought on the practice of feng shui, one based on physical features of the locality such as hills, rocks and trees, the other on orientation and alignment. Both, however, suggest that the ideal dwelling would face south, two-thirds of the way up a hill, on dry ground, with lower hills to the east and to the west. There should be a body of water beneath, a pool or lake, to gather a reservoir of benevolent forces. A river or stream would be considered to flow too swiftly, and carry these forces straight past. It was thought that evil influences travelled in straight lines, so roads and walls would wind, following the path of the landscape.
The garden was ideally situated at the back of the house, or to the east. As the western direction was cardinally known as the White Tiger, a garden would only be built there if the site offered no alternative. To counter the danger of placing the garden upon the mouth of the White Tiger a gate would be opened in the east wall of the residence to create another courtyard.
The garden always had to be surrounded by walls to preserve peace. There were no large doors either, as these might let out the accumulated good influences. Inside the walls would be further winding walls, that would not only further concentrate the good, but also add to the charm and seclusion of the garden. Old trees were considered to be repositories of ch’i, and plants such as magnolia, peonies and laurel suggested happiness and wealth. Water would also symbolise wealth, and it would take a gentle path through the garden landscape, gathering in pools by pavilions. The departure of the water would be obscured by rocks, making it as inconspicuous as possible.
Over the centuries feng shui has gathered much superstition, but it’s basic rules are endorsed by scientific ideas of psychology and physical well-being, they have also contributed greatly to the aesthetic beauty of China’s past.
Feng shui is not the only consideration when trying to recreate a Chinese garden. A modern historian, Chuin Tung claimed that;
“The question of reality will not bother the visitor as long as he ceases to be in the garden and begins to live in the painting.”
So rather than trying to create a practical garden it would be more appropriate to concentrate on the wonder of confusion, on creating a series of linked yet separate views for visitors as they stroll along the winding paths. The available space would be subdivided by walls around the trees and rocks, with varying courtyards, large and small, open and enclosed, disguised or in the open, all connected like a puzzle. Visitors would be lead through on pebble-patterned pathways, open doorways, with the constant suggestion that something new lay ahead by having latticed windows giving brief opportunities to glance through.
The focus of gardening for the Chinese is very much of piling rocks and digging ponds rather than planting, so rocks and water would form the structure of the gardens, followed by the architecture, with the trees shrubs and flowers coming last of all.
Yin and Yang, the elemental forces that the Chinese believe lay behind all creation are also given consideration in the garden. Everything must have a balance, so a relatively high area of the garden would be followed by a lower one, shady areas would be followed by bright, the contrasts constant, creating an illusion that the garden is much bigger than it is in reality.
No Chinese garden is considered to be complete without what the Chinese call the ‘Three Friends of Winter’, the pine, the plum and the bamboo, and other plants are used for their symbolism too. Despite China having one of the richest natural floras in the world, it is this symbolism that is given more consideration than the beauty of the plants when selecting plants. The lotus, for instance, symbolises the Buddhist soul rising, and the orchid represents a true gentleman, because of it’s subtle scent. The peach promises immortality, the peony wealth and elegance. Chrysanthemums are possibly the oldest cultivated flower in China, and are grown in pots and placed on terraces, and the Chinese bonsai, peng jing would be tended to in special courtyards of their own.
One striking distance between the gardens of China, and of England are that in China there are no open areas of grass. The appeal of lawns was questioned by a visitor to England from China;
“A mown and bordered lawn which, while doubt of interest to a cow, offers nothing to the intellect of a human being.”
The Chinese garden is a sensuous delight, and a place to engage the intellect, full of joy as well as peaceful contemplation.
http://grix.users.digital-crocus.com/pb/Garden1.JPG
http://grix.users.digital-crocus.com/pb/Garden2.JPG
Um, one's before and one is after. Pb's garden. I sneaked around his house and took photos, over a period of a few months. Possibly. I can't remember.
http://grix.users.digital-crocus.com/pb/Garden2.JPG
Um, one's before and one is after. Pb's garden. I sneaked around his house and took photos, over a period of a few months. Possibly. I can't remember.
I began to read this, and then realised I had no interest.
It needed more ninjas, a revenge attack and some boobs.
Possibly a dragon also.
It needed more ninjas, a revenge attack and some boobs.
Possibly a dragon also.
Bah! Ask Grix to show you the picture, or perhaps he could host it...?
pb wrote:
> I see your oriental garden post and raise you this:
>
> http://uk.photos.yahoo.com/bc/pbyron1/vwp?.dir=/
> My+Photos&.dnm=PIC_6330.jpg&.src=ph&.view=t&.hires=t
>
> {take the space away folks}
I get this:
Home - Briefcase - Yahoo! - Help
--------------------------------------------------------
Error Message!
The File You Are Looking For Is Inaccessible.
Please sign in and try again or check with the owner of the file.
pg6.bc.scd.yahoo.com:access
Next up is a piece on Japanese gardening through the ages, should be finished by Wed/ Thurs.
> I see your oriental garden post and raise you this:
>
> http://uk.photos.yahoo.com/bc/pbyron1/vwp?.dir=/
> My+Photos&.dnm=PIC_6330.jpg&.src=ph&.view=t&.hires=t
>
> {take the space away folks}
I get this:
Home - Briefcase - Yahoo! - Help
--------------------------------------------------------
Error Message!
The File You Are Looking For Is Inaccessible.
Please sign in and try again or check with the owner of the file.
pg6.bc.scd.yahoo.com:access
Next up is a piece on Japanese gardening through the ages, should be finished by Wed/ Thurs.
Meh, i like chinese food...
I see your oriental garden post and raise you this:
http://uk.photos.yahoo.com/bc/pbyron1/vwp?.dir=/ My+Photos&.dnm=PIC_6330.jpg&.src=ph&.view=t&.hires=t
{take the space away folks}
http://uk.photos.yahoo.com/bc/pbyron1/vwp?.dir=/ My+Photos&.dnm=PIC_6330.jpg&.src=ph&.view=t&.hires=t
{take the space away folks}
That was... educational.
If tomorrow's specialist round in the pub quiz is chinese gardening, I'll be the hero of the hour.
If tomorrow's specialist round in the pub quiz is chinese gardening, I'll be the hero of the hour.
I'm sorry? I didn't catch that. And now I have to go.
Garden design in China is a very old tradition, in fact, it is believed that the Chinese have the oldest continuous tradition of garden design in the world. Part of this could be due to the fact that China, and much of Eastern Asia, missed out on the last Ice Age, so many plant species that were wiped out in other parts of the world still existed there.
Many of the ways and traditions of Chinese gardens have their origins in two philosophies that developed as early as 6th Century BC. These were Confucianism and Taoism (Daoism). Confucianism dealt with man’s relationship with his fellow man, social order, advancement, loyalty and the like. Taoism was more spiritual, how man fitted into his surroundings, how he was a part of nature and how he could best fit into this great universe that was all around him.
Though these two schools of thought were very different, with Taoists often opting out of the social hierarchy based upon Confucian ideals, over time they became each other’s complement. In fact, Chinese garden design and planning seems to be made up from equal parts Taoist’s love of nature and Confucian’s encouragement of self-cultivation.
The house and the garden were always kept very separately, and differently. In many cases the garden would be some distance from the house, with the distance thought to enhance the enchantment of the garden. The typical Chinese house would have symmetry, formality, and a degree of order. In stark contrast, the garden would be spontaneous, imaginative and full of wonder and confusion with winding waterways, huge rockeries and tree-shaded pavilions.
Whilst these themes were true of both the great parks of the Emperor’s and of the private gardens of common folk, the less wealthy did have a more practical need for their gardens, and used them for the production of millet, rice, fruits and vegetables. Linen was produced from the flax that they grew, and bamboo was an essential tool in construction.
Another important aspect of the Chinese garden was the garden as a microcosm, a representation of the world in an enclosed space. The streams and ponds or lakes would represent the rivers and the seas, the rockeries and rocky areas would represent the mountains, and the plants would represent life. But this was not the only symbolism attached to these features. The Taoist ideas of man fitting into the universe, meant that these things were given human properties, water being the blood that flows through us and rock being the strength of our bones, so these were two of the five essential and sacred parts of a garden. Also considered necessary was the pine tree, to signify a strength of character, bamboo as a symbol of lasting friendship and longevity, and plum blossom to represent the life circle, for what will live shall one day die.
Dating back to the early Chinese dynasties the rulers set aside huge areas of land for hunting and military exercise. Over time artificial lakes and terraces were built into the area, not only to improve the military training, but also for purpose of beauty.
In the 4th Century BC a royal garden was described as having scarlet balconies, latticed pavilions, winding waterways and views of distant mountains, by a collection of Southern poems. An example of such a garden can be seen 10km north of Beijing, the Yi He Yuan. Known as the Palace, or Garden of Happy Harmony, it has been destroyed on a number of occasions, only to have been restored to almost exactly it’s original state. Many gardens of this type were open to the public, and used for religious rituals, especially under model rulers, such as King Wen of the Zhou dynasty (1027-256 BC). Other rulers were less kind, and extended their parks for their own use, bringing in bird and beast for the first time.
Under the dynasty of Qin Shi Huang, beginning in 221 BC, the relevance of bringing in birds and beasts changed significantly. Shanglin Park became home to rare animals and vegetation, collected from the furthest reaches of the conquered Empire, and were symbols of imperial power. When Qin gave way to the Han Dynasty, (206BC - 220 AD) his collection was continued, and the great poems of the time describe the gardens as being miniature versions of the whole Empire.
Also during the time of the Han Dynasty, the garden was used as a search for immortality. Chinese religious beliefs gave birth to the ‘Chinese Immortals’ that were said to have lived in the Western Mountains, and on movable islands in the Eastern Sea. Like the Immortals themselves, the islands would disappear into the mist as humans approached them. After Qin Shi Huang’s unsuccessful search for the islands Emperor Han Wudi took a different approach, building replica islands in a great lake, in an attempt to attract the Immortals. Although Han’s life was not unusually long, this trend has lasted right up to modern times.
The gardens of Sui dynasty Emperor Yangdi (604-18) combined all of the elements of Chinese gardens up to the time; the islands of the Immortals, the microcosm of the Empire’s riches and the embellishment of the natural landscape, as well as fascinating devices, simply for the entertainment of his guests. A collection of extravagant mechanical figures, 60cm high and fully dressed, sailed in boats along specially constructed channels, performing some 72 scenes from China’s history. It is said that a million people worked to create the park and constantly renew the artificial flowers, keeping it at it’s maximum beauty and enchantment.
Unfortunately Yangdi’s garden was destroyed by the first Emperor of the Tang dynasty, who then went on to create a garden for entertainment around his ‘Palace of Great Brilliance’, and further Emperor’s continued the tradition with their own extravagant gardens. Tang Xuan Zhong (712-55) built many gardens for his mistress, one at Hua Qing Gong, 20km east of Xian included a fascinating pavilion, contrived so that the water rose up inside the four pillars situated in the corners, and fell as screens, rather than having walls. Also at Hau Qing Gong was a hot spring, and it had been the site for a short-stay royal villa, but it wasn’t until the time of the Tang dynasty that it grew into an elaborate palace. Though it was badly damaged over time, a bathing pool still remains, and many of the building have been rebuilt, and opened to the public.
The golden age of Chinese gardens is considered to be during the Song dynasty’s, (960-1270), with many gardens in cities open to the public during festivals. Perhaps the most famous of imperial gardens was Gen Yue, built in 1117-23 by Emperor Zhoa Ji of the Northern Song dynasty. It was built under the advice of Chinese geomancers, practitioners of feng shui. The most fascinating feature was a gigantic rockery, believed to increase the Empire’s stability. Bizarre rocks were collected from all around and used in this rockery, and around the rest of the garden. All that remains of this feature now though are two huge, monolithic rocks. This garden also had what appeared to be a microcosm of not just China, but of the whole world, spread out so that it could appear that everything could be held in ones hand, when stood on the great pavilion atop the Peak of Ten Thousand Years’ Longevity.
These traditions of fascinating gardens continued, with a great garden-maker, Qian Long writing:
“Every Emperor, when he had retired from audience and finished his public duties, must have a garden in which he may... refresh his heart. If he has a suitable place to do this, it will regulate his emotions and relax his mind. If not, he will become engrossed in sensual pleasures and lose his will power.”
As extravagant as the gardens of the Emperors were, there were also private gardens, though literary records are scarce and no archaeological evidence of such exists. What evidence there is suggests that these gardens had similar themes, and when possible were just as extravagant, mimicking the great gardens, with the garden of Yuan Guanhan said to contain a rockery 30m high, and Cao Wei’s having eight gullies and nine streams.
Recreating the Chinese garden is a task that required much skill and imagination, as well as an understanding of the principles of feng shui, or kan yu. At it’s very basic level feng shui is the practice of ensuring that the streams of ‘vital spirit’ or ch’i run through the earth according to it’s topography. These currents are then believed to influence the fortunes of individuals and their descendants, depending upon where they place their houses and their graves. As early as the 3rd century BC feng shui experts, such as Qu Yuan would advise on where to place dwellings in regard to the winds (feng), waters (shui), hills (kan) and valleys (yu). Experts would also advise if under a spell of bad fortune, perhaps suggesting the planting or pruning of trees, digging ditches, moving furniture, even hanging mirrors in an attempt to deflect evil spirits.
There are two main schools of thought on the practice of feng shui, one based on physical features of the locality such as hills, rocks and trees, the other on orientation and alignment. Both, however, suggest that the ideal dwelling would face south, two-thirds of the way up a hill, on dry ground, with lower hills to the east and to the west. There should be a body of water beneath, a pool or lake, to gather a reservoir of benevolent forces. A river or stream would be considered to flow too swiftly, and carry these forces straight past. It was thought that evil influences travelled in straight lines, so roads and walls would wind, following the path of the landscape.
The garden was ideally situated at the back of the house, or to the east. As the western direction was cardinally known as the White Tiger, a garden would only be built there if the site offered no alternative. To counter the danger of placing the garden upon the mouth of the White Tiger a gate would be opened in the east wall of the residence to create another courtyard.
The garden always had to be surrounded by walls to preserve peace. There were no large doors either, as these might let out the accumulated good influences. Inside the walls would be further winding walls, that would not only further concentrate the good, but also add to the charm and seclusion of the garden. Old trees were considered to be repositories of ch’i, and plants such as magnolia, peonies and laurel suggested happiness and wealth. Water would also symbolise wealth, and it would take a gentle path through the garden landscape, gathering in pools by pavilions. The departure of the water would be obscured by rocks, making it as inconspicuous as possible.
Over the centuries feng shui has gathered much superstition, but it’s basic rules are endorsed by scientific ideas of psychology and physical well-being, they have also contributed greatly to the aesthetic beauty of China’s past.
Feng shui is not the only consideration when trying to recreate a Chinese garden. A modern historian, Chuin Tung claimed that;
“The question of reality will not bother the visitor as long as he ceases to be in the garden and begins to live in the painting.”
So rather than trying to create a practical garden it would be more appropriate to concentrate on the wonder of confusion, on creating a series of linked yet separate views for visitors as they stroll along the winding paths. The available space would be subdivided by walls around the trees and rocks, with varying courtyards, large and small, open and enclosed, disguised or in the open, all connected like a puzzle. Visitors would be lead through on pebble-patterned pathways, open doorways, with the constant suggestion that something new lay ahead by having latticed windows giving brief opportunities to glance through.
The focus of gardening for the Chinese is very much of piling rocks and digging ponds rather than planting, so rocks and water would form the structure of the gardens, followed by the architecture, with the trees shrubs and flowers coming last of all.
Yin and Yang, the elemental forces that the Chinese believe lay behind all creation are also given consideration in the garden. Everything must have a balance, so a relatively high area of the garden would be followed by a lower one, shady areas would be followed by bright, the contrasts constant, creating an illusion that the garden is much bigger than it is in reality.
No Chinese garden is considered to be complete without what the Chinese call the ‘Three Friends of Winter’, the pine, the plum and the bamboo, and other plants are used for their symbolism too. Despite China having one of the richest natural floras in the world, it is this symbolism that is given more consideration than the beauty of the plants when selecting plants. The lotus, for instance, symbolises the Buddhist soul rising, and the orchid represents a true gentleman, because of it’s subtle scent. The peach promises immortality, the peony wealth and elegance. Chrysanthemums are possibly the oldest cultivated flower in China, and are grown in pots and placed on terraces, and the Chinese bonsai, peng jing would be tended to in special courtyards of their own.
One striking distance between the gardens of China, and of England are that in China there are no open areas of grass. The appeal of lawns was questioned by a visitor to England from China;
“A mown and bordered lawn which, while doubt of interest to a cow, offers nothing to the intellect of a human being.”
The Chinese garden is a sensuous delight, and a place to engage the intellect, full of joy as well as peaceful contemplation.
Many of the ways and traditions of Chinese gardens have their origins in two philosophies that developed as early as 6th Century BC. These were Confucianism and Taoism (Daoism). Confucianism dealt with man’s relationship with his fellow man, social order, advancement, loyalty and the like. Taoism was more spiritual, how man fitted into his surroundings, how he was a part of nature and how he could best fit into this great universe that was all around him.
Though these two schools of thought were very different, with Taoists often opting out of the social hierarchy based upon Confucian ideals, over time they became each other’s complement. In fact, Chinese garden design and planning seems to be made up from equal parts Taoist’s love of nature and Confucian’s encouragement of self-cultivation.
The house and the garden were always kept very separately, and differently. In many cases the garden would be some distance from the house, with the distance thought to enhance the enchantment of the garden. The typical Chinese house would have symmetry, formality, and a degree of order. In stark contrast, the garden would be spontaneous, imaginative and full of wonder and confusion with winding waterways, huge rockeries and tree-shaded pavilions.
Whilst these themes were true of both the great parks of the Emperor’s and of the private gardens of common folk, the less wealthy did have a more practical need for their gardens, and used them for the production of millet, rice, fruits and vegetables. Linen was produced from the flax that they grew, and bamboo was an essential tool in construction.
Another important aspect of the Chinese garden was the garden as a microcosm, a representation of the world in an enclosed space. The streams and ponds or lakes would represent the rivers and the seas, the rockeries and rocky areas would represent the mountains, and the plants would represent life. But this was not the only symbolism attached to these features. The Taoist ideas of man fitting into the universe, meant that these things were given human properties, water being the blood that flows through us and rock being the strength of our bones, so these were two of the five essential and sacred parts of a garden. Also considered necessary was the pine tree, to signify a strength of character, bamboo as a symbol of lasting friendship and longevity, and plum blossom to represent the life circle, for what will live shall one day die.
Dating back to the early Chinese dynasties the rulers set aside huge areas of land for hunting and military exercise. Over time artificial lakes and terraces were built into the area, not only to improve the military training, but also for purpose of beauty.
In the 4th Century BC a royal garden was described as having scarlet balconies, latticed pavilions, winding waterways and views of distant mountains, by a collection of Southern poems. An example of such a garden can be seen 10km north of Beijing, the Yi He Yuan. Known as the Palace, or Garden of Happy Harmony, it has been destroyed on a number of occasions, only to have been restored to almost exactly it’s original state. Many gardens of this type were open to the public, and used for religious rituals, especially under model rulers, such as King Wen of the Zhou dynasty (1027-256 BC). Other rulers were less kind, and extended their parks for their own use, bringing in bird and beast for the first time.
Under the dynasty of Qin Shi Huang, beginning in 221 BC, the relevance of bringing in birds and beasts changed significantly. Shanglin Park became home to rare animals and vegetation, collected from the furthest reaches of the conquered Empire, and were symbols of imperial power. When Qin gave way to the Han Dynasty, (206BC - 220 AD) his collection was continued, and the great poems of the time describe the gardens as being miniature versions of the whole Empire.
Also during the time of the Han Dynasty, the garden was used as a search for immortality. Chinese religious beliefs gave birth to the ‘Chinese Immortals’ that were said to have lived in the Western Mountains, and on movable islands in the Eastern Sea. Like the Immortals themselves, the islands would disappear into the mist as humans approached them. After Qin Shi Huang’s unsuccessful search for the islands Emperor Han Wudi took a different approach, building replica islands in a great lake, in an attempt to attract the Immortals. Although Han’s life was not unusually long, this trend has lasted right up to modern times.
The gardens of Sui dynasty Emperor Yangdi (604-18) combined all of the elements of Chinese gardens up to the time; the islands of the Immortals, the microcosm of the Empire’s riches and the embellishment of the natural landscape, as well as fascinating devices, simply for the entertainment of his guests. A collection of extravagant mechanical figures, 60cm high and fully dressed, sailed in boats along specially constructed channels, performing some 72 scenes from China’s history. It is said that a million people worked to create the park and constantly renew the artificial flowers, keeping it at it’s maximum beauty and enchantment.
Unfortunately Yangdi’s garden was destroyed by the first Emperor of the Tang dynasty, who then went on to create a garden for entertainment around his ‘Palace of Great Brilliance’, and further Emperor’s continued the tradition with their own extravagant gardens. Tang Xuan Zhong (712-55) built many gardens for his mistress, one at Hua Qing Gong, 20km east of Xian included a fascinating pavilion, contrived so that the water rose up inside the four pillars situated in the corners, and fell as screens, rather than having walls. Also at Hau Qing Gong was a hot spring, and it had been the site for a short-stay royal villa, but it wasn’t until the time of the Tang dynasty that it grew into an elaborate palace. Though it was badly damaged over time, a bathing pool still remains, and many of the building have been rebuilt, and opened to the public.
The golden age of Chinese gardens is considered to be during the Song dynasty’s, (960-1270), with many gardens in cities open to the public during festivals. Perhaps the most famous of imperial gardens was Gen Yue, built in 1117-23 by Emperor Zhoa Ji of the Northern Song dynasty. It was built under the advice of Chinese geomancers, practitioners of feng shui. The most fascinating feature was a gigantic rockery, believed to increase the Empire’s stability. Bizarre rocks were collected from all around and used in this rockery, and around the rest of the garden. All that remains of this feature now though are two huge, monolithic rocks. This garden also had what appeared to be a microcosm of not just China, but of the whole world, spread out so that it could appear that everything could be held in ones hand, when stood on the great pavilion atop the Peak of Ten Thousand Years’ Longevity.
These traditions of fascinating gardens continued, with a great garden-maker, Qian Long writing:
“Every Emperor, when he had retired from audience and finished his public duties, must have a garden in which he may... refresh his heart. If he has a suitable place to do this, it will regulate his emotions and relax his mind. If not, he will become engrossed in sensual pleasures and lose his will power.”
As extravagant as the gardens of the Emperors were, there were also private gardens, though literary records are scarce and no archaeological evidence of such exists. What evidence there is suggests that these gardens had similar themes, and when possible were just as extravagant, mimicking the great gardens, with the garden of Yuan Guanhan said to contain a rockery 30m high, and Cao Wei’s having eight gullies and nine streams.
Recreating the Chinese garden is a task that required much skill and imagination, as well as an understanding of the principles of feng shui, or kan yu. At it’s very basic level feng shui is the practice of ensuring that the streams of ‘vital spirit’ or ch’i run through the earth according to it’s topography. These currents are then believed to influence the fortunes of individuals and their descendants, depending upon where they place their houses and their graves. As early as the 3rd century BC feng shui experts, such as Qu Yuan would advise on where to place dwellings in regard to the winds (feng), waters (shui), hills (kan) and valleys (yu). Experts would also advise if under a spell of bad fortune, perhaps suggesting the planting or pruning of trees, digging ditches, moving furniture, even hanging mirrors in an attempt to deflect evil spirits.
There are two main schools of thought on the practice of feng shui, one based on physical features of the locality such as hills, rocks and trees, the other on orientation and alignment. Both, however, suggest that the ideal dwelling would face south, two-thirds of the way up a hill, on dry ground, with lower hills to the east and to the west. There should be a body of water beneath, a pool or lake, to gather a reservoir of benevolent forces. A river or stream would be considered to flow too swiftly, and carry these forces straight past. It was thought that evil influences travelled in straight lines, so roads and walls would wind, following the path of the landscape.
The garden was ideally situated at the back of the house, or to the east. As the western direction was cardinally known as the White Tiger, a garden would only be built there if the site offered no alternative. To counter the danger of placing the garden upon the mouth of the White Tiger a gate would be opened in the east wall of the residence to create another courtyard.
The garden always had to be surrounded by walls to preserve peace. There were no large doors either, as these might let out the accumulated good influences. Inside the walls would be further winding walls, that would not only further concentrate the good, but also add to the charm and seclusion of the garden. Old trees were considered to be repositories of ch’i, and plants such as magnolia, peonies and laurel suggested happiness and wealth. Water would also symbolise wealth, and it would take a gentle path through the garden landscape, gathering in pools by pavilions. The departure of the water would be obscured by rocks, making it as inconspicuous as possible.
Over the centuries feng shui has gathered much superstition, but it’s basic rules are endorsed by scientific ideas of psychology and physical well-being, they have also contributed greatly to the aesthetic beauty of China’s past.
Feng shui is not the only consideration when trying to recreate a Chinese garden. A modern historian, Chuin Tung claimed that;
“The question of reality will not bother the visitor as long as he ceases to be in the garden and begins to live in the painting.”
So rather than trying to create a practical garden it would be more appropriate to concentrate on the wonder of confusion, on creating a series of linked yet separate views for visitors as they stroll along the winding paths. The available space would be subdivided by walls around the trees and rocks, with varying courtyards, large and small, open and enclosed, disguised or in the open, all connected like a puzzle. Visitors would be lead through on pebble-patterned pathways, open doorways, with the constant suggestion that something new lay ahead by having latticed windows giving brief opportunities to glance through.
The focus of gardening for the Chinese is very much of piling rocks and digging ponds rather than planting, so rocks and water would form the structure of the gardens, followed by the architecture, with the trees shrubs and flowers coming last of all.
Yin and Yang, the elemental forces that the Chinese believe lay behind all creation are also given consideration in the garden. Everything must have a balance, so a relatively high area of the garden would be followed by a lower one, shady areas would be followed by bright, the contrasts constant, creating an illusion that the garden is much bigger than it is in reality.
No Chinese garden is considered to be complete without what the Chinese call the ‘Three Friends of Winter’, the pine, the plum and the bamboo, and other plants are used for their symbolism too. Despite China having one of the richest natural floras in the world, it is this symbolism that is given more consideration than the beauty of the plants when selecting plants. The lotus, for instance, symbolises the Buddhist soul rising, and the orchid represents a true gentleman, because of it’s subtle scent. The peach promises immortality, the peony wealth and elegance. Chrysanthemums are possibly the oldest cultivated flower in China, and are grown in pots and placed on terraces, and the Chinese bonsai, peng jing would be tended to in special courtyards of their own.
One striking distance between the gardens of China, and of England are that in China there are no open areas of grass. The appeal of lawns was questioned by a visitor to England from China;
“A mown and bordered lawn which, while doubt of interest to a cow, offers nothing to the intellect of a human being.”
The Chinese garden is a sensuous delight, and a place to engage the intellect, full of joy as well as peaceful contemplation.