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Private gardens were first
recorded in China in the 4th century A.D. |
A design theme common to most private gardens is that of personal scholarship, whether for spiritual, moral or intellectual development. Wounded pride could also be considered a theme since a frequent reason for the building of a garden was that the owner had fallen from favour within the imperial heirachy, and intended to persue a more private life. |
The
design of private gardens is touched by the Daoist principles of wanting
to be alone, of humbleness, and the eradication of desire. The stunning
simplicity of the domestic garden Qing teng shu shi (Green Vine Study),
Shaoxing, conveys this ideal. |
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Confucianism also had an influence: "the wise take
pleasure in water, the kind find happiness in a mountain." Islands of rock
surrounded by water are a common allusion in Chinese gardens. This is the
Mountain Villa of Secluded Beauty, Suzhou. |
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Many of the historic gardens are now open to the public, giving visitors the opportunity to enjoy a contemplative atmosphere. | ![]() |
During the Ming dynasty there was an increase in the wealth of China which was accompanied by artistic developments and an increase in population. Garden designs became more complex as they gave modest sites the illusion of being much bigger. There was also an increase in the use of buildings in gardens to the extent that the rooms of the house became separated, spread through the garden, and linked by covered walkways. Some visual techniques used in the manipulation of space are shown in the following photographs. |
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Windows of various
shapes are used to enhance a sense of depth.
No space is too narrow to
give a "window-box" view of a small garden. |
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Reflections add visual interest and
enhance the apparent volume of the garden. Not only is water used, but what at
first glance seems to be a window is, in this case, a mirror.
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A moongate enhances a sense of
distance as well as giving an element of romance in Liu Yuan, Suzhou
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These notes and graphics have been compiled from a number of sources and are © Malcolm Raggett, 1999. Thanks to Liang Hsiung Porter for the calligraphy.