Classical Chinese Garden Of Suzhou And Japanese Dry Landscape Garden

For a great many years, architecture has been a breaking point for different artisticeras in history. Some of the most famous “works of art” have been chapels, temples, and tombs. Among the most dominant and influential eras of great architecture are the sophisticated, stoic Greeco-Roman periods and the more mystical, elemental Japanese eras. These two very distinct and very different eras have more in common than you may realize.

When Stephen visits Sachi’s garden for the first time, he finds that “There were no trees, flowers, or water, only a landscape made of sand, stones, rocks, and some pale green moss . . . Sachi had created mountains from arranged rocks, surrounded by gravel and elongated stones flowing down like a rocky stream leading to a lake or the sea” (40). Unlike Matsu’s very green and tree-filled garden, Sachi’s garden is very dry, and simplistic, yet has a peculiarly admirable feeling when one is able to see the subtle details. Although it is very different from a typical garden, its components harmonize to create a new and beautiful pattern. At first, Stephen is overwhelmed by the unfamiliar concept of a dry landscape, but after taking it in, he says it is beautiful. This garden is has a fresh taste to it, leaving Stephen to decide the effect it has on him, whether it be positive or negative. When creating the garden, Sachi insisted that it should not have flowers. However, eventually, “between two large rocks grew a neat cluster of blooming flowers, startlingly beautiful, a splash of blue-purple . . . thriving among the muted, gray stones.” The way that the bright colors contrast against the dull gray shows that something unfamiliar and novel can appear beautiful in its own way. Since Sachi’s garden is filled with pebbles and stones, the dainty flowers stand out comely, and to

Even though the two gardens are different like how people are different they both give insight to what the gardeners are thinking. Even though the gardeners dictate what happens both are students when it comes to the master of nature mother nature herself. This reminder is shown when the had to replant “ some pines and cleaned the pond” even making a new bridge after a storm. This also shows that new beginnings are always possible. Just like in the book Matsu disappears when Stephen is young and had his secrets that were revealed “The garden is a word filled with secrets. Slowly, I see more each day.” (page 31, Tsukiyama) “A wooden bridge arched across its width, and lines of odd-shaped, water worn stones created two paths, one leading through the secluded garden right up to the front door, while the other disappeared around the back of the house.” (page 10, Tsukiyama) Gardens are integrated into Matsu and Sachi’s lives to enter into someone's life/home, first have to know the

In the following poem, “Which Plant Is Not Faded” and “Where Have All The Flowers Gone” we will be comparing and contrasting both of these poems throughout this essay. Furthermore, we will talk about the poem meaning and how it relates to the ancient Chinese. Secondly, we will explain the song and how it relates to the ancient Chinese. Ultimately, the differences and similarities of the song along with the poem.

"The garden is a world filled with secrets. Slowly, I see more each day. The black pines twist and turn to form graceful shapes, while the moss is a carpet of green that invites you to sit by the pond. Even the stone lanterns, which dimly light the way at night, allow you to see only so much. Matsu 's garden whispers at you, never shouts; it leads you down a path hoping for more, as if everything is seen, yet hidden. There 's a quiet beauty here I only hope I can capture on canvas." - Stephen at the beach house planning to paint Matsu 's garden, page 31

Secrets fill the garden. In Gail Tsukiyama’s novel “The Samurai’s Garden”, she uses metaphors to show the audience the garden and its’ curator in a mysterious light. Tsukiyama’s character Stephen gazes upon Matsu’s garden with wonder and amazement. He compares it to another world, “The garden is a world filled with secrets… Matsu’s garden whispers at you, never shouts; it leads you down a path hoping for more, as if everything is seen, yet hidden” (Samurai 31). Tsukiyama creates another world within the fences of the garden. She integrates the secrets of its’ caretaker into the aura of the garden. The metaphor to another world impacts the reader by allowing the reader to see the mystery and beauty that shrouds it. The cloak of beauty shows

Along the side of the walkway in the pergola was a garden of small trees and shrubbery. Plants were present everywhere in the Palace, along the pergola and the rotunda, befitting the theme of a decaying ruin, overrun by nature. According to Maybeck, "it is the water and the trees" that people came to see (Macomber, 23). The natural scenery was integral to his design. The combination of majestic

The role of gardens play a much more important role in Japan than here in the United States. This is due primarily to the fact the Japanese garden embodies native values, cultural beliefs and religious principles. Perhaps this is why there is no one prototype for the Japanese garden, just as there is no one native philosophy or aesthetic. In this way, similar to other forms of Japanese art, landscape design is constantly evolving due to exposure to outside influences, mainly Chinese, that effect not only changing aesthetic tastes but also the values of patrons. In observing a Japanese garden, it is important to remember that the line between the garden and the landscape that surrounds it is not separate. Instead,

In this essay, I will compare and contrast two sacred spaces; Ise Jingu of Japan and the Great Stupa in India. First I will describe the sacred spaces and their artistic features, values and importance. Afterwards, will come the analysis comparing the two in architectural design and decisions, rather than the difference of religious belief or purpose.

The de Young museum seen from a distance is a bold architectural statement, with its sleek horizontal building, indeterminate dark brown color and its massive tower emerging from its slightly bent curving roof. The building is an example of boldness, internationalism and cultural neutrality. Its setting in the Golden Gate Park’s landscape with the topography, vegetation; weather and light are taken advantage of. The significance of nature and the art that is housed in the museum from the Americas, Oceania, and Africa can be seen as having resonance in the architecture. Many of the works of art are sacred in their cultures, are made of natural materials and were never intended to be displayed in formal settings. Post modern theme of ‘context’ comes into expression as Jacques Herzog put it: “These objects belong to nature. We wanted to emphasize that”.

Frank Lloyd Wright is one of the most important architects of the twentieth century; with his buildings and his ideals of an organic architecture, he got to be known by everyone. Who does not know about the Fallingwater? This building is considered his masterpiece and represents all his principles. For him, organic architecture was designing by integrating a building to its site and context, and he was able to achieve it with most of his projects. However, Wright’s career did not started like this; he went through a lot of complex periods that ended consolidating his ideals as an architect. Moreover, each of these phases had different kind of influences that Wright took and learned from. Therefore, it’s important to acknowledge how outside architecture and social factors influenced his “Organic” idea.

An influential figure in architecture of the twentieth century, Luis Barragán made his mark by inciting an architecture of modern simplification of form and imbuing it with the warmth and vibrance of his native Mexico. He is celebrated for his mastery of space and light and use of vivid colors and textural contrasts in his works. Aside from his architectural design, he is noted for his distinct approach to landscape design, which sought to accentuate natural surroundings and enhance the local foliage and terrain of Mexico. Though his formal education is in engineering, his ever growing fascination with architecture impelled his desire to develop his own take on modernism and led him to modernize Mexican architecture.

Zhang Zeduan’s masterpiece depicts the landscape of his hometown, Kaifeng and the life of its people during the Song dynasty. Nearly 500 years later, Qiu Ying portrayed his hometown Suzhou in a similar way, but in his version, the scenes are different to the original version. Compared to Zhang, Qiu Ying added more blue-and-green landscape patterns, and the feeling of the artisan is not strong in this work. The most important thing is that both artists show different visual perspectives of the culture and customs of the city.

A non- arbitrary architecture is an architecture incorporate nature and culture to define the life of a human being. Karsten Harries mention that the needs of human comfort in a building does not meet the tenants comfort since they are illogically made instead of emphasising the design to standout to meet the requirements of people, places and landscape in a real world. The implantation of building design by Frank Lloyd Wright's and Aalto's Villa Mairea has shown the world that design is not only to enhance but compliment God's creation. Frank Lloyd and Aalto's Villa design manifest mainly on the non-arbitrary of architecture, emphasising qualities of direction, of weight, of materiality, of light and so forth. Thus, understanding non-arbitrary architecture, design will be seen in different perspective as the two architecture, Frank Lloyd and Aalto's Villa

A landscape painter “tended to be a recluse, an individualist, and a Daoist (Morton and Lewis 2005).” These artists thought of landscape painting as the “grandest and most satisfying way to represent nature as a whole, to feel a sense of communion with nature, and to know oneself to be part of an orderly cosmos (Morton and Lewis 2005).” Thus, one can see the implications of landscape painting lay not just in its beauty and simplicity, but also in its spiritual connection with Nature, and thus had wide appeal. The point of view in landscape painting was also of paramount importance. The Chinese artists understood that Western artists took in scenes from five or six feet from the ground. Chinese artists worked from a raised viewpoint, so that they are not bogged done by small details in the front and get a better sense of the whole scene (Morton and Lewis 2005). Every part of the image that is created has its own innate interest, and yet it all comes together and works well as a whole (Morton and Lewis 2005). It is clear that landscape painting was a cherished and important art form in Song Dynasty culture.