The Chinese Garden At The Huntington Library

In the poem Garden of My Childhood, poet Kuangchi Chang uses metaphor to help set his central idea into place. A metaphor helps the reader to understand what is said by comparing something to something else. When Chang compares China before the revolution, he compares the peace to an idyllic garden with a violent hoard approaching. This is a metaphor that describes how peaceful it was in China before Mao Dezong brought on the cultural revolution. The hoard approaching the garden would Dezong and his re-education plans for China. He then personifies the wind and sea by stating they beckon him to run. He then says "eons later" he arrives "worlds away" at his destination. He then says his "running is done" and claims he found another garden just

When I first look at Hiroshige’s Plum Garden at Kameido, 1857, I see a grove of flowering trees, with a fence in the background to keep visitors off the lush green grass. The main focal point of this photo is the large tree branch in the foreground. This branch has several offshoots from it with dainty white flowers. Looking past this I see several other trees in the background, all with flowers blooming on them, but none with leaves. In the farthest background, there is a metal fence that is separating several people from the garden of trees. There is also a partial shack in the background on the far most right-hand side of the picture. I also see what appears to be the back of a sign, mostly hidden, in the upper left corner of the foreground. It appears to be sunset during the painting, with the horizon lighter and the higher sky a red color. There are several blocks of oriental writings, a red rectangle in the lower left corner over the body of the tree branch; then two in the top right corner in the sky, one green square and

Furthermore, on the roof form, the column- beam- and- strut also permits several roof styles. First is ‘Zuanjian’, pyramid- shaped roof. The other one is ‘Wudian’, a hipped roof, and ‘Xieshan’, a combination hip-gable. These three types of roof have two adjacent slopes that meet above each of four corners at forty-five-degree angles. However, another most outstanding Chinese traditional characteristic, through stylistic, is ‘Dougong’, a combination of block and supporting arm. Dougong has been use ever since Han Dynasty, fifth century B.C. to third century A.D, and developed itself to reached peak point in Tang and Song dynasty, from seventh to thirteen centuries. More importantly, it preserved the structural integrity of the wooden framework, functioning the collar beam in modern architecture. Dougong gradually shrank in size and lost its important as a structural member to become a stylized traditional decorative, in Ming and Qing Dynasties. By the use of dougong, it demonstrates a progress in the beginning as the technical standard then reached the apex point, and finally turned down to an insignificant role as a stylistic element. Another example of architectural development in style during Ming and Qing Dynasties is the garden element. The landscape garden design has gone through a long historic phase of development. The garden evolved into two types, royal and private gardens. The private garden served to the residences for enjoyment, relaxation, and living

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

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.

Characters overcome what life brings them and finding meaning in the things that they have in The Samurai's Garden by Tsukiyama. Stephan who experiences this watches as Matsu and Sachi work in their gardens. The gardens represent their gardener’s soul because they nurture and dictate everything that happens within the gardens walls.

"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

China, definite connection b/c Zhou took over from the Shang about 1000 BCE, ruling a loose coalition of regional lords; recorded history flowed smoothly

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,

I first visited the Mint Museum during my spring break and was astonished at the variety of collections and exhibitions. The collection that caught my attention was the American Art collections specifically Noonday In Summer by Jerome Thompson. Noonday In Summer is an oil on canvas which was created in 1852. Thompson’s Noonday In Summer portrays a group of farmworkers resting in a secluded area while enjoying a small picnic.

During the first week of September, I made a trip with a friend to the Asian Art Museum in San Francisco. Every first Sunday of the month, admission into the museum is free. It is my first time to visit there and I was most impressed with the huge number of Buddhas on display. Most of the pieces are in excellent condition. It is amazing 600-year-old pottery and all these stone statues of Buddha that looks like it was made yesterday. What really brings this place to life for me are the brilliant combination of social mixers and live performance events mixed with cultural education.

I had an opportunity to visit the oriental institute museum . During my visit to the museum I was made aware of its location and the importance of it to chicago. The museum housed many exhibits of historical value dating civilization back to the paleolithic period of 2,500,000-100,000 B.C. Below you'll find examples of mans rise through the use of tools and refined skills from cave living to structured living throughout evolution. This is an experience that has grounded me to a new interest in structures that we have devised to become the homes we use today for the rest of my life.

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.