Analysis of Chinese landscape design offered a challenge to test the concepts of environmental aesthetics developed in the West. With comparative approach we improved our understanding of art and environment, and of different strategies in designing forms of Chinese gardens. In order to describe the "hidden" symbohsm of Chinese landscape design we applied various concepts and metaphors: completeness, large and small, mirror and mirroring, garden as entrance and separate reality, disclosure and concealment, and returning to the (...) source. (shrink)

It is common for visitors to have rich and varied experiences in the limited space of a classical Chinese garden. This leads to the sense that the garden’s scale is much larger than it really is. A main reason for this perceptual bias is the gardener’s manipulation of visual information. Most studies have discussed this phenomenon in terms of qualitative description with fragmented perspectives taken from static points, without considering ambient visual information or continuously changing observation points. A general (...) question arises, then, on why depth perception can vary from one observation point to another along a garden path. To better understand the spatial experience in classical Chinese gardens, this study focused on variations in perceived depth among different observation points and aimed to identify influential visual information through psychophysical experimentation. As stimuli for the experiment, panoramic photos of Liu garden were taken from three positions at Lvyin Pavilion. Considering the effects of pictorial visual cues on depth perception, the photos were processed to create 18 kinds of stimuli. Two tasks were presented to the participants. In Task 1, 71 participants were asked to rate the depth value of the garden using the magnitude estimation method in a cave automatic virtual environment. Statistical analysis of Task 1 revealed that depth values differed significantly among different viewpoints. In Task 2, participants were asked to compare 18 stimuli and 3D images presented on three connected monitors and to judge the depth of the garden using the adjustment method. The results of Task 2 again showed that depth values differed significantly among different viewpoints. In both tasks, ambient information significantly influenced depth perception. (shrink)

Scholars of Shaftesbury generally consider his notion of disinterestedness as the beginning of modern aesthetics while connecting it questionably with a view of modernity as defined in terms of the segregation of truth, beauty, and goodness. To read Shaftesbury differently, it is necessary to look into the textual circumstances of his key aesthetic ideas. In particular, it is important to recognize his implicit use of Sir William Temple's discussion of the Chinese garden immediately before the few justly famous passages (...) about the beauty of the ocean, the vale, and the fruit trees and about the free and spontaneous response of the human character which constitutes the aesthetic experience. As well as a useful illumination for his new understanding of disinterestedness, this unusual involvement of a radically different artistic and philosophical tradition may also be his momentary revelation and acknowledgement of an otherwise hidden metaphysical inspiration for his revolutionary aesthetics. (shrink)

Sir William Chambers was one of the most important English architects in the eighteenth-century, but both in his day and later his international recognition was closely connected with his admiration for and promotion of Chinese art, particularly Chinese landscaping. Between 1757 and 1773, Chambers published three treatises praising the ingenious mixture of nature and art in a Chinese pleasure ground, criticizing the then influential English gardener Lancelot Brown, and trying to goad English garden design into the direction (...) of China. He did not achieve his purposes mainly because he mixed what he knew as genuine about the Chinese gardening art with what he fantasized about it. While recent scholarship has focused on his fantasy, this article examines what Chambers knew or imagined about Chinese landscaping, what he and his detractors were for and against, and how the fiasco of his 1772 and 1773 treatises, which he brought upon himself, nevertheless helped to usher in a new phase in th... (shrink)

A rhetoric of refuge and escape is a consistent feature of the world’s great garden traditions. The connections between a desire for escape, need for refuge and disquieting sense that life is no longer what it ought to be gestures to a complex conception of garden appreciation. I explore these connections using Christian, Islamic, and Chinese garden traditions. In them one finds a conception of certain gardens as places of moral refuge from the corruption and failings of the (...) mainstream world. (shrink)

This handsomely produced volume contains 22 contributions from international scholars, which were originally presented at the 2000 Conference of the International Society for Phenomenology, Fine Arts, & Aesthetics. The papers center around the theme of gardens and include a wide range of topics of interest to phenomenologists but also, perhaps, to gardeners with a philosophical bent. A sampling of topics: Leonardo's Annunciation Hortus Conclusus and its reflexive intent; hatha yoga--a phenomenological experience of nature; the Chinese attempt to miniaturize (...) the world in gardens; conflating and compressing time in commodified space and architecture; constructing the deconstructive landscape (the ruin aesthetic); and a phenomenological-anthropological aproach to Zen gardens. The volume is lightly indexed by name (mostly philosophers). Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com). (shrink)

The Southern Garden Poetry Society: Literary Culture and Social Memory in Guangdong. By David B. Honey. Hong Kong: the Chinese University Press, 2013. Pp. xiv + 258. $45.

Stephen Mason lived quietly in southern California, raising his family and pursuing his own spiritual path. Over the years he worked out a personal philosophical and religious worldview. In his last years he wanted to pass down to his children and grandchildren the essence of what he had found on his life quest. Rather than a long monologue on the meaning of life, he adopted the use of aphorisms, in the style of Chinese sages or Sufi mystics, to share (...) his lifetime of wisdom. The result is this book. A gem of a book that helps us navigate the complex road of life by understanding we are on a journey of self-development, linked to our connection with the Divine. Mason weaves a kaleidoscope of provocative quotes by famous writers, thinkers, and artists into his philosophy. He offers not only the practical suggestions of simplicity, solitude, meditation, and prayer, but also compelling advice. He speaks to us of our completeness, while clearing the path toward personal evolution. Mason helps you enter the heart of your life, into the Garden of Life, where you experience 'the cultivation of your soul'. (shrink)

The remarkable growth in interest in aesthetic gardens in the late Ming period has been recognized in Chinese garden culture studies. The materialist historical approach contributes to revealing the importance of gardens’ economic functions in the shift of garden culture, but is inadequate in explaining the successive burgeoning of small plain gardens in the 17th century. This article integrates the aesthetic and materialist perspectives and situates the cultural transition in the concrete social and cultural context in (...) the late Ming period. Beginning with describing a taste change and an expansion in the number of gardens, this article focuses on the small plain garden phenomenon by exploring the unique role that the arts (e.g., poetry and painting) played. A series of artistic criteria were established in the late Ming period. The application of these aesthetic rules to gardens enabled more people to own gardens. This is process that economic requirements for owning gardens were lowered, giving way to the aesthetic appreciation and exploration of literati individuals’ artistic talents. Gardens thus became more widely accessible and provided enhanced pleasure to the middle and lower class families. The conclusion is that the ‘major shift’ in garden culture was closely associated with the change of garden owners’ aesthetic tastes, in addition to the economic conditions in the Jiangnan area. In the increased popularity of gardens, the arts played a significant role. (shrink)

Grounded in the use of the visual, Chinese thought and language operate within a wide spectrum that includes calligraphy, poetry, literature, painting, and garden-landscapes. In languages of phonetic signifiers, the spectrum is deliberately controlled to be narrower, excluding the visual from language and delegating it to iconology. These linguistic-cultural strategies have an ancient past and produce far-reaching consequences in thought and artefacts, with garden-landscapes being one of the most substantial outcomes. Garden-landscapes are China’s equivalent to Greek architecture, leading us (...) to both a repositioning of Chinese thought and a new framework of architecture. In this sense, the city, serving the function of thought in the expanded medium of conceptual and material units of meanings (figures), incorporates things into intellectual orders. This is perhaps the most important feature of Chinese thought and one that is the first to be obscured when it is rendered in scholarship in Indo-European languages. (shrink)

Chinese culture is distinguished among the world’s other great traditions by the depth and intensity of its love for rock and stone. This enduring passion manifests itself both in the art of garden making, where rocks form the frame and the central focus of the classical Chinese garden, and also on a smaller scale, in the practice of collecting stones to be displayed on trays or on scholars’ desks indoors. This essay sketches a brief history of lithophilia in (...) China, then adduces the most important philosophical presuppositions for it, and concludes by suggesting some implications for our experience of, and interactions with, the realm of stone and rock. (shrink)

With Peach Blossom Spring and other poetical works written by Tao Qian in the 5th century, there was born a vision of utopia that remains forever etched into the Chinese collective imaginary. Thirteen centuries later, Cao Xueqin drew inspiration from it when he gave form to the ‘Grandview Garden’, a universe with fundamentally female characteristics and one of the centres for the plot of The Story of the Stone, a masterpiece of Chinese romantic fiction also known as ‘Dream (...) of the Red Chamber/Mansions’. Reading the two works in parallel, in both the figurative and the literal sense, points up the message of the Daodejing that utopia cannot be planned or imposed. In fact it emerges from a spirit of openness, an attitude of patient waiting, listening with the ear of the other. This intuition leads to reflection on difference, based on Zhuangzi’s Butterfly Dream. (shrink)

Resumo: Um parque cultural urbano é um símbolo da cultura urbana regional, além de refletir o acúmulo da cultura humana. Ele pode se tornar uma forma importante de herdar o patrimônio cultural e histórico regional e de promover o excelente espírito cultural tradicional chinês. Entretanto, o papel cultural desempenhado pelos parques culturais é bastante insatisfatório e ainda necessita de melhorias. É extremamente importante resolver esses problemas e promover o design dos parques culturais urbanos, a fim de mostrar melhor suas ideias (...) culturais e suprir as necessidades de disseminação e desenvolvimento culturais. Por isso, este artigo introduziu elementos de montanhas e analisou a simbólica importância deles no design de parques culturais urbanos. Esta investigação tentou interpretar as ideias contidas nos parques culturais urbanos modernos, a partir das perspectivas de parques culturais urbanos e elementos de montanhas, e elaborou estratégias de design, métodos de expressão, técnicas de expressão e troca de ideias sobre parques culturais urbanos. As pesquisas mostraram que introduzir elementos de montanhas no design de parques culturais pode torná-los mais agradáveis esteticamente, com formatos mais complexos, de modo a destacar melhor as ideias de temas para interpretações e expressões culturais regionais. Esta pesquisa oferece mais projetos de design e elementos para o design de parques culturais urbanos, estudando os elementos de montanhas, enriquecendo a expressão e o significado ideológicos de parques culturais urbanos, ajudando a promover o patrimônio e o desenvolvimento da cultura e fornecendo mais base teórica para o design de paisagens. (shrink)

For anyone working in aesthetics interested in understanding the richness of the Chinese aesthetic tradition this handbook is the place to start. Comprised of general introductory overviews, critical reflections and contextual analysis, it covers everything from the origins of aesthetics in China to the role of aesthetics in philosophy today. Beginning in early China (1st millennium BCE), it traces the Chinese aesthetic tradition, exploring the import of the term aesthetics into Chinese thought via Japan around the end (...) of the 19th century. It looks back to early practices of art and craftsmanship, showing how the history of Chinese thought provides a multitude of artifacts and texts that give rise to a wide range of aesthetic creations and notions. Introducing various perspectives on traditional arts in China, including painting, ceramics, calligraphy, poetry, music and theatre, it explores those aesthetic traditions not included in "canonic" art forms, such as martial arts, rock gardening, and ritual performance. Written by Chinese, European, and American theoreticians and practitioners, this authoritative research resource enhances contemporary aesthetics by revealing the possibilities of a Chinese philosophy of art. (shrink)

The Japanese dry landscape garden has long attracted—and long baffled—viewers from the West. While museums across the United States are replicating these "Zen rock gardens" in their courtyards and miniature versions of the gardens are now office decorations, they remain enigmatic, their philosophical and aesthetic significance obscured. _Reading Zen in the Rocks_, the classic essay on the _karesansui_ garden by French art historian François Berthier, has now been translated by Graham Parkes, giving English-speaking readers a concise, thorough, and (...) beautifully illustrated history of these gardens. Berthier's guided tour of the famous garden of Ryoanji in Kyoto leads him into an exposition of the genre, focusing on its Chinese antecedents and affiliations with Taoist ideas and Chinese landscape painting. He traces the roles of Shinto and Zen Buddhism in the evolution of the garden and also considers how manual laborers from the lowest classes in Japan had a hand in creating some of its highest examples. Parkes contributes an equally original and substantive essay which delves into the philosophical importance of rocks and their "language of stone," delineating the difference between Chinese and Japanese rock gardens and their relationship to Buddhism. Together, the two essays compose one of the most comprehensive and elegantly written studies of this haunting garden form. _Reading Zen in the Rocks_ is fully illustrated with photographs of all the major gardens discussed, making it a handsome addition to the library of anyone interested in gardening, Eastern philosophy, and the combination of the two that the _karesansui_ so superbly represents. Praise for the French edition: "A small book of rare depth, remarkably illustrated, on one of the most celebrated and beautiful rock gardens of the monasteries of Kyoto."—_L'Humanité_ "Through _Le Jardin de Ryoanji_, Berthier teaches us to read the zen in the rocks, to discover the language offered by the garden at Ryoanji. Enigmatic, poetic, and disconcerting, an enriching journey through a work of art of surprising modernity, _Le Jardin de Ryoanji_ is a work that will interest all the amateurs of Japanese art and Eastern philosophy."—_Lien Horticole_. (shrink)

The Japanese dry landscape garden has long attracted—and long baffled—viewers from the West. While museums across the United States are replicating these "Zen rock gardens" in their courtyards and miniature versions of the gardens are now office decorations, they remain enigmatic, their philosophical and aesthetic significance obscured. _Reading Zen in the Rocks_, the classic essay on the _karesansui_ garden by French art historian François Berthier, has now been translated by Graham Parkes, giving English-speaking readers a concise, thorough, and (...) beautifully illustrated history of these gardens. Berthier's guided tour of the famous garden of Ryoanji in Kyoto leads him into an exposition of the genre, focusing on its Chinese antecedents and affiliations with Taoist ideas and Chinese landscape painting. He traces the roles of Shinto and Zen Buddhism in the evolution of the garden and also considers how manual laborers from the lowest classes in Japan had a hand in creating some of its highest examples. Parkes contributes an equally original and substantive essay which delves into the philosophical importance of rocks and their "language of stone," delineating the difference between Chinese and Japanese rock gardens and their relationship to Buddhism. Together, the two essays compose one of the most comprehensive and elegantly written studies of this haunting garden form. _Reading Zen in the Rocks_ is fully illustrated with photographs of all the major gardens discussed, making it a handsome addition to the library of anyone interested in gardening, Eastern philosophy, and the combination of the two that the _karesansui_ so superbly represents. Praise for the French edition: "A small book of rare depth, remarkably illustrated, on one of the most celebrated and beautiful rock gardens of the monasteries of Kyoto."—_L'Humanité_ "Through _Le Jardin de Ryoanji_, Berthier teaches us to read the zen in the rocks, to discover the language offered by the garden at Ryoanji. Enigmatic, poetic, and disconcerting, an enriching journey through a work of art of surprising modernity, _Le Jardin de Ryoanji_ is a work that will interest all the amateurs of Japanese art and Eastern philosophy."—_Lien Horticole_. (shrink)

Environmentality teases out the multilayered human-environment contacts and connections in terms of human agency and governmentality, ecological objects and their (in)dependence, power/knowledge and environmental (in)justice. “Sustainable Development Goals” recognize that ending poverty and other deprivations must go hand-in-hand with strategies that improve health and education, reduce inequality, and spur economic growth – all while tackling climate change and working to preserve our environment. This paper outlines the scopes, scales, and methods of Chinese storytelling and multimedia exhibitions on deforestation and (...) afforestation, pollution and purification, and wastelands and eco-systems in industrial, de-industrial, and post-industrial times. The author considers short stories, novellas, novels, reportages, nonfiction writings, and visual artworks, with specific focus on trees, forests, and plant writing. By reading Kong Jiesheng’s “Forest Primeval,” Ah Cheng’s “King of Trees,” Xu Gang’s Loggers, Wake Up!, Yan Lianke’s Garden No. 711: The Ultimate Last Memo of Beijing, and Chen Yingsong’s The Forest Is Silent, the author aims to bring to light the awakening and formation of Chinese ecological consciousness, the token of marred humanity and ecocritical reflection, the manifestation of biophilia-biophobia experiences, as well as the structural transformation of private feelings and public emotions in modern and contemporary China. (shrink)

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

With the help of the Jesuits, the Qianlong emperor built European palaces in the Garden of Perfect Brightness and commissioned a set of twenty images engraved on copper in Paris. The Second Anglo-Chinese Opium War in 1860 not only saw the destruction of the Garden, but also of the images, of which there are only a few left in the world. The John Rylands set contains a coloured image which raises even more questions about the construction of the palaces (...) and the after-life of the images. How did it travel from Paris to Bejing, and from Belgium to the John Rylands Library? This article probes the fascinating history of this image. It highlights the importance of Europeans in the making of Chinese history and calls for studies of China in Europe. (shrink)

The formation and development of any architectural form and system has its own historical and cultural background. The ancient Chinese architectural system has a long history and characteristics inseparable from the historical development of Chinese traditional philosophy. Chinese philosophy, as a theory of human self-consciousness, does not give knowledge, but mainly gives ideas and ways of thinking for the needs of human self-development; At the same time, ancient Chinese architecture became a physical object reflecting the idea (...) of traditional Chinese philosophy. Therefore, in order to explore ancient Chinese architecture, it is necessary to analyze and study it from the point of view of traditional Chinese philosophy. Like Confucius' thoughts on etiquette, the idea of the "doctrine of the middle" and the concept of hierarchical division; These ideas had a profound influence on ancient Chinese architecture, including urban planning, traditional dwellings, the environment, Lao Tzu's desire for harmony and unity between man and nature, worship of the gods, etc., as well as the theory that emerged later "Feng Shui", etc. temple space and garden architecture in the south of the Yangtze River. This article is devoted to the analysis of the influence of Confucianism and Taoism on the general principle of designing spaces of ancient Chinese architecture. The article selects some typical examples of ancient Chinese architecture for analysis. The following principles are manifested in the design of spaces of Chinese architecture under the influence of Confucianism and Taoism: moderation of living space; the principle of symmetry, balance and coordination; architectural hierarchy formed on the basis of the needs of "rituals"; integration of architecture and the environment; design of spaces according to "Feng Shui". (shrink)

An early encounter of Western and Chinese labyrinths took place during the late eighteenth century in the Qing imperial garden Yuanming Yuan, where the Western Jesuits built a labyrinth for Emperor Qianlong.1 Beginning with Daedalus’s legendary design, the labyrinth was the basis throughout Western history of a primary meaning of the built environment.2 With a rigorously geometrical layout, the labyrinth in the Yuanming Yuan appeared exotic to the Chinese eye but was specifically named by the Chinese as (...) a “garden” because of its meandering movement similar to Chinese gardens.3 The comparability between the Western labyrinth and Chinese gardens triggers this research on the idea of labyrinth in Chinese building .. (shrink)

A philosopher and mother mines classic Daoist texts of Chinese philosophy for wisdom relevant to today's parents. The ancient Chinese philosopher Mencius compared children to tender sprouts, shaped by soil, sunlight, water, and, importantly, the efforts of patient farmers and gardeners. At times children require our protection, other times we need to take a step back and allow them to grow. Like sprouts, a child's character, tendencies, virtues, and vices are at once observable and ever-changing. A practical parenting (...) manual, philosophical reflection on the relationship between parent and child, and necessary response to modern stereotypes of Chinese parenting, Little Sprouts reconsiders cultural definitions of success and explores how we might support and nourish young people. Engaging deeply with foundational Daoist and Confucian thinkers, Georgetown philosopher Erin Cline offers accessible, provocative musings on key parenting issues-from family rituals to learning and vocation to challenges and disabilities-and helps us grow into better parents of joyful, fulfilled children. (shrink)

In both his life and poetry, The Ruined Cottage marked a decisive breakthrough for Wordsworth, which resulted from his daring adoption and sustained use of a monistic idea. Though hitherto mostly dismissed or construed as a derivative of Platonism, Stoicism, Christian mysticism, and/or other conventional English and European concepts and usually seen as part of his supposedly quietist retreat from radical politics, the philosophy of One Life which Wordsworth promoted was in reality a recognizably unconventional conceptual innovation, which indeed made (...) possible his poetic and political innovations in The Ruined Cottage and beyond. In the larger context of ideas that extends well beyond England and Europe and involves in particular the Chinese cosmological belief in tianren heyi or humanity’s unity with heaven, this essay explores Wordsworth’s innovative use of monism in The Ruined Cottage and argues for a significantly different understanding of Wordsworth and the related rise of English Romanticism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Borrowed Gods and Foreign Bodies: Christian Missionaries Imagine Chinese ReligionWhalen LaiBorrowed Gods and Foreign Bodies: Christian Missionaries Imagine Chinese Religion. By Eric Reinders. Berkeley: University of California Press, 2004. 266 + xvi pp.For a long time, Sinology was dominated by scholars with direct or indirect missionary backgrounds, going all the way back to the founding of the discipline by James Legge. Legge occupied the first university (...) chair in the China field in Britain. Legge's vision of China has recently been placed into historical context by Norman Girardot (The Victorian Translation of China [2002]). There were other early figures whose records of Chinese beliefs and folk customs we still use. Beginning with Timothy Richard, more came around to seeing how China needed more than soul saving for the hereafter. China needed urgent sociopolitical reforms in the here and now. In time, the YMCA and the missionary schools would help chaperone in a whole generation of "modern Chinese"; some of them, though exposed to the Gospel, would, in the May Fourth Movement, pit science and democracy against any and all religions. For all that, scholars still do count on the missionary records for understanding the "old China." By exploring what the majority of these men of God saw in China—or thought they saw, since their perception could well be colored by cultural biases—this book by Eric Reinders proves quite refreshing. Instead of holding up those records as a mirror on a Chinese reality, Reinders (to wit) "reversed the light so that it would reflect upon" the Protestant missionaries themselves. For one thing, these Protestant evangelicals reported on China using rhetoric borrowed from their long-standing complaints against the Catholics. For another, they painted the Chinese "body language" in light of their own proud Victorian manners. These missionaries were no James Legge, who was tutored into classical Chinese by erudite Confucians and who then presented the Confucian Classics with appreciative classical (Latin and Greek) references. They were no Arthur Waley either, Waley being one who could "without leaving the door [as to live in China], know all the affairs of the (Chinese) world." By steeping himself in Chinese language and its written culture, Waley could render the Confucian "chun-tzu" into the familiar English "gentleman," and doing so with due sympathy for two land-owning gentry cultures. There is no such sympathy from the Protestant missionaries who lived among the common people. They purported to know the "real" (rural) China that was opened to the inland mission. The China they reported on was not found in library books, the Confucian classics, or some Mandarin's manicured garden. Theirs is not the Good Earth depicted later by Pearl Buck, either.These nineteenth-century Protestant missionaries, flourishing in the heydays of the British Empire, held few illusions about the once fabled Cathay. Their reports sent home served, in the end, both God and country. As means for raising funds for their missionary efforts, the reports probably had to fan high hopes for the Gospel in relation to a very deprecating assessment of the pagan, heathen culture they encountered. The reports also reflected the hard times these zealous missionaries did have [End Page 226] to face. They were living in the backwater, among often illiterate peasants and in isolated enclaves surrounded by what they saw as a huddling mass of faceless humanity. Their frustration at learning the vernacular tongue well enough to communicate with the people led to the still popular joke about the inscrutable Chinese. But the conclusion the missionaries drew, about how the Chinese language is inherently "godless," is more theological than philological. That the many Chinese tongues (local dialects?) were deemed a living Babel assumes somehow that the Queen's English is divinely inspired. This book does not tell us often what China was really like, for so much of that reality is woefully "lost in translation."Above all, "Borrowed Gods and Foreign Bodies" is about how the Protestants transposed their endless bouts with Rome into seeing the errors of the Chinese way as copies of the Catholic way. The Chinese were mindless in their idolatry; they kept up blindly this ritualistic gesture with little or... (shrink)

Though more connected today than ever before, the Far East and the West are still divided by an issue which first arose more than 400 years ago: the complaint of the West that its ideology has never been fully adopted by China. To provide a useful conceptual framework for a discussion of this intriguing situation, this essay invokes the instructive give-and-take of market exchange on the famed Silk Road in the long ancient past and takes a careful and close look (...) at the analogous enactment of the same principle in the quiet but consequential transplantation of Chinese horticultural and related philosophical ideas to England and continental Europe in the seventeenth and eighteenth centuries and in the initially skeptical but eventually appreciative reception of many Western political and technological ideas in China in the last two centuries. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Spirit Stones of China: The Ian and Susan Wilson Collection of Chinese Stones, Paintings, and Related Scholars' ObjectsGraham ParkesSpirit Stones of China: The Ian and Susan Wilson Collection of Chinese Stones, Paintings, and Related Scholars' Objects. Edited by Stephen Little. Chicago: The Art Institute of Chicago in association with University of California Press, 1999. Pp. 112.Let me introduce Spirit Stones of China: The Ian and Susan (...) Wilson Collection of Chinese Stones, Paintings, and Related Scholars' Objects (edited by Stephen Little) with this quotation:The purest essence of the energy of the heaven-earth world coalesces into rock. It emerges, bearing the soil. Its formations are wonderful and fantastic. Some with cavernous cliffs, revealing their interior; some with peaks and summits in sharp-edged layers.... Within the size of a fist can be assembled the beauty of a thousand cliffs. Rocks large enough to be set up in great courtyards, small enough to be set upon a stand. Like gazing upon the peaks of Song Shan, or facing the entire range of the Meng mountains; sitting quietly, your imagination purified.... The Sage [Confucius] once said, "the humane man loves mountains," and the love of stones has the same meaning. Thus, longevity through quietude is achieved through this love.This passage articulates the very different understanding of stone—as "essential energy" rather than mere matter—that underlies the traditional Chinese passion for rock collecting and appreciating, for which even the terms "petromania" and "litholatry" seem too weak. It comes from the preface to the earliest surviving Chinese manual on the topic, Du Wan's Stone Compendium of Cloudy Forest, compiled in the early twelfth century, and is quoted by Stephen Little in his erudite and informative introduction to this magnificent catalog for a unique collection of "spirit" or "strange stones" (guai shi) and other scholars' articles. This essay nicely complements and amplifies ideas set forth some fifteen years ago by John Hay, in his now classic introduction to the catalog Kernels of Energy, Bones of Earth: The Rock in Chinese Art (New York: China House Gallery, China Institute in America, 1985).Most cultures appear to begin with a natural reverence for stone in its natural state—one thinks of the Druids, the Indian tradition, the Polynesians, Native Americans, and Australian aboriginal culture—and many seem to retain that reverence as they develop. Indeed, when seen in a global perspective, the general lack of interest in (or respect for) rock in its unhewn state that characterizes the European and Anglo-American traditions seems idiosyncratic. But Chinese culture definitely has the longest and most enthusiastic tradition of collecting stones and arranging rocks in gardens: "strange stones" figure among articles of tribute offered to the mythical emperor Yu (mid-second millennium B.C.E.), and the emperor Wu Di (second century B.C.E.) is recorded as having had rocks arranged in the gardens of his palace. [End Page 306]Stephen Little's essay gives an eloquent account of the development of the practice of stone collecting in China, delineating its relationships with poetry and painting and other arts and practices, and containing numerous translations of passages from primary sources otherwise inaccessible to the non-reader of Chinese. Most of the rocks in the catalog are of the well-known Lingbi (sonorous) and Ying types, but other kinds are represented, too. The editor also supplies a context for appreciating the paintings, scrolls, and other articles from scholars' desks that are in the catalog: brush rests, inkstones, brush holders, and so forth. The sixty-six items from the collection are represented in excellent black-and-white photographs.The book is beautifully designed and produced—and is indeed a work of art in itself with its handsome, dark blue Chinese-style case. All in all, this a stylish and informative contribution to the growing literature on a philosophically fascinating topic. [End Page 307]Graham Parkes University of Hawai'iCopyright © 2001 University of Hawai'i Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Crystal Order That Is Most Concrete:The Wittgenstein HouseHui Zou (bio)IntroductionIn the instruction of architectural history, some historical references have to be mentioned in terms of the relationship between building and language. In Chapter I, Book II, of The Ten Books on Architecture, the ancient Roman theorist Vitruvius discussed the "origin of the dwelling house." According to him, the "primitive hut" originated from the gathering of men around a (...) fire through communicating in language.1 In the primitive hut, the origin of architecture was co-presented with the origin of language; the language helped establish a harmonic relationship, which developed builders' construction collectivity. Such a language-collectivity relationship was witnessed in the record of the Tower of Babel in the biblical scripture where the Lord decided to stop the human beings' construction of the tower by "confus[ing] their language there."2 During the Renaissance, the alphabetic language and the design of buildings were correlated through the application of geometry that was supposed to embody the "divine proportion." In the Franciscan professor Luca Pacioli's book On Divine Proportion, letters of the alphabet were geometricized to become objects of contemplation for tracing "God's light."3 In Chinese gardens, there has been a long tradition of naming a specific view with a poetical phrase that thematicized the scene into a meaningful unity of the view and the viewer—jing.4 In all these historical cases, language and building were integrated into a cosmological picture grounded in divine transcendence.After the modernism in architectural history of the 1960s and 1970s, a loss of meaning in architecture was widely observed,5 and the interrelationship between language and architectural design began to emerge as a prominent issue. Several trends in architectural theories during the 1960s and 1970s studied how meaning was created through architectural design. One was the post-modern development in architecture that sought to apply classic architectural elements to the facades of new buildings as gestures to [End Page 22] the past.6 Another trend was phenomenological, which attempted to discover a common language of building contexts that led to building humanized living environments.7 Yet another trend was to apply linguistic approaches to the rational methodology of architectural analysis.8 The analogy of building with language was provoked by an impelling sense of the crisis that the traditional embodied order was being lost in the prevalent instrumentalized practice of architecture.The predicament of the loss of meaning in contemporary architecture can be traced as far back in philosophy as the splitting of mind and body proposed by René Descartes in the seventeenth century. This split began to distance architecture from its traditional embodiment of transcendental meanings in the second half of the eighteenth century9 and finally led to the division of the metaphysical and physical parts in modern architecture, especially after the industrialization of the nineteenth century. Correspondingly, language became an instrumental means for architecture to impose posterior "ideas" to the material bodies of buildings rather than acting as an inherent component of architectural design for the creation of meaning in architecture. The desire for meanings in modern architecture, based on the split of the metaphysical and physical, theoretically catered to linguistic research, such as semiotics, and tended to define architecture as a symbol. The linguistic structure of signifier-signified was, however, coarsely transplanted into architectural theory and reduced architectural symbolism to a simple dualism of idea and form in which the former was usually arbitrarily applied to the latter by a designer. Such an arbitrary imposition of external "meanings" onto an architectural form through language intensified their separation, which in turn produced nihilism in architecture.The lessons learned from the transplantation of linguistic studies into architectural theories remind us that we need to pay close attention to the historical events that could open up the interaction between language and building and reveal the "fundamental linguistic character of our experience of the world" in Gadamer's sense.10 A house designed and built by Austrian philosopher Ludwig Wittgenstein (1889-1951) provides a unique case for us to contemplate this issue. My historical study of the Wittgenstein House is not to understand Wittgenstein's subjective intentions... (shrink)

Addison's landscape discussion in the famous 1712 Spectator essay on the pleasures of the imagination has often been regarded as the beginning of modern aesthetics. To see how this is the case but not in the way of conventional interpretations, it is important to remember the then revolutionary idea of “beauty without order” which Sir William Temple first discussed via the asymmetrical Chinese gardening style and which Addison enthusiastically endorsed in his horticultural reform agenda. Much more than the notions (...) of beauty, greatness, and uncommonness which are the ostensible focus and usually noticed content of his essay and which are all derived from classical European aesthetics, it is this new and unusual love of things in their seeming irregularity and disorder, and the associated belief in their capability to work themselves out, that retrospectively seems to constitute Addison's most important contribution to English and European Romanticism. (shrink)