In The Garden Of The Three Islands

The poems in this collection explore the past, present and future of the city of Baguio in the Philippines. As the author writes in her preface, "The older generation ... speak(s) of the rich heritage of folklore and tradition, of the pains of dislocation, and of their uniquely individual memories. All this and the desire to pass on to my children some of these memories (including my own) have occasioned the writing of these poems."

In this volume, Hui Zou analyzes historical, architectural, visual, literary, and philosophical perspectives on the Western-styled garden that formed part of the great Yuanming Yuan complex in Beijing, constructed during the Qing dynasty. Designed and built in the late eighteenth century by Italian and French Jesuits, the garden described in this book was a wonderland of multistoried buildings, fountains, labyrinths, and geometrical hills. It even included an open-air theater. Through detailed examination of historical literature and representations, Zou analyzes the ways in which the Jesuits accommodated their design within the Chinese cultural context. He shows how an especially important element of their approach was the application of a linear perspective—the "line-method"—to create the jing, the Chinese concept of the bounded bright view of a garden scene. Hui Zou's book demonstrates how Jesuit metaphysics fused with Chinese cosmology and broadens our understanding of cultural and religious encounters in early Chinese modernity. It presents an intriguing reflection on the interaction between Western metaphysics and the poetical tradition of Chinese culture. The volume will be of interest to scholars and students in a variety of fields, including literature, philosophy, architecture, landscape and urban studies, and East-West comparative cultural studies.

There are many books published in English on Chinese gardens, but the majority are primarily picture books with little informative content. With a large number of illustrations of Chinese gardens, ancient paintings, block prints, and other artefacts, this book is a social history of Chinese gardens and focuses on how gardens have functioned and been used in Chinese society through the ages. Apart from the aesthetic or philosophical aspects of Chinese gardens, you may see how gardens functioned as real estate, how they gave opportunities of employment to skilled artisans, how they opened up outdoor space to both elite and lower-class women, how they allowed men of different social classes and of different ethnicities to interact and gain mutual benefit: in short, how the existence of gardens exerted an influence on society as a whole. At the same time, the reader can find how the wider society, and even socio-economic changes beyond China's own borders, had an impact on how gardens in China developed.

The first profound depiction of the great reformer of Japanese garden design in the twentieth century Mirei Shigemori decisively shaped the development of Japanese landscape architecture in the twentieth century. He founded the Kyoto Garden Society in 1932 and published the 26-volume Illustrated Book on the History of the Japanese Garden in 1938. One year later he designed his own first masterwork, the garden of the main hall of Tôfuku-ji Temple. Between then and his death in 1975, he went on to design 240 gardens throughout Japan. Among the most famous are the Tenrai-an tea garden (1969) and the Matsuo Taisha garden (1975). All of his gardens are distinguished by the fact that they honor tradition while at the same time – through their openness to Western modernity – they free themselves from its weight and develop a language of their own. The first part of the book will deal with Shigemori’s life and influences, including his interest in ikebana and tea ceremonies. The second part will offer detailed presentations of some seventeen different gardens. Mirei Shigemori prägte maßgeblich die Entwicklung der japanischen Landschaftsarchitektur im 20. Jahrhundert. Seit den 1920er Jahren tätig, gründete er 1932 die Kyotoer Gartengesellschaft und publizierte 1938 das 26-bändige Werk Illustrated Book on the History of the Japanese Garden. Ein Jahr später entwarf er sein erstes eigenes Meisterwerk, den Garten bei der Haupthalle des Tôfuku-ji Tempels. Von da an gestaltete er 240 Gärten in ganz Japan bis zu seinem Tod 1975; zu den berühmtesten gehören der Teegarten Tenrai-an (1969) und der Matsuo Taisha-Garten (1975). Kennzeichen seiner Gärten ist, dass sie die Tradition ehren und sich zugleich – in der Öffnung gegenüber den Einflüssen der westlichen Moderne – von dem Althergebrachten durch eine eigene Sprache lösen. Der erste Teil des Buches wird sich mit dem Leben Shigemoris und den Einflüssen auf sein Werk auseinandersetzen. Dabei wird auch seine Auseinandersetzung mit Ikebana und Teezeremonien eine Rolle spielen. Der zweite Teil wird etwa 17 Gärten ausführlich darstellen.

Western Gardeners’ Guide to the Essence of Korean Traditional Gardens Korean gardens strive to be in harmony with nature and to encourage the quiet contemplation of the natural world. They are intentionally humble in their conception and very different from Japanese and Chinese gardens. Korean gardens deserve to be more widely appreciated in the West as a separate, distinctive, venerable and continuing garden tradition, capable of wide appeal if better known. They are the unknown treasures among the world’s gardening traditions. The survival and continuous restoration of old Korean gardens demonstrate the cultural resilience and tenacity of the Korean people despite their tumultuous history. This book introduces, describes and explains traditional Korean gardens to Western readers. It contains more than one hundred photos and maps and details of 20 notable gardens. Pre-publication reviews The ‘foot’ and the ‘mind’ must be put to use to understand the genuine aesthetics of the Korean garden. The author has spared no foot-work nor mindful deliberation to successfully deliver the essence of the Korean garden in this book. I do not doubt that this book will guide those who wish to discover the true beauty of the Korean garden: its harmony with nature, reflection of the inner world, and yearning toward the outside world. Professor Sung Jong-sang, Department of Landscape Architecture, Dean Graduate School of Environmental Studies, Seoul National University This is an exquisitely written reference book concerning the traditional gardens and landscapes in South Korea. Horticulturists in western gardens today often unknowingly use plants and trees native to Korea, which have long been cultivated in Korean gardens. This book will entice any keen gardener or plantsman to make a visit to see these traditional gardens that are so clearly described in this wonderful book. Tony Kirkham, Head of the Arboretum, Royal Botanic Gardens, Kew, England The traditional gardens of Korea are one of the country’s best-kept secrets. Few visitors even realize what beauties exist. That is largely because Korean gardens are far less formal and ornamental and much closer to nature than the famed gardens of Japan and China. This book offers readers a key, which opens the door to Korean gardens in all their delicate beauty. It will guide those who wish to discover the true beauty of the Korean garden: its harmony with nature, reflection on the inner-world, and yearning toward the outside world. Brother Anthony of Taize (An Son-jae), President of the Royal Asiatic Society, Korea This beautiful book breaks new ground, illuminating the history and richness of Korean gardens for English-speakers. The author has a professional knowledge of horticulture, and gives a clear explanation of unique Korean attitudes to garden-making and nature … The author delivers lively observations concerning the complex and sophisticated design of traditional Korean gardens and rightly admires the determination of Koreans to reconstruct them, after repeated destruction. Stuart Read, National Management Committee, Australian Garden History Society

*Gold Medal winner in the 2014 IBPA Benjamin Franklin Award for Home & Garden* "Just flipping through the pages of Quiet Beauty: The Japanese Gardens of North America will instantly lower your blood pressure."—The New York Times Book Review Quiet Beauty: Japanese Gardens of North America is an extraordinary look at the most beautiful and serene gardens of the United States and Canada. Most Japanese garden books look to the gardens of Japan. Quiet Beauty explores the treasure trove of Japanese gardens located in North America. Featuring an intimate look at twenty-six gardens, with numerous stunning color photographs of each, that detail their style, history, and special functions, this book explores the ingenuity and range of Japanese landscaping. Japanese gardens have been part of North American culture for almost 150 years. Quiet Beauty is a thought provoking look at the history of their introduction to the world of North American gardening and how this aspect of Japanese culture has taken root and flourished. Japanese gardens include: Japanese Tea Garden in Golden Gate Park, San Francisco, California Nitobe Memorial Garden, University of British Columbia, Vancouver, British Columbia Japanese Garden, Fort Worth Botanic Garden, Texas Garden of the Pine Winds, Denver Botanic Gardena, Colorado Japanese Garden, Montreal Botanical Garden, Quebec Tenshin'en (The Garden of the Heart of Heaven), Museum of Fine Arts, Boston, Massachusetts Roji'en (Garden of Drops of Dew), The George D. and Harriet W. Cornell Japanese Gardens, The Morikami Museum and Japanese Gardens, Delray Beach, Florida Japanese Friendship Garden of Phoenix, Margaret T. Hance Park, Arizona Garden of the Pine Wind, Garvan Woodland Garden, Hot Springs, Arkansas

An insightful look at how East Asian notions of space transformed Western painting. This volume offers the first critical account of how European imports of East Asian textiles, porcelain, and lacquers, along with newly published descriptions of the Chinese garden, inspired a revolution in the role of painting in early modern Europe. With particular focus on French interiors, Isabelle Tillerot reveals how a European enthusiasm for East Asian culture and a demand for novelty transformed the dynamic between painting and decor. Models of space, landscape, and horizon, as shown in Chinese and Japanese objects and their ornamentation, disrupted prevailing design concepts in Europe. With paintings no longer functioning as pictorial windows, they began to be viewed as discrete images displayed on a wall—and with that, their status changed from decorative device to autonomous work of art. This study presents a detailed history of this transformation, revealing how an aesthetic free from the constraints of symmetry and geometrized order upended paradigms of display, enabling European painting to come into its own.