Landscape Design
By Dorothy Graham优柔寡断的意思
[1] In China a garden is more than a place of peace and a projected dream; it is the embodiment of a philosophy of life. The harmonies and subtle rhythms reflect the mutations of a vaster cosmic scheme.
[2] To the Chine the making of a garden is the effort of the individual to attain unity with the univer. The planning transforms ordinary existence into an art; one perceives that change is the eternal law, that from disintegration springs new being, life fulfilling itlf in satisfying stability. From the deep repo comes enlightenment, a communion in which understanding transcends fact and becomes revelation.
[3] In its ★inception清蒸南瓜 the garden was a retreat. In other countries it might be a place for the cultivation of flowers, a background for ★pageantry, a tting for entertainment; in China it was esntially an aid to contemplation. The Chine realized the benign effect of solitude,
the exhilaration of far spaces. The garden was grandio nature reduced to a scale model—not a ★crass bit of realism, an imperfect imitation, but the evocation of a memory, an emotion made visible. In the Occident, garden design progresd while uncharted nature was still considered menacing; in China the cult of gardens began with an appreciation of the wilds.
[4] Artists continually painted the classic views—the K’un Lun mountains of the Western Paradi, the ten thousand li of Yangt cliffs cutting bright heaven; by original interpretations they infud such well-known scenes with their own personality. In the same way the maker of gardens captured the quintesnce of a landscape, to reproduce his own version. In gardening, as in art, it was necessary to u suggestion, leaving much unsaid, in order that the one who looked at the scene might be allowed to complete the idea. Through visual delight the spectator was suppod to enter into the creation and feel himlf to be a part of the masterpiece.
[5] A garden was intended to induce a mood, a state of beatific unconsciousness that ver
ged on trance. Tranquillity bordering on oblivion was the ideal, for renity was conducive to introspection. Exalted by beauty, then lulled by its harmony, the Chine was able to comprehend truths beyond ordinary perception, to lap into mystic reverie.
[6] “Once,” obrved Chuang Tzu the philosopher, “I dreamt I was a butterfly. I was aware only of my fancies as a butterfly and unconscious of my individuality as a man. Suddenly I awoke. Now I am not certain whether I was a man dreaming I was a butterfly, or if I am now a butterfly dreaming that I am a man.”
[7] In a land often harasd by ★internecine职业技能证书查询 wars and alien invasions, the making of a garden marked a time of comparative peace. Great gardens were created in epochs of abundance, from ★surfeit不倒翁制作 and from yearning. The Chine felt the necessity for the complete relaxation which renews vigour. Even now their capacity for rest is the cret of their endurance, the means by which they have conrved their vitality as a race. They have the talent of drawing from the earth something of the earth’s invigorating power.波兰简介
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[8] The gardens which they designed centuries ago were the creations of a race already old, resourceful, wi in its u of ★panaceas. They had known fighting and a bitter struggle for subsistence in overpopulated areas. The garden was a refuge from “the noisiness of the world, from the confining walls of habitations.” A quiet space, in which one found relea from tension.
求职自荐书[9] The Chine word for landscape is shanshui, meaning hills and water. Both are necessary in the formation of a garden—hills to stimulate, the still water to induce tranquillity. In the two elements are the yang and the yin, the male and female principles which fu to make the world. The yang is the active force, reprented by the sun, light, mountains and all virile objects. The yin, the passive principle, stands for darkness, for water, for weakness, for negation. Combined in ★equable proportions, balanced with discretion, the yin and the yang unite to form perfection.
