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lassical Chinese paintings, music and poetry, gardens were infused with an artistic purpose.Water, mountains, flowers, rock and stones, along with their associated buildings, communicated the vision of an artististc creation. Gardens were created in such a way that the natural beauty was heightened to the beauty of art, thereby expressing the designer's idea through observation, utilising the best aspects of the materials and refinement.'Three broad categories capture the artistic concerns of classic Chinese gardens: the natural realm, administering world affairs and immortality'(Steinhardt, 2002,p.9). The Beijing's Yuanming imperial garden and other imperial gardens capture this dimension well.

 

Libraries and study rooms seem like an essential part of almost all Chinese gardens.These study pavilions, amidst bamboos, flowers and trees was taken as a refuge by philosophers, artists to practice calligraphy and poets. It acted as an oasis of silence at the unclear boundaries of our inner world and nature.No garden well spent on lacked an appropriate study pavillion (Pirazolli- T'Serstevens, 1972).An example of this can be seen in the interior courtyard of Wang Shi Yuan, in Suzhou.

 

One of the biggest distinction in arrangement of western and Chinese landscape lies in the differing highlights of architecture and nature.The French formal garden focused on the middle axes of landscape along with the encircling avenue, sculture,pool, flowers and pool.Evrything was set to revolve around the middle axes.Symmetrical and large structured architecture dominated the landscape. Its basics lied in rational ideology, wherein, nature was manipulated to accept symmetry.The landscape architecture in China not only encouraged the visitor to enjoy the nature scenery but also be a part of it, meaning double functions.Hence it should parallelise with the surrounding vegetation, water and and mountains.(Pang, 2012)

 

'The West copies by sitting in front of a model and imitating it soullessly, outward line by line.'(Whiten,1988,p.9). In other words, once the copying is finished the spirit behind the inspiration of the original piece got lost in the process.'The East copies by sitting in front of an original, absorbing it, studying it, grasping its principles and its essential greatness thoroughly: then by going on to translate these acquisitions into a more or less new form,....'(Whiten, 1988, p.9). Here 'translation' seems like the right word instead of copying, because it keeps in mind the underlying forces behind the original piece and moves ceaselessly through varied displays and developments.

 

In England, it can be said that there is a solidly developed cult of lawn.' Clipped and smooth, lawns define English suburban and cottage gardens just as surely as they surround the great houses of the past where, whenever possible, a ha-ha linked the lawn proper with the park beyond so that beyond so that there was no apparent break in the long green sward.'(Keswick, 2003,p.29)On the other hand Chinese gardens, seem to have no lawns ,as seen today. 本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。