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Historical Architecture > Chinese Garden > Flashcards

Chinese Garden Flashcards

1
Q

Characteristics of Yu

A

Imperial hunting park/enclosed park

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2
Q

Characteristics of Pu

A

Vegetable garden/cultivation garden

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3
Q

Characteristics of Tai

A

Terrace/Viewing platform

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4
Q

Features of Yu Garden

A

Began during the late Shang and early Zhou period
Large natural areas, including forests, rivers, man-made lakes, cultivated plants, and wild animals
Enclosed by fences to define boudaries

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5
Q

Functions of Yu Garden

A

Created by royalty and nobility to gather and raise wild animals
Served both as a hunting ground and a place for leisure

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6
Q

Features of Pu Garden

A

Related to common people
The character 圃 demonstrated seedlings and organized vegetable beds
By the Eastern Zhou period, “Pu 圃” became a word that could refer to “garden”

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7
Q

Functions of Pu Garden

A

Used for cultivating fruits and vegetables, often for practical agricultural purposes
It also included trees and ornamental plants, giving it both functional and aesthetic qualities

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8
Q

Features of Tai Garden

A

Elevated spaces
Represented sacred spaces where gods were believed to reside
Mimicked the form of mountains, which were seen as powerful natural entities

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9
Q

Functions of Tai Garden

A

Used for observation, ancestral worship, religious rituals
Also used for defense during wars
Became the central feature of palace gardens, forming spaces known as 苑台 (yuan tai, royal garden terrace)

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10
Q

Characteristics of Garden in Yin &Shan Dynaties

A

No terrace, No garden
Early combined Tai and Yu
Built on elevated, scenic terrain with large terraces symbolizing the strength of the nation
Surrounded by water, forming the basic mountain-water 山水 pattern

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11
Q

Functions of Garden in Yin &Shan Dynaties

A

Served both practical and spiritual purposes: raising animals, connecting with the gods, and observing the heavens
Also used for leisure and entertainment (酒池肉林 - jiu chi rou lin, lakes of wine and forest of meat) in Shaqiu Yuan Tai Terrace, showing how much luxury and pleasure were part of the garden’s function at the time

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12
Q

Key examples of Garden in Yin &Shan Dynaties

A

Shaqiu Yuan Terrace
Ling Tai Terrace

Built by King Wen of Zhou

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13
Q

Characteristics of gardens during Spring and Autumn & Warring States Period

A

Gardens for leisure and viewing

True Chinese gardens began to emerge as complex palace environments—they
became comprehensive spaces centered around terraces, combining political, leisure, and natural elements.

• Introduction of pavilions and bridges.
• Intentional planting of flowers and trees.
• Gardens began to reflect key features of later Chinese gardens: integrating natural landscapes with man-made structures.

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14
Q

Functions of gardens during Spring and Autumn & Warring States Period

A

Served both practical and spiritual purposes: raising animals, connecting with the gods, and observing the
heavens.
• Also used for leisure and entertainment: “Jiu Chi Rou Lin” (酒池肉林 – lakes of wine and forests of meat) in
Shaqiu Yuan Tai Terrace, showing how much luxury and pleasure were part of
the garden’s function at the time.

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15
Q

Key examples of Spring and Autumn & Warring States Period

A

Palaces of the seven kingdoms: Yan’s Jieshi Palace, Qi’s Langya Palace

Zhanghua Terrace (Chu Kingdom): covered 2.2 million square meters with a grand terrace, requiring three stops to reach the top

Gush Terrace (Wu kingdom): An enormous garden palace on Gusu Mountain in Suzhou, known for its entertainment palaces, pavilions and spaces

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16
Q

Characteristics of gardens in Qin & Han Dynasties

A

The emergency of imperial and private gardens

the first major stage in Chinese garden history.
=> represent the culmination of this stage.

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17
Q

Development of Chinese gardens during Qin Dynasty

A

The unification of the Six Kingdoms by the Qin Kingdom marked the first centralized and unified empire in Chinese history.
• Royal gardens with an extensive scale emerged to reflect the centralized power of the new imperial system.

Eg: The Great Xianyang Plan

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18
Q

Development of Chinese gardens during Han Dynasty

A
  1. Scale : Han gardens were far larger
    Eg : Shanglin Park covering 340 km2 originally built the Qin dynasty expqnded during Han
  2. Layout : the introduction of one pond, three mountains (一池三山 - yi chi san Shan) design inspired by Chinese mythology
    Eg: first applied in the Taiye Lakenin Shanglin Park during Han, became central to many imperial gardens in Ming and Qing
  3. The rise of private gardens : high ranking officials began building their own private gardens, breaking the royal monopoly on garden construction and leading to a flourishing of the art of gardens design
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19
Q

Types of private gardens during Han Dynasty

A

(A) Gardens of nobles and officials:
(B) Gardens of Weathly Elites:
(C) Gardens of scholars/literati

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20
Q

Gardens of nobles and officials during Han

A

(A) Gardens of nobles and officials: included artificial mountains made of soil and rock, groundbreaking combination in Chinese garden history

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21
Q

Gardens of wealthy elites

A

B) Gardens of Weathly Elites: known as the largest and most luxurious private garden in Chinese History + hills resembling the majestic Erxiao Mountains 二崤山, large forests, deep ravines + rare birds and animals roamed freely within this vast garden, much like a large natural park today

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22
Q

Gardens of scholars/literati

A

C) Gardens of Scholars/Literati: often smaller but filled with artistic and poetic charm

Zhang Heng’s Garden: famous Western Han literati figure and scientist
His garden, with an early recorded example of artificial mountains, marks the earliest mention of such a garden feature in Chinese classical garden history

Dong Zhongshu’s Garden: a key figure in promoting Confucianism as the dominant ideology during the Han Dynasty. His garden reflected his scholarly status and connection with nature

23
Q

Characteristics of gardens in Tang and Song Dynasties

A

The Peak of Garden Development and Broad Influence

The Tang and Song dynasties were marked by unprecedented social and economic growth, entering a period of great prosperity and influence.

This era saw a surge in garden construction, reflecting the broader cultural and artistic advancements of the time.

24
Q

Garden design features in Tang and Song Dynasties

A

Integration of Nature and Urban Life:
Emperors and nobles built gardens that mirrored natural landscapes, offering a serene escape within bustling cities.

Advances in Garden Design: Gardens grew more refined with improvements in stone carving and woodwork, enhancing the grandeur and sophistication of palaces and garden structures.

25
Q

Key examples of gardens in Tang & Song dynasties

A

Jinming Pond
A royal garden of the Song Dynasty

26
Q

Characteristics of gardens in Ming and Qing Dynasties

A

Mature Phase of Garden Design

Ming and Qing dynasties represent the high point of Chinese garden design.

• Theoretical works on garden art emerged, such as 《园冶》The Crafts of Gardens) during the late Ming period. It is the only existing ancient Chinese treatise on garden design, outlining matured principles and techniques for garden design, and has significantly
influenced Japanese designers.

• The existing “ancient” gardens are mostly from the Qing dynasty.

27
Q

Garden design features in Ming and Qing Dynasties

A

Transition in Aesthetic Approach

• Shift from grand scale and monumental designs to the idea of “以⼩觀⼤” (seeing
the world in a small space).

• Focus on creating “壺中天地” a universe in a jar) — smaller, more intimate designs with deep symbolic meaning.

28
Q

Key examples of gardens in Ming and Qing Dynasties

A

Northern Gardens : Royal gardens, grand
scale, long vistas, and extroverted designs meant to impress. Often borrowing southern elements and techniques.

• Southern Gardens: Private literati gardens, smaller in scale, focused on contemplation and personal aesthetics.

• Lingnan (real south) Gardens: Located in the real south of China, focused on practicality and aesthetics.

29
Q

Concept of North garden in Ming and Qing

A

Emphasize imperial grandeur,
displaying royal wealth and power.

30
Q

Layout of North Garden during Ming and Qing

A

• Massive scale, clearly defined
central axis, often combining
natural landscape with formal
structures.

• Palaces and gardens are separated,
with independent arrangements.

31
Q

Architecture of North Garden in Ming and Qing

A

• Rich decorations, fewer but larger
buildings with enclosed, solid structures,
focusing on monumental appearance.
• Large size, many views are extroversive.
• Water was less prominent, often relying
on natural terrain for its effect.

32
Q

Definition of North Garden in Ming and Qing

A

Majestic
Solemn
Serene

33
Q

Definition of South Garden in Ming and Qing dynasty

A

Secluded
Elegant
Refined

34
Q

Concept of South Garden in Ming and Qing dynasty

A

Intimate spaces, expressive of the
literati’s retreat from society, with
poetic and artistic elements integrated
into the design.

35
Q

Layout of South garden in Ming and Qing

A

• Smaller in scale, flexible and varied,
with buildings often as a
complement to natural scenery.
• Integration of residential and
garden spaces, blending home and
landscape.

36
Q

Architecture of South garden in Ming and Qing

A

• Light and elegant structures with
understated, simple decorations.
• Emphasis on natural water features with meandering ponds.

37
Q

Definition of Lingnan garden in Ming and Qing dynasty

A

Moist
Shaded
Lush

38
Q

Concept of Lingnan garden in Ming and Qing

A

Pragmatic and worldly, with practical
applications.

39
Q

Layout of Lingnan garden in Ming and Qing dynasty

A

• Integration of residential and
garden spaces.
• Architecture enclosing courtyards.

40
Q

Architecture of Lingnan garden in Ming and Qing

A

• Abundant architectural volume, with
larger structures
• Rich and diverse decorative elements
• Characteristic design of interconnected
buildings.
• Smaller water features, often with
regular geometric shapes and stone-
lined edges.

41
Q

The Old Summer palace

A

Sculptural taste in western style arts very different with the Chinese architecture.

The intention of Yuan Ming Yuan was to learn from the west.
But ironically, it was burned and robbed by the western eight countries allied forces.

42
Q

The Summer Palace

A

• The palace features a large central lake, surrounded by gardens and buildings, emphasizing the integration of water and
landscape.

• As a royal garden, the Summer Palace has many views.

• Characterized by its combination of traditional architectural styles from across China. The eastern area reflects the northern siheyuan style (courtyard house, 四合院), the southern area follows the Jiangnan style (south China), and the northern area features temple architecture.

43
Q

Introverted vs. Extroverted Design

A

• Emphasis on internal courtyard designs and controlled external vistas.

• Views are hidden, voids are left in the solid buildings, forming the layers and layers.

• No straight path, always indirect.

• Space should not be readily apparent, plain and simple.

• Walls and trees are used to make a garden becoming maze. They are
basically introversive.

• The inner-ward facing is obvious in garden and houses, such as arranging
structures around a pond. Facing its own world, with little interference from the outside. The outside is barred from the wall.

• But within the garden, the platform on the waterfront serves as a family gathering and social activity, encouraging indoor-outdoor interaction.

44
Q

Balance of Void and Solid

A

• Contrast of dense and sparse, used in Chinese painting and garden.

• To avoid straightforward, to turn around in corner, allowing you to see
different sceneries around.

45
Q

Imitating & symbolizing nature

A

• Waterfalls, boat, stone hill, bridge… all in miniature scale—a miniature
natural world.
• Garden is a natural part of living environment, part of house, part of street, part of shops.

46
Q

Types of Spatial concepts

A

Introverted vs. Extroverted Design
Balance of Void and Solid

47
Q

Types of symbolism in nature

A

Imitating and symbolizing nature

48
Q

Types of aesthetics principles

A

Viewing towards a scene/focal points
Borrowing scenery
Hierarchy & enphasis
Spatial sequence & contrast
Hidden and exposure, induction and hint
Layer and permeation

49
Q

Viewing towards a scene/focal points

A

A specific scene or perspective within the landscape that is intentionally
framed or highlighted.

• Focus Direction: Strategic placement of elements like pathways, plants, or
structures to guide the viewer’s focus towards a particular point of interest.

• Intentional Framing: Elements like paths, plants, or structures are arranged
to highlight a particular view.

50
Q

Borrowing scenery

A

External views or features are incorporated into a space.

• Expands Visual Boundaries: Uses surrounding landscapes (e.g., mountains,
water) as part of the design.

• Creates Illusion: Makes a space feel larger by incorporating distant scenery.

• Enhances Harmony: Integrates natural or built elements beyond the
immediate site to create a unified aesthetic.

51
Q

Hierarchy and emphasis

A

Hierarchy: Organizes elements by importance.
• Creates a clear visual order, with dominant (主) and subordinate (從)
elements.
• Guides the viewer’s focus from the most important features to the
supporting ones.

Emphasis: Highlights a focal point to draw attention.
• Achieved through contrast, size, color, or positioning.
• Highlights the central or most important aspect of the design to guide the
viewer’s experience.

52
Q

Spatial sequence & contrast

A

Small first, then amplified space.

53
Q

Hidden &exposure
Induction & hint

A

• The indirect psyche of Chinese people values caution and subtlety,
emphasizing restraint and suggestion.

• The design of long, zigzag corridors
with partition walls reflects this
mindset, creating spaces that are both private and open, fostering a
delicate atmosphere for communication.

54
Q

Layer & Permeation

A

Layer: one of the key principles of postmodern architecture. Due to the small scale of the garden, layers imply both obscurity and endlessness.
• This “small rainbow” bridge creates a layer for the scene.
• Using scale and height differences to create layers.

Permeation: Seeing from this place to that place.
• Partition, but visual continuation.
• Allow natural landscape to permeate into building.

Historical Architecture (8 decks)

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