The Splendid Chinese Garden is an illustrated guide to the classic gardens of China. It explains the history of the garden, the traditions and beliefs they represent, their aesthetic and the techniques used to create them. Also included are chapters that survey the great gardens of China, the gardens tourists love to visit and gardeners dream of seeing and exploring. Chinese Gardens in the South of the Yangtze River: Ge Garden (Yangzhou) He Yuan, also known as Jixiao Shan Zhuang (Yangzhou) Zhan Garden (Nanjing) Jichang Garden (Wuxi) Humble Administrator's Garden (Suzhou) Lingering Garden (Suzhou) Master of the Nets Garden (Suzhou) Lion Grove Garden (Suzhou) Chinese Gardens in the North of the Yangtze River: Yihe Garden or the Summer Palace (Beijing) Beihai Park (Beijing) Jingyi Garden in Xiangshan Mountain (Beijing) Imperial Garden, Palace Museum (Beijing) The Back Garden of the Prince Gong Mansion (Beijing)

A “very intelligent, sensitive, and compelling” novel of adolescent rebellion and sexual awakening at a girls’ boarding school (Anthony Burgess). Set in a repressive British girls’ boarding school in the late 1920s—where not only sexuality but femininity is squashed—Rosemary Manning’s “wonderful” 1962 novel is the coming-of-age story of sixteen-year-old Rachel, a sensitive, bright, and innocent student (The Guardian). Rachel finds refuge from the Spartan conditions, strict regime, fierce discipline, and formidable headmistress at Bampfield in a secret garden. She also finds friendship there, with a rebellious girl named Margaret. As Margaret has her mind expanded by a scandalous tome entitled The Well of Loneliness, she engages in a bold, forbidden act—the ultimate transgression at Bampfield—and Rachel is drawn into the turmoil. Confronted with the persecution of her friend and troubled by a growing awareness of her own sensuality, Rachel faces an impossible choice that drives her to desperate measures. Selected as one of the Top 10 Lesbian Books by the Guardian, “Rosemary Manning’s unjustly forgotten novel is a deft depiction of innocence and the forces of hypocrisy, paranoia, and self-hatred that betray innocence” (Lillian Faderman, author of Odd Girls and Twilight Lovers).

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.

Gardens take many forms, and have a variety of functions. They can serve as spaces of peace and tranquilty, a way to cultivate wildlife, or as places to develop agricultural resources. Globally, gardens have inspired, comforted, and sustained people from all walks of life, and since the Garden of Eden many iconic gardens have inspired great artists, poets, musicians, and writers. In this short history, Gordon Campbell embraces gardens in all their splendour, from parks, and fruit and vegetable gardens to ornamental gardens, and takes the reader on a globe-trotting historical journey through iconic and cultural signposts of gardens from different regions and traditions. Ranging from the gardens of ancient Persia to modern day allotments, he concludes by looking to the future of the garden in the age of global warming, and the adaptive spirit of human innovation.

Gardens take many forms, and have a variety of functions. They can serve as spaces of peace and tranquilty, a way to cultivate wildlife, or as places to develop agricultural resources. Globally, gardens have inspired, comforted, and sustained people from all walks of life, and since the Garden of Eden many iconic gardens have inspired great artists, poets, musicians, and writers. In this Very Short Introduction, Gordon Campbell embraces gardens in all their splendour, from parks, and fruit and vegetable gardens to ornamental gardens, and takes the reader on a globe-trotting historical journey through iconic and cultural signposts of gardens from different regions and traditions. Ranging from the gardens of ancient Persia to modern day allotments, he concludes by looking to the future of the garden in the age of global warming, and the adaptive spirit of human innovation. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

An annotated collection of essential texts written by European observers from the thirteenth to the nineteenth centuries, Ideas of Chinese Gardens chronicles the evolution of Western perceptions of gardens of China, from curiosity to admiration and ultimately to rejection, echoing the changes in European attitudes toward China.

Inhaltsangabe:Introduction: The People's Republic of China (PRC), in ideological classification also called Red-China , is the largest country in East Asia and the most populous in the world with over 1.3 billion people, approximately a fifth of the world's population. Since the economic liberalization began after the death of Mao Zedong in 1976, the investment and export-led economy of China has grown 70 times bigger and is among the fastest growing in the world. Although China cultural as well as political is opening up since about thirty years, the Chinese manner of cerebration, except of few exemptions, has still keep refused most people in the western world. I also had to learn this the hard way at the beginning of my stay in Shanghai, although I tried to prepare for my travel. Primarily this has to do with the ancient Chinese ideology self. The Chinese, who are calling their country The Empire of the Middle , were on principle in the past rarely attempted to leave their nation because the remaining world for them was not really livable. Outside the boundaries, there lived the so called barbarians, who in ancient times mostly were embodied by brutal Mongolian tribes, who martially tried to infiltrate China and from them the Chinese had to protect. So, they created their own world, a world in the world, enclosed by the thousands of meters long Great Wall (Chang Cheng), inside of they felt confident and could develop further. This retirement in an enclosed space and last but not least the retirement in oneself paved finally the way for their private gardens, in which they could undisturbed find an access to a better world . This essay will deal with these little enclosed garden worlds, these micro-cosmos in a macro-cosmos. This work consists of a searching for their history and the holistically religious backgrounds, which first made enable these small but coevally infinite universes. It get to the bottom of the correlations between time and space, establish relationships between narrow and open, bright and dark, and last but not least inside and outside, which all are parts of an all-containing, super-ordinate Great . It makes close connections to landscape paintings and the gardens self, which as major motif threads through the whole text, will find out that they are close correlated to the Great and grapple with the centre of the Whole , with the Zero-Perspective or the Vapidness , in which the human as important part at [...]

Diploma Thesis from the year 2009 in the subject Landscape Management, grade: Sehr gut, University of Natural Resources and Applied Life Sciences, Vienna, language: English, abstract: Although China cultural as well as political is opening up since about thirty years, the Chinese manner of cerebration, except of few exemptions, has still keep refused most people in the western world. Primarily this has to do with the ancient Chinese ideology self. The Chinese, who are calling their country "The Empire of the Middle", were on principle in the past rarely attempted to leave their nation because the remaining world for them was not really livable. Outside the boundaries, there lived the so called barbarians, who in ancient times mostly were embodied by brutal Mongolian tribes, who martially tried to infiltrate China and from them the Chinese had to protect. So, they created their own world, a world in the world, enclosed by the thousands of meters long Great Wall (Chang Cheng), inside of they felt confident and could develop further. This retirement in an enclosed space and last but not least the retirement in oneself paved finally the way for their private gardens, in which they could undisturbed find an access to a better "world". This essay will deal with these little enclosed garden worlds, these micro-cosmos in a macro-cosmos. This work consists of a searching for their history and the holistically "religious" backgrounds, which first made enable these small but coevally "infinite" universes. It get to the bottom of the correlations between time and space, establish relationships between narrow and open, bright and dark, and last but not least inside and outside, which all are parts of an all-containing, super-ordinate "Great". It makes close connections to landscape paintings and the gardens self, which as major motif threads through the whole text, will find out that they are close correlated to the "Great" and grapple with the centre of the "Whole", with the "Z

An exploration of what has been called China's greatest novel, highlighting the roles of the garden, both fictional and real, to dramatize the cultural crisis of the literati in the late imperial period