COSMOS, VOL. II - World eBook Library
COSMOS, VOL. II - World eBook Library COSMOS, VOL. II - World eBook Library
CHINESE PARKS AND GARDENS. 463 "The art of laying out gardens consists in an endeavour to combine cheerfulness of aspect, luxuriance of growth, shade, solitude, and repose, in such a manner that the senses may be deluded by an imitation of rural nature. Diversity, which is the main advantage of free landscape, must, therefore, be sought in a judicious choice of soil, an alternation of chains of hills and valleys, gorges, brooks, and lakes covered with aquatic plants. Symmetry is wearying, and ennui and disgust will soon be excited in a garden where every part betrays constraint and art."* The description given by Sir George Staunton of the great imperial garden of Zhe-hol,f north of the Chinese wall, corresponds with these precepts of Lieutscheu precepts to which our ingenious contemporary, who formed the charming park of Muskau,J will not refuse his approval. In the great descriptive poem written in the middle of the last century, by the Emperor Kien-long, in praise of the former Mantchou capital, Mukden, and of the graves of his ancestors, the most ardent admiration is expressed for free nature, when but little embellished by art. The poetic prince shows a happy power in fusing the cheerful images of the lux- uriant freshness of the meadows, of the forest-crowned hills and the peaceful dwellings of men, with the sombre picture of the tombs of his forefathers. The sacrifices which he offers in obedience to the rites prescribed by Confucius, and the pious remembrance of the departed monarchs and warriors, form the principal objects of this remarkable poem. A long enumeration of the wild plants and animals that are natives of the region is wearisome, like every other didactic work : but the blending of the visible impressions produced by the land- scape, which serves, as it were, for the background of the picture, with the exalted objects of the ideal world, with the fulfil- ment of religious duties, together with the mention of great historical events, gives a peculiar character to the whole composition. The feeling of adoration for mountains, which was * See the work last quoted, pp. 318-320. t Sir George Staunton, Account of the Embassy of the Earl of Macartney to China, vol. ii. p. 245. J Prince Puckler-Muskau, Andeutungen ilber Landscliaftsgartnerei, 1834. Compare also his Picturesque Descriptions of the Old and New English Parks, as well as that of the Egyptian Gardens of Schubra.
464 COSMOS. so deeply rooted amongst the Chinese, leads Kien-long to give a careful delineation of the physiognomy of inanimate nature, for which the Greeks and Romans evinced so little feeling. The form of the separate trees, the character of their ramification, the direction of the branches, and the form of the foliage, are all dwelt on with special predilection.* If I have not yielded to the distaste for Chinese literature, which is, unfortunately, disappearing too slowly from amongst us, and if I have dwelt tco long on the consideration of the delineations of nature met with in the works of a contemporary of Frederick the Great, I am so much the more bound to ascend seven and a half centuries further back into the annals of time, in order to refer to the poem of the Garden, by See- ma-kuang, a celebrated statesman. The pleasure-grounds described in this poem are certainly much crowded by buildings in the fashion of the old Italian villas, but the minister likewise celebrates a hermitage, which is situated amongst rocks and surrounded by high fir-trees. He extols the open view over the broad River Kiang, crowded with vessels, and expects, with contentment, the arrival of friends, who will read their verses to him, since they will also listen to his compositions.! See-ma-kuang wrote about the year 1086, when, in Germany, poetry was in the hands of a rude clergy, and was not even clothed in the garb of the national tongue. At this period, and probably five hundred years earlier, the inhabitants of China, of Eastern India, and Japan, were already acquainted with a great variety of vegetable forms. The intimate connection which existed amongst the different Buddhist sacerdotal establishments contributed its influence in this respect. Temples, cloisters, and burying-places, were surrounded by gardens, adorned with exotic trees, and covered by variegated flowers of different forms. Indian plants were early diffused over China, Corea, and Nipon. Siebold, whose writings give a comprehensive view of all matters referring to Japan, was the first to draw attention to the cause of the mixture of the floras of remotely separated Buddhist lands.J * Eloge de la Ville de Moulcden, Po6me compose par 1'Empereur Kien-long, traduit par le P. Amiot, 1770, pp. 18, 22-25, 37, 63-68, 73-87, 104, and 120. } Memoires concernant les Cldnois, t. ii. p. 643--650. Ph. Fr. von Siebold, Kruidkundige Naamlijst van japamcJie en
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CHINESE PARKS AND GARDENS. 463<br />
"The art of laying out gardens consists in an endeavour<br />
to combine cheerfulness of aspect, luxuriance of growth,<br />
shade, solitude, and repose, in such a manner that the senses<br />
may be deluded by an imitation of rural nature. Diversity,<br />
which is the main advantage of free landscape, must, therefore,<br />
be sought in a judicious choice of soil, an alternation of chains<br />
of hills and valleys, gorges, brooks, and lakes covered with<br />
aquatic plants. Symmetry is wearying, and ennui and disgust<br />
will soon be excited in a garden where every part betrays<br />
constraint and art."* The description given by Sir George<br />
Staunton of the great imperial garden of Zhe-hol,f north of<br />
the Chinese wall, corresponds with these precepts of Lieutscheu<br />
precepts to which our ingenious contemporary, who<br />
formed the charming park of Muskau,J will not refuse his<br />
approval.<br />
In the great descriptive poem written in the middle of the<br />
last century, by the Emperor Kien-long, in praise of the<br />
former Mantchou capital, Mukden, and of the graves of his<br />
ancestors, the most ardent admiration is expressed for free<br />
nature, when but little embellished by art. The poetic prince<br />
shows a happy power in fusing the cheerful images of the lux-<br />
uriant freshness of the meadows, of the forest-crowned hills<br />
and the peaceful dwellings of men, with the sombre picture of<br />
the tombs of his forefathers. The sacrifices which he offers in<br />
obedience to the rites prescribed by Confucius, and the pious<br />
remembrance of the departed monarchs and warriors, form<br />
the principal objects of this remarkable poem. A long enumeration<br />
of the wild plants and animals that are natives of<br />
the region is wearisome, like every other didactic work : but<br />
the blending of the visible impressions produced by the land-<br />
scape, which serves, as it were, for the background of the picture,<br />
with the exalted objects of the ideal world, with the fulfil-<br />
ment of<br />
religious duties, together with the mention of great<br />
historical events, gives a peculiar character to the whole composition.<br />
The feeling of adoration for mountains, which was<br />
* See the work last quoted, pp. 318-320.<br />
t Sir George Staunton, Account of the Embassy of the Earl of<br />
Macartney to China, vol. ii. p. 245.<br />
J Prince Puckler-Muskau, Andeutungen ilber Landscliaftsgartnerei,<br />
1834. Compare also his Picturesque Descriptions of the Old and New<br />
English Parks, as well as that of the Egyptian Gardens of Schubra.