Читать книгу Art in Theory - Группа авторов - Страница 107

Born in Sweden, the son of a Scottish merchant, William Chambers went on to become an important architect and a considerable figure of the English Enlightenment. He was a founder member of the Royal Academy and is principally associated with Neo‐classicism; his major achievement in public building was Somerset House in London. However, as an adolescent he had made three voyages with the Swedish East India Company to Canton, where he made studies of Chinese material culture, ranging from costumes to furniture as well as buildings and gardens. In 1757, two years before he published his influential Treatise of Civil Architecture, he published a book based on these early works titled Designs of Chinese Buildings, which was both a symptom of and further stimulus to the contemporary fashion for chinoiserie. This led to work on the new royal park at Kew, for which he designed many architectural fancies including the Pagoda, which still stands. He subsequently published a full‐length study of Chinese gardening in 1772. The text is marked by a tendency for Chambers’ sober attempts at description of the thinking behind Chinese garden design, and his enumeration of the various plants, to burst their banks and flood into fantasies of Oriental magnificence which would not have been out of place several centuries earlier. The present extracts focus on Chambers’ claims for the importance of gardens in Chinese culture, the investment of these gardens with significant philosophical underpinnings, and a critical comparison with contemporary European practice. They are taken from A Dissertation on Oriental Gardening, London, 1772, pp. 13–15, 21–2, 24–9, 35, 37–8 and 104–5.

Amongst the Chinese, Gardening is held in much higher esteem than it is in Europe: they rank a perfect work in that Art with the great productions of the human understanding; and say that its efficacy in moving the passions yields to that of few other arts, whatever. Their Gardeners are not only Botanists, but also Painters and Philosophers; having a thorough knowledge of the human mind, and of the arts by which its strongest feelings are excited. […] In China, Gardening is a distinct profession, requiring an extensive study, to the perfection of which few arrive. The Gardeners there, far from being either ignorant or illiterate, are men of high abilities, who join to good natural parts most ornaments that study, travelling, and long experience can supply them with. It is in consideration of these accomplishments only that they are permitted to exercise their profession: for with the Chinese the taste of Ornamental Gardening is an object of legislative attention; it being supposed to have an influence upon the general culture, and consequently upon the beauty of the whole country. […]

The Chinese Gardeners take nature for their pattern, and their aim is to imitate all her beautiful irregularities. Their first consideration is the nature of the ground they are to work upon: whether it be flat or sloping; hilly or mountainous; small or of considerable extent; abounding with springs and rivers, or labouring under a scarcity of water; whether woody or bare, rough or even, barren or rich; and whether the transitions be sudden, and the character grand, wild or tremendous; or whether they be gradual, and the general bent placid, gloomy or chearful. To all which circumstances they carefully attend; choosing such dispositions as humour the ground, hide its defects, improve or set off its advantages, and can be executed with expedition, at a moderate expence. […]

The usual method of distributing Gardens in China, is to contrive a great variety of scenes, to be seen from certain points of view; at which are placed seats or buildings, adapted to the different purposes of mental or sensual enjoyments. The perfection of their Gardens consists in the number and diversity of these scenes; and in the artful combination of their parts, which they endeavour to dispose in such a manner as not only separately to appear to the best advantage, but also to unite in forming an elegant and striking whole.

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In their large Gardens they contrive different scenes for different times of day, disposing at the points of view buildings, which from their use point out the proper hour for enjoying the view in its perfections: and in their small ones, where, as has been observed, one arrangement produces many representations, they make use of the same artifice. They have beside, scenes for every season of the year: some for winter, generally exposed to the southern sun, and composed of pines, firs, cedars, evergreen oaks, phillyreas, hollies, yews, junipers, and many other evergreens; being enriched with laurels of various sorts, laurestinus, arbutus, and such other plants and vegetables as grow or flourish in cold weather: and to give variety and gaiety to these gloomy productions, they plant amongst them, in regular forms, divided by walks, all the rare shrubs, flowers and trees of the torrid zone; which they cover, during the winter, with frames of glass, disposed in the forms of temples, or other elegant buildings. These they call conservatories: they are warmed by subterraneous fires, and afford a comfortable and agreeable retreat, when the weather is too cold to walk in the open air. […]

Their scenes of spring likewise abound with evergreens, intermixed with lilacks of all sorts, laburnums, limes, larixes, double blossomed thorn, almond and peach‐trees; with sweet‐bryar, early roses, and honey‐suckles. The ground, and verges of the thickets and shrubberies, are adorned with wild hyacinths, wall‐flowers, daffodils, violets, primroses, polianthes’s, crocus’s, daisies, snow‐drops, and various species of the iris; with such other flowers as appear in the months of March and April. […]

Their summer scenes compose the richest and most studied parts of their Gardens. They abound with lakes, rivers, and water‐works of every contrivance … The woods consist of oak, beech, Indian chestnut, elm, ash, plane, u‐ton‐shu and common sycamore, maple, abele and several other species of poplar; with many other trees, peculiar to China. The thickets are composed of every fair deciduous plant that grows in that climate, and every flower or shrub that flourishes during the summer months; all uniting to form the finest verdure, the most brilliant, harmonious colouring imaginable. The buildings are spacious, splendid and numerous, every scene being marked by one or more; some of them contrived for banquets, balls, concerts, learned disputes, plays … In the center of these summer plantations, there is generally a large tract of ground set aside for more secret and voluptuous enjoyments; which is laid out in great number of close walks, colonades and passages, turned with many intricate windings, so as to confuse and lead the passenger astray. […]

No nation ever equalled the Chinese in the splendor and number of their Garden structures. We are told by Father Attiret that, in one of the Imperial Gardens near Pekin, called Yuen Ming Yuen, there are, besides the palace which is itself a city, four hundred pavilions; all so different in their architecture, that each seems the production of a different country. […]

The plantations of their autumnal scenes consist of many sorts of oak, beech, and other deciduous trees that are retentive of the leaf, and afford in their decline a rich variegated colouring; with which they blend some ever‐greens, some fruit‐trees, and the few shrubs and flowers which blossom late in the year; placing amongst them decayed trees, pollards, and dead stumps of picturesque forms, overspread with moss and ivy.

The buildings with which these scenes are decorated, are generally such as indicate decay, being intended as mementos to the passenger. Some are hermitages and alms‐houses, where faithful old servants of the family spend the remains of life in peace, amidst the tombs of their predecessors, who lie buried around them: others are ruins of castles, palaces, temples, and deserted religious houses; or half‐buried triumphal arches and mausoleums with mutilated inscriptions, that once commemorated the heroes of antient times: or they are sepulchres of their ancestors, catacombs and cemeteries for their favourite domestic animals; or whatever else may serve to indicate the debility, the disappointments, and the dissolution of humanity: which, by co‐operating with the dreary aspect of autumnal nature, and the inclement temperature of the air, fill the mind with melancholy, and incline it to serious reflections.

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The dispositions and different artifices mentioned in the preceding pages, are those which are chiefly practised in China, and such as best characterize their style of Gardening. But the Artists of that country are so inventive, and so various in their combinations, that no two of their compositions are ever alike. […] The reader is therefore not to imagine that what has been related is all that exists; on the contrary, a considerable number of other examples might have been produced: but those that have been offered, will probably be sufficient; more especially as most of them are like certain compositions in musick, which, though simple in themselves, suggest, to a fertile imagination, an endless succession of complicated variations.

To the generality of Europeans, many of the foregoing descriptions may seem improbable and the execution of what has been described, in some measure impracticable: but those who are better acquainted with the East, know that nothing is too great for Eastern magnificence to attempt; and there can be few impossibilities, where treasures are inexhaustible, where power is unlimited, and where munificence has no bounds. European artists must not always hope to rival Oriental grandeur.