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Japanese Gardens

Right Angle and Natural Form (Big Art)

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Nature crafted by man The Japanese garden, like all gardens, is more than mere nature; it is nature crafted by man. It needs the hands of the designer to give it meaning. The Japanese garden belongs to the realm of architecture; at its best, it is nature as art. The phases of its history document the constant redefinition of man's position within and towards nature. Its changing forms respond both to socio-economic developments and to religious and philosophical trends, and thereby reflect the spiritual climate in which its architecture was conceived. At the same time as detailing the characteristics distinguishing and differentiating each of the five major epochs in the history of the Japanese garden, the author identifies the common motif which underlies them all: the recurrent attempt to unite beauty as natural accident and beauty as human-perfected type, to achieve an aesthetic symbiosis between the seeming randomness of natural form and the strict geometry of the right angle.

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Compra de libros

Japanese Gardens, Gunter Nitschke

Idioma
Publicado en
1999
Encuadernación
(Tapa dura)
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3,8
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Título
Japanese Gardens
Subtítulo
Right Angle and Natural Form (Big Art)
Idioma
Inglés
Editorial
Taschen
Publicado en
1999
Formato
Tapa dura
Páginas
240
ISBN10
382287633X
ISBN13
9783822876336
Serie
Título original
Japanese Garden
Calificación
3,75 de 5
Descripción
Nature crafted by man The Japanese garden, like all gardens, is more than mere nature; it is nature crafted by man. It needs the hands of the designer to give it meaning. The Japanese garden belongs to the realm of architecture; at its best, it is nature as art. The phases of its history document the constant redefinition of man's position within and towards nature. Its changing forms respond both to socio-economic developments and to religious and philosophical trends, and thereby reflect the spiritual climate in which its architecture was conceived. At the same time as detailing the characteristics distinguishing and differentiating each of the five major epochs in the history of the Japanese garden, the author identifies the common motif which underlies them all: the recurrent attempt to unite beauty as natural accident and beauty as human-perfected type, to achieve an aesthetic symbiosis between the seeming randomness of natural form and the strict geometry of the right angle.