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CLASSICAL GARDENS OF SUZHOU:
THE HUMBLE ADMINISTATOR’S GARDEN
YAP JIT NING, AMANDA 1559255
NATIONAL UNIVERSITY OF SINGAPORE
SINGAPORE
TABLE OF CONTENTS
• INTRODUCTION
o TYPE OF CHINESE GARDENS
o CLASSICAL GARDENS OF SUZHOU
o HUMBLE ADMINISTRATOR’S GARDEN
• ORIGINS OF CHINESE LANDSCAPE DESIGN
o CHINESE PHILOSOPHIES AND BELIEFS
▪ CONFUCIANISM
▪ TAOISM
o CHINESE LANDSCAPE PAINTING
o CORRELATION BETWEEN CHINESE PHILOSOPHIES, CHINESE LANDSCAPE
PAINTING AND NATURE
• SIGNIFICANCE OF THE HUMBLE ADMINISTRATOR’S GARDEN
o HISTORICAL AND CULTURAL VALUE
o GEOGRAPHICAL AND NATURAL VALUE
o ARCHITECTURAL VALUE
• ELEMENTS, PATTERN, CHARACTERISTIC AND CHARACTER
o 4 PAVILIONS; 1 CENTRAL HALL
o DEFINITIVE CHARACTER
• PROJECT MANAGEMENT
o AUTHENTICITY AND INTEGRITY
o THREATS AND PROPOSED MITIGATION
• CONCLUSION
INTRODUCTION
Not only is China an economic powerhouse of the 21st century, it has a rich and historical culture
that transcends through time and serve to lay the foundation of the Chinese identity. The national
philosophies that are ingrained within its people are further exuberated through their cultural
expressions with various mediums. Through the decades, intriguing architecture and design have been
created, enhancing the craftmanship, technology and structure of its predecessors. Of all the design
and creations done, the paper attempts to focus on the Classical Gardens of Suzhou, namely the
Humble Administrator’s Garden.
Based on the research and site visit conducted, the paper strives to evaluate the authenticity
and integrity of the cultural landscape through the understanding of its historical and cultural value,
character, individual elements, collective pattern and eventually, its characteristics which gives rise to
the essence of the landscape. With such a methodological overlaying of interpretation, a more complete
image of the landscape can be achieved and hence the possible threats to the authenticity and integrity
of the cultural landscape can be highlighted. Additionally, through the research and evaluation
conducted in this paper, a greater understanding on the development of Chinese Landscape Design
and the Chinese culture is hoped to be achieved.
CHINESE LANDSCAPE DESIGN
Chinese Gardens are a historical and cultural connection to China’s vibrant history, giving insight to the transformation of its years through the centuries with its earliest creation dated back to the Shang Dynasty (1600 – 1046 BC)1. Based off the Chinese philosophies largely embraced by its people, the aesthetics of Chinese Gardens had been seen to evolve and flourish over the various dynasties. Despite the limited land available for their development, designers were able to cleverly emulate the vast nature into minute sceneries with great intricacies, allowing the landscape to look abundant and full. Furthermore, the social, economic vicissitude, architectural techniques, and gardening levels objectively and veritably, but also reflects the evolution of Chinese point view on nature, life and world2.
The fundamental design elements of a Chinese garden comprise enclosed walls surrounding small water bodies with natural elements detailing its periphery. Architectural buildings within the garden are then connected with winding corridors, each playing a crucial role in framing the miniature landscape around it. Along with the emulation of the Chinese philosophies, the techniques used composes scenes which transcends the users into the realm of Chinese Landscape paintings.
1 Lou, Q. (2003). Chinese Gardens. Retrieved December 21, 2017, from http://dxfao.bjdx.gov.cn/docs/20110523145302062157.pdf 2 Lou, Q. (2003). Chinese Gardens. Retrieved December 21, 2017, from http://dxfao.bjdx.gov.cn/docs/20110523145302062157.pdf
Figure 13: Imperial Garden: Old Summer Palace Figure 24: Private Garden: Lingering Garden
Through the centuries, two distinct garden types have been developed:
1. Imperial Gardens
2. Private Gardens
While the imperial gardens were specifically designed for pleasure and to impress their guests, the
private gardens were mostly designed by scholar-officials to be residential spaces and a quiet retreat
from current affairs5. This resulted in the disparity between the two garden types, with the private
gardens of eruditions to be significantly smaller in scale and less grandeur, promoting the tranquillity of
the place.
Though these intellectuals are more akin into the adoption the Confucius teachings in public,
many were Taoist or Buddhists in their private lives, with greater revelation in the fine arts, literature
and speculative thought. Hence, the private gardens are largely designed to recreate a miniature
landscape 6 , an expression and promulgation of the harmonious relationship of man and nature.
Undeniably, these gardens provide great insights as to how Chinese eruditions and artists attune ideas
of aesthetics into an area of reclusiveness within an urban environment. In addition, the private gardens
differ across the region, each uniquely drafted and created to adapt to their geographical, climatic and
cultural variations.
3 Luo, W. (2015, March 31). An artist's impression of the new replica of Beijing's Old Summer Palace [Digital image]. Retrieved December 21, 2017, from http://www.chinadaily.com.cn/china/2015-03/31/content_19964550.htm 4 Lingering Garden [Digital image]. (n.d.). Retrieved December 21, 2017, from https://www.chinatouradvisors.com/attractions/Lingering-Garden-143.html?id=143 5 Elliott, D., & Westlake, P. (2014, August 12). Inside the Stunning Gardens of Suzhou. Retrieved December 29, 2017, from https://www.cntraveler.com/stories/2013-11-23/gardens-in-suzhou-china 6 Centre, U. W. (n.d.). Classical Gardens of Suzhou. Retrieved December 1, 2017, from http://whc.unesco.org/en/list/813
CLASSICAL GARDENS OF SUZHOU
Of the multitude of private gardens in China, the most prominent of them would be the Classical
Gardens of Suzhou located in the Suzhou region, Jiangsu Province. Their influence was significant in
laying out the fundamental key features of classical Chinese garden design for subsequent
developments across the nation. The city was also well-renowned for their craftsman and artisans with
the centre of the Wumen School of Painting7, which influenced landscape painting throughout the Ming
and Qing Dynasties, located in its midst. The group of gardens were added into the UNESCO World
Heritage List in 1997 and 2000.
Figure 3: Location of the Classical Gardens of Suzhou
It comprises 9 private gardens ranging from the Northern Song to the late Qing Dynasty (11th-19th
century)8:
1. Humble Administrator's Garden 拙政园
2. Master of the Nets Garden 网师园
3. Lingering Garden 留园
4. Lion Grove Garden 狮子林园
5. Great Wave Pavilion 沧浪亭
6. Couple's Retreat Garden 耦园
7. Retreat & Reflection Garden 退思园
8. Garden of Cultivation 艺圃
9. Mountain Villa with Embracing Beauty 环秀山庄
Of the 9 private gardens in the list mentioned above, the Humble Administrator’s Garden from the Ming
Dynasty will be discussed.
7 Li Li, China's Cultural Relics (Cambridge University Press, 2011), 121. 8 Centre, U. W. (n.d.). Classical Gardens of Suzhou. Retrieved December 1, 2017, from http://whc.unesco.org/en/list/813
THE HUMBLE ADMINISTRATOR’S GARDEN
Figure 4: The Mountain in View Tower in The Humble Administrator’s Garden9
The Humble Administrator’s Garden is the largest garden in Suzhou and was originally built in
the Ming Dynasty in 1509. The garden was laid out by the Imperial Inspector Wang Xianchen upon his
return to Suzhou after his retirement under Zhengde’s reign. The garden was inspired by the essay
“Staying at Home Idle” by Pan Yue during the Jin Dynasty stating, “To cultivate my garden and sell my
vegetable crop is the policy of a humble man”, giving rise to its name. The verse signifies Wang’s desire
to retire from court affairs and lead the remainder of his life in peaceful solitude.
9 Digital image. Humble Administrator's Garden . Accessed November 1, 2017.
https://www.easytourchina.com/scene-v198-humble-administrator-s-garden.
Figure 510: Peach Blossom Spring by Wen Zhengming
The designer of the garden was Wen Zhengming, one of the four talented painters in the Ming
Dynasty11. The ideals of life that the retired Imperial Inspector resonated greatly in Wen Zhengming,
who believed too that happiness can only be acquired through non-materiality. It is only when one rids
oneself of materialistic temptations such as fame and affluence that spiritual freedom and pleasure can
be attained12.
Figure 6: Division of garden into 3 sections
The garden is divided into 3 parts: western (朴园), central (拙政园) and eastern section (归田
园居)13. Each of the sections is designed based on their individual programmatic function, resulting in a
broad sensorial and visual experience. However, prior to the evaluation of the Humble Administrator’s
Garden, the origins of Chinese landscape design historically and philosophically will be explored.
10 Wen Zhengming: Peach Blossom Spring [Digital image]. (n.d.). Retrieved December 15, 2017, from
http://www.comuseum.com/product/wen-zhengming-peach-blossom-spring/
11 "历史沿革." 园艺园史历史沿革. May 1, 2015. Accessed December 1, 2017.
http://www.szzzy.cn/Home/Detail?Detail=c51a53bc-da71-46d1-acb6-08ae8f483800.
12 臧公秀, "苏州园林的景观学分析 — — — 以拙政园为例 ," JOURNAL OF SUZHOU UNIVERSITY
( ENGINEERING SCIENCE EDITION ) 29, no. 5 (October 2009): 1, accessed December 1, 2017, https://wenku.baidu.com/view/742834f4e87101f69f319564.html?from=search. 13 Humble Administrator's Garden. (n.d.). Retrieved December 29, 2017, from http://www.chinatourguide.com/suzhou/humble_administrator_garden.html
ORIGINS OF CHINESE LANDSCAPE DESIGN
The origins of Chinese Landscape design can be expressed through the correlation between
Chinese philosophies, Chinese Landscape Painting and ultimately, Chinese Landscape Design. While
Chinese Landscape design can be said to be based off Chinese Landscape paintings, these paintings
were fundamentally influenced by various Chinese philosophies largely recognized by the people. They
include Confucianism, Taoism and the Yin-Yang theory.
CONFUCIANISM
Figure 714
Confucianism is a way of life with its teachings adapted and ingrained in the daily lives of the
people. Gaining inspiration from nature, Confucius delved into the laws of nature to seek for the truth
of the world as a means to revive the unnoticeable beliefs of the Zhou Dynasty which promulgates
social morality. As one of the pioneer philosophical structures of China, he was strongly influence by
the notion of 天人合一, the harmonious relationship between man and nature. While the subjective
actions and lifestyles of man are dependent on the works of nature, human behaviour too impacts
nature resulting in its transformation. The dialectical and symbiotic harmonious relationship between
nature and human thus expresses the truth of the world 天人合一15.
14 Ming, T. W. (2017, December 15). [Confucius]. Retrieved December 30, 2017, from
https://www.britannica.com/topic/Confucianism 15 Fan, S. Y. (2013). PRINCIPLES FOR CONTEMPORARY CHINESE LANDSCAPE DESIGN
PRACTICE (Master's thesis, The University of Georgia, 2010) (pp. 11-26). Athens, Georgia: The University of Georgia.
TAOISM
Figure 816: Yin-Yang Symbol in Taoism
This key principle word 无 (nil) espouses and advocates the understanding of the original
existence of everything in the world: it began with nothing; it ends with nothing. Hence, Taoism places
a large emphasis on its essential aspects instead of the outlook of the object. Another theory of 无为
(non-interference) expresses the idea that man should respect the law of nature without interfering or
rebelling against it. Based on this framework, the ideas of respecting nature and representing nature
generally became aesthetic concepts in China. The aesthetic concept of Taoism advocates the treasure
of 无 in the arts. The notion that by following the laws of nature, the highest form of aesthetics
(unostentatious and natural refinement) is attained which is correlated to the acquirement of spiritual
freedom. Only by ridding oneself of all inherent desires and removing all animosity can one establish
inner peace with oneself and with it, find spiritual freedom with true happiness. Therefore, the truth of
life is having that spiritual freedom with inner peace17.
The Yin-Yang theory is particularly prominent in Taoism and it expresses the understanding of
the world and things, explaining the innate character of things in the world. The theory states that the
world can be categorised into 2 complementary groups: yins and yangs. Together, they achieve a
dynamic balance and harmony between humans and nature (天人合一) which is to be maintained.
Based on the diagram above, it illustrates the characteristics of their relationship. While they are both
mutually constraining and opposing, balance is attained as the reciprocally transform constantly in
relative motion. This notion of Yin-Yang is a profound and determinative aspect of traditional Chinese
philosophy and its resulting culture.
The Yin-Yang theory is representative of the dialectical relationship between Confucianism and
Taoism in Chinese philosophy. The idea of 无 and 有 (nil and ens), “the formal” and “the real” in artistic
creation, represents the balance of Yin and Yang, even in the arts. As mentioned, “Confucianism is the
doctrine of the scholar when in the office; Daoism is the way of life of the scholar when out of the office”.
Confucianism and Taoism address the questions of what are the fundamental truths of the
world and of life: the truth of the world is Tian Ren He Yi (including nature and human beings), and
the truth of human life is spiritual freedom based on inner peace. Chinese philosophy with the theory
of Tian Ren He Yi and the idea of people’s spiritual freedom in peace promotes the relationship
between humanity and nature. It also determines the basic Chinese aesthetic and artistic endeavours
and art creation in the Chinese arts, including Chinese landscape design, as media that reveals and
reflects the natural beauty and truths of the world.
16 [Yin-Yang Symbol]. (n.d.). Retrieved December 15, 2017, from http://philosophyterms.com/taoism/ 17 Fan, S. Y. (2013). PRINCIPLES FOR CONTEMPORARY CHINESE LANDSCAPE DESIGN
PRACTICE (Master's thesis, The University of Georgia, 2010) (pp. 11-26). Athens, Georgia: The University of Georgia.
CHINESE LANDSCAPE PAINTING
Figure 918 : Chinese Landscape Painting
Chinese Landscape paintings, also known as 山水画, promotes the natural balance of the world
and the harmonious relationship between humans and nature. The elements within the painting,
mountain (山) and water (水) encompasses the painting, with the temperamental usage of light and
hard brush strokes to accentuate the Yin-Yang theory. Instead of painting a realistic image of the subject
while observing it, the artist paints his impression of it upon his return to his studio after immersing
himself amidst the natural environment. As such, the resultant painting is based on what he sees with
his spirit 19 . With the valuation on the aesthetic principle of “being” and “not being” through the
composition of black positive ink and white negative spaces to attain the notion of distance. Nonetheless,
a focal point is identified on the painting in which all the elements and brush strokes appear to guide
the viewer’s eye towards it. Through this painting theory, it leads the viewers from the social world to a
dynamic landscape, in which the elements in the painting and composition are likewise in harmony. As
such, Chinese landscape design evokes Chinese aesthetic concepts of the arts, which are needed to
keep the endeavour in Yin-Yang balance and the harmonious balance between man and nature.
18 [Chinese Landscape Painting by Wu Zhongnian]. (2014, April 21). Retrieved December 15, 2017,
from https://www.huliwenku.com/p/o00nzpdo.html 19 Art, A. D. (n.d.). Landscape Painting in Chinese Art | Essay | Heilbrunn Timeline of Art History | The
Metropolitan Museum of Art. Retrieved December 30, 2017, from https://www.metmuseum.org/toah/hd/clpg/hd_clpg.htm
CORRELATION BETWEEN CHINESE PHILOSOPHIES, CHINESE LANDSCAPE PAINTING AND
CHINESE LANDSCAPE DESIGN
Figure 10: Diagrammatic flow of correlation
While Chinese philosophies are largely inspired by nature, Chinese Landscape paintings
embodies both the natural beauty of the world and the concept of Chinese philosophy. With the
depiction of winding paths and simple buildings along the mountains and water bodies, the tranquil
image of spiritual peace emulates the theory of 天人合一. Within the painting, the composition of positive
black ink and negative spaces accentuates the Yin-Yang balance while maintaining the harmonious
relationship between man and nature. Thus, it can be said that Chinese Landscape paintings serve as
a medium to visualise the Chinese philosophical interpretation of the truths and workings of the world
and human life. Its visualisation hence acts as a guiding principle for the creation of private gardens in
China. As such, Chinese Landscape painting is an expression of the understanding of nature, the
philosophies in life and the cultural aesthetics of the people.
Chinese Landscape paintings illustrates the understanding of philosophy; Chinese Landscape
design on the other hand is the realisation of their understanding in a three-dimensional realm.
Techniques used in Chinese Landscape painting transcends medium in which they are utilised in
landscape design methods. Chinese Landscape painting implies that man and nature are interrelated,
hence expressing the intimate relationship between them in Chinese philosophy and practice.
SIGNIFICANCE OF THE HUMBLE ADMINISTRATOR’S GARDEN
With a total of 9 gardens making up the Classical Gardens of Suzhou, the Humble
Administrator’s Garden holds the greatest significance historically, culturally, geographically and
architecturally.
HISTORICAL AND CULTURAL VALUE
With the stability of the nation under the Ming Dynasty, its economic prowess rose significantly.
Suzhou benefited greatly economically, serving as a major entrepot20 and a crucial connector between
Hangzhou and Beijing, the capital then. Thus, with economic stability, the people were able to revel in
creative indulgences, leading to the cultural restoration, expansion and refinement in the art. Being the
largest garden in Suzhou and one of China’s four most famous garden, its exquisite beauty, artistic
value and intricacies testimonies its historical development and significance.
Figure 11: Historical Timeline of the Humble Administrator’s Garden
Over the decades, the garden was sold, confiscated and passed on to various owners. Under
their care, regeneration and changes to the garden were made. Not only did the function of the garden
transform from one for leisure in 1503, it acted as a stop for the government and military troops under
Kangxi’s reign and later merged with the Zhong Wang Fu Palace Complex as a crucial base in Suzhou
during the Taiping Tianguo movement in 1860. Yet, despite having gone through much political unrests,
other many owners have conducted much restoration and renovation of the natural environment and
delicate architecture features so as to retain the original authenticity of the garden.
As discussed above, the principles of garden design are a result of the incorporation and
expression of the national philosophies and Chinese Landscape design. Many of the plants and design
elements used holds symbolical meanings or have been personified. For instance, not only were plum
blossoms planted, design elements such as flooring pattern and windows were conceived from it. As
“friends of winter”, they represent endurance through the vicissitude of time, a quality highly
promulgated value by the Chinese.
20 R, Z. F. (1999). Suzhou: A cultural and economic centre of Southern China . Cultural Mandala: The
Bulletin of the Centre for East-West Cultural and Economic Studies, 3(2), 8th ser., 1-2. Retrieved December 1, 2017, from http://epublications.bond.edu.au/cgi/viewcontent.cgi?article=1053&context=cm
GEOGRAPHICAL AND NATURAL SIGNIFICANCE
Located in the southern part of China, the garden experiences great climatic conditions and an
array of natural elements such as stones and water bodies. Due to the favourable climate, the plantation
and usage of plants were of priority, giving rise to plants of differing texture and seasonal colours. As
such, with the availability of these materials, it enables the designers to style the gardens in these small
residential into miniature landscape. In an attempt to celebrate the vibrant elements accessible in the
region, monotonous-coloured buildings were used as the backdrop. Yet, both built structure and natural
elements are crucial in the composition of the scenic views within the garden. Their indispensable
relationship once again exhibits the yin-yang philosophy adopted for the development of the garden.
Figure 12: Spatial arrangement of built structure around central water feature
While the conceptualisation of the garden is based off the national philosophies and Chinese
Landscape painting, the eventual design ultimately rests upon the existing site geographic conditions.
Limitations of the site were identified through the substantial analysis conducted in which poor soil
conditions and its high-water retention limited the construction of built structures of the site. Furthermore,
as 3/5 of the site covered in water, the vast water body was used as the focal point of the design. As
such, the positioning, construction of the built structures and plantation of the greenery revolves around
the water bodies. The winding paths along the undulating topography, staggered built structures and
through framed views follow an orchestic poetic movement, with a prelude, a bearing, a climax and an
alleviating end21. A slow appreciation of this melodious movement leaves a deep impression in the
minds of the visitors.
21 Dan, Z. L. (2017, July 7). 总结拙政园的特色 [Words].
Figure 13: Artificial mountains created with stones adds undulating topography
As mentioned previously, during the Ming Dynasty, many landscape painters were involved in
the design of these private gardens, allowing them to materialise the principles of Chinese Landscape
paintings. The allure of the paintings is evidently illustrated in the design of the Humble Administrator’s
Garden. To create the miniature landscape, natural elements had to be manually altered to epitomise
the natural environment. Stacked rugged stones are used to express mountain tops while smaller plants
and trees were used to articulate the mountain forestry. Their complementation creates a tranquil yet
seemingly distant realm within the small private garden.
Figure 1322: Zig-zag bridge in summer Figure 1423: Zig-zag bridge in Winter
Furthermore, taking into consideration the changes in season, a series of never-exhaustive views are
created all year round, evoking different emotions within the users.
22 [Digital image]. (n.d.). Retrieved December 15, 2017, from http://www.tuniu.com/tour/210239248 23 [Digital image]. (2016, February 1). Retrieved December 1, 2017, from http://w.139sz.cn/zixun/suzhou/sz/20160201/124864290.shtml
ARCHITECTURAL SIGNIFICANCE
Within the miniature landscaped garden, an array of architectural built structures has been
designed, catering to the intended programs within the space. The fundamental architectural purpose
comprises both functional usage and the appreciation of the scenic views. Functionally and
programmatically, the halls and pavilions constructed are used for various purposes, including
meditation, reading and writing, appreciation of music and enjoyment of delicacies. Also, in the midst
of providing suitable rest stops along the undulating topography, they help with the framing of views
and are themselves part of the composition of these framed views24. The resultant spectacle follows
that of 天人合一 and the principles of Chinese Landscape paintings.
Sensitive attention is paid to the scale and proportion of the built structure to ensure that despite
the constraint of land area, the spaciousness and openness of the garden is not forsaken. Undoubtedly,
the proportion of the built structures had to be minimised and are significantly smaller as compared to
those found in the Imperial Gardens. Following the topography of the garden, pavilions are often located
on higher ground and the “hills” while the larger halls are constructed on lower well-levelled ground.
Moreover, depending on physical properties of each section, the proportion of architecture to nature is
adjusted accordingly. For instance, the eastern section comprises mostly flat grassland which gives it
its breath. As such, the area houses fewer but` notably larger built structures as compared to the west
and central sections.
Figure 16
Another feature of the garden which sets it apart from its counterparts include its multi-layered
effect with the use of smaller built structures25. Due to the limited land area and large water bodies, the
other gardens of Suzhou often have compact and tight-knitted architecture, mostly aligned along the
four walls of the garden. However, the built structures in the Humble Administrator’s Garden are sparse
apart, minimising the claustrophobic effect of the space. The built structures too follow closely to the
changes in the land topography and hence there is a lack of parallelism across the site. As a result of
the distribution of smaller built structures, the garden appears to be more spacious and hence visitors
are able to easily appreciate the garden from all angles.
24 苏州古典园林营造录[M],中国建筑工业出版社,2003. 25 苏州古典园林营造录[M],中国建筑工业出版社,2003.
ELEMENTS, PATTERN, CHARACTERISTIC AND CHARACTER
The allure of the Humble Administrator’s Garden can be understood from 3 phrases:
• Lush and elegant, natural rustic charm (疏朗典雅,天然野趣)
• Dispersed courtyards, twists and turns (庭院错落,曲折变化)
• Natural landscape and plants in abundance (园林景观,花木为胜)
Yet, aside from listing the tangible and intangible values of the Humble Administrator’s Garden, the
definitive character of the garden space is not distinctively identified. As such, an area of the garden
space that is representative of the essence of the garden space has been identified for the revelation
of the garden’s inherent character.
Figure 17: Area of study within the Central Section, Zhuozhengyuan
The central garden section, also known as Zhuozhengyuan (拙政园), is regarded as the prize
of the garden. With 1/3 of the site covered with water bodies, it the congregation and dispersion point
for the streams that run through the garden. As such, the water surface becomes a central feature to
the design of this section, in which the design natural landscape and built structures revolves around
the water feature. The study area identified (marked in blue border) exemplifies and is representative
of the garden’s character. It comprises 4 pavilions, each individually curated and a central hall. The
nature and built structure within the area all play a crucial role in creating the atmosphere of the space.
The pavilions and hall include:
1. The Peony Pavilion
2. Pavilion in the Lotus Breeze
3. The Orange Pavilion
4. The Prunus Mume Pavilion
5. The Hall of Distance Fragrance
Figure 18: Pavilions curated for differing seasons
Each of the pavilion has been specially designed for each season throughout the year. This is
pay respect to the rules of nature and celebrate the changes of the seasons. Thus, despite the
transformation in the climatic conditions, there is no reduced appreciation of nature and the dilution of
the Chinese philosophies which the people uphold so dearly. Furthermore, the design of the natural
landscape around the built structures draws inspirations from poems through different dynasties. Each
of the poems is expresses a sensorial image that the designer intends to elucidate and translate into a
3-dimensional environment. Hence, based on the cultural and artistic interpretation of the poem, the
natural landscape attempts to evoke a particular emotion from the users when using the space. The
poetic inferences made and the intended emotions evoked is illustrated in the table below:
Pavilion Season Poetic Inspiration
Plants Emotion
The Peony Pavilion
绣绮亭
Spring “绮绣相辗转,琳琅愈青荧”
Peony Warmth and light-heartedness
Pavilion in the Lotus Breezes
荷风四面亭
Summer “四面荷花三面柳,一城山色半城湖” Lotus Refreshing abundance
The Orange Pavilion
待霜亭
Autumn
“书后欲题三百颗,洞庭须(待)满林
(霜)”
Maple and Oranges
Longing and melancholy
The Prunus Mume Pavilion
雪香云蔚亭
Winter
“花间置酒清香发,争挽长条落香雪” Plum Distilled calmness and purity
Table 1: Summary of the pavilion design inspiration and intention
PAVILIONS AND CENTRAL HALL THROUGH THE SEASONS
Figure 1926: The Peony Pavilion in Spring Figure 2027: Lotus around The Pavilion in
The Lotus Breeze in Summer
Figure 2128: Maple and orange tree around Figure 2229: Plum trees around The Prunus
The Orange Pavilion in Autumn Mume Pavilion in Winter
Figure 2330: The Hall of Distance Fragrance
26 绣绮亭 [Digital image]. (n.d.). Retrieved December 21, 2017, from
http://ziliaoku.chushan.com/pic/index/id/4082 27 [荷风四面亭]. (n.d.). Retrieved December 15, 2017, from
https://detail.youzan.com/show/goods?alias=2fp644vhmwqa1&v2/goods/2fp644vhmwqa1 28 [待霜亭]. (2016, July 18). Retrieved December 15, 2017, from
http://blog.sina.com.cn/s/blog_62be5ad80102wmku.html 29 [雪香云蔚亭]. (2017, July 18). Retrieved December 15, 2017, from
http://blog.sina.com.cn/s/blog_62be5ad80102wmkk.html 30 [远香堂]. (n.d.). Retrieved December 15, 2017, from
http://www.17u1u.com/guonei/5605045804.html
Figure 23: Relationship between the pavilions, central hall and manicured landscape
As the main hall is the central built structure of the garden space, acting as a massive
congregation space for both family and guests alike. The main hall is likewise inspired by a poem “香
远益清,亭亭净植” by Zhou Dunyi of the Song Dynasty. The poem expresses that the appreciation of
fragrances wafting from a distance is a form of great purity. With the positioning of the pavilions
dispersed around the hall, the hall is able to draw scenic views from the various poetic inspired pavilions
and their surrounding natural environment. In this sense, the composition of the pavilion and nature
become a supporting cast of the main hall, becoming framed scenes for enjoyment from within the hall.
The extensive use of flora and plants in the manicured environment emphasises the concept of天人合
一, expressing the dialectical and symbiotic relationship between man and nature. Furthermore, as
mentioned above, the curation of the natural landscape surrounding each pavilion is based off the
differing seasons across the year. As such, with accessibility to views from all direction and a never-
exhaustive vibrant imagery throughout the season, it exemplifies its hierarchical status within the garden,
a social and programmatic order promulgated in the teachings of Confucianism.
Elements Pattern
Characteristics Character
Intricate and proportionately scaled built structure
Designed around central water feature
Diversified views through the seasons
Peaceful solitude within nature
Curated flora and fauna
Poetic sentiments conveyed through harmonious scenery
Lack of disruption to the program and function through the seasons
Individually curated yet designed as a whole
Artificial mountains Culturally inspired designs
Clarity of views and space
The natural landscape is sculptured by the cultured man; the cultured man is spiritually freed in the natural landscape
Tranquil water feature Depth and spaciousness of garden
Table 2: Elements, Pattern, Characteristics and Character
Therefore, with the combination of various natural and man-made elements around the garden,
the layout and cultural references made for the design, the attention paid to account for the changes of
season sets the Humble Administrator’s Garden apart from the other Classical Gardens of Suzhou.
Together, a distinctive character of the garden space is identifiable: the pattern of the garden is
individually curated and yet when placed together, they are viewed and designed as a whole, creating
a peaceful solitude with nature regardless of the changes in seasons.
PROJECT MANAGEMENT: POTENTIAL THREATS AND PROPOSED MITIGATION
AUTHENTICITY AND INTEGRITY
While it can be argued that the authenticity of the initial design by Wen Zhengming has been diluted over the different dynasties and under the care of various owners, the essence of the site is still retained. Despite having been used for governmental, military and religious organizations, the inherent tranquility and characteristics of the garden is still evident to this day. The retention of its essence is due to the availability of recordings from each historical period and in each of the owner’s hand from the 11th Century. They include an array of mediums such as poems, paintings and maps. These valuable materials not only provide the gardening techniques and values used, they provide insights to the care and management of the garden. Moreover, they serve as evidence of the adherence and maintenance of the architectural features, interior design of the built structures and the natural elements across the garden. Much effort has been placed by the garden masters of each dynasty to remain true to the garden through the use of local materials and traditional techniques for the repair of the garden31. Beyond the walls of the garden, buffer zones have been drawn up to retain the cultural atmosphere which includes crucial elements such as rivers, streets and traditional residential properties, defining the historical and cultural characteristics of the area32.
Based on the site visit conducted and the research done, it can be said that the threat to authenticity is more apparent than the threat to the integrity. The integrity of the garden is largely maintained due to the availability and accessibility of recordings. Furthermore, scholars in the modern have the necessary resources to further understand the design of the garden from its cultural, historical, philosophical and technical aspect, ensuring that the essence of the garden space is retained. However, the authenticity of the garden is being disrupted by modern forces. While buffer zones have been drawn up to mitigate the prowess of rapid urbanisation, the affluence of the nation have resulted in greater pressure on the garden’s capacity. With the publicity and attention given to the garden, a prominent increase in visitor volume by both foreign tourist and locals over the years is evidently clear. Yet, with despite greater interest in the garden, the appreciation of its ingenious design is largely vague.
31 Centre, U. W. (n.d.). Classical Gardens of Suzhou. Retrieved December 1, 2017, from
http://whc.unesco.org/en/list/813 32 Centre, U. W. (n.d.). Classical Gardens of Suzhou. Retrieved December 1, 2017, from http://whc.unesco.org/en/list/813
THREATS TO AUTHENTICITY: INCREASE IN VISITOR VOLUME
Figure 2433: Tourist Volume during peak seasons
The volume of visitors has significantly hiked over the years due to the increasing affluence of
the Chinese citizens. Despite the imposition of varied ticketing pricing across the year and season, it is
insufficient to minimise the rapidly raising influx of visitors. While the garden entrance indicates the
volume of visitors and crowd situation across the day, it is able to deter entrance of certain tourist who
prefer to avoid the crowd. However, the impact is minimal due to the constraints of the tourist itinerary
as they attempt to maximise the value of their trip. The garden is especially vulnerable during the
national holidays, such as the Golden Week and Mid-autumn festival, when the visitor volume has seen
to increase by a fold34.
Nonetheless, it is undeniable that the spike in visitor volume during the peak season is
unavoidable. Hence, perhaps the garden can be closed off to the public during non-peak periods to
allow the nature within to heal and be regenerated on its own. This cooling period would also allow
various stakeholders involved in the conservation and preservation of the garden by conducting
necessary maintenance of the buildings and structures.
Another possible mitigation to the threat is to cooperate with private tour agencies through the
provision of varied tour packages to disperse the crowd across the highly anticipated tourist attractions.
Chinese citizens have the tendency to sign up for tour packages which also include trips to the other
cities surrounding Suzhou, resulting in tight and inflexible itinerary planning. Suzhou is regarded as a
cultural centre of Southern China35 and has an array of AAAAA grade tourist attractions spread across
the city. Instead of including all of these must-see sights into the tour itinerary, they can be split across
various packages so as to avoid the congregation of tourist at a single tourist spot throughout the day.
THREATS TO AUTHENTICITY: DILUTED APPRECIATION OF THE GARDEN
33 [Tourist Volume]. (n.d.). Retrieved December 15, 2017, from http://www.suzhoutravel.com/
34 苏州主要景区迎客 108万人次 拙政园进入“看人头”模式. (2017, October 3). 新浪江苏. Retrieved
December 21, 2017, from http://jiangsu.sina.com.cn/news/b/2017-10-03/detail-ifymmiwm4551584.shtml 35 R, Z. F. (1999). Suzhou: A cultural and economic centre of Southern China . Cultural Mandala: The Bulletin of the Centre for East-West Cultural and Economic Studies, 3(2), 8th ser., 1-2. Retrieved December 1, 2017, from http://epublications.bond.edu.au/cgi/viewcontent.cgi?article=1053&context=cm
Based on the interaction with the visitors, both locals and foreigners alike, there were mixed
opinions regarding the value of the site. Undoubtedly, many placed it in their itinerary due to its publicity
as one of the four greatest gardens of China. Yet, while a minority of the visitors hired tour guides, many
were simply fervently posing for pictures at the scenic spot and viewing the garden in a superficial light.
These have proven to be ascertained dangers to the garden.
The allure of the garden is only fully experienced when one resides within the space through
the area. The change in seasons, weather, colour and mood is being significantly noticeable and
enhanced by the gardening techniques utilised by the designer. However, as with tourist, it is unlikely
for them to make multiple trips back to the garden. Furthermore, due to the climatic condition of the site,
it is impossible to go against the forces of nature with manmade interventions as it too disrupts the
authenticity and integrity of the garden.
Additionally, there is an apparent lack of understanding of the cultural and historical significance
of the site. While attempting to preserve the essence of the space, minimal tourist interventions, such
as explanatory signboards, were added to the compound. Indeed, it can be said that having first-hand
experience of the garden is sufficient to let the visitors understand the cultural aestheticism of the
garden. The ingenuity of this masterpiece lies within the materialisation of the national philosophies into
a tangible environment while gaining inspirations from Chinese Landscape paintings and subsequently
carried out based on their scientific knowledge.
A potential solution to the issue would be to provide various explanatory mediums to the visitors.
Currently, tour guides are both offered by the private enterprises found beyond the walls of the garden
and the tourist information centre of the garden36. Yet, the visitors are either unwilling to pay an extra
fee for the service, wary of their credibility as well as the constraints in time. Furthermore, while free
tour guides provided by the tourist information centre, they are conducted solely in Chinese. As such,
instead of relying on the voluntary approach of the visitors to hire such services, explanatory services
can be provided to all visitors upon entrance to the garden. With the proliferation usage of mobile
phones, downloadable tour content can be made available for the visitors. Minimal manpower would
hence be required to be activated to cater to the visitors and the visitors too have greater flexibility
despite their rigid schedule.
36 游客中心 配套服务. (n.d.). Retrieved December 30, 2017, from
http://www.szzzy.cn/Home/Detail?Detail=cdeeb315-8a49-4eb7-815a-c9860b9773f7
CONCLUSION
The Humble Administrator’s Garden possesses much historical and cultural value. Despite
having undergone much unrests through the years and the changes of ownership through the differing
dynasties, it still remains its authenticity and integrity to the initial design intent by the principle designer
while staying true to the philosophical reasonings of 天人合一. Great care and effort has been taken to
restore and repair the garden’s prominent features of the various owners with the aid of recordings
stating the necessary maintenance technicalities and impressions of the garden. While certain features
of the garden have been lost during certain restoration works, the essence of the space remains intact
still. Undeniably, the garden has received extensive protection from the involved stakeholders to retain
the cultural atmosphere of the space. However, the modern forces are proven to be detrimental to the
maintenance of the garden hence diluting its authenticity and integrity.
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