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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