a dissertation on oriental gardening ,1772 excerpt t hough the chinese artists have nature for their general model, yet are they not so attached to her as to exclude all appearance of art on the contrary, they think it, on many occasions, necessary to make an ostentatious shew of their labour. Plants, ground and water, are her only productions: and though both the forms and arrangements of these may be varied to an incredible degree, yet have they but few striking varieties, the rest being of the nature of changes rung upon bells, which, though in reality different, still produce the same uniform kind of jingling the variation being too minute to be easily perceived. Art must therefore supply the scantiness of nature and not only be employed to produce variety, but also novelty and effect: for the simple arrangements of nature are met with in every common field, to a certain degree of perfection and are therefore too familiar to excite any strong sensations in the mind of the beholder, or to produce any uncommon degree of pleasure. It is indeed true that novelty and variety may both be attained by transplanting the peculiarities of one country to another by introducing rocks, cataracts, impending woods, and other parts of romantic situations, in flat places by employing much water where it is rare and cultivated plains, amidst the rude irregularities of mountains: but even this resource is easily exhausted, and can seldom be put in practice, without a very great expence. The chinese are therefore no enemies to strait lines because they are, generally speaking, productive of grandeur, which often cannot be attained without them: nor have they any aversion to regular geometrical figures, which they say are beautiful in themselves, and well suited to small compositions, where the luxuriant irregularities of nature would fill up and embarrass the parts they should adorn. They likewise think them properest for flower gardens, and all other compositions, where much art is apparent in the culture and where it should therefore not be omitted in the form. Their regular buildings they generally surround with artificial terrasses, slopes, and many flights of steps the angles of which are adorned with groupes of sculpture and vases, intermixed with all sorts of artificial waterworks, which, connecting with the architecture, serve to give it consequence, and add to the gaiety, splendor, and bustle of the scenery.

When the buildings are rustic, the scenery which surrounds them is wild when they are grand, it is gloomy when gay, it is luxuriant: in short, the chinese are scrupulously nice in preserving the same character through every part of the composition which is one great cause of that surprizing variety with which their works abound. Such is the common scenery of the chinese gardens, where the ground has no striking tendency to any particular character. But where it is more strongly marked, their artists never fail to improve upon its singularities their aim is to excite a great variety of passions in the mind of the spectator and the fertility of their imaginations, always upon the stretch in search of novelty, furnishes them with a thousand artifices to accomplish that aim. The scenes which i have hitherto described, are chiefly of the pleasing kind: but the chinese gardeners have many sorts, which they employ as circumstances vary all which they range in three separate classes and distinguish them by the appellations of the pleasing, the terrible, and the surprizing. The first of these are composed of the gayest and most perfect productions of the vegetable world intermixed with rivers, lakes, cascades, fountains, and water works of all sorts: being combined and disposed in all the picturesque forms that art or nature can suggest. Buildings, sculptures, and paintings are added, to give splendor and variety to these compositions and the rarest productions of the animal creation are collected to enliven them: nothing is forgot that can either exhilerate the mind, gratify the senses, or give a spur to the imagination. Their scenes of terror are composed of gloomy woods, deep vallies inaccessible to the sun, impending barren rocks, dark caverns, and impetuous cataracts rushing down the mountains from all parts.

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Their surprizing, or supernatural scenes, are of the romantic kind, and abound in the marvellous being calculated to excite in the minds of the spectators, quick successions of opposite and violent sensations. European artists must not hope to rival oriental splendor yet let them look up to the sun, and copy as much of its lustre as they can, circumstances will frequently obstruct them in their course, and they may often be prevented from soaring high: but their attention should constantly be fixed on great objects and their productions always demonstrate, that they knew the road to perfection, had they been enabled to proceed on the journey. Where twining serpentine walks, scattering shrubs, digging holes to raise mole hills, and ringing never ceasing changes on lawns, groves and thickets, is called gardening, it matters little who are the gardeners whether a peasant or a poussin whether a child in sport, or a man for hire: the meanest may do the little there is to be done, and the best could reach no farther. Horticulture in his designs of chinese buildings 1757 , william chambers 1723 1796 had briefly mentioned the aesthetics of chinese gardens. 1772 opposed the trend towards gardens with unplanned appearance by explaining the chinese garden as an artistically enhanced natural space designed to evoke emotions marcia reed/paola demattè ed.: china on paper. European and chinese works from the late sixteenth to the early nineteenth century los angeles: getty research institute 2007 p.

To answer critics of his treatise, chambers published a second, enlarged edition in 1773, adding a rebuttal of his critics attributed falsely to the artist tan chet qua fl. William chambers: a dissertation on oriental gardening london: griffin 1772 gt internet archive book contributor amp digitizing sponsor: research library, the getty research institute gt google books original from bayerische staatsbibliothek, digitized 11 december 2009 bibliographic reference: bs 1534, estc citation no. T1897 no copy listed in wiener china bibliographie william chambers: a dissertation on oriental gardening.

With an introduction by richard quaintance london: printed by w.griffin 1773 gt e rara.ch persistent identifier doi 10.3931/e rara 9751 mason william issued anonymously. miscellany. Mason, william. chambers, sir william x2f mason, william x2f tan chet qua chambers, sir william 1726 1796 and william mason 1724 1797 this is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc.

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That were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. The below data was compiled from various identification fields in the bibliographic record of this title.

This data is provided as an additional tool in helping to ensure edition identification: lt title gt a dissertation on oriental gardening lt author gt sir william chambers lt publisher gt printed by w. Griffin, 1772 dissertation on oriental gardening william chambers students are searching: write my paper for me more than ever before. There are also more companies answering their plea to: write an essay for me and some are much better than others. Students should consider the following points when looking for essay writing services to write essay for me. This is one of the main concerns of students, as they do not have a lot of cash to spend freely.

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