Differences
This shows you the differences between two versions of the page.
Both sides previous revision Previous revision | Next revisionBoth sides next revision | ||
groworld_vegetal_culture [2013-01-25 08:13] – [From plants to stories: patabotany] maja | groworld_vegetal_culture [2013-01-25 08:16] – [Borrowed scenery] maja | ||
---|---|---|---|
Line 17: | Line 17: | ||
==== Borrowed scenery ==== | ==== Borrowed scenery ==== | ||
+ | |||
+ | {{https:// | ||
Culture needs both human and non-human elements to evolve. As Hakim Bey says: “The elimination of the non-human invokes the elimination of the human: culture can only be defined in relation to what it is not” (Bey 1996). The interplay between cultivated and wild, or man-made and and non-human is beautifully embodied in the concept of “borrowed scenery” in Chinese and Japanese gardening. //Jiejing// and //shakkei// gardens borrow their surroundings as elements of their design (Mehta and Tada, 2008). Mountains and rivers, sky and rocks are drawn into the garden and become a part of its narrative. Even though the plants cultivated in the garden and the untamed formations of faraway landscapes are topographically separated entities, they are experienced as part of one whole. The origins of jiejing lie in Buddhist temples, where gardens were designed as meditative spaces, with a hint of geomancy. Early Buddhist temple gardens in Japan used shakkei as a way of teaching humility and the interconnectedness of all beings in a layered reality. Several Buddhist meditation practices (such as //mettā// or // | Culture needs both human and non-human elements to evolve. As Hakim Bey says: “The elimination of the non-human invokes the elimination of the human: culture can only be defined in relation to what it is not” (Bey 1996). The interplay between cultivated and wild, or man-made and and non-human is beautifully embodied in the concept of “borrowed scenery” in Chinese and Japanese gardening. //Jiejing// and //shakkei// gardens borrow their surroundings as elements of their design (Mehta and Tada, 2008). Mountains and rivers, sky and rocks are drawn into the garden and become a part of its narrative. Even though the plants cultivated in the garden and the untamed formations of faraway landscapes are topographically separated entities, they are experienced as part of one whole. The origins of jiejing lie in Buddhist temples, where gardens were designed as meditative spaces, with a hint of geomancy. Early Buddhist temple gardens in Japan used shakkei as a way of teaching humility and the interconnectedness of all beings in a layered reality. Several Buddhist meditation practices (such as //mettā// or // |