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Start Over Search Limiters Academic (Peer-Reviewed) Journals Topic 221 b.c.-960 a.d. Publication Type Academic Journals Publication Type Reviews
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1. Material Environment, Artistic Scene, and Ultimate Spiritual Principle: The Aesthetics of Multi-layer Landscape Architecture in Bai Juyi's Lü-dao Garden.

Author

Nai-huei Hou

Subjects
*GARDENS, *LANDSCAPE architecture, *PONDS, *SPACE (Architecture), *WATER, *CHINESE aesthetics, *GARDEN design, SOCIAL aspects, 221 B.C.-960 A.D.
Abstract

This paper combines spatial poetics, landscape architecture theory and humanistic geographical ideology, analyzing Tang Dynasty Poet Bai Juyi’s . . . aesthetics of multi-layer landscape architecture on the waterscape of his Lü-dao Garden . . . This paper is divided into five parts. Part One discusses Bai Juyi's Lü-dao Garden as the typical “Dream Home;” the poet projected his subjective values and conducted multi-layer landscape architecture to shape his wooded garden, and waterscape is a crucial element in this project. Part Two discusses the aspect of the material environment in landscape architecture. Livi-dao Garden, with a pond in the center surrounded by meandering water paths, creates a focal point to showcase variations and can be appreciated from 360 degrees. It also offers a space allowing for wandering endlessly in loops. Thirdly, discuss the aspect of the artistic scene which Bai Juyi's created with the arrangement of surrounding waterscapes under the bed, producing the exclusive delight of “comer space” and symbolic imagery of lounging gestures above water. The reflection in the water is used to establish a microcosm, liberating conventional relationships when viewing the space. By re-organizing sceneries from South of the Yangzi River, he created a miniature homeland based on his memory; a transcendental angle is used as if lying on a boat to review the self's perspective. Part Four discusses landscaping actions involved in accordance with the ultimate spiritual principles. Bai Juyi applied a method of contemplative investigation in researching matters and efforts in meditative Zen practices to create a deep, distilled and lucid state for Lu-dao Garden as the ultimate spiritual principle, constructing a blissful condition of self-containment and perfection. Part Five is the conclusion. [ABSTRACT FROM AUTHOR]

Published
2011

2. 永明詩學與五言詩的聲境形塑.

Author

蔡瑜

Subjects
*LITERARY criticism, *POETRY (Literary form), *YONGMING poetry, *CHINESE phonology, *SOUND, *CHINESE aesthetics, *SOCIOLINGUISTICS, *CHINESE poets, *HUMAN voice -- Social aspects, *VERSIFICATION, *HISTORY, SOCIAL aspects, 221 B.C.-960 A.D.
Abstract

This paper focuses on the birth of Yongming 永明 Style poetry in the Southern Qi 南齊 Dynasty, drawing on cultural background to re-examine its significance in the history of Chinese poetry. The Yongming Style heralded a revolution in poetry circles and is a model example of the birth of a new poetics. Yongming poetics is grounded in a profound awareness of the sound of the language that cuts across the boundaries of language and literature. Its prosody developed in step with traditional Chinese phonology, its leading figures guiding the construction of systems of phonological knowledge. By comparing Chinese and Sanskrit, Yongming poets established the principles for determining pronunciation by phonological segmentation, and by chanting and reading aloud, they made observations about the musicality of the language itself. The decomposability of phonology allowed them to grasp how to manipulate phonology in poetry, establishing verifiable rules. Poets repositioned the human voice as the starting point for the laws of phonology, emphasizing the fundamental place of language; through 'inner listening,' they made connections between spoken sounds and one's inner voice. They believed that the ideal tonal prosody would be the outward manifestation of the inner voice and so advocated an aesthetics of prosody that took the sound of the inner voice as its starting point. In practice, Yongming poetics shaped an aesthetic in the sound-environment of the thenpopular five-character line form that stressed the use of alliteration and rhyme, particularly between the last characters of each line and the first two and final three characters of a line. It sparked a significant, irresistible movement for innovation in form in later poetry. [ABSTRACT FROM AUTHOR]

Published
2015
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