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This publication is aimed toward readers and researchers who're attracted to chinese language backyard structure, the increase and fall of Yuanming Yuan and the historical past of the Qing dynasty. it's the first complete learn of the palatial backyard complicated in a Western language, and is abundantly illustrated with images and unique drawings. Young-tsu Wong s attractive writing kind brings "the backyard of ideal brightness" to existence as he leads readers on a grand journey of its structure and history.
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For example, the big nude figures, which usually accompany fountains in Europe, have been culturally impermissable. along with, Qing emperors more often than not weren't acquainted with remain or leisure in a wholly unusual atmosphere. The predicament of Qianlong’s borrowed flavor for Western structure and backyard arts didn't finish the following. The emperor’s cultural historical past additionally didn't enable him to appreciate the significance of the mechanization of the universe with mathematic precision as tested in Baroque structure. His Majesty had no method of figuring out that the analytical geometry environment industrialization in movement might finally make sure that ecu armies to invade China and go away the Yuanming Yuan in ruins. after all, the ecu part served not more than as one other friendly surroundings during which he may possibly walk, leisure, entertain, and gather treasures of eu arts. It grew to become a suitable casket for the emperor’s “cabinet de curiosites” (Perazzoli-t’Serstevens 1988, 10). therefore development, even if of such huge, immense devices because the ecu part or for bettering previous constructions in numerous components of the Yuanming Yuan, persisted relentlessly after the designation of the 40 perspectives. extra New Additions Following the of completion of the everlasting Spring backyard, Qianlong extra extra buildings within the unique Yuanming Yuan. valuable initiatives deserve shut recognition. First, in 1762, taking the chance to rework the All-Season Library (Siyi Shuwu) sitting on the north shore of the ocean of Blessing, the emperor intentionally recreated in his imperial backyard the Yu Yuan owned by means of Chen kinfolk at Haining in Zhejiang province (Wu Zhenyu 1983, 326). Qianlong had visited the Yu Yuan time and again in the course of his well-publicized southern excursions and taken again its blueprint. whilst the reworking was once whole, the scene used to be renamed the Wave-Pacifying backyard (Anlan Yuan) via the emperor, a reminder of the serious |   | structure flooding challenge he had witnessed at the Zhejiang coast (see Qianlong’s notes in Yu Mingzhong 1985, 3:1376). The identify, even though with out creative beauty, was once a great way for the ruler to precise his honest hindrance concerning the flooding. additionally, Qianlong argued that the reworking stored funds, like “killing birds with one stone” (yiju liangde), simply because he believed he had remodeled whatever previous, which used to be due for fix, right into a new backyard which can additionally remind him of the plight at the coast (Yu Mingzhong 1985, 3:1366). yet, in reality, Qianlong didn't retailer any cash. He insisted on following precisely the version of the Yu Yuan, which required pricey structural adjustments. furthermore, he asked new additions to house an architectural team, which integrated the Catching night sun Chamber (Ranxia Lou) at the back of the most corridor, the fast look Pavilion (Feidi Ting) on an artificial hill, and the Classics-Worshipping Studio (Zuojing Guan) at the back of the hill. after all, the Wave-Pacifying backyard used to be composed of no fewer than ten built-in sections of scenic buildings (Yu Mingzhong 1985, 3:1367–1368).

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