(The following is an excerpt from the lecture of J. Justin Meehan, Esq. dedicated to the memory of Professor Nelson Wu and delivered at the past CFG Appreciation Tour)There is a very special aesthetic to the Chinese Friendship Garden (CFG) and to Chinese Gardens in general which gives them a uniqueness differing from European and even Japanese Gardens. This aesthetic is based on a Naturalness in both appearance and design. By comparison, European Gardens were characterized by symmetrical and artificial arrangements which demonstrated their belief in the triumph of human reason over Nature. This is easily seen in the geometrical arrangements in the Gardens of Versailles in France. In fact, reports of Chinese Gardens by missionaries and other travelers in the 1700s had a profound impact in reshaping European ideas for Gardens.
Its not that the Chinese did not also attempt to impose reason and order in design and architecture, however they did so primarily in regard to human living environments rather than natural or garden type settings. The Forbidden City in Beijing is almost completely designed using lines and angles not found in the natural environment. Lines and angles were necessary in order to create living spaces which took into account differences in relationships and social status between classes of peoples, even between family members. These relationships were an essential part of the Confucian philosophy designed to create the ideal balance of social responsibilities and obligations for a well ordered society. For the most part, these relationships were unequal (eg. subject and ruler, father and child, husband and wife, older brother and younger) requiring differing accommodations both in terms of behavior and space. This authoritarian and hierarchical designation of living spaces put each person in his proper place.
Counterbalancing the Confucian ethic, was the Taoist philosophy. Both appeared at about the same time (between 500 and 300 BCE.) and can be seen as having a relation to each other similar to the Taiji (yin/yang) diagram, with Confucianism forming the Yang (male authoritarian) division in relation with Taoist philosophy forming the Yin (feminine, natural) side of the paradigm. Though outwardly different, they co existed side by side within Chinese Society and the Chinese Personality. It has been said that the Chinese Gentleman is Confucian in his public life and Taoist in retirement.
Taoist philosophy is a belief system that points to an Unidentified Origin of all things which is beyond human comprehension or even the ability to describe in words and therefore is assigned the word Tao or Way. From the Tao emerged all things and is Tao's influence is ever present in terms of the Way things are. In looking for the Tao we cannot find it, but its operations are most clearly understood in terms of Nature and the way things are naturally. Contrary to Confucian philosophy, the Taoist is seldom a group conformist, but is found rather abandoning convention in order to follow the Tao. While the original Taoists were men who had abandoned public life for a life of seclusion in Nature, philosophical Taoism infused and inspired Chinese life in many ways, especially in the arts (painting, poetry, calligraphy, architecture, design and even the martial arts) and even fostered a quasi scientific approach to explore medical treatment, the use of herbs and acupuncture. The essence of the Taoist approach was to accept things the way that they are, go with the flow and avoid making things worse by trying too hard to make things the way we want them to be, which often results in creating the exact opposite of what we originally intended. Appreciating the natural and spontaneous is at the essence of the aesthetic of Chinese Gardens.
Of course there all kinds of other considerations to be taken into account. There are different types of Chinese Gardens such as the Imperial Gardens created for Emperors and their Court. There are Temple Gardens built around Taoist and Buddhist Temples. There were the private gardens built by wealthy families to display their wealth and status and most often used like beach houses in the Hamptons (or the Lake) for conspicuous entertaining. And, of course, there was the Scholar's Garden built for withdrawal from the rat race of society and allowing for rest, seclusion, reflection, study and self cultivation, or at least the appearance thereof. Gardens also differed depending on their geographic location and the era in which they were built. Most Gardens existent in China today were for the most part built quite recently, within the past 200 years or less. While modern study of Chinese Gardens tends to focus more on socio-economic factors, it is the Chinese Gardens ability to reveal and reflect traditional Chinese culture and values that interests me the most.
Although Chinese Gardens are an intentional attempt to recreate the naturalness, balance and spontaneity of Nature within prescribed confines, Chinese Gardens seem much less contrived or improved upon than Japanese Gardens which seem so perfectly arranged. Perhaps limited by the island of Japan's lack of space or proscribed by the essentialism of Zen (Chan) Buddhist philosophy, a Japanese Garden can seem so perfect as to make one's own entrance seem somewhat of an intrusion. The perfection of the Zen Garden often reminds us of just how confused our own lives and mind seem in comparison. Chinese Gardens on the other hand invite the guest to enter and enjoy. Various pavilions, whether for study, play or show, place the human being within the center of the natural environment, not above or below. Chinese Gardens call out for every type of artistic participation and social response. Music, poetry, painting, dance, calligraphy, word games and drinking all fit well within the way things are in the Chinese Garden. No Garden would be complete without written calligraphy, colorful painting and other evidence of human artistic appreciation and interaction. All Gardens, whether European, Japanese or Chinese, reflect each culture's philosophic understanding and invite artistic response. Each Garden is in effect a vital cultural museum.
Having just returned from China this year after my first visit in 1981, some 25 years ago, it is obvious that traditional culture is being steam rolled by the global culture of consumerism and materialism. To the extent that cement boxes, buildings and department stores and Golden Arches are crowding out and replacing thousands of years of civilization, Chinese Gardens stand like spiritual stop signs to modern progress reminding us of the values and treasures of traditional Chinese Culture. Just as the 3 Georges Dam flooded out and destroyed centuries of civilization in sacrifice to modernization, the benefits come with a cost and loss. Traditional Art and Culture built up over thousands of generations gives way to instant gratification and multinational corporate culture. Shall we allow the gifts of our ancestors to be lost to our children, or can we protect and preserve the cultural legacy of oldest living culture for our posterity and the posterity of the world, before it becomes all too late?
Chinese Gardens serve also a wonderful cultural bridge to East-West understanding. So often our artistic appraisal of Chinese Culture is dependent upon historical and linguistic interpretation. The experience of the Chinese Garden is both immediate and profound. People regardless of background can gain immediate access to the natural and humanistic philosophical and aesthetic main streams of Chinese Culture just by taking the time to step inside the welcoming gate and travel the path or Way to the spiritual center that lies within, just waiting to be explored and appreciated.
Our Chinese Friendship Garden is the most visible architectural symbol of traditional Chinese Culture in St. Louis today. But the Chinese Friendship Garden is made of wood, mortar, plaster and stone, some found only in Nanjing. These elements deteriorate over time. The CFG needs repainting every few years. Some of the Pavilion wood is getting old and needs replacement. Mortar from "cracked ice" walkways comes loose as visitors come and go. Tiles break and colors fade. The CFG needs regular maintenance, repair and upkeep. There are also plans for a Dragon sculpture to bring visitors attention to the entryway, so that they do not miss the opportunity to enjoy one of St. Louis best kept cultural secrets on their way to the more well known and visible Japanese Garden. The Mo. Botanical Gardens does not have enough financial resources to preserve and protect the CFG. Its resources are stretched thin and attention must be allotted over several differing projects and areas in the Mo. Bot. Garden.
In order to assist the MBG to better care for and maintain the CFG a group of concerned citizens have formed a not for profit organization called the Friends of the Chinese Garden in order to help raise awareness of and support for the CFG. They will plan fund raisers and cultural events to better assist the MBG in popularizing the CFG and it helping with upkeep and development. They are already working on creating a documentary on the CFG to share with the MBG and other educational organizations on the history and cultural importance of the CFG. They are also working on a Mandarin House Restaurant fund raising dinner scheduled for next Fall and Spring. A newsletter for members is also being planned. Anyone with time and interest is invited to become part of the Friends of the Chinese Friendship Garden organization.
A special account has been set up by the MBG for the CFG which allows interested persons and organizations to donate directly to a fund whose use shall be ONLY for the needs of the CFG. Interested persons can find out more by contacting FCG President, J. Justin Meehan at jjustinmeehan@aol.com Donations to the CFG can be made directly through the MBG with checks made out to the MBG c/o Chinese Friendship Garden Fund. P.O. Box 299, St. Louis, Mo., 63166 |
