New Worlds: Gardens and Parks
Mar. 6th, 2026 09:04 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
swan_towerI've been trying for some time now to get a landscaper not to ghost me, so we can redo the front and back yards of my house.
Am I trying to hire a contractor, or an artist?
Yes. Both. Year Nine's discussion of how we've reshaped the land focused entirely on utilitarian aspects: draining wetlands, filling in shorelines, flattening land for agriculture and roads. We entirely skipped over the aesthetic angle -- but that matters, too! The land and what grows atop it can become a medium for art.
A fairly elite art, though. At its core, landscaping for the purpose of a garden or a park is about setting aside ground that could have been productive and using it for pleasure instead. Not to say that there can't be some overlap; vegetable gardens can be attractive, and parks might play home to game animals that will later grace the dinner table. But there's a sort of conspicuous consumption in saying, not only do I have land, but I have enough of it to devote some to aesthetic enjoyment over survival.
We don't know what the earliest gardens were like, but we know they've been with us probably about as long as stratified society has been, if not longer. The Hanging Gardens of Babylon (named for their tiered structure) were one of the Seven Wonders of the Ancient World, and those -- if they ever existed -- were a continuation of a well-documented Assyrian tradition of royal gardens, which included hydraulic engineering to supply them with water. So this was not a new art.
But when did it become an art? I'm not entirely sure. The boundary is fuzzy, of course; gardens can exist without being included in the discourse around Proper Art. (As we saw in Year Eight, with the shift toward recognizing textiles as a possible form of fine art.) Europe didn't really elevate gardens to that stature until the sixteenth century, as part of the Renaissance return to classical ideals. The earliest Chinese book I've been able to find on the aesthetics of gardening, as opposed to botanical studies of plants, is from the seventeenth century, but it wouldn't surprise me if there were earlier works. I think that when you start getting specific aesthetic movements and individual designers famous for their work, you're in the realm of Art instead of a functional thing that can also be pretty; I just don't know when that began.
There definitely are aesthetic movements, though! In particular, gardens-as-art swing between the poles of "nature in her most idealized form" and "intentionally artificial." Many Japanese gardens exemplify the former, while European gardens laid out in complex geometric beds demonstrate the latter. It's not entirely a regional differentiation, though; Japanese dry ("Zen") gardens, with their carefully raked seas of gravel, are obviously not trying to look natural, and Europeans have enjoyed a good meadow-style garden, too.
This is partly a question of how you're supposed to interact with these spaces. Some -- including many of those Japanese examples, dry or otherwise -- are meant to be viewed from the outside, e.g. while sitting on a veranda or looking down on it from an upstairs window. Others are meant to be walked through, so they're designed with an eye toward what new images will greet you as you follow a path or come round a corner. Meanwhile, hedge mazes may purposefully try to confuse you, which means they benefit from walls of greenery as close to identical as you can get them -- until you arrive at the center or some other node, where the intentional monotony breaks.
In pursuit of these effects, a garden can incorporate other forms of art and technology. Hydraulics may play a role not only in irrigating the garden, but in fueling fountains, waterfalls, artificial streams, and the like, which in turn may host fish, turtles, and other inhabitants. Architecture provides bridges over wet or dry courses and structures like walls, gazebos, arches, arbors, bowers, pergolas, and trellises, often supporting climbing plants. Statuary very commonly appears in pleasing spots; paintings are less common, since the weather will damage them faster, but mosaics work very well.
But the centerpiece is usually the plants themselves. As with zoos (Year Four) and the "cabinet of curiosities"-style museums (Year Nine), one purpose of a garden may be to show off plants and trees from far-distant lands, delighting the eye and possibly the nose with unfamiliar wonders. The earliest greenhouses seem to have been built to grow vegetables out of season, but later ones saw great use for cultivating tropical plants far outside their usual climes -- especially once we figured out how to heat them reliably, circa the seventeenth century. In other cases, the appeal comes from carefully pruning the plants to a desired shape, whether that's arching gracefully over a path or full-on sculpture into the shapes of animals or mythological figures.
One particularly clever trick involves accounting for the changing conditions inherent to an art based in nature. Many gardens go dead and boring in the winter -- or in the summer, if you're in a climate where rain only comes in the winter -- but a skilled designer can create a "four seasons" garden that offers shifting sources of interest throughout the year. Similarly, they may use a combination of artificial lighting and night-blooming flowers to create a space whose experience is very different at night than during the day.
And gardens can even serve an intellectual purpose! Like a museum, its displays may be educational; you see this in botanical gardens and arboreta, with their signs identifying plants and perhaps telling you something about them. Many scholars over the centuries have also used gardens as the site of their experiments, studying their materials and tweaking how to best care for them. But this doesn't stop with plain science, either. We often refer to dry rock gardens as "Zen gardens" because of their role in encouraging meditative contemplation, and actually, it goes deeper than that: the design of such a garden is often steeped in symbolism, with rocks representing mountains in general or specific important peaks. I don't actually know, but I readily assume, that somebody in early modern Europe probably created a garden full of coded alchemical references. The design of the place can be as much a tool for the mind as it is a pleasure for the senses.
Which brings them back around to a functional purpose, I suppose. Gardens very much straddle the line between aesthetics and pragmatism!
(originally posted at Swan Tower: https://is.gd/O7UpKN)
Am I trying to hire a contractor, or an artist?
Yes. Both. Year Nine's discussion of how we've reshaped the land focused entirely on utilitarian aspects: draining wetlands, filling in shorelines, flattening land for agriculture and roads. We entirely skipped over the aesthetic angle -- but that matters, too! The land and what grows atop it can become a medium for art.
A fairly elite art, though. At its core, landscaping for the purpose of a garden or a park is about setting aside ground that could have been productive and using it for pleasure instead. Not to say that there can't be some overlap; vegetable gardens can be attractive, and parks might play home to game animals that will later grace the dinner table. But there's a sort of conspicuous consumption in saying, not only do I have land, but I have enough of it to devote some to aesthetic enjoyment over survival.
We don't know what the earliest gardens were like, but we know they've been with us probably about as long as stratified society has been, if not longer. The Hanging Gardens of Babylon (named for their tiered structure) were one of the Seven Wonders of the Ancient World, and those -- if they ever existed -- were a continuation of a well-documented Assyrian tradition of royal gardens, which included hydraulic engineering to supply them with water. So this was not a new art.
But when did it become an art? I'm not entirely sure. The boundary is fuzzy, of course; gardens can exist without being included in the discourse around Proper Art. (As we saw in Year Eight, with the shift toward recognizing textiles as a possible form of fine art.) Europe didn't really elevate gardens to that stature until the sixteenth century, as part of the Renaissance return to classical ideals. The earliest Chinese book I've been able to find on the aesthetics of gardening, as opposed to botanical studies of plants, is from the seventeenth century, but it wouldn't surprise me if there were earlier works. I think that when you start getting specific aesthetic movements and individual designers famous for their work, you're in the realm of Art instead of a functional thing that can also be pretty; I just don't know when that began.
There definitely are aesthetic movements, though! In particular, gardens-as-art swing between the poles of "nature in her most idealized form" and "intentionally artificial." Many Japanese gardens exemplify the former, while European gardens laid out in complex geometric beds demonstrate the latter. It's not entirely a regional differentiation, though; Japanese dry ("Zen") gardens, with their carefully raked seas of gravel, are obviously not trying to look natural, and Europeans have enjoyed a good meadow-style garden, too.
This is partly a question of how you're supposed to interact with these spaces. Some -- including many of those Japanese examples, dry or otherwise -- are meant to be viewed from the outside, e.g. while sitting on a veranda or looking down on it from an upstairs window. Others are meant to be walked through, so they're designed with an eye toward what new images will greet you as you follow a path or come round a corner. Meanwhile, hedge mazes may purposefully try to confuse you, which means they benefit from walls of greenery as close to identical as you can get them -- until you arrive at the center or some other node, where the intentional monotony breaks.
In pursuit of these effects, a garden can incorporate other forms of art and technology. Hydraulics may play a role not only in irrigating the garden, but in fueling fountains, waterfalls, artificial streams, and the like, which in turn may host fish, turtles, and other inhabitants. Architecture provides bridges over wet or dry courses and structures like walls, gazebos, arches, arbors, bowers, pergolas, and trellises, often supporting climbing plants. Statuary very commonly appears in pleasing spots; paintings are less common, since the weather will damage them faster, but mosaics work very well.
But the centerpiece is usually the plants themselves. As with zoos (Year Four) and the "cabinet of curiosities"-style museums (Year Nine), one purpose of a garden may be to show off plants and trees from far-distant lands, delighting the eye and possibly the nose with unfamiliar wonders. The earliest greenhouses seem to have been built to grow vegetables out of season, but later ones saw great use for cultivating tropical plants far outside their usual climes -- especially once we figured out how to heat them reliably, circa the seventeenth century. In other cases, the appeal comes from carefully pruning the plants to a desired shape, whether that's arching gracefully over a path or full-on sculpture into the shapes of animals or mythological figures.
One particularly clever trick involves accounting for the changing conditions inherent to an art based in nature. Many gardens go dead and boring in the winter -- or in the summer, if you're in a climate where rain only comes in the winter -- but a skilled designer can create a "four seasons" garden that offers shifting sources of interest throughout the year. Similarly, they may use a combination of artificial lighting and night-blooming flowers to create a space whose experience is very different at night than during the day.
And gardens can even serve an intellectual purpose! Like a museum, its displays may be educational; you see this in botanical gardens and arboreta, with their signs identifying plants and perhaps telling you something about them. Many scholars over the centuries have also used gardens as the site of their experiments, studying their materials and tweaking how to best care for them. But this doesn't stop with plain science, either. We often refer to dry rock gardens as "Zen gardens" because of their role in encouraging meditative contemplation, and actually, it goes deeper than that: the design of such a garden is often steeped in symbolism, with rocks representing mountains in general or specific important peaks. I don't actually know, but I readily assume, that somebody in early modern Europe probably created a garden full of coded alchemical references. The design of the place can be as much a tool for the mind as it is a pleasure for the senses.
Which brings them back around to a functional purpose, I suppose. Gardens very much straddle the line between aesthetics and pragmatism!
(originally posted at Swan Tower: https://is.gd/O7UpKN)
