Title Page
Contents
Abstract 17
Ⅰ. INTRODUCTION 19
1.1. Research Background 19
1.2. Research Aim and Methodology 26
1.3. Research Perspective 28
1.3.1. Language as the Symbol and the Landscape as the Language 28
1.3.2. The Aesthetic and Psychological of Imagery 32
1.4. Organization 36
Ⅱ. BRIDGING THE LANGUAGE OF LANDSCAPE AND IMAGERY IN CONTEMPORARY CHINA 40
2.1. The Context Level: Landscape as a Product of Context 40
2.2. The Archetypal Level: Landscape as Collective Mental Perception 42
2.2.1. Imagery Emerging from Archetype 42
2.2.2. The Metaphysical and Biological Properties of Archetype Imagery 44
2.2.3. Archetype Imagery: The Mental Source of the Landscape 48
2.3. Symbol Level: Landscape as Symbol Expression 50
2.3.1. The Language of Landscape and Landscape as the Symbols 50
2.3.2. The Language of Landscape: Discursive and Representational Symbols 56
2.4. Aesthetic Level: Landscape as Aesthetic Appreciation 62
2.4.1. The Aesthetic Imagery and Symbol: Material and Spiritual 62
2.4.2. Landscape Imagery: the Intentional Creation Unity the Psychological and Aesthetic 65
2.5. Four Levels for the Language of Landscape and Imagery in Contemporary Chinese Landscapes 68
Ⅲ. SOVIET MODEL PLAN: 1949 - 1978 72
3.1. The Context of Soviet Model 72
3.1.1. The Soviet Experience and Greening the Motherland 72
3.1.2. Great Leap Forward and Cultural Revolution 75
3.1.3. The Government Authority of Landscape Department Established 77
3.2. The Archetypal Level: The Archetype Imagery of Socialism and Nationalism 79
3.2.1. Socialism: Materialism as a Universality of Marxism 79
3.2.2. The Ideal of Marxist: Communist Society 82
3.2.3. Nationalism: Shan-shui as the Universality in Chinese Culture 83
3.2.4. The Ideal of Shan-shui: the Harmony of Nature and Human 87
3.3. The Symbol Level: Nature, History and Past Dialogue 89
3.3.1. Nationalism Park: Hua Gang Guan Yu Park 91
3.3.2. Culture Rest Park: Chongqing People's Park 102
3.4. The Aesthetic Level: Poetic and Productive Imagery 112
3.4.1. Nationalism Park: Poetic Imagery 112
3.4.2. Culture Rest Park: Productive Imagery 120
Ⅳ. CITY BEAUTIFUL MOVEMENT IN CHINA: 1978 - 2000 125
4.1. The Context of City Beautiful Movement in China 125
4.1.1. Economic Growth and Environmental Construction 125
4.1.2. The Enactment of the Law and Ecological Concept 127
4.2. The Archetypal Level: The Archetype Imagery of Geometric 131
4.2.1. Anthropomorphism as a Universality of Western Culture 131
4.2.2. The Ideal of Geometric: The Eternity of Heaven 134
4.3. The Symbol Level: Power Dialogue 136
4.3.1. Dalian City's Large Scale Square 136
4.3.2. Dayan Pagoda Culture Square 140
4.4. The Aesthetic Level: Symptomatic Imagery 145
Ⅴ. ECOLOGICAL PLAN: 2000-Present 150
5.1. The Context of Ecological Plan: Ecological Crisis, Sustainable Development, and Ecological Civilization 150
5.1.1. Ecological Crisis and Drosscape Generation 150
5.1.2. Globalization, Sustainable Development and Ecological Civilization 155
5.1.3. The Refinement and Improvement of Landscape Legal Regulations: Eco-Garden City, Forest City, Sponge City, Park City 160
5.2. The Archetypal Level: The Archetype Imagery of Pluralism 168
5.2.1. Deconstruction as the Universality of Post-modernism 168
5.2.2. The Ideal of Pluralism: Cooperation, Adaptation, and Harmony with Nature 173
5.3. The Symbol Level: Nature, Past, and Production Dialogue 175
5.3.1. Drosscape: Zhongshan Qijiang Park and Tianjin Qiaoyuan Park 177
5.3.2. Urban Event Landscape: Beijing Olympic Forest Park 188
5.3.3. Drosscape and Urban Event Landscape: Shanghai Houtan Park and Quarry Garden 192
5.3.4. Sponge City: Sanya Mangrove Wetland Park 203
5.3.5. Sponge City and Cultural Landscape: Xiaoyan Pagoda Historical and Cultural Restoration 209
5.4. The Aesthetic Level: Vertical Imagery 222
5.4.1. The Aesthetic Imagery of Naturalism and Ecology 222
5.4.2. The Aesthetic Imagery of Shan-shui and Ecology 226
5.4.3. The Aesthetic Imagery of Post-industrial and Ecology 229
5.4.4. The Universality of Pluralism Aesthetic Imagery 232
Ⅵ. DISCUSSION 236
6.1. The Context Level: From Soviet Model to Ecological Plan 236
6.2. The Archetypal Level: From Shan-shui and Socialism to Pluralism 239
6.3. The Symbol Level: From Nature, History and Past to Nature, History, and Production 241
6.4. The Aesthetic Level: From Poetic and Productive Imagery to Vertical Imagery 244
6.5. The Research Limitation 246
Ⅶ. CONCLUSION 248
Reference 254
논문요약 271
Table 3.1. The language of landscape in nationalism and cultural rest park 111
Table 4.1. The language of landscape in City Beautiful Movement in China 144
Table 5.1. The language's elements of the language of landscape in ecological plan 216
Table 5.2. The speech and rhetoric in the language of landscape in the ecological plan 220
Table 6.1. The landscape target under the social context in contemporary China 238
Table 6.2. The imagery generation under the different social context 240
Table 6.3. The imagery expression in three historical stages: the language of landscape 243
Table 6.4. The imagery appreciation in three historical stages: the aesthetic imagery 245
Figure 1.1. The Research Structure 39
Figure 2.1. The paradise archetype imagery of Islamic Garden: Bajas del Generalife 49
Figure 2.2. The archetypae imagery in Chinese scholar garden: mountain and water 49
Figure 2.3. The modify and subordinating grammar of Parc de Sceaus and the agreeing and corresponding grammar of riverbank. 53
Figure 2.4. The theoretical framework of the language of landscape 55
Figure 3.1. The location of Hua Gang Guan Yu Park 93
Figure 3.2. Landscape painting of Hua Gang Guan Yu, painted by Ma Yuan 93
Figure 3.3. The master plan of Hua Gang Guan Yu Park 94
Figure 3.4. The main entrance for Hua Gang Guan Yu Park 96
Figure 3.5. Traditional Chinese window patterns - "Bu Bu Jin" 96
Figure 3.6. The flying eave and bird's wing 97
Figure 3.7. Emphasis placement: A wooden promenade on the bank of a fish pond 98
Figure 3.8. The fish pond in Hua Gang Guan Yu Park 98
Figure 3.9. A distant view of the fish pond in Hua Gang Guan Yu Park 99
Figure 3.10. Emphasis placement: Half-moon shaped arch bridge 100
Figure 3.11. Peony and Stone in Chinese traditional painting and Peony Garden 100
Figure 3.12. The location of Chongqing City 104
Figure 3.13. Aerial view of Chongqing People's Park and its topographic features 105
Figure 3.14. The first level of Chongqing People's Park: cultural, educational and public facilities, sports facilities, and children's activities 106
Figure 3.15. Boundary, path, and gateway space that links the first and second levels in Chongqing People's Park 107
Figure 3.16. The second level of Chongqing People's Park and the weekend flower and bird market 108
Figure 3.17. The third level of Chongqing People's Park: stone hexagonal planters, Chongqing firefighters monument and Sichuan revolutionary martyrs monument 109
Figure 4.1. Anthropomorphism: Abstract human proportions and geometry 132
Figure 4.2. The location of Dalian City 136
Figure 4.3. Geometric square shape of Dalian People's Square 138
Figure 4.4. The ellipse shape of Xinghai Square 139
Figure 4.5. Control of the Horizon and Artificial Fountains: Dalian Xinghai Square and French Gardens 139
Figure 4.6. The location of Dayan pagoda 141
Figure 4.7. The none of landscape in Dayan Pagoda Cultural Square 142
Figure 4.8. The progressive placement of fountain in Dayan Pagoda Cultural Square 143
Figure 4.9. Symptomatic imagery: The crisscross geometic shape of humanistic metaphors rooted in West andpresence in China 148
Figure 5.1. The urbanization rate in China 153
Figure 5.2. The location of Zhongshan Qijiang Park 177
Figure 5.3. The master plan of Zhongshan Qijiang Park 178
Figure 5.4. The image of abandoned Yuezhong Shiyard 178
Figure 5.5. Railroad track crossed diagonally through Gijiang Park to form a main pathway 179
Figure 5.6. Paths intersecting the tracks diagonally, grid-shape hedges, and white columns running parallel to the tracks 180
Figure 5.7. The red box at the intersection of the diagonal crossroads and the internal water-friendly space 180
Figure 5.8. Refuge space created by steel frame structure 181
Figure 5.9. Grid-shaped concrete trestle bridge on the bank of the Gijiang River 182
Figure 5.10. The periphery of Gijiang Park and two water towers 183
Figure 5.11. The location of Qiaoyuan Park 184
Figure 5.12. Site before transformation and master plan after transformation 185
Figure 5.13. Irregular low-lying water bubbles in Qiaoyuan Park 186
Figure 5.14. Wooden trestle bridge in the pond 187
Figure 5.15. The location of Beijing City 188
Figure 5.16. The central axis of Beijing City 189
Figure 5.17. The master plan of Beijing Olympic Forest Park and the dragon-shaped artificial water body 190
Figure 5.18. The Yangshan and natural environment in Oympic Forest Park 190
Figure 5.19. The location of Shanghai City 192
Figure 5.20. The master plan of Houtan Park 193
Figure 5.21. The pre-existing conditions of the site 193
Figure 5.22. The language elements for Shanghai Houtan Park 194
Figure 5.23. The rust steel made refuge and meeting place in Houtan Park 195
Figure 5.24. The dialogue of nature, past, and production in Houtan Park 196
Figure 5.25. The location of Quarry Garden 197
Figure 5.26. The pre-existing conditions of the site 197
Figure 5.27. The master plan of Quarry Garden 198
Figure 5.28. The refuge and prospect view of Quarry No. 1 199
Figure 5.29. Aquatic and Wet Plant Garden at Quarry 2 200
Figure 5.30. Mining production equipment is maintained in Quarry 6 201
Figure 5.31. Pluralism archetype' invention and deconstruction: geometric agape bridge, and mountain and water 202
Figure 5.32. The location of Sanya City 203
Figure 5.33. The pre-existing condition of Sanya City: polluted water system, concrete flood walls, and trash 204
Figure 5.34. The master plan of Sanya Wetland Park 205
Figure 5.35. Finger-shaped mangrove wetland in Sanya Mangrove Wetland Park 206
Figure 5.36. The concrete boundary and path in Sanya Mangrove Wetland Park 207
Figure 5.37. The refuge and prospect of concrete pavilion, plants, water, and mountain as the background of the Sanya Mangrove Wetland Park 208
Figure 5.38. The location of Xiaoyan pagoda 209
Figure 5.39. The relationship between the Xiaoyan Pagoda cultural and historical area and Xi'an City 210
Figure 5.40. The location of Dayan Pagoda and Xiaoyan Pagoda in Xi'an City 211
Figure 5.41. The south square of The Xiaoyan Pagoda's cultural and historical renovation 212
Figure 5.42. The shadow of Dayan Pagoda and Xiaoyan Pagoda on the ground 212
Figure 5.43. The urban texture of ancient Xi'an City and the pavement's detail 213
Figure 5.44. The Sponge waterbody in Xiaoyan Pagoda's renovation area 214