The Textbook of Architecture

Rules · Site · Optics · Theory

Borrowed scenery

Draw into the garden the views beyond its walls: a distant hill, a neighbour’s trees, a temple roof, the sky above and the water below, and the changes of the seasons. Adapt the design to the site and borrow from what lies round it.

A scholar’s garden whose walls frame a pagoda and hills beyond: borrowed scenery. Open in Models ↗

Ji Cheng opens his essay on gardens with two words: yin, to follow, and jie, to borrow. To follow is to let the site decide the design, placing a pavilion where the ground invites it and water where it lies; to borrow is to take into the garden what lies outside it. The last chapter of the Yuanye calls borrowing views the most important thing in the making of a garden and names its kinds: borrowing what is far off, such as mountains; what is near, such as a neighbour’s trees; what is above, the sky and birds; what is below, water and fish; and what comes with the seasons.

In Suzhou the Humble Administrator’s Garden borrows the pagoda of the North Temple, seen above its trees; at Wuxi the Jichang Yuan borrows the hill behind it. The Japanese call the device shakkei and used it at Tenryū-ji, Entsū-ji, whose garden frames Mount Hiei, and Shūgaku-in. Its effect is to make a small walled garden part of a larger landscape, without its walls being seen.

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Cite this page Chris Paton, “Borrowed scenery”, The Textbook of Architecture, https://textbookofarchitecture.com/rule/yuanye-borrowed-scenery. Text, drawings and models licensed under CC BY-NC 4.0.