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erfall, see also cascade, NARCISSUS aterfall; natural and imaginal, 109; aterfalls in garden, 109 teau, Jean-Antoine, Fêtes Vénitiennes, 65, 57n20, 261n70, 282n23; fig. 45 ts, Alan, 19, 254n48, 272n62 l, Simone, 15, 157–58; and being rooted absence of place, 158, 275n20; and ecreation, 158, 274n75; and ‘every paration is a link’, 15, 269n9; and metaxu,

, 252n23 te, Kenneth, 271n41 ckelmann, Johann, and ‘calm grandeur nd noble simplicity’, 19, 185, 254n47; and ude, 268n23 dom, and ‘condition of complete mplicity’, 157; and Fudō, 268n19; of security, 19, 146, 272n6; and ‘measure’, 18, 4, 146, 188, 219, 224, 254n41, 272n58; and arcissus, 141–43; and ‘sage-lake’, 138–40, 2 , 143; and self-effacement, 39, 270n35; nd self-knowledge, 141, 270n35; teachings,

19; and Themis, 219, 224 e passiveness, and Wordsworth, 252n27; nd Zhuangzi, 138, 140 eman, Peter, 28 hdrawal, see also ensimismamiento, tsim um; and caesura, 188; and enclosure, 60; nd gardens as retreats, 260n53; of God, 56n7, 276n61; of mind in Marvell’s The arden, 275n22; and Ortega y Gasset, 60, 60n53; of space, 111 heridge, church tower, 215; parish oundary, 214; tithe map, 34 tgenstein, Ludwig, and ‘aspect-blindness’,

, 252n21 tkower, Rudolf, and Michelangelo’s Ricetto, 73n70; and Palladio, 267n8 fson, Elliot R., 104n40, 106n54 olf, Virginia, 283n25 dsworth, William, 133; and being at a ss, 256n7; and darkness, 145, 271n47; nd ‘halted traveler’, 264n40; and lakes, 3, 268 epigraph 2, 269n23; and puer, 82, 63n14; Resolution and Independence, 275n44; nd tyranny of the eye, 255n15; and wise assiveness, 252n27, 275n44 nd, and Chiron, 201, 204; contagion

, 95; and contradictions, 280n4; and ORENZUELA look-out, 207; and daoshu, 6; and ‘decreative’ conscience, 151; and ionysos, 95, 100; and DISTRESS RETORT, 1; and Hermes, 60, 260n56; and lake, 19, 2, 100, 140, 146, 150; and Narcissus, 145; nd Orpheus, 281n25; and patience, 151;

premise for redemption, 95, 269n1, 76n60,n61; and Psyche, 95; and puer, 82–84, 3, 95; and soul, 146; and time, 68; and valley, 5, 100, 188; and witness of imagination, 145; ounded classicism of garden, 19; wounded ealer, 201, 204; ‘wounded pulse that probes e other side’, 151 wei, see also Gelassenheit, self-effacement, otive gesture; as conceptual metaphor nd spiritual ideal in early China, 264n39; ymology of, 272–73n65; and Gelassenheit, 64n39; and pou sto, 255n8

see also ‘Beginner’s Mind’, Buddhism, ōgen, Zen Bens; gardens, 55; and eidegger, 272n65; and Kannon and Fudō ones, 268n19; and lawn, 124; and luminous oid, 265n45; and ‘Right Attitude’, 270n27; nd true practice, 141, 270n35 Bens, garden plan O, 102, 106, 221, 265n59; nd Buddhist’s ‘Pure Land’, 106; and colon, 21; constructed 2001, 219; and fi eldscape, 2, 215; and half-moon pond, 220; fi g. 192

zero, 221; grounding degree zero, 100; and ‘O’s in Celan inscriptions, 156; and quoit, 211; reinvention of garden from, 100; and Writing degree zero, 265n51 Zeus, 36, 256n1, 258n8, 262n5, 263n17, 266n72,

279n17; and Chiron, 204; and Danaë, 69; and Dionysos, 106, 258n9; and Hades, 275n15; and the Horae, 226; and Kairos, 268n21; and Persephone, 169; and Themis, 213, 282n12; and Zigzag path, 191, 210 Zhuangzi (Chuang-Tzû), 269n8; and daoshu,

254n49, 272n58; and level, 134; and lakes, 134, 138, 139; and ‘representatives of the normative order’, 140, 270n30; and ‘tenuous chamber’, 272n64; and valley, 254n50 Zigzag path, garden plan H, 76, 155; and

Assumption of valley, 234; and caesura in lawn, 191; connects height and depth, 210; and how EOS is read from garden, 99, 211; and fieldscape, 215; and Heraclitus, 210–11; and Jacob’s Ladder, 211; laid out in 2000, 209; lever that lifts garden, 211; and Pan’s diagonal unrest, 213; and PASTORAL LOOP, 209; and rotation of psychic energy, 210; and THEMIS path ‘Z’, 213; and Zeus’ thunderbolt, 191, 210; fi gs 184, 185, 229 ZOLFO, garden plan 19, 50, 158, 159, 162, 164–

66*; and alchemy, 158, 164–66; and IOSIS, 164, 165; and Pan, 162, 164; planting, 164–65; and sulphur, 162, 164, 165–66; and SYRINX, 158, 162; fi gs 131 ,132, 135 Zwischenreich, 15

PICTURE CREDITS With the exception of those listed here, all the photographs in this book are either in the public domain or copyright © Alasdair Forbes. The publishers have made every effort to contact holders of copyright works. Any copyright holders we have been unable to reach are invited to contact the publishers so that a full acknowledgement may be given in subsequent editions. For permission to reproduce the images below, the publishers would like to thank the following: Figs 1, 2, 28, 48, 72, 94: RHS / Neil Hepworth Photography Figs 4, 40, 42, 59, 61, 73, 100, 133, 183, 187, 189: Andrew Lawson Photography Figs 11, 64, 185, 197: Jo Whitworth Photography Fig. 27: Charles Hawes Photography Fig. 101: Derek Partridge Fig. 156: Olivia Sanders Fig. 248: Alex Ramsay Photography / Alamy

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