An Explanatory Discourse by Tan Chet-qua of Quang-chew-fu, Gent
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An Explanatory Discourse by Tan Chet-qua of Quang-chew-fu, Gent - Sir William Chambers
William Sir Chambers
An Explanatory Discourse by Tan Chet-qua of Quang-chew-fu, Gent
Published by Good Press, 2022
goodpress@okpublishing.info
EAN 4064066205409
Table of Contents
INTRODUCTION
A
DISSERTATION
ORIENTAL GARDENING ;
S r : WILLIAM CHAMBERS, Kn t
DISSERTATION
ORIENTAL GARDENING ;
S R WILLIAM CHAMBERS,
Comptroller-General of his Majesty's Works , &c.
the SECOND EDITION, with ADDITIONS.
AN EXPLANATORY DISCOURSE,
EXPLANATORY DISCOURSE,
TAN CHET-QUA,
Quang-Chew-fu, Gent. FRSS, MRAAP;
MIAAF, TRA, CGHMW and ATTQ.
The Principles laid down in the Foregoing Dissertation , are illustrated and applied to Practice .
PREFACE.
Introduction.
DISCOURSE, &c.
FINIS.
INTRODUCTION
Table of Contents
This Explanatory Discourse
first appeared, in the latter part of March 1773, annexed to the second and last edition of Sir William Chambers' Dissertation on Oriental Gardening of the preceding May. As an effort, curiously hedged, to impersonate a Chinese spokesman it seeks to exploit the satiric vantage points of philosophic naivety and trenchant candor enjoyed by Goldsmith's observer Lien Chi Altangi in London a dozen years earlier. But Chambers' ventriloquism is both more defensive and more aggressive than what we find in The Citizen of the World; the Preface here in his own voice admits sensitivity to the abuse
which the Dissertation had incurred for its scenic fantasy, its brief opening and closing attacks on Capability
Brown, and its pervasive criticism of the blandness of Brownian landscaping. By assuming the voice of Tan Chet-qua Chambers is able to pretend to more authoritative familiarity with actual Chinese gardens even as he deplores his readers' misapprehension that his interest lay mainly in masquerade, entertainment, or the mere recital of a traveller's observation
(p. 113). It was probably a strategic error to entrust the substance of his genuine and quite respectable challenging of Brownian style, to what he terms the vehicle
of alleged first-hand reports of preferable Chinese
lay-outs. By this date, some two decades after the chinoiserie fad had crested in England, most of his readers might fairly be termed rather jaded. They preferred to overreact to the frivolity and whimsey they had come to think essentially Chinese, rather than to ponder what Chambers seriously urges from behind his silken screen
: his interest in a variegated emotional response to deliberately variegated landscape. An admirer of Burke's Sublime, Chambers saw advantage in complicating the suavity of Brown's gentle contours, shaven lawns, free-form reflecting lakes, and still short tree-clumps, through a program of landscaped stimulation of contrasting associative moods. This is the essence of that argument which Chambers cloathed ... in the garb of fiction, to secure it a patient hearing
(p. 112) in three publications appearing over sixteen years. There is no evidence that he was better understood through publication of this Discourse,
the last of the three.[1]
Of course, it is not as a satirist, an aesthetician of landscape, or even as a masquerading orientalist that Sir William Chambers (1723-96) has been best known in his time and since: with Robert Adam, he led the British architectural profession virtually from the time he undertook his first commissions around 1757. The two buildings for which he is justly best remembered are the Chinese Pagoda at Kew Gardens and Somerset House, between London's Strand and Waterloo Bridge. Yet from that solid Palladian structure now housing the General Register Office it takes more than the dozen miles up Thames to reach the pagoda which in 1762 reared its eighty bright wing-displaying dragons on ten successive roofs, and from the height of fifty meters flashed its glazed tiles across suburbia. Chambers developed simultaneously and maintained through his career two contrasted sensibilities. The dignified town house he designed for his family in 1764 fronted Berners Street with a massive rusticated doorway, yet had interior chimney-pieces and a rear elevation modelled in fanciful
papier-mâché which his biographer John Harris supposes was painted and varnished chinoiserie. He made his way to the top of his profession and earned royal recognition through tectonic skills that absorbed him with Somerset House, for instance, during the last two decades of his life. But as early as 1752 he had