Spring, Locksley Hall

Locksley Hall, that in the distance overlooks the sandy tracts,
And the hollow ocean-ridges roaring into cataracts.

Many a night from yonder ivied casement, ere I went to rest,
Did I look on great Orion sloping slowly to the West.

Many a night I saw the Pleiads, rising thro’ the mellow shade,
Glitter like a swarm of fire-flies tangled in a silver braid.

Here about the beach I wander’d, nourishing a youth sublime
With the fairy tales of science, and the long result of Time;

When the centuries behind me like a fruitful land reposed;
When I clung to all the present for the promise that it closed:

When I dipt into the future far as human eye could see;
Saw the Vision of the world and all the wonder that would be.—

In the Spring a fuller crimson comes upon the robin’s breast;
In the Spring the wanton lapwing gets himself another crest;

In the Spring a livelier iris changes on the burnish’d dove;
In the Spring a young man’s fancy lightly turns to thoughts of love.

— Alfred, Lord Tennyson

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The toads were photographed ten years ago. Since toads return to their birth and breeding sites to breed, it is likely that someone today is seeing something similar at this pond in Gangtok, Sikkim.

Moon gates and dragon walls

I like to enter China through Shanghai. In my mind this is ChinaLite; many people can speak English, they are used to tourists, and the city is a mash up of old and picturesque China and the brash new China. We’d given ourselves a day of indulgence, full blown tourist treatment, before traveling on. Our hotel was a five minute walk from the famous 16th century Garden of Peace and Comfort: more popularly known as the Yu garden, 豫园. We had a long breakfast and walked over to the garden.

In this SaturdayLite post I wanted to show you that the garden is not just a place for foreign tourists. Nothing in China is. Just as in India, the local crowd of tourists far outnumbers foreigners. I did a bit of guerilla photography, but the trio posing at the moon gate in the featured photo noticed us. We had a nice conversation: their sentences peppered with a few words of English, ours with a word or two of Putonghua. We established that they were from Shanghai, and we were from India. We walked through parts of the garden at roughly the same pace, and they continued to point out interesting things to us.

This moon gate is not typical, since there is a closed door behind it. But I like it for another reason: the lattice work on the door behind it (visible through the glass) is typically Chinese. When you look carefully at it you notice that the symmetry is very subtle. The top and bottom halves are not simply copies of each other. This subtlety, the refusal of obvious symmetries, is a hallmark of Chinese art and architecture.

So many more aesthetic alternatives become available when you reject symmetries. One example is in the undulating walls which separate different sections of the garden. When you look carefully above the gates which open in the walls, you notice that the undulations are the bodies of dragons; their heads are seen above the gates which pierce the wall. The one in the photo above shows a little toad below the dragon. Many animals in Chinese architecture seem to have symbolic value. The toad symbolizes longevity. Together with the dragon, it symbolized a long life full of good fortune. A very appropriate symbol for a garden of peace and comfort.