A Chinese Courtyard in the Style of the Ming Dynasty





A Chinese Courtyard in the Style of the Ming Dynasty

This object is a demonstration of the understanding that exists between the traditional Chinese heritage and that of America. This object is a physical depiction of the effects of cultural exchange because it was constructed by trained traditional Chinese engineers to express the childhood of Brooke Russell Astor who is an American (Cheng, Qing, and Tomlan 33). The primary discussions started in 1977 and after evaluations by some people on the prototype and the expected conclusion, the location, design, expertise and the labor were agreed. The object demonstrates the availability of time, expertise, skill and from the gate, the object’s surrounding makes it possible to view the place from some vantage points.

The architectural features of the place comprise of a garden, corridor, tiled roof that is grey in color and held intact by the use of columns of nanm wood that is clear-coated. Other features include a cold Spring Pavilion with a spring bubbling out of the rocks and flowing to a pool (Minford, John, and Lau 27). There are also rocks that appear eroded with the intention to create an outdoors effect resembling mountains. The area and the buildings have windows, which are of a different design to prevent boredom, and these very windows have aspects of green from Chinese grass, bamboo, and banana trees among others.

The object also has a particular section that displays a furniture area such that it is complete with tiled roofs and shuttered doors and windows. In the same place, a collection of domestic hardwood from the Ming dynasty period tends to display another cultural aspect of the dynasty’s culture. This object is an open and serene environment that shows an introduction to some of the Chinese exhibitions due to the selection carefully chosen for a demonstration in the museum that relates to around the time (Minford, John, and Lau 34). In addition, the space chosen is compact and small in size that makes it easy to analyze and relate all the surrounding areas within the area of 59 feet by 40. It is an ideal space for any operation and a chance to explore one of the many Chinese cultures at a go with a great collection of culture and traditional makeups.

In the walls that surround this place are a number of Chinese paintings and calligraphy that further make the place appear more cultural oriented and the paintings are done with the materials used at the time when such buildings and surroundings existed. This means therefore that there are a brush and black ink with a paper display to this effect (Minford, John, and Lau 31). In addition, other alternatives to the materials were used at the time among them being the carving tools and other spectacular objects that show the development and advancement of the Chinese architecture. Even in the particular area, the same can be seen because the area must have involved a specific style and artistic approach. There are other exhibitions from different collections of Chinese art and signs that there is continued care and reconstruction of the area.

Overall, the entire experience creates a very special connection to the Chinese culture and people for the foreign visitors and a sense of belonging to the Chinese in the Diaspora (Cheng, Qing, and Tomlan 40). The art and the entire place looks and feels legit and sophisticated hence valuable knowledge of what the Ming-dynasty was about adding through a present day demonstration of the era. Every individual is given an opportunity to interact with the area meaning that it is educative and highly inspiring especially when it comes to comparing the American cultural objects in the museum.

Works Cited

Cheng, Qing, and Michael Tomlan. East Meets West: Interpreting Chinese Historic Architecture in American Museums. 2015. Print.

Minford, John, and Joseph S. M. Lau. Classical Chinese Literature. New York: Columbia University Press, 2010. Print.


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