Landscape

Source: Wikipedia, the free encyclopedia.
Taiga (boreal forest), Alaska
The Aletsch Glacier, the largest glacier in the Swiss Alps
Large fields of modern farmland, Dorset, England

A landscape is the visible features of an area of

water bodies such as rivers, lakes, ponds and the sea, living elements of land cover including indigenous vegetation, human elements including different forms of land use, buildings, and structures, and transitory elements such as lighting and weather conditions. Combining both their physical origins and the cultural overlay of human presence, often created over millennia, landscapes reflect a living synthesis of people and place that is vital to local and national identity
.

The character of a landscape helps define the self-image of the people who inhabit it and a sense of place that differentiates one region from other regions. It is the dynamic backdrop to people's lives. Landscape can be as varied as farmland, a

tropical regions. The activity of modifying the visible features of an area of land is referred to as landscaping
.

Definition and etymology

National Museum in Warsaw
, Poland)
A typical Dutch landscape in South Holland

There are several definitions of what constitutes a landscape, depending on context.

aesthetic appeal, or to a pictorial representation of an area of countryside, specifically within the genre of landscape painting. When people deliberately improve the aesthetic appearance of a piece of land—by changing contours and vegetation, etc.—it is said to have been landscaped,[1]
though the result may not constitute a landscape according to some definitions.

The word landscape (landscipe or landscaef) arrived in England—and therefore into the English language—after the fifth century, following the arrival of the Anglo-Saxons; these terms referred to a system of human-made spaces on the land. The term landscape emerged around the turn of the sixteenth century to denote a painting whose primary subject matter was natural scenery.[3] Land (a word from Germanic origin) may be taken in its sense of something to which people belong (as in England being the land of the English).[4] The suffix -scape is equivalent to the more common English suffix -ship.[4] The roots of -ship are etymologically akin to Old English sceppan or scyppan, meaning to shape. The suffix -schaft is related to the verb schaffen, so that -ship and shape are also etymologically linked. The modern form of the word, with its connotations of scenery, appeared in the late sixteenth century when the term landschap was introduced by Dutch painters who used it to refer to paintings of inland natural or rural scenery. The word landscape, first recorded in 1598, was borrowed from a Dutch painters' term.[5] The popular conception of the landscape that is reflected in dictionaries conveys both a particular and a general meaning, the particular referring to an area of the Earth's surface and the general being that which can be seen by an observer. An example of this second usage can be found as early as 1662 in the Book of Common Prayer:

Could we but climb where Moses stood,
And view the landscape over.
(General Hymns, verse 536).[6]
Kukle, Czech Republic
Pre-Pyrenees and Pyrenees

There are several words that are frequently associated with the word landscape:

  • Scenery: The natural features of a landscape considered in terms of their appearance, esp. when picturesque: spectacular views of mountain scenery.[1]
  • geographic location in which a story takes place, and helps initiate the main backdrop and mood for a story.[7]
  • Picturesque: The word literally means "in the manner of a picture; fit to be made into a picture", and used as early as 1703 (Oxford English Dictionary), and derived from an Italian term pittoresco, "in the manner of a painter". Gilpin's Essay on Prints (1768) defined picturesque as "a term expressive of that peculiar kind of beauty, which is agreeable in a picture" (p. xii).
  • A view: "A sight or prospect of some landscape or extended scene; an extent or area covered by the eye from one point" (OED).
  • Wilderness: An uncultivated, uninhabited, and inhospitable region.[1] See also Natural landscape.
  • Cityscape (also townscape): The urban equivalent of a landscape. In the visual arts a cityscape (urban landscape) is an artistic representation, such as a painting, drawing, print or photograph, of the physical aspects of a city or urban area.
  • Seascape: A photograph, painting, or other work of art which depicts the sea, in other words an example of marine art.

Physical landscape

Geomorphology: The physical evolution of landscape

bathymetric features created by physical or chemical processes operating at or near Earth's surface. Geomorphologists seek to understand why landscapes look the way they do, to understand landform history and dynamics and to predict changes through a combination of field observations, physical experiments and numerical modeling. Geomorphology is practiced within physical geography, geology, geodesy, engineering geology, archaeology and geotechnical engineering. This broad base of interests contributes to many research styles and interests within the field.[8]

The surface of

sedimentary basins where the surface of Earth drops and is filled with material eroded from other parts of the landscape. The Earth surface and its topography therefore are an intersection of climatic, hydrologic, and biologic
action with geologic processes.

List of different types of landscape

Desert, Plain, Taiga, Tundra, Wetland, Mountain, Mountain range, Cliff, Coast, Littoral zone, Glacier, Polar regions of Earth, Shrubland, Forest, Rainforest, Woodland, Jungle, Moors, Steppe, Valley.

Panorama of the Chaîne des Puys from Puy de Dôme in winter. Massif Central, France. An example of how past volcanic activity shaped a landscape

Landscape ecology

Landscape ecology is the science of studying and improving relationships between ecological processes in the environment and particular ecosystems. This is done within a variety of landscape scales, development spatial patterns, and organizational levels of research and policy.[9][10][11]

Landscape is a central concept in landscape ecology. It is, however, defined in quite different ways. For example:[12] Carl Troll conceives of landscape not as a mental construct but as an objectively given 'organic entity', a harmonic individuum of space.[13] Ernst Neef[14] defines landscapes as sections within the uninterrupted earth-wide interconnection of geofactors which are defined as such on the basis of their uniformity in terms of a specific land use, and are thus defined in an anthropocentric and relativistic way.

According to

Richard Forman and Michael Godron,[15]
a landscape is a heterogeneous land area composed of a cluster of interacting ecosystems that is repeated in similar form throughout, whereby they list woods, meadows, marshes and villages as examples of a landscape's ecosystems, and state that a landscape is an area at least a few kilometres wide.
John A. Wiens[16] opposes the traditional view expounded by Carl Troll, Isaak S. Zonneveld, Zev Naveh, Richard T. T. Forman/Michel Godron and others that landscapes are arenas in which humans interact with their environments on a kilometre-wide scale; instead, he defines 'landscape'—regardless of scale—as "the template on which spatial patterns influence ecological processes".[17]
Some define 'landscape' as an area containing two or more ecosystems in close proximity.[18]

Landscape science

The discipline of landscape science has been described as "bring[ing] landscape ecology and urban ecology together with other disciplines and cross-disciplinary fields to identify patterns and understand social-ecological processes influencing landscape change".

land use change and data pertaining to land resources at the landscape scale".[21] The Great Soviet Encyclopedia of 1979 defines landscape science as "the branch of physical geography that deals with natural territorial complexes (or geographic complexes, geosystems) as structural parts of the earth's geographic mantle" and states that "The basis of landscape science is the theory that the geographic landscape is the primary element in the physicogeo-graphical differentiation of the earth. Landscape science deals with the origin, structure, and dynamics of landscapes, the laws of the development and arrangement of landscapes, and the transformation of landscapes by the economic activity of man.", and asserts that it was founded in Russia in the early 20th century by L. S. Berg and others, and outside Russia by the German S. Passarge.[22]

Integrated landscape management

ecosystem services.[24] This approach draws on landscape ecology, as well as many related fields that also seek to integrate different land uses and users, such as watershed management.[23]

Proponents of integrated landscape management argue that it is well-suited to address complex global challenges, such as those that are the focus of the

UN Environment Programme states that "UNEP champions the landscape approach de facto as it embodies the main elements of integrated ecosystem management
".

Landscape archaeology

Wood Stanway, Gloucestershire
, England.

Landscape archaeology or

Cultural landscapes, on the other hand, are environments that have been altered in some manner by people (including temporary structures and places, such as campsites, that are created by human beings).[31] Among archaeologists, the term landscape can refer to the meanings and alterations people mark onto their surroundings.[31][32] As such, landscape archaeology is often employed to study the human use of land over extensive periods of time.[32][33]
Landscape archaeology can be summed up by Nicole Branton's statement:

"the landscapes in landscape archaeology may be as small as a single household or garden or as large as an empire", and "although resource exploitation, class, and power are frequent topics of landscape archaeology, landscape approaches are concerned with spatial, not necessarily ecological or economic, relationships. While similar to settlement archaeology and ecological archaeology, landscape approaches model places and spaces as dynamic participants in past behavior, not merely setting (affecting human action), or artifact (affected by human action)".[29]

Cultural landscape

The Batad rice terraces, The Rice Terraces of the Philippine Cordilleras, the first site to be included in the UNESCO World Heritage List cultural landscape category in 1995.[34]

The concept of

landscape painting.[35] From the 16th century onwards, many European artists painted landscapes in favor of people, diminishing the people in their paintings to figures subsumed within broader, regionally specific landscapes.[36]

The geographer Otto Schlüter is credited with having first formally used "cultural landscape" as an academic term in the early 20th century.[37] In 1908, Schlüter argued that by defining geography as a Landschaftskunde (landscape science) this would give geography a logical subject matter shared by no other discipline.[37][38] He defined two forms of landscape: the Urlandschaft (transl. original landscape) or landscape that existed before major human induced changes and the Kulturlandschaft (transl. 'cultural landscape') a landscape created by human culture. The major task of geography was to trace the changes in these two landscapes.

It was Carl O. Sauer, a human geographer, who was probably the most influential in promoting and developing the idea of cultural landscapes.[39] Sauer was determined to stress the agency of culture as a force in shaping the visible features of the Earth's surface in delimited areas. Within his definition, the physical environment retains a central significance, as the medium with and through which human cultures act.[40] His classic definition of a 'cultural landscape' reads as follows:

The cultural landscape is fashioned from a natural landscape by a cultural group. Culture is the agent, the natural area is the medium, the cultural landscape is the result.

A cultural landscape, as defined by the World Heritage Committee, is the "cultural properties [that] represent the combined works of nature and of man."[41]

The World Heritage Committee identifies three categories of cultural landscape, ranging from (i) those landscapes most deliberately 'shaped' by people, through (ii) full range of 'combined' works, to (iii) those least evidently 'shaped' by people (yet highly valued). The three categories extracted from the Committee's Operational Guidelines, are as follows:[42]

  1. "A landscape designed and created intentionally by man";
  2. an "organically evolved landscape" which may be a "relict (or fossil) landscape" or a "continuing landscape"; and
  3. an "associative cultural landscape" which may be valued because of the "religious, artistic or cultural associations of the natural element".

Human conceptions and representations of landscape

Landscape gardens

Stourhead garden, Wiltshire, England
Jichang Garden in Wuxi (1506–1521)

The Chinese garden is a landscape garden style which has evolved over three thousand years. It includes both the vast gardens of the Chinese emperors and members of the Imperial Family, built for pleasure and to impress, and the more intimate gardens created by scholars, poets, former government officials, soldiers and merchants, made for reflection and escape from the outside world. They create an idealized miniature landscape, which is meant to express the harmony that should exist between man and nature.[43] A typical Chinese garden is enclosed by walls and includes one or more ponds,

scholar's rocks, trees and flowers, and an assortment of halls and pavilions within the garden, connected by winding paths and zig-zag galleries. By moving from structure to structure, visitors can view a series of carefully composed scenes, unrolling like a scroll of landscape paintings.[44]

The

Chinese gardens of the East,[46] which had recently been described by European travellers and were realized in the Anglo-Chinese garden,[46] and the philosophy of Jean-Jacques Rousseau
(1712 – 1778).

The English garden usually included a lake, sweeps of gently rolling lawns set against groves of trees, and recreations of classical temples, Gothic ruins, bridges, and other picturesque architecture, designed to recreate an idyllic pastoral landscape. The work of

public parks and gardens which appeared around the world in the 19th century.[47]

Landscape architecture

Central Park, New York City, US, designed by Frederick Law Olmsted.

rural, and with "hard" (built) and "soft" (planted) materials, while paying attention to ecological sustainability
.

For the period before 1800, the history of landscape gardening (later called landscape architecture) is largely that of master planning and

Louis XIV of France. The first person to write of making a landscape was Joseph Addison in 1712. The term landscape architecture was invented by Gilbert Laing Meason in 1828 and was first used as a professional title by Frederick Law Olmsted in 1863. During the latter 19th century, the term landscape architect became used by professional people who designed landscapes. Frederick Law Olmsted used the term 'landscape architecture' as a profession for the first time when designing Central Park, New York City, US. Here the combination of traditional landscape gardening and the emerging field of city planning gave landscape architecture its unique focus. This use of the term landscape architect became established after Frederick Law Olmsted Jr. and others founded the American Society of Landscape Architects
(ASLA) in 1899.

Landscape and literature

The earliest landscape literature

Djabugay language group's mythical being, Damarri, transformed into a mountain range, is seen lying on his back above the Barron River Gorge
, looking upwards to the skies, within north-east Australia's wet tropical forested landscape

Possibly the earliest landscape literature is found in

language groups across Australia. All such myths variously tell significant truths within each Aboriginal group's local landscape. They effectively layer the whole of the Australian continent's topography with cultural nuance and deeper meaning, and empower selected audiences with the accumulated wisdom and knowledge of Australian Aboriginal ancestors back to time immemorial.[49]

In the West pastoral poetry represent the earliest form of landscape literature, though this literary genre presents an idealized landscape peopled by shepherds and shepherdesses, and creates "an image of a peaceful uncorrupted existence; a kind of prelapsarian world".[50] The pastoral has its origins in the works of the Greek poet Theocritus (c. 316 - c. 260 BC). The Romantic period poet William Wordsworth created a modern, more realistic form of pastoral with Michael, A Pastoral Poem (1800).[51]

An early form of landscape poetry, Shanshui poetry, developed in China during the third and fourth centuries A.D.[52]

Vale of Blackmore, the main setting for Thomas Hardy's novel Tess of the d'Urbervilles. Hambledon Hill towards Stourton Tower

Topographical poetry

Lines written a few miles above Tintern Abbey is an obvious example.[54] More recently, Matthew Arnold's "The Scholar Gipsy" (1853) praises the Oxfordshire countryside, and W. H. Auden's "In Praise of Limestone" (1948) uses a limestone landscape as an allegory.[55]

Subgenres of topographical poetry include the

prospect poem, describing the view from a distance or a temporal view into the future, with the sense of opportunity or expectation. When understood broadly as landscape poetry and when assessed from its establishment to the present, topographical poetry can take on many formal situations and types of places. Kenneth Baker, in his "Introduction to The Faber Book of Landscape Poetry, identifies 37 varieties and compiles poems from the 16th through the 20th centuries—from Edmund Spenser to Sylvia Plath—correspondent to each type, from "Walks and Surveys", to "Mountains, Hills, and the View from Above", to "Violation of Nature and the Landscape", to "Spirits and Ghosts."[56]

Common aesthetic registers of which topographical poetry makes use include pastoral imagery, the sublime, and the picturesque, which include images of rivers, ruins, moonlight, birdsong, and clouds, peasants, mountains, caves, and waterscapes.

Though describing a landscape or scenery, topographical poetry often, at least implicitly, addresses a political issue or the meaning of nationality in some way. The description of the landscape therefore becomes a poetic vehicle for a political message. For example, in John Denham's "Cooper's Hill", the speaker discusses the merits of the recently executed Charles I.[57]

The Romantic era in Britain

The Vision on Mount Snowdon

.................................and on the shore
I found myself of a huge sea of mist,
Which meek and silent rested at my feet.
A hundred hills their dusky backs upheaved
All over this still ocean, and beyond,
Far, far beyond, the vapours shot themselves
In headlands, tongues, and promontory shapes, Into the sea, the real sea, that seemed
To dwindle and give up its majesty,
Usurped upon as far as sight could reach.

from The Prelude (1805), Book 13, lines 41-51.
by William Wordsworth

One important aspect of British

The Seasons (1726–30).[60]
The changing landscape, brought about by the
Romantic movement in Britain. The poor condition of workers, the new class conflicts, and the pollution of the environment all led to a reaction against urbanism and industrialisation and a new emphasis on the beauty and value of nature and landscape.[61] However, it was also a revolt against aristocratic social and political norms of the Age of Enlightenment, as well a reaction against the scientific rationalisation of nature.[62]

The poet

Mrs Gaskell, George Eliot, and Thomas Hardy, as well as John Cowper Powys in the 20th-century.[64][65] Margaret Drabble in A Writer's Britain suggests that Thomas Hardy "is perhaps the greatest writer of rural life and landscape" in English.[66]

Europe

Among European writers influenced by Scott were Frenchmen Honoré de Balzac and Alexandre Dumas and Italian Alessandro Manzoni.[67] Manzoni's famous novel The Betrothed was inspired by Walter Scott's Ivanhoe.[68]

North America

Also influenced by Romanticism's approach to landscape was the American novelist

Fenimore Cooper, who was admired by Victor Hugo and Balzac and characterized as the "American Scott."[69]

China

Landscape in

Chuci, but in later poetry the emphasis changed, as in painting to the Shan shui (Chinese: 山水 lit. "mountain-water") style featuring wild mountains, rivers and lakes, rather than landscape as a setting for a human presence.[52] Shanshui poetry traditional Chinese: 山水詩; simplified Chinese: 山水诗 developed in China during the third and fourth centuries AD[52]
and left most of the varied landscapes of China largely unrepresented. Shan shui painting and poetry shows imaginary landscapes, though with features typical of some parts of South China; they remain popular to the present day.

Fields and Gardens poetry (simplified Chinese: 田园诗; traditional Chinese: 田園詩; pinyin: tiányuán shī; Wade–Giles: t'ien-yuan-shih; lit. 'fields and gardens poetry'), in poetry) was a contrasting poetic movement which lasted for centuries, with a focused on the nature found in gardens, in backyards, and in the cultivated countryside. Fields and Gardens poetry is one of many Classical Chinese poetry genres. One of the main practitioners of the Fields and Gardens poetry genre was Tao Yuanming (also known as Tao Qian (365–427), among other names or versions of names).[70] Tao Yuanming has been regarded as the first great poet associated with the Fields and Gardens poetry genre.[71]

Landscape art

The Tetons and the Snake River (1942) photograph by Ansel Adams

Landscape photography

Many landscape photographs show little or no human activity and are created in the pursuit of a pure, unsullied depiction of nature[72] devoid of human influence, instead featuring subjects such as strongly defined landforms, weather, and ambient light. As with most forms of art, the definition of a landscape photograph is broad, and may include urban settings, industrial areas, and nature photography. Notable landscape photographers include Ansel Adams, Galen Rowell, Edward Weston, Ben Heine, Mark Gray and Fred Judge.

Landscape painting

Salomon van Ruisdael
, "View of Deventer" (1657).

The earliest forms of art around the world depict little that could really be called

ancient Roman landscapes survive, from the 1st century BCE onwards, especially frescos of landscapes decorating rooms that have been preserved at archaeological sites of Pompeii, Herculaneum and elsewhere, and mosaics.[74]

The Chinese

ink painting tradition of shan shui
("mountain-water"), or "pure" landscape, in which the only sign of human life is usually a sage, or a glimpse of his hut, uses sophisticated landscape backgrounds to figure subjects, and landscape art of this period retains a classic and much-imitated status within the Chinese tradition.

Both the Roman and Chinese traditions typically show grand panoramas of imaginary landscapes, generally backed with a range of spectacular mountains – in China often with waterfalls and in Rome often including sea, lakes or rivers. These were frequently used to bridge the gap between a foreground scene with figures and a distant panoramic vista, a persistent problem for landscape artists.

A major contrast between landscape painting in the West and East Asia has been that while in the West until the 19th century it occupied a low position in the accepted hierarchy of genres, in East Asia the classic Chinese mountain-water ink painting was traditionally the most prestigious form of visual art. However, in the West, history painting came to require an extensive landscape background where appropriate, so the theory did not entirely work against the development of landscape painting – for several centuries landscapes were regularly promoted to the status of history painting by the addition of small figures to make a narrative scene, typically religious or mythological.

Calvinist society, and the decline of religious painting in the 18th and 19th centuries all over Europe combined with Romanticism
to give landscapes a much greater and more prestigious place in 19th-century art than they had assumed before.

In England, landscapes had initially been mostly backgrounds to portraits, typically suggesting the parks or estates of a landowner, though mostly painted in London by an artist who had never visited the site. the English tradition was founded by Anthony van Dyck and other, mostly Flemish, artists working in England. By the beginning of the 19th century the English artists with the highest modern reputations were mostly dedicated landscapists, showing the wide range of Romantic interpretations of the English landscape found in the works of John Constable, J. M. W. Turner and Samuel Palmer. However all these had difficulty establishing themselves in the contemporary art market, which still preferred history paintings and portraits.[75]

Thomas Cole "The Course of Empire The Arcadian or Pastoral State", US, 1836.
Laurent Guétal, Lac de l'Eychauda, France, 1886, Museum of Grenoble.

In Europe, as

Sir Kenneth Clark confirmed, landscape painting was the "chief artistic creation of the nineteenth century", and "the dominant art", with the result that in the following period people were "apt to assume that the appreciation of natural beauty and the painting of landscape is a normal and enduring part of our spiritual activity"[77]

The Romantic movement intensified the existing interest in landscape art, and remote and wild landscapes, which had been one recurring element in earlier landscape art, now became more prominent. The German

Post-Impressionists
for the first time making landscape painting the main source of general stylistic innovation across all types of painting.

In the United States, the Hudson River School, prominent in the middle to late 19th century, is probably the best-known native development in landscape art. These painters created works of mammoth scale that attempted to capture the epic scope of the landscapes that inspired them. The work of Thomas Cole, the school's generally acknowledged founder, has much in common with the philosophical ideals of European landscape paintings — a kind of secular faith in the spiritual benefits to be gained from the contemplation of natural beauty. Some of the later Hudson River School artists, such as Albert Bierstadt, created less comforting works that placed a greater emphasis (with a great deal of Romantic exaggeration) on the raw, even terrifying power of nature. The best examples of Canadian landscape art can be found in the works of the Group of Seven, prominent in the 1920s.[78] Emily Carr was also closely associated with the Group of Seven, though was never an official member. Although certainly less dominant in the period after World War I, many significant artists still painted landscapes in the wide variety of styles exemplified by Neil Welliver, Alex Katz, Milton Avery, Peter Doig, Andrew Wyeth, David Hockney and Sidney Nolan.

The term neo-romanticism is applied in British art history, to a loosely affiliated school of landscape painting that emerged around 1930 and continued until the early 1950s.[79] These painters looked back to 19th-century artists such as William Blake and Samuel Palmer, but were also influenced by French cubist and post-cubist artists such as Pablo Picasso, André Masson, and Pavel Tchelitchew.[80][81] This movement was motivated in part as a response to the threat of invasion during World War II. Artists particularly associated with the initiation of this movement included Paul Nash, John Piper, Henry Moore, Ivon Hitchens, and especially Graham Sutherland. A younger generation included John Minton, Michael Ayrton, John Craxton, Keith Vaughan, Robert Colquhoun, and Robert MacBryde.[82]

Gallery of landscape paintings from different periods

See also

References

  1. ^ a b c d New Oxford American Dictionary.
  2. ISSN 0264-8377
    .
  3. ^ Olwig K.R., Recovering the Substantive Nature of Landscape, Annals of the A.A.G(1996),86,4,630-653
  4. ^ a b Olwig K.R., Representation and Alienation in the Political Landscape, cultural geographies (2005)12,19-40
  5. ^ Makhzoumi J. and Pungetti G., Ecological Landscape Design and Planning, Spon Routledge,(1999)
  6. ^ Found via Google Ngram
  7. ^ Obstfeld, 2002, p. 1, 65, 115, 171.
  8. .
  9. ^ Wu, J. 2006. Cross-disciplinarity, landscape ecology, and sustainability science. Landscape Ecology 21:1-4.
  10. ^ Wu, J. and R. Hobbs (Eds). 2007. Key Topics in Landscape Ecology. Cambridge University Press, Cambridge.
  11. ^ Wu, J. 2008. Landscape ecology. In: S. E. Jorgensen (ed), Encyclopedia of Ecology. Elsevier, Oxford.
  12. ^ Kirchhoff, T., Trepl, L. and V. Vicenzotti, V. 2012: What is landscape ecology? An analysis and evaluation of six different conceptions. Landscape Research online first.
  13. ^ Troll, C. 2007: The geographic landscape and its investigation. In: Wiens, J.A., Moss, M.R., Turner, M.G. & Mladenoff, D.J. (eds): Foundation papers in landscape ecology. New York, Columbia University Press:71–101 [First published as: Troll, C. 1950: Die geographische Landschaft und ihre Erforschung. Studium Generale 3(4/5):163–181].
  14. ^ Neef, E. 1967: Die theoretischen Grundlagen der Landschaftslehre. Haack, Gotha; cf. Haase, G. and H. Richter 1983: Current trends in landscape research. GeoJournal 7(2):107–119.
  15. ^ Forman, R.T.T. and M. Godron, M. 1981: Patches and structural components for a landscape ecology. BioScience 31(10):733–740; Forman, R.T.T. and M. Godron 1986: Landscape ecology. Wiley, New York.
  16. ^ Wiens, J.A. and B.T. Milne, B.T. 1989: Scaling of 'landscapes' in landscape ecology, or, landscape ecology from the beetle's perspective. Landscape Ecology 3(2):87–96; Wiens, J.A.: The science and practice of landscape ecology. In: Klopatek, J.M. and R.H. Gardner (eds) 1999: Landscape ecological analyses: issues and applications. Springer, New York:371–383.
  17. ^ Wiens, J.A. 1999: The science and practice of landscape ecology. In: Klopatek, J.M. and R.H. Gardner (eds): Landscape ecological analyses: issues and applications. Springer, New York:371–383; cf. Wiens, J.A. 2005: Toward a unified landscape ecology. In: Wiens, J.A. and M.R. Moss (eds): Issues and perspectives in landscape ecology. Cambridge University Press, Cambridge:365–373.
  18. ^ Sanderson, J. and L. D. Harris (eds.). 2000. Landscape Ecology: A Top-Down Approach. Lewis Publishers, Boca Raton, Florida, USA.
  19. ^ "Landscape and Urban Planning: An International Journal of Landscape Science, Planning and Design". Elsevier. Retrieved 12 January 2019.
  20. .
  21. .
  22. ^ "Landscape Science". The Great Soviet Encyclopedia. 1979. Retrieved 12 January 2019.
  23. ^
    ISSN 2047-2382
    .
  24. ^ a b Denier, L; Scherr, S; Shames, S; Chatterton, P; Hovani, L; Stam, N (2015). The Little Sustainable Landscapes Book. Oxford: Global Canopy Programme.
  25. ^ Landscapes for People Food and Nature (2015). "Integrated Landscape Management: The Means of Implementation for the Sustainable Development Goals" (PDF). Landscapes for People Food and Nature Briefing.
  26. ^ "GMS Workshop on Landscape Approaches". Greater Mekong Subregion - Core Environment Program.
  27. ^ Republic of Indonesia. "Intended Nationally Determined Contribution" (PDF). UNFCCC submissions.
  28. ^ Landscapes for People Food and nature case studies http://peoplefoodandnature.org/analysis/all-publications/case-studies/
  29. ^ a b Branton, Nicole (2009) Landscape Approaches in Historical Archaeology: The Archaeology of Places. In International Handbook of Historic Archaeology, Majewski, Teresita and Gaimster, David, eds. Springer:
  30. ^ Hood, Edward J. (1996) "Social Relations and the Cultural Landscape". In Landscape Archaeology:Reading and Interpreting the American Historical Landscape. Yamin, Rebecca and Karen Bescherer Metheny, eds. Knoxville:The University of Tennessee Press.
  31. ^ a b Spencer-Wood, Suzanne M. and Sherene Baugher. (2010) "Introduction to the Historical Archaeology of Powered Cultural Landscapes." International Journal of Historical Archaeology 14, pp. 463-474.
  32. ^ a b Gleason, Kathryn L. (1994). "To Bound and to Cultivate: An Introduction to the Archaeology of Gardens and Fields. In The Archaeology of Garden and Field. Miller, Naomi F. and Kathryn L. Gleason, eds. Philadelphia:University of Pennsylvania Press
  33. ^ Erika Martin Seibert. "Archaeology and Landscape", Accessed December 12, 2010.
  34. ABS-CBN News
    . Retrieved 26 June 2012.
  35. ^ PANNELL, S (2006) Reconciling Nature and Culture in a Global Context: Lessons form the World Heritage List. James Cook University. Cairns, Australia. Page 62
  36. ^ GIBSON, W.S (1989) Mirror of the Earth: The World Landscape in Sixteenth-Century Flemish Painting. Princeton University Press, Princeton, New Jersey
  37. ^ a b JAMES, P.E & MARTIN, G (1981) All Possible Worlds: A History of Geographical Ideas. John Wiley & Sons. New York, p.177.
  38. ^ ELKINS, T.H (1989) Human and Regional Geography in the German-speaking lands in the first forty years of the Twentieth Century. ENTRIKEN, J. Nicholas & BRUNN, Stanley D (Eds) Reflections on Richard Hartshorne's The nature of geography. Occasional publications of the Association of the American Geographers, Washington DC. Page 27
  39. ^ JAMES, P.E & MARTIN, G (1981) All Possible Worlds: A History of Geographical Ideas. John Wiley & Sons. New York. Page 321-324.
  40. ^ SAUER, C (1925) The Morphology of Landscape. University of California Publications in Geography. Number 22. Pages 19-53
  41. ^ UNESCO (2012) Operational Guidelines for the Implementation of the World Heritage Convention [1]. UNESCO World Heritage Centre. Paris. Page 14.
  42. ^ UNESCO (2005) Operational Guidelines for the Implementation of the World Heritage Convention. UNESCO World Heritage Centre. Paris. Page 84.
  43. ^ Michel Baridon, Les Jardins - paysagistes, jardiners, poḕts. p. 348
  44. ^ Records of the 21st conference of the UNESCO World Heritage Committee, describing Classical Chinese garden design and the gardens of Suzhou.
  45. ^ Yves-Marie Allain and Janine Christiany, L'Art des jardins en Europe, Citadelles and Mazenod, Paris, 2006.
  46. ^ .
  47. ^ Lucia Impelluso, Jardins, potagers et labyrinthes, Mondatori Electra, Milan
  48. ^ Morris, C. (1994) "Oral Literature" in Horton, David (General Editor)
  49. ^ Morris, C. (1995) "An Approach to Ensure Continuity and Transmission of the Rainforest Peoples' Oral Tradition", in Fourmile, H; Schnierer, S.; & Smith, A. (Eds) An Identification of Problems and Potential for Future Rainforest Aboriginal Cultural Survival and Self-Determination in the Wet Tropics. Centre for Aboriginal and Torres Strait Islander Participation Research and Development. Cairns, Australia
  50. ^ J. A. Cuddon, P. 644.
  51. ^ Peter V. Marinetti, Pastoral. London: Methuen, 1971, p.4.
  52. ^ a b c Yip, 130
  53. ^ Aubin, Robert Arnold. Topographical Poetry in XVIII-Century England. New York: The Modern Language Association of America, 1936, p. 3.
  54. ^ L. A. Cuddon, Dictionary of Literary Terms. London: Penguin, 1999, p. 922
  55. .
  56. ^ Baker, Kenneth, ed. The Faber Book of Landscape Poetry. New York: Faber and Faber, 2000.
  57. ^ John Denham, "Cooper's Hill", (ll.111-119)
  58. ^ Gilpin, William, quoted in Baker, Kenneth, ed. The Faber Book of Landscape Poetry. New York: Faber and Faber, 2000, p. xxvi
  59. ^ In the late 17th century in England, John Dennis brought attention to Longinus' argument for the emotive power of figurative language in poetry.
  60. ^ Fulford, Tim. Landscape, Liberty, and Authority: Poetry, Criticism, and Politics from Thomson to Wordsworth. New York: Cambridge University Press, 1996., p.21'
  61. ^ Encyclopædia Britannica. "Romanticism". Retrieved 30 January 2008, from Encyclopædia Britannica Online. Britannica.com. Retrieved 24 August 2010.
  62. ^ Christopher Casey, (October 30, 2008). ""Grecian Grandeurs and the Rude Wasting of Old Time": Britain, the Elgin Marbles, and Post-Revolutionary Hellenism". Foundations. Volume III, Number 1. Retrieved 25 June 2009.
  63. ^ Margaret Drabble, A Writer's Britain (originally subtitled "Landscape in literature", 1979). New York: Thames & Hudson, 2000, p. 152.
  64. ^ "Walter Scott was the foremost literary figure of his days". Retrieved 2011-04-09.
  65. ^ Drabble,, p. 170
  66. ^ Drabble, p.91
  67. ^ Drabble, p. 166; "Alexandre Dumas": The official French site Archived 2014-05-15 at the Wayback Machine
  68. ^ From Georg Lukàcs, "The Historical Novel" (1969): "In Italy Scott found a successor who, though in a single, isolated work, nevertheless broadened his tendencies with superb originality, in some respect surpassing him. We refer, of course, to Manzoni's I Promessi Sposi (The Betrothed). Scott himself recognized Manzoni's greatness. When in Milan Manzoni told him that he was his pupil, Scott replied that in that case Manzoni's was his best work. It is, however, very characteristic that while Scott was able to write a profusion of novels about English and Scottish society, Manzoni confined himself to this single masterpiece."
  69. ^ Phillips, 1913, p. 160
  70. ^ Yip, 163-169
  71. ^ Watson, 79
  72. ^ Mary Warner Marien (2006). Photography: A Cultural History. Laurence King Publishing. Page 136.
  73. ^ Honour & Fleming, 53. The only very complete example is now in the National Archaeological Museum, Athens
  74. ^ Honour & Fleming, 150-151
  75. ^ Reitlinger, 74-75, 85-87
  76. ^ Modern Painters, volume three, "Of the novelty of landscape".
  77. ^ Clark, 15-16.
  78. ^ "Landscapes" in Virtual Vault Archived 2016-03-12 at the Wayback Machine, an online exhibition of Canadian historical art at Library and Archives Canada
  79. ^ It was first labeled in March 1942 by the critic Raymond Mortimer in the New Statesman.
  80. ^ Clarke, Michael, and Deborah Clarke. 2001. "Neo-Romanticism". The Concise Oxford Dictionary of Art Terms. Oxford and New York: Oxford University Press.
  81. .
  82. .

External links