1.1 Thomas Watling’s 1795 engraving of a kangaroo ritual, third in a series documented by David Collins during the Erah-ba-diang initiation ritual at Farm Cove, Port Jackson. The nine initiands watch as the performers become ancestral kangaroos 33
1.2 Charles Kerry’s posed photograph of the beginning of a bora ceremony, centred on the initiation of boys into manhood, characteristic of eastern Australia 38
1.3 Hand-coloured lithograph of George French Angas’s watercolour of Mount Barker men performing the Palti Dance at the full moon, March 1844. Women seated in the foreground provided the chorus, beating time on possum skin ‘drums’ 48
1.4 William Barak’s painting of a Lyre-Bird Ceremony, recalled from his youth, showing Lyre-Bird Ancestors among the performers (wearing lyre-bird plumes). (Ochres, charcoal on paper, 72.1 × 54.4 cm) 49
3.1 Ahmad Sadali, Gunungan dengan Garis Vertikal Biru (Mountain Shape with Vertical Blue Line), 1974. (Acrylic on paper, 36.0 × 26.0 cm.) 89
3.2 Achmad (Ahmad) Sadali, Gunung Mas (The Golden Mountain), 1980. (Oil, canvas, 80.0 × 80.0 cm.) 90
3.3 Achmad (Ahmad) Sadali, Batang-batang melingkar (Encircling Bars), 1987. (Mixed media, etching and gold leaf on paper. Print number 7 of an edition of 8. 25.0 × 35.0 cm.) 91
3.4 A.D. Pirous, Beratapan Langit dan Bumi Amparan (Al-Baqarah:22) (The Sky and the Bed of the Earth), 1990. (Mixed Media, 100.0 × 150.0 cm.) 94
3.5 A.D. Pirous, Amanat kepada Sang Pemimpin: Tentang Mahligai Kefanaan, Tentang Awal Akhir Kehayatan (An Admonition to the Leader: Concerning the Transient Palace and the Beginning and End of Life), 1995. (Marble paste, gold leaf, acrylic on canvas, 175.0 × 260.0 cm.) 97
3.6 Arahmaiani, Lingga-Yoni, 1993. (Acrylic and rice paper on canvas, 182.0 × 140.0 cm.) Collection: Museum MACAN 2019 100
3.7 Arahmaiani, I Love You (After Joseph Beuys Social Sculpture), 2009. (Fabric and pillow stuffing, variable dimensions) Collected by Art Gallery of New South Wales and National Gallery Singapore 101
3.8 Arahmaiani, Shadow of the Past 3, (Lasem, Java), 2016. Still from video of performance 104
3.9 A.D. Pirous, Cahaya Subuh/Manglayang (Sunrise/Manglayang), 2020. (Marble paste, acrylic on canvas, 95.0 × 70.0 cm.) 107
3.10 A.D. Pirous KeharibaanMu yang Abadi (Your Eternal Embrace), Quran, Al-Fajr (Daybreak), 2020. (Marble paste, acrylic on canvas, 95.0 × 70.0 cm.) 107
3.11 A.D. Pirous, Menggapai Arasy (Reaching for the Throne of God), 2019. (Marble paste, gold leaf, acrylic on canvas, 150.0 × 90.0 cm.) 108
4.1 Portrait of Xuanzang with Attendant in the style of Kasuga Motomitsu, 14th century. (Hanging scroll, ink and colour on silk, 123.8 × 74.3 cm.) 123
4.2 Buddha’s Sermon at Vultures Peak. Illustration from the Sutra of the Perfection of Wisdom, 14th century. (Woodblock print, ink on paper, 26.1 × 49.9 cm.) 124
4.3 ‘Xuanzang’s Dream of Mount Sumeru’, in The Illustrated Life of Xuanzang (j: Genjō sanzō-e), 12 volumes, 14th century. (Ink and colour with gold, silver and mica on paper, 40.3 cm. high) 126
4.4 ‘Xuanzang Inside the Dragon Cave’, in The Illustrated Life of Xuanzang (j: Genjō sanzō-e), 12 volumes, 14th century. (Ink and colour with gold, silver and mica on paper, 40.3 cm. high) 127
4.5 Mandala of Kasuga Shrine and Kōfukuji Temple, 14th century. (Hanging scroll, ink and colours on silk, 95.5 × 35.6 cm.) 132
4.6 Map of the Five Regions of India (Gotenjikuzu), 17th–18th century, Kyoto. (Hanging scroll, ink and colour on paper, 171.0 × 167.0 cm.) 135
4.7 Map of the Five Regions of India (Gotenjikuzu) (detail), 17th–18th century, Kyoto. (Hanging scroll, ink and colour on paper, 171.0 × 167.0 cm.) 137
4.8 Hotan (1654–1738), Map of All the Countries in Jambudvipa (Nansenbushū bankoku shōka no zu), 1710, Japan. (Woodblock print, ink on paper, 115.0 × 145.0 cm.) 140
5.1 Prince Charles at the British Museum exhibition Hajj: Journey to the Heart of Islam, accompanied by curator Venetia Porter, January 26 2017 143
5.2 The maḥmal in the yearly pilgrimage procession, late 19th-century Damascus (1890). Khalili Collection, Hajj and Arts of Pilgrimage 145
6.1 Pair of Doors (lawon kori), 1677–1735 (C14 dating result), Panaragan, Tulang Bawang, Lampung. (Wood, 280.0 × 88.0 cm.) 164
6.2 Throne-rest (sesako), 1843–1903 (C14 dating result), Panaragan, Tulang Bawang, Lampung. (Wood, 141.5 × 240.0 cm.) 165
6.3 Adam before the Tree of Knowledge of Good and Evil, scene from a Christian shadow puppet play (wayang wahyu), 1975 or earlier, Java 168
6.4 Ceremonial cloth and sacred heirloom depicting two figures in a forest or garden (detail), 1362–1422 (C14 test result), probably north coast Java, reportedly found in southern Sumatra. (Cotton, indigo dye, hand drawn batik, 84.0 × 218.0 cm.) 171
6.5 Door, with Bhoma and floral motifs 1452–1515 or 1540–1627 (C14 dating result), Bali, possibly Buleleng. (Wood, 150.0 × 53.0 × 4.0 cm.) 174
6.6 Ceremonial cloth (tampan), depicting ship with figures in the style of Javanese wayang puppets and wearing dodot court garments, 1775–1825, Lampung. (Cotton, natural dyes, supplementary weft weave, 75.0 × 70.0 cm.) 180
6.7 Heirloom textile (palampore), with motif known as the Tree of Life (detail), 1725–1825, Coromandel Coast, India, found in Indonesia. (Cotton, dyes, mordant painting, 279.0 × 186.0 cm.) 182
6.8 Ceremonial cloth (tampan) with sacred tree guarded by pair of naga serpents, 1800–1875, Krui, Lampung. (Cotton with natural dyes, supplementary weft weave, 72.0 × 61.0 cm.) 184
6.9 Double-folio from ‘Story of Amir Hamzah’ (Serat Menak Sarehas), 1850, Yogyakarta. (European paper, pigment, gold leaf, 44.0 × 29.0 × 13.0 cm.) 188
6.10 Kalpataru featuring miniature Hindu-Buddhist temple located directly above a wood-knot (detail), c14 date 1445–1525, formerly Mausoleum of Sunan Bonang, Tuban, East Java. (Teak wood, 1.41 cm. total height, 38.0 cm. base circumference) 194
7.1 View of the Lingsar site, including Kemaliq Lingsar and Pura Lingsar, Mataram, West Nusa Tenggara 201
7.2 Map of the Lesser Sunda Islands 202
7.3 Quran with box, 1875–1900, Bayan, North Lombok. (Bark paper, pigment, ink, wood, cotton, metal, Quran: 25.0 × 21.0 × 8.0 cm., box: 41.5 × 21.5 × 9.0 cm.) 208
7.4 Grave post with gravestone depicting drum, 2021, Bayan Mosque, Bayan, North Lombok 208
7.5 Hikayat Yusuf (The Story of Joseph), 1875–1900, West Lombok. (Lontar palm-leaves, wood, cotton) 210
7.6 Shrine with wrapped stones, Lingsar 211
7.7 Devotee performing ritual wudhu ablutions at Kemaliq Lingsar springs before prayer 214
7.8 Churning of the Milky Ocean (Munur Gunung) from the Adiparwa, Pan Ngales, 1921, Kamasan, Klungkung, Bali. (Natural pigments, glue, European cloth, 127.5 × 160.0 cm.) 218
8.1 Graphic representation of al-Nābulusī’s interpretive platform as textually described in the introduction to Dīwān al-Ḥaqāʾiq, showing his imaginative depiction of the four-river garden model 231
8.2 An 18th-century painting of Damascus by anonymous European traveller showing the great Umayyad Mosque at the centre and the densely cultivated landscape of al-Ghūṭa surrounding the city 236
8.3 A map showing the old city of Damascus, neighbouring villages, the spread of frequented gardens at the foothill of mount Qāsiyūn, and the Ghūṭa and other recreational areas 237
8.4 Maktab ʿAnbar, a 19th-century Damascene residence in old Damascus with a cross-axial designed courtyard. There are many similar examples in the domestic architecture 242
8.5 Graphic representation of al-Nābulusī’s conception of his soul as the House of Divine Generosity, a Kaʿba, marking an intersection between the vertical ray of heavenly disclosures and horizontal plane of human expansion 248
8.6 Graphic representation of al-Nābulusī’s interpretive platform as textually described in the introduction to Dīwān al-Ḥaqāʾiq, showing his imaginative depiction of the four-river garden model 251
9.1 Morning Shadows, c.1932, Beaumaris, Melbourne. (Oil on canvas board, 49.5 × 60.0 cm.) 258
9.2 Across the Bay, c.1931, Melbourne. (Oil on board, 39.5 × 49.0 cm.) 262
9.3 Wet Sand, Anglesea, Anglesea, Victoria, 1929. (Oil on board, 29.3 × 39.0 cm.) 264
9.4 Passing Trams, c.1931. (Oil on board, 48.6 × 44.2 cm.) 265
9.5 Silent Approach, c.1924, Victoria. (Oil on board, 48.0 × 58.0 cm.) 265
9.6 The Bus Stop, c.1930, Melbourne. (Oil on board, 41.0 × 34.0 cm.) 268
9.7 The Last Flush, 1928, Melbourne. (Oil on canvas, 20.0 × 25.0 cm.) 268
9.8 Wet Night, Brighton, 1930, Brighton, Melbourne. (Oil on board, 26.6 × 38.0 cm.) 268
9.9 Morning Shadows, 1926, Melbourne. (Oil on board, 50.0 × 60.0 cm.) 269
9.10 Nocturne, c.1931, Melbourne. (Oil on canvas board, 50.4 × 35.4 cm.) 270
9.11 Lights, St Kilda, St Kilda, Melbourne, c.1931. (Oil on canvas board, 35.0 × 39.8 cm.) 270
9.12 Winter Sunset, c.1928, Melbourne. (Oil on card, 27.2 × 41.0 cm.) 273
9.13 The Beach, c.1930, Melbourne. (Oil on board, 23.0 × 43.7 cm.) 274
9.14 Summer Fields, 1926, Naringal, Victoria. (Oil on board, 24.5 × 34.5 cm.) 275
9.15 Motor Lights, 1929, Melbourne. (Oil on board, 28.3 × 35.2 cm.) 276
10.1 This is a Plan of the Garden based on how the garden appears on Google Earth. The garden lies half a mile west of the village of Witheridge, situated between Exmoor and Dartmoor, in Devon, in the southwest of England. It extends over 13ha (32 acres) 283
10.2 The Hermes courtyard facing towards the main barn with the Labyrinth of the Broken Heart in the foreground 290
10.3 The Labyrinth of the Broken Heart laid out in the shape of a question mark and a musical ear with the ‘dark mouth’ of Hermes’ oracle at the centre 293
10.4 Looking out from under the canopy of the Corenzuela glade over the sunlit lawn towards the lake 296
10.5 It is on the knoll of Orexis we can best experience the cradling action between the two sides of the valley 298
10.6 At the heart of the garden the curved Caesura stones are set into the lawn at the eastern end of the lake 301
11.1 Photo showing part of Frederick Law Olmsted’s Italian garden for the Vanderbilt family at Asheville, North Carolina, USA 311
11.2 Photo showing part of the Japanese Himeji Garden in Adelaide, South Australia 312
11.3 A view along the main axis of the Indian Chahār Bāgh Garden at the Hamilton Gardens, Hamilton, New Zealand, designed by Peter Sergel 313
11.4 A view towards the bridge in the Chinese Scholars’ Garden at the Hamilton Gardens, Hamilton, New Zealand, designed by Peter Sergel 313
11.5 A long view across the lake in the garden at Stourhead in Wiltshire, England 315
11.6 Photo of one instance of Warhol’s Brillo Boxes, 1964 317
11.7 First, second, and third natures are all on display at Hollard’s Garden, Manaia, New Zealand 320
11.8 Photo of part of the garden at Claughton House, Dickwella, Sri Lanka, designed by Geoffrey Bawa in 1984 323
11.9 Photo of a typical Sri Lankan plantation landscape 323
11.10 An aerial view showing part of the Hamilton Gardens 325
11.11 A view looking south-east from the loggia at the Italian Renaissance Garden at Hamilton Gardens 326
11.12 A view along the loggia at the Italian Renaissance Garden at Hamilton Gardens 326
11.13 Photo of part of the impressive perimeter walls of the Italian Renaissance Garden at Hamilton Gardens 328
11.14 Photo of a sculpture of a taniwha, a supernatural water creature, at Lake Taupo, source of the Waikato River 331
12.1 Rebekah Pryor, Sealess, 2018. (4-minute video, Vision I video stills) 339
12.2 Rebekah Pryor, Sealess, 2018. (4-minute video, Vision II video stills) 339
12.3 Rebekah Pryor, Untitled (Holy Mysteries), 2020. (Reclaimed timber: Eucalyptus obliqua, iPad, cotton rag, brass hinges, glue, box: 29.5 × 21.5 × 15.0 cm., digital video: 1 min, looped) 342
12.4 Rebekah Pryor, Untitled (Holy Mysteries), 2020. (Video still) 342
13.1 Illustration from frontispiece of the 1572 Latin edition by Frederick Risner of Ibn al-Hayham’s Kitab al Manazir, 1572, Basel 365
13.2 Diagram of the eyes and brain from a later manuscript copy of Ibn al-Haytham’s Kitāb al-manāẓir 368