![]() ![]() ![]() Far away it seemed, and beautiful: white-walled, many-towered, proud and fair upon its mountain-seat its battlements glittered with steel, and its turrets wereīright with many banners. Then turning south again beheld Minas Tirith. She cites Tolkien's description of Minas Tirith's architecture as evidently medieval: In her view, immersive fantasy with an "incredibly detailed world" is driven primarily by "the exposition and elaboration of the setting, from which characterisation and plots specific to the setting are then generated", rather than being driven by character or plot. She argues that the architectural setting is "a privileged aspect" of fantasy. spawn countless imitators" among fantasy authors, including its "alternative medieval Europe" setting. The fantasy author and scholar of literature Kim Wilkins describes Tolkien's work as "the beginning. She comments that architecture in The Hobbit and The Lord of the Rings serves to point up where cultures are similar and where they differ, emphasising the multiculturality of Middle-earth. The Tolkien scholar Johanna Brooke comments that architecture is part of the secondary world the more unlike the primary world's the buildings are – and Hobbit-holes are clearly unlike – the harder it is for the author to create "the inner consistency of reality". He speaks in his lecture " On Fairy-Stories" of sub-creation, making a secondary world that is in some sense true for the reader. Tolkien was a medievalist and a philologist as well as an author. A Tolkien fan's impression of Dol Guldur, a stronghold of the Necromancer Setting-based fiction invites immersion and connection among its readers. Tolkien fans, too, have created a wide variety of materials and activities to immerse themselves in Middle-earth. Tolkien's writings have spawned many imitators among fantasy authors, including of his medieval settings. The production design of The Lord of the Rings: The Rings of Power has created architectures for places not seen in Jackson's films, such as Númenor and the Elvish realm of Lindon. Scholars have admired his films' effective visual interpretation of Middle-earth settings. Peter Jackson created an extensive set of the Shire with multiple Hobbit-holes, a mill, and a bridge in the New Zealand countryside, used in his films of both The Lord of the Rings and The Hobbit, and elaborate film sets of other places in Middle-earth using bigatures and computer animation. Makers of films set in Middle-earth have developed or modified Tolkien's indications of architecture to convey their views of the various Middle-earth peoples and their cultures. In contrast, the Dark Lord Sauron and the fallen Wizard Saruman's realms are damaged lands around tall dark towers. The King of Rohan's hall, Meduseld, indicates the Rohirrim's affinity with Anglo-Saxon culture, while Gondor's tall and beautiful stone architecture was described by Tolkien as " Byzantine". In his fantasy novel The Lord of the Rings, Lothlórien demonstrates the close integration of the Elves with their natural environment. The Hobbit Bilbo Baggins's cosy home, Bag End, described in his 1937 children's book The Hobbit, establishes the character of Hobbits as averse to travelling outside the Shire. Tolkien uses the architecture in each place, including its interior design, to provide clues to each people's character. Tolkien's fictional world, is as varied as the Hobbit-holes of the Shire, the tree-houses of Lothlórien, the wooden halls of Rohan, and the stone dwellings and fortifications of Minas Tirith, capital of Gondor. ![]() Theme of architecture in Tolkien's subcreated world ![]()
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