Art Of Japanese Gardens by Kuck

Author:Kuck [Kuck]
Language: eng
Format: epub
ISBN: 9781447423690
Barnesnoble:
Goodreads: 14484520
Publisher: Rinsland Press
Published: 2011-08-11T00:00:00+00:00

Diagram of the arrangement of Ryoanji’s stones; below, their projection on the sand rectangle; above, in silhouette. (After Shigemori Mirei in Kyoto Bijutsu Taikan, Teien.)

Finally, perfect balance is maintained within each individual group. The first one on the left contains five stones, the center a large, upright rock supported by two smaller ones and by two that are almost level with the ground; the total effect is of fine stability. The second and fourth groups achieve balance through their relative forms; both contain one long, reclining stone and one short, upright stone which balance each other. The third and fifth groups are made up of three stones each; in both a larger rock is balanced by two smaller ones, but the arrangement is quite different in each.

From this analysis it is obvious that not a single stone could be moved or taken away from this composition without spoiling it. Harmonic balance has been created, not only in the relationship of each stone to those nearest it, but to every other stone in the garden.

Balance, however, is not the only quality present in this composition. In contrast to static strength, the rocks achieve movement; it hardly seems possible, indeed, that stones could convey such dynamic feeling as do these.

In general, there is a strong sense of flowing movement from left to right. If we think of the garden as a river, there is no doubt in our minds in which direction it is flowing. From the largest group on the left, the others seem to taper away; but the direction is indicated, also, by a subtle obliquity of direction in the position of the stones. Those that are upright are not exactly perpendicular but slant slightly to the right, while all the long, reclining stones seem to point in the same direction.

There is just one exception to this directional movement; the fourth group from the left is definitely reversed in direction and straight upright. It is as if it were standing out against the current. Through it, contrast and interest are created and monotony avoided.

Rhythm is obtained by the alternate upward and forward movement of every group and by contrasting movements within each group. If we start again at the left, we find the general movement of the first group is upward, of the second forward, the third again upward, the fourth again forward, while the fifth is neither but gives a sense of indefinite continuance.

The same rhythm is repeated in detail within each group. The first, although its predominating movement is upward as expressed by the large central stone, holds contrasting cross movement in its smaller stones, especially in the level cross stones lying flat in the sand. The second group moves strongly forward because of the long, reclining stone, but upward contrast appears in the short, perpendicular stone at the end. The same technique of movement and contrast can be traced in each group in continuous flowing repetition. It is obvious again that it would be impossible to move a single stone without spoiling the entire effect of the garden.

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