204 



The wooden struetiire standing;- in the water is the Torii-uion, 

 an entranee gate to the Shinto Shrine wliieh is built on the hill 

 above. A Torii always indicates an approach to a temple or 

 shrine. To the left of the Torii is the Shinto Pine Grove, or 

 Sho-riii. To the right of the ravine with the cascading water, 

 near the center of the hill, there is a large stone lantern fashioned 

 of granite. At the foot of the hill to the right of the stream of 

 water entering the lake there is an island connected with the main 

 shore path by a wooden drum bridge. On the front of this island, 

 nearest the observer, stands a large-roofed stone lantern, casting 

 its inverted reflection upon the water. ]^)eyond the island and a 

 little further toward the right is the Wailing Pavilion (Maclii-ai). 



Prom the vantage ]ioint of the Tea Pavilion one can observe 

 the application of the three forces of nature — Heaven, Earth, and 

 Man (Tcn-chi-jln) to the garden. The highest point, or Con- 

 structed Mountain, re])resents PTeaven, the island (or the Com- 

 jianion TTill) represents Man, while the Earth is re])resented by 

 the two large boulders, on the south shore of the lake. There is 

 a necessary artistic rhythm in the relative heights of these points 

 in the arrangement of the garden, the l-'.arth ])eing re])resented by 

 the lowest point, Man by an intermediate, and Heaven by the high- 

 est ])lace in the garden. 



The Lake (Ike) 



A most attractive feature is the small lake, or Ilcc. which fur- 

 nishes a si)lendid hal)itat for aquatic and semi-aquatic plants. As 

 I have already stated, the feature of the hills and water (San-sui) 

 must be employed in a Japanese garden ; without water or the 

 suggestion of water a garden is not artistic. The small lake in 

 this garden gives a calm dignity, and the waterfall at a distance 

 gives the garden a feeling of perpetual life. Western art is 

 outspoken and ol)jective (impressions from the outside), whereas 

 Eastern art is subjective and based on continuity — something 

 doing or going on constantly. Thus, to the jai)anese mind, the 

 water in a garden must be moving, though quietly, denoting con- 

 stant change. 



There is a certain glamour attached to the fact that the shape 

 of this lake hap])ens to be in the form of the Chinese letter for 



