House and Garden 
Stones — I, Guardian Stone; 2, Moon Shadow Stone; 3, Hdl Stone; 4, Worshiping Stone; 5, Seat ot Honor Stone; 6, W'ht- 
ing Stone; 7, Evening Sun Stone; 8, Label Stone; 9, Pedestal Stone. Trees - i. Principal I'ree; 2, Tree of Evening Sun; 3, 
Tree of Solitude. A, Water Basin; B, Log Bridge; C, Stone Lantern; D, Screen Pence. 
which represents the presiding spirit or genius of the 
garden, an idea included in the animism ot the na¬ 
tive faith. I'his stone sometimes shows on its sur¬ 
face a rough relief or on its crown a small image of the 
Buddhist deity, Fudo; hut in other cases, Fudo has a 
separate stone apportioned him. d'his accords with 
the general practice of Buddhism in overlying and 
thus dominating the simple faith it found in posses¬ 
sion of the people. A miniature shrine ot either re¬ 
ligion may likewise be found in a completely equipped 
garden. Next in importance among the rocks is the 
“water-receiving stone,” which is regarded as the 
sexual mate of the “guardian stone,” stands on the 
opposite side of the cascade from it, has a lower 
stature, a flattish top, and arches over towards the 
current. 1 his sexual implication of animism turns 
up m every early religion; and has, moreover, a more 
explicit manifestation, known as phallicism, which 
also sometimes had its realistic stone phallus in the 
Japanese garden, just as Priapos was found in the 
Greek and Roman ones. Fudo has the same impli¬ 
cation, being really a Buddhist version of the Hin- 
duist deity, Shiva, god of reproduction as of destruc¬ 
tion, and here bearing the sexual symbols of sword 
and noded rope. The third most important stone 
continues the religious idea, since it marks the oratory 
and is accordingly called the worshiping stone. Fi¬ 
nally, two stones stand near the entrance, and they 
both perform the guarding function and bear the 
name—two king stones—of the large images that 
Hank the gate of a Buddhist temple. 
This sexual idea was construed by the Chinese 
mind into a pseudo-scientific theory of the universe, 
known as yin-yang, and this theory came with sys¬ 
tematic gardening from China to Japan about the 
sixth century, A. D. It was applied equally to rocks, 
trees, falls, etc.; and, since it coincided with esthetic 
laws of contrast and balance, did much to promote 
beauty. Other views comprehended under the 
Chinese geomancy, called fangshtii, were more arbi¬ 
trary, as, for example, the rule that streams must flow 
westward, that gates must have a certain cardinal 
position, and the building a certain aspect. 
1 he technical heauties of Japanese landscape garden¬ 
ing, common to it, of course, with all other forms of 
decorative art, may now claim attention. In actual 
size a garden may range from fifty or sixty square yards 
to several acres, and everything it contains is scaled to 
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