By Marc Peter Keane
In eastern gardens, composition follows from placement of the 1st stone; all parts and plantings turn into interconnected. those 8 essays on Kyoto gardens equally start with prepared description and construct into richly meditative tours into artwork, Buddhism, nature, and technology. panorama architect Marc Keane indicates how eastern gardens are either a microcosm of the normal universe and a transparent expression of our humanity, mirroring how we expect, worship, and arrange our lives and groups. full of passages of beautiful attractiveness, this can be a really transcendent publication approximately "experiencing" eastern design.
Marc Peter Keane has lived in Kyoto for 17 years and is writer of Japanese backyard Design. He designs residential, corporation, and temple gardens.
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Additional info for The Art of Setting Stones: And Other Writings from the Japanese Garden
I drove on for another half hour, thoughts of being consumed by the wild forest lingering like the echo of a song repeat54 ing in the mind of its own accord, and then the forest opened up, becoming lighter as it gave way to rice fields and then to a small farming hamlet. The fields had just been planted—much earlier here than in town because it is colder and the rice will take that much longer to grow—and the rows of fine green rice shoots appeared to hover in blue sky reflecting in the dark paddy water.
I set about cleaning: sweeping, picking out stubborn pieces, nicking a weed or two. Cleaning is calming, and the shock of my morning discovery, and the ghosts of the wild forest, felt more distant as the garden cleared of debris. There is a spiral of moss beneath an old maple tree, but other closing the circle than that the garden is simply a broad sheet of white sand. Having cleared the sand of debris and weeds, I flattened it with a toothless rake built for the purpose. The sand became peaceful, dampened, like a ringing bell touched lightly by a finger.
All of these seem not to be separate elements fitted together in one place, but rather elements that are very much of the place. Born of it, nurtured by it, at one with it. Complete. What keeps recurring in my mind, and what has kept me here in this chilly hall for the last hour, is the question of where the mountain ends and where the garden begins. What here is natural and what man-made? Surely the path through the moss was built, and the gray granite lantern in the shadows of the maples by the back of the pond was set there, no doubt about that.