are entered with anticipation of joyful camaraderie and romantic trysts. The iconic Japanese garden, such as Ryoan-ji where fifteen stones are arrayed across a raked gravel surface, is a space separated from the observer and marked by silent personal introspection.
In Japan, the monastic gardens are perhaps the most celebrated, and therein rests a key distinction between the traditions. In China, design of monastic gardens clung to the pervasive model of four-sided courtyards enhanced by trees, shrubs, and flowers, many of which are embedded with metaphorical meaning or illustrious associations, such as the ginkgo, peach, and peony. In Japan, the material articulation and spatial organization of monastic gardens aspired to what the twentieth-century Japanese architect Shinohara Kazuo describes as the removal of all external associations—a search for the essence of things.
Figure 9. A framed slice of rock from the Lingering Garden portrays a mountainous landscape.
Chinese garden ideas were carried in the minds of Buddhist monks who travelled between China and Japan. Among them was Muso Soseki (1275–1351), who, with others, reopened trade between China and Japan during the Yuan Dynasty. He was first among the Buddhist garden-making monks of Japan and several Zen Buddhist gardens attributed to him survive.
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