作庭記
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| Byodo-in |
The ‘Book of Garden
Making’, compiled by Tachibana no Toshitsuna (1028-1094) is perhaps the world’s
oldest garden manual. The author, a nobleman of high standing, was the reputed
builder of the ‘Phoenix Hall’ at Byodo-in, near Nara, which still survives in
part today. Sakuteki is essentially a compilation of the prevailing knowledge and concerns of garden
building of that date, and presents a fascinating glimpse into a garden
tradition that was already beginning to mature, and also gives a picture of how
the gardens would have of looked and the reasons to own a garden. The work was
not widely printed or published until nearly 700 years later, as it was
considered to be part of the ‘secret knowledge’ passed on from one generation
of gardeners to the next. Even today contemporary gardeners in their search to
understand the tradition study the book.
“ Select several places
within the property according to the shape of the land and the ponds, and
create a subtle atmosphere, reflecting again and again on one’s memories of
wild nature.”[1]
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| Shosei-en, Kyoto |
At the very beginning of
the text, Toshitsuna sets out the underlying principles: to study the forms of
nature as role models, to study the work of past masters, and to evoke the
atmosphere of noted places of scenic beauty. He then refers to a variety of
instructions concerning the layout of ponds and islands, as well as the
placement of stones within the landscape. Various styles of garden are
discussed, as well as a variety of island types. He discusses the manner of waterfalls
in detail, as well as expounding on various taboo actions that were considered
of equal importance.
“When creating a garden,
let the exceptional work of past master gardeners be your guide. Heed the
desires of the master of the house, yet heed as well one’s own taste.”[2]
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| Midera temple, Shiga prefecture. |
By the late Heian period
the garden was redolent in meaning, soaked in poetry and the poetical spirit.
At least in so far that it was a pleasure confined principally to the
aristocracy, whom were the owners and commissioners of gardens. The garden,
nature re-created by the hand of man, was a stage on which the lives of people
played out. Mono no aware, 物の哀れ,
literally, "compassion toward all things," is an aesthetic concept that
captures the essence of Heian period emotional sensitivity. It recognizes the
potential for all things, both animate and inanimate, to contain the essential
life-spirit. The expression also carries with it a feeling of sadness or pathos
connected with the understanding of the fleeting nature and impermanence of all
things. Thus in the profound appeal of the beauty of the cherry blossom is the
knowledge that the blossom will be at its peak of perfection but for a day or
two. There is no direct equivalent in English. Generally the word is used to
express the pathos inherent in beauty found in Nature. Pathos arising from the
knowledge that nothing is destined to last forever, all is transient and
fleeting. Ivan Morris in 'The World of the Shining Prince'[3],
suggests that the stress in aware was
placed on the direct emotional experience, rather than on any religious
connotation. The function of beauty in art was to heighten the awareness of a
gentle melancholy in the viewer. While this is closely allied to the Buddhist
perception of the ephemeral quality of all things, aware seems to have arisen separately from religious conditioning.
“One should not take outward beauty for reality. He
who does not understand this mystery will not obtain the truth.”
| Jing Gao, Sung dynasty painter 10th C |
 |
The use of water and stone
placement, are the two dominant threads that preoccupy the writer permeates the
Sakuteiki, it shows us that these two
elements were of prime importance. Of planting there is only a short section on
the use of trees, particularly in
respect of geomantic (feng shui)
considerations. “One should plant trees in the four cardinal directions from
the residence and there by evoke the presence of the Four Guardian Gods.”[4] Rock and
water and their manner of placement and arrangement had significance. Hence in
the Sakuteiki, the reader is given
guidance on good and bad practice. Stern warnings are issued if the guidelines
are broken. Intention and focus in the mind of the garden creator is important
if the correct spirit is to arise from the garden to greet the viewer. The
material that compose the ‘skeleton’ of the garden are understood to contain an
energy, a spirit, a quality that has a distinct transformative power. Used
incorrectly or with ignorance harm may follow. The only way to be in this world
is to observe, understand, and submit to the patterns of the natural world.
This way one is tracing the steps of the gods themselves.
|
“Water will take the shape
of any vessel that it is put into and, according to that shape, become good or
bad. For that reason, the shape of the pond must be given proper
consideration.”[5]
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| Heian stream reconstructed. Kyuseki-en, Nara |
The Sakuteki is insistent on the garden creator working with a
conscious mind set. Being aware that it is not primary, wilderness that is
being sought, but an essence, a taste of the experience of being in wilderness.
Creating a space that will evoke the idea of being encapsulated by an idealized
nature. This is the garden-nature that lies within the imagination of the
viewer. The garden that is created by the fusion of those elements; garden
scenery, imagination and viewer. The garden is a stage on which the passing of
seasons can play out the whole spectrum of emotional experiences. In observing
the fragility and changeability of the garden, the viewer observes the same in
him or herself, we are able to know ourselves more wholly, for however a brief
period of time.
The Sakuteiki is as much a
technical manual on garden creation, as it is on more esoteric matters of
Buddhist influence, such as the setting of stones to represent deities
themselves, and thus the use of symbolism in a garden. The handwritten text
that has come down to the 21st century, has no illustrations it is
just the text illustrating a window, through which we can see how others saw
gardens. The work is as relevant today as it was when it was compiled because
it reveals basic notions of the relationship of viewer to the viewed. Through focused
intention the garden creator can evoke spirit, he or she needs to recognise those
conditions within themselves, their own connection with the landscape.
“To make a garden by
studying nature exclusively, without any knowledge of various taboos is reckless.”
Tachibana no Toshitsuna
[1] ‘Sakuteiki, Visions of Nature’. Takei
and Keane. Tuttle. 2001
[2] ‘Sakuteiki’, Takei and Keane.
[4] ‘Sakuteiki’, Takei and Keane.
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