e was a shift back to an emphasis on looking rather than using. These gardens were used specifically as aids to a deeper understanding of Zen concepts…these gardens were not an end in themselves…but a trigger to contemplation and meditation” (Davidson, p.22). Unlike the Golden Pavilion, the Zen gardens were not meant for viewers to physically interact with, but instead as visual stimulus in the meditative process—a spiritual aid.Ryoanji, at the Daiju-in Temple in Kyoto (1488-1499) is one of the most famous and celebrated gardens in Japan and is an example of the Zen aesthetic. Simply composed of stone and sand, it serve as a subtle and yet effective example of the dry garden type, or karesansui. The garden consists of a flat, rectangular surface measuring thirty by seventy-eight feet. It is located on the south side of the temple. On its north side is located the long verandah where the visitors appreciate the garden. To its east, the garden is bounded by a thin low wall. One the southern and western side, a low wall with thatched roof tile surrounds the rock garden. The wall, originally white in color has turned into a rusty earthy color, blending well with the rest of the garden. The garden itself is composed of fifteen stones in five groups, lying on white raked sand (Kincaid, p. 66-73).As illustrated above, the arrangement of the rocks leads the viewer’s eye from left to right. The biggest rock makes the group of three in the left. As the big rock slopes to the right, it leads the viewer’s eye to the same direction. The group of five in the back lies low to elongate the horizon of the viewer, and incorporate the wall as the dominating horizon in the garden view. In addition, this group of five serves as the counter-balance to the sweeping rightward movement, as it leans to the left. The viewer’s eyes then meet a second group of five on the right, which continues the compositio...
