n leading it to the right. Finally, the group of two in front copies the movement of the group of five, finisheing the complete movemnt in this garden (Ito, 19).The result is an asymmetric composition which achieves a certain balance. Rhythm is achieved in the composition of the garden by arranging the stones in different alternating heights, creating a sense of movement for the eye. One can realize the importance of harmony and design of the garden as each stone is carefully placed in their own positions. Each factor—position, height, and color—is taken into account to create an environment of harmony.The use of the dry garden has had a long history in Japan. During the medieval ages, the Japanese began to experiment in unique and abstract ways with the use of rocks, while still keeping such traditional features such as the pond, stream, and artificial island. From this point on, rocks of various shapes and sizes where increasingly used to represent both natural formations and man-made ones, including mountains, cliffs, waterfalls, and bridges. Also, sand and white pebbles were used as “water” and therefor, in some of these old gardens, the pond was eliminated, which had been the central focus of Japanese gardens for centuries (Kincaid, p.22-23).In contrast to Kinkakuji, the garden of Ryoanji’s function is purely meditative. Unlike the Golden Pavilion, there is a designated area for viewers to sit and contemplate the scene before them. In understanding this garden’s function one must realize that it “relies on understatement, simplicity, suggestion and implication…leaving room for the imagination by providing a starting point” (Davidson, p.23). The design of this dry-rock garden stands in stark contrast to the elaborate gardens of the Heian period; no longer do we see an complex landscape complete with lake, winding paths, bridges, islands, trees and plants. This idea of ...
