Illustrations for Designing Mountain, Water, and

Hillside Field Landscapes

by Zoen

If you have not received the oral transmissions,

you must not make gardens.

1. Here I shall abstract some instructive points from the records and drawings of Tung-fang Shuots residence. First, when laying out the plains, the mountains and peaks, and the waterfalls and rivers of a garden, you must regard rocks and trees as the structural elements. Hence you must consider fully the relationships of Mutual Destruction and Mutual Production in respect to the Five Colors of rocks. Since the ten thousand stream valleys are nearly always bordered by mountains, you must make two mountains, one on the left and one on the right. The yang mountain must be very high, the yin mountain somewhat lower. Locate the yang mountains opposite the residence at the place where you feel it would stand out the most. If you plan to have a waterfall, it must be articulated with the stream valley design; depending upon the site, however, there are also times when you must adapt the design of the waterfall to the existing topography. Mountains, water, and rocks are like the three legs of a tripod - if even one is missing, there can be no garden.

2. Bearing in mind the Five Colors of rocks, you must set them with full consideration of the relationships of Mutual Destruction and Mutual Production. In the cycle of Mutual Destruction, Wood destroys Earth, Earth destroys Water, Water destroys Five, Fire destroys Metal, and Metal destroys Wood. Let this be your guide. A person of the Wood nature has blue-green for his color, so you should not set a yellow rock in the direction he faces, since Wood destroys Earth. A person of the Earth nature has yellow for his color, so you should not set a black rock in the direction he ordinarily looks, since Earth destroys Water; but, even though the cycle of Mutual Destruction works like this, you need not so eschew a blue-green rock. A person of the Water nature has black for his color, so you should not set a red rock in the direction he ordinarily looks, since Water destroys Fire. A person of the Fire nature has red for his color, so you should not set a white rock in the direction he ordinarily looks, since Fire destroys Metal. A person of the Metal nature has white for his color, so you should not set a blue-green rock in the direction he ordinarily faces, since Metal destroys Wood. If you do set a blue-green rock, do not place it up close.

In the cycle of Mutual Production, Wood gives birth to Fire, Fire gives birth to Earth, Earth gives birth to Metal, Metal gives birth to Water, and Water gives birth to Wood. Even though according to the cycle of Mutual Production you should set a red rock for a person of the Wood nature, among the Five Colors red rocks are shunned. You should set a yellow rock in the direction a person of the Fire nature ordinarily looks. You should set a white rock for a person of the Earth nature. When you set a black rock for a person of the Metal nature, viewing it will bode well for him. You should set a blue-green rock in the direction a person of the Water nature ordinarily looks. This is the way Mutual Production works.

There is also Mutual Conjunction. It would be exceedingly harmful for a person of the Fire nature to look at a red rock set in the south with a nandina planted facing it, for it is said that when four Fires comes together a fire disaster will result. A blue-green rock set in the east and viewed by a person of the Wood nature is a Mutual Conjunction. A yellow rock set in the center of the garden must not be viewed by a person of the Earth nature. And it would be harmful for a person of the Water nature to view a black rock set in the north.

When the water is made to flow from the northeast, water-related misfortunes will be carried away. You should bear this in mind when you make the stream valley of the garden. For the stream valley, you must first of all construct the two mountains, yin and yang. Make the yang mountain very high, and the yin mountain somewhat lower. Then there is the matter of the waterfall and river. Since the Green Dragon is on the left and the White Tiger is on the right - the result of siting the house so that it faces south as is standard - you should make the waterfall flow down from the northeast toward the southwest. The water may also be made to flow down from the northwest, in which case it is known as the Water of the Spirit Kings. This is the Water of Wisdom of the myriad felicitous spirits - or Spirit Kings especially Benzai Ten. A flat-topped rock called the Rock of the Spirit Kings is set in the northwest. But because it is forbidden for this rock to be below the level of the feet. it must not be set there if the land drops off from the edge of the veranda of the house., and so forth and so on. Under no circumstances must the waterfall and river be directed from the southeast. This is called "reverse current" and is what people are referring to when they speak of "water that flows the wrong way." You must not willfully reverse the specified course of a large river to suit the site. The term "reverse current" is applied to this.

When you go to the fields and mountains to get rocks, keep in mind the three forces - horizontal, diagonal, and vertical. A horizontal rock is one that has its grain running lengthwise along the top when lying in a level position. As illustrated, this type of rock may also be used in the vertical position. Only by searching through one hundred and thirty-three rocks for each of these three will you be able to select them well.

Otherwise, the most important rock to get is the Never Aging Rock. It is not flattened off on top, and appears massive from all four directions. If small, it would not command our attention. This rock is Horai. The ancient turtle of Horai is called the Rock of Ten Thousand Eons and is set beside the Never Aging Rock. Since it is the turtle, this rock should be recognizable as such. First you set the Never Aging Rock and the Rock of Ten Thousand Eons, and only then should you set the other rocks.

3. You should set rocks bearing in mind the three forces - horizontal, diagonal, and vertical - introduced above. These three are equivalent to the triad, Heaven, Earth, and Man. First of all, set these three together at one spot that is to be the focal point. Once you have set the triad - Heaven, Earth, and Man - and then planted an upright tree to complement it, the result is a flawless gem fit for a king. Just as in the ancient expression, "In a country full of wealth, the Five Treasures proceed to the Center," it is said that when you compose the garden next to the residence in this way, the occurrence of misfortune is avoided by virtue of the garden.

4. The Master Rock looks after its Attendants, and the Attendant Rocks look up to their Master. The rocks you should first of all give your attention to in the garden are (1) the Never Aging Rock, (2) the Master Rock, and (3) the Respect and Affection Stones. The figure of the Never Aging Rock occupies the highest position. The Master Rock resembles the Never Aging Rock but is somewhat smaller. The Attendant Rock and the two Respect and Affection Stones, in the proportional relationship of larger to smaller, follow the model of the first two.

5. Treasure Rock, Castaway Rock and Rock of Perfect Beauty are all names for one type of rock. Fine rocks of this type are difficult to find. Generally, it is good to set one even if it is small. Set it at a place in the garden that lends itself to such a diagonally shaped rock.

6. There is the phenomenon of "craggy mountains with gnarled trees," mountains and trees with twisted forms. For this you plant contorted trees on the mountains.

7. There is the phenomenon of "rocks at the bend of a twisting river." This means that you set rocks at eccentric angles where the water flows turbulently as it makes a turn.

8. We are told of the phenomenon of large rocks scarcely visible above the water, and of flowing water, constantly obstructed as it seeks the sea. This being so, you should narrow the watercourse here and there, and then widen it so it appears like the sea. Simply keep such things in the back of your mind.

9. When you search for trees, select them with the three forces - horizontal, diagonal, and vertical - well in mind.

10. In the planting of trees and herbs, you make their natural habitats your model. You will not go astray so long as you bear in mind the principle of planting trees from deep mountains in the deep mountains of the garden, trees from hills and fields in the hills and fields, herbs and trees from freshwater shores on the freshwater shores, and herbs from the seashore on the seashore. For the landscape garden mirrors nature. And thus it is said that in each and all we must return to the two words, natural habitat.

11. The Japanese apricot has no difficulty growing on mountain peaks, mountainsides, or in villages. Even so, since it is at home on snow-covered mountains, bear the north

in mind when planting it. You may have some ideas of your own.

12. There is an instruction that says you are not to change the position of a rock from what it was in the mountains. Placing a rock so that the part which was underneath in the mountains is on top is called "reversing the rock," and is to be avoided. To do this would anger the spirit of the rock and would bring bad luck.

13. In setting rocks and planting trees, you should never use any that are exotic or showy, nor should you plant trees with dead or drooping branches in the area right in front of the bamboo blinds where the master, the eldest son, and the other family members reside. Respect the area the occupants live in and use such materials only in the other areas as befits the more striking topographical features found there.

14. The Respect and Affection Stones are two stones set slightly apart with their brows inclined toward one another.

15. Disharmonious rocks must not be used. All the rocks should go well together.

16. There is a rock resembling a toad, called the Bufo Rock. It does not stand out above the other rocks. With the Rock of the Spirit Kings facing southeast from the northwest, the Bufo Rock <faces northwest from the southeast and> embodies the fierce, meddlesome god, Kojin.

17. There is an expression, "ten thousand trees in a single glance." If asked what this means, I would reply that you must plant the trees in a garden so that all are visible without exception in just one glimpse. No matter how fine a tree you plant up close to the eaves, it must not conceal the smaller trees in the distance

The above landscape garden illustrations have presented the various aspects of designing mountains and stream valleys.

18. Excavating the pond. In the design of the pond, you may take as your model the shorelines of an ocean, or you may model it after the configuration of a river flowing out into a bay. You need not make the pond very deep; the depth will depend on the size of the pond. Excavate the pond so that the contour from the edge to the bottom of the pond is shaped like a druggist's mortar. Then, even when the water level is low, the surface of the water will retain the shape of the original pond. If fish are to be put into the pond, there is no problem in its being a little deeper than ordinary. For a pond where such fish as cyprinin carp are to be raised, you generally make a small pond alongside the main pond, with a corresponding shape. Construct it by laying up rocks in an interlocking fashion so that they will not collapse into the pond. Set the rocks so that those at the top retain the earth and look like mountains along a shore, while those toward the bottom obscure the pond from view. If in this way you prepare a place for the fish to spawn, they will naturally give birth to their young, and they will thrive. You can conceal from above the channel through which the fish enter and exit, by arranging rocks in an interesting and natural way. If around one pond you create two or three such places for the fish to seek shelter, they will flourish. For a pond that is to be stocked with crycian carp, you need not make the special ponds to provide cover such as you do for a pond in which cyprinin carp are to be relased. You need only prepare two or three places with an interesting and natural quality so that the crucian carp can find cover within the main pond, and they will thrive. Furthermore, if a pond to be stocked with water birds is constructed in this way, the fish will be able to take cover. They will neither be caught by the birds nor leap out of the pond when frightened, and thus they will thrive. Whent he pond is stocked with water birds, they may be harmed by a fox that lies in prey along the shore. So, while you are closely interweaving scenic rocks to create a pleasing effect along the shore, set some commonplace rocks just offshore to create the impression of frolicking birds.

There is also the marsh-pond, which has the feeling of just an ordinary pond. The scenic effect of a marsh-pond is achieved by composing plantings of sweet flag, rabbit-ear iris, eurya, kerria, azalea, wisteria, and gromwell along the shore of the pond as to create an interesting ambience. Rocks must be visible only here and there. or you must set them to produce an effect where they are not even noticed.

Another type of shoreline scenery is the ebb-tide beach, where has no striking features but simply creates the impression of the tide constantly ebbing and flowing. Here, if just by spreading fine and coarse grades of sand and without setting any rocks you can visually re-create a single scenic ambience - that of a beach rising to a knoll where a pine or some such tree alternately appears at high tide to be out in the middle of the sea, and at ebb tide to tower as if suddenly borne high above the beach that is now exposed so far into the distance that one cannot tell where it ends and the sea begins - you have nothing more to learn. The visual impression of an ebb-tide beach is produced simply by the way the tree is planted and the way the fine and coarse grades of sand are spread.

19. On the seashore, one should not find such plants as sweet flag, rabbit-ear iris, and kerria. It is common practice nowadays to use such plants when creating the scenic effects of the seashore, but this matter should be taken more seriously. People who are discerning with regard to this type of scenery are rare. It is all the more important, therefore, that you view the garden with a discerning eye, always bearing in mind that a mountain is a mountain, an ocean is an ocean, and a stream is a stream.

20. The term "stream valley" merely refers to the scenic effect of foothills running along a stream valley. For this effect, you must not set rocks too conspicuously, but rather, principally by planting trees and herbs, you must aim at creating the scenic atmosphere of hills and fields.

You should simply make the stream valley ever so gently rolling and utterly ordinary.

21. If there is a pond in the garden, such birds as the white egret may naturally alight on the roof and eaves with the intention of feeding on the fish, without cause for concern. However, in the event that they are perched on the roof where no pond exists, an exorcism must immediately be performed.

22. In the landscape garden, you must regard rocks and trees as the structural elements. When obtaining either trees or rocks, you must keep uppermost in mind the three forces - horizontal, diagonal, and vertical. Do not position a rock in such a way that it has a sharp point sticking out in the direction of the position from which the master customarily faces the garden, no matter how fascinating the scenic effect. You must prune out, with consideration for the overall effect, any superfluous branches of trees and herbs growing too close together, one above the other, and sticking out in the direction of the master's position, even though they may have a scenic effect. If the branches are too sparse at the tips, it is unsightly. At the same time, there must be as few branches as possible. It is said there is a reason for this.

23. In setting the rocks, first of all, when you are about to set the Happiness and Prosperity Rock for the master, select with consideration for its place in the overall balance a nameless rock, so that people will not know which is which. Then, after the hole is dug, with the hands in the Touching the Earth mudra under the sleeves of one's robe, the proper mantra is invoked. This is a secret matter. Have ready about 1 sho of rice (depending on the size of the garden and when you set the named rock, with the rice still in the measuring box put it into the hole. Here again, so that people will not know it is the named rock, after you have had the hole dug for the nameless rock, put the rice while still in the measuring box into it too, then remove the measure and put a little rice into each hole. This is done so that people will not be able to distinguish between the named rock and the nameless rock. This is a secret matter.

Even if it is the master's desire, you should not make a scene in which a sandspit and the watercourse of the stream flowing around it project out toward the front of the house, as this would be inauspicious for the master. The size of the garden must be determined on the basis of the master's financial situation. If the master lacks the financial means, he may be defeated by the garden. Such matters are of great importance. Keep them firmly in mind. Also, when you begin setting the rocks in the garden, be sure to select an auspicious day and begin from an auspicious direction.

24. Unless there is a place to draw up an ox-cart at the middle gate, bushclover must not be planted there.

Bushclover is planted where it will come into view just as one passes through the middle gate. Asters, white chrysanthemums, and the like must not be planted within the landscape garden proper, even if the master expresses such a desire, since they customarily evoke feelings of melancholy. When in the course of constructing the garden master's house a gate is erected, the Torch-cleaning Stone is set 10 shaku to the left of the gate. It must not be set if there is no gate. This stone is in general appearance flat on top and naturally rough on all four sides. It is set at a height of 0.7 shaku above the foundation stones of the gate. The reason it is called the Torch-cleaning Stone is that when guests make an excusion up into the hills at night, the person who greets them comes out, lights a pine torch, and then knocks the embers off by striking it on this stone. You must knock off the mebers of the pine torch on the top of this stone. Such matters are secret. You must never divulge them to those who have not received the transmissions.

25. A person who approaches the garden wanting to view it first does so from beside the Reverence Rock. The reason for this is that, due to the awe-inspiring nature of certain rocks that are set in the garden - the Buddhist Triad Rocks, the Twofold World Rocks, the Mystic Kings Rocks, and the Celestial Beings' Abode Rock - the viewer, with heart full of hope for the fulfillment of his most devout prayers, reverently worships all the Buddhas of the Three Worlds from beside this rocks.

Now after offering words of greeting to the master, a person thoroughly views the garden by first surveying the scenery in the direction of the waterfall; he then makes the rounds following the direction of the water's downward flow, stopping to view along the way; and once again approaches the Reverence Rock. A person ignorant both of the direction of the water's downward flow and of how things are laid out in a correctly ordered garden, is so lacking that he simply will not be able to see anything. He who cannot distinguish between the named rocks and the nameless rocks must by all means not step on top of any of the rocks, so as to avoid stepping on a named rock. When viewing a garden of a person whose rank is higher than his own, a person must not praise it in a loud voice, no matter how captivating it may be. But whenever this involves a person of his own rank, he should offer praise freely. It is with attentiveness to such things that a person must view the landscape garden.

26. The art of setting rocks in the landscape garden originated in India at the lake called Manasarovara where rocks numbering 8,631 were set, with each of the Eight Great Dragon Kings in charge of more than 1,000 rocks. From that origin, it took root in China, where, in accord with the relatively smaller size of that country, the number of rocks was reduced to 361, set on the banks of the Hsun-yang. After that, the art was introduced into Japan during the reign of Emperor Kagamiyama, and the number 66 was decided upon. In a still later age, this number was considered inappropriate, and it was reduced to the 48 that have been selected as the named rocks. The Great Teacher Kobo has said that though the names of rocks are many, the scale drawing of a garden must accurately reflect their number. Nameless rocks, on the other hand,, should be set without limit, as the garden demands.

27. The Absolute Control Rock is set in the middle of the pond. In shape, it is flat-topped. The right side, as one faces it, slants outward toward the base. It is 3 shaku in height, that being to scale for an estate of 8 cho. This rock protects the people who dwell there. It is king among all the rocks. If it is set well, good fortune will come and riches will abound. Because this rock possesses such magical powers, another name for it is the Miraculous Rock. However, it is correctly called the Absolute Control Rock.

28. Mirror Rock. This rock accompanies the Absolute Control Rock. Because in its shape it mirrors its companion, the Mirror Rock sharpens the image of the Absolute Control Rock, thereby bringing out its powers. This is the reason that it is set to accompany the Absolute Control Rock. In shape, it is flat-topped and resembles a person saying something. Depending on the composition, it should be set at a height of anywhere from 1 shaku down to 0.32 shaku. You will know the proper height by virtue of the model that the other rocks provide. There are oral transmissions.

29. The Fulfillment Rock is set in front of the main hall, pagoda, or abbot's quarters of a temple. Because this rock, when it is set well, has the power to bring about fulfillment of the master's prayers, it is called the Fulfillment Rock. In shape, it is a vertical rock. With no defects on any of its four sides, it is a rock endowed with compassion.

30. The Reverence Rock is set to the left of the Fulfillment Rock. In shape, it is a vertical rock. Its height is 0.33 shaku. You will know which way to adjust this standard height by virtue of the model of the rocks mentioned above.

31. Names of Rocks (V=vertical, R=recumbent)

Supplication Rock V, Human Form Stones V,

Current-impeding Stone R, Constant Waters Rock R, Status Rock V, Companion Rock R.

Frolicking Birds Rocks R, Drip Line Paving Stones R, Rock of theright V, Rock of the Spirit Kings V, Never Aging Rock VI Rock of Ten Thousand Eons V.

Master Rock V, Attendant Rock(s) V, Barrier Rocks V, Flowing Water Rocks R, Water-collecting Rock V, Respect and Affection Stones V.

Bufo Rock R, Waterfall-deepening Rocks V, Paving Stones R, Stream-rippling Rock R, Falling Water Rocks R, Buddhist Triad Rocks V.

Bridge-anchoring Rocks R, Water-dividing Rock R, Wind and Rain Rocks R, Erect and Recumbent Rocks, Water-channeling Rocks V or R, Flying Birds Rocks R.

Ducks' Abode Rocks R, Torii Stones R, Twofold World Rocks V, Mystic Kings Rocks V, Subordinates Rocks R, Folding Screen Rocks V, R.

Waiting Rock(s), Water Striking Rocks, Horizontal Triad Rocks, Frolicking Rish Rocks, Cormorants' Abode Rocks R, Hovering Mist Rock V.

Guardian of the Mansion Rock V, Taboo Rock V, Boat-concealing Rocks V.

32. Complying with the illustrations for these rocks, you must set them with great care. Keep in mind that the dimensions of the rocks depend on the size of the landscape garden. The landscape illustrations presented above are for estates of between 4 and 8 cho. Now even if it means the dimensions of the rocks will differ somewhat from what is prescribed, set them in accordance with their assets and faults. If you do not grasp this, you will not be able to set them in a composition. The illustrations presented here must be followed today just as they were in the past. Recollecting the subtle seasonal moods of waka poetry from ancient tiems up to the present, you must re-create with a quiet, graceful charm those moods that speak to you in your innermost heart. As a rule, first set the largest rock, and then set each succeeding rock in proportion to it. This can only be done intuitively. Without continual cultivation, your work will be inferior. There must be oral transmissions concerning this.

33. Twofold World Rocks. One is set in the pond close to the waterfall, and the other is set in line with it on the shore. The reason for this is that the one set on the store embodies the Tathagata of the Diamond World. It is the rock that gives rise to the herbs and trees and the ten thousand things. The one set in the pond embodies the Tathagata of the Womb Treasury World. It gives visual form to the fluidity of corporeal reality and the nonduality of conceptual categories. Together they manifest the Vairocana of the Twofold World, and contain the Five Agents and the Five Colors. Even so, in general shape these rocks are flat-topped, and beautiful from all four directions. They are set at heights of 3 shaku and 2 shaku.

34. Mystic Kings Rocks. This composition of rocks is set in the courtyard garden that the master faces. The rocks form a configuration akin to the Five Great Mystic Kings, each in its respective position. The rock in the center is the seat of the Mystic King Fudo, and is 2 shaku in height. The remaining rocks are all set at a height of 1.6 shaku, and combine vertical, horizontal, and diagonal forces. You must inquire thoroughly into the oral transmissions on such matters.

The Ways of Planting Trees.

35. The pine tree is not averse to making its home on mountainsides, mountain peaks, hillside fields, or plains. still, you must plant it to harmonize visually with the landscape scene. It is especially important that the pine be planted correctly in the auspicious direction. As a rule, it is difficult to imagine a landscape garden, even one in an enclosed courtyard, without a pine tree. only the pine tree can be planted in so many different ways to interesting effect. There ought to be some oral transmissions on this matter.

36. While there are no fixed places for using camellia in the landscape garden, you will do well to plant it in association with pines so as to create a scenic effect. Whatever that may be, these two must be planted in perfect harmony. Surely there are oral transmissions on this.

37. The Japanese apricot has no difficulty growing on mountain peaks, in valleys, or in villages. Still, when determining its direction, you must bear in mind the north. Of two or three Japanese apricots to be put in a garden, you must plant the finest specimen in a location that preserves this directional orientation. The others should then be planted to harmonize visually with the scenic atmosphere. Since the Japanese apricot has an inviting fragrance, plant it in the direction from which the prevailing breezes blow with respect to the living quarters, keeping in mind the scenic effect. The reason for this, it is said, is that Japanese apricot blossoms have an exceptional fragrance. Surely there are also oral transmissions on this.

38. While the Japanese cherry may be found most anywhere, on mountain peaks, or in the deep mountains, you must chiefly bear in mind villages when you plant it. The cherry is also fascinating when planted in the juncture between the deep mountains and the verdant hills. For its 'home site' bear in mind the south. You may also plant one or two cherries in the shade of trees that are associated with high or remote mountains, so that one feels there is a village nestled deep in those mountains. Really, the cherry, possessing the special qualities that it does as a tree, may be planted in any location whatsoever without difficulty, so long as you plant one specimen in the cherry's home environment. A person who has not received the transmissions, even when given two or three trees to work with, will plant them so indiscriminately that not one will be in the cherry's home site, and thus will incur the blame of those who have received the transmissions. In all such matters, you must act with a similar discernment.

39. The willow is ordinarily not much favored for planting in the landscape garden. When it is used, however, it is planted on the northwest side of the island. If there is no island, the willow is not planted. There are also cases of its being planted as a river willow at the point where a bridge crosses the river in a marsh-pond landscape a scenic effect sometimes found in large-scale landscape gardens. It is a scenic effect that is ordinarily not used, and should not be favored.

40. It is unthinkable to plant wisteria without pines. Nevertheless, because of the fascinating effect, it is fine to plant it in the umbrage of other trees such as hinoki cypress. It is also fascinating when in bloom, if planted so that it extends out over the water in a marsh-pond landscape.

41. Kerria is best planted chiefly in the marsh-pond landscape. When used in an ordinary landscape garden, it should be planted beside a fence or some such spot.

42. Winged euonymus is especially striking when the leaves turn red in autumn. It makes hills and fields its principal home. As a rule, it is also striking when planted in among podocarpus and hinoki cypress. When planting it, you must bear in mind the northeast as its principal direction.

43. Azaleas are woody plants that make hills and fields their principal home. Nevertheless, there is general agreement that it is good to plant azaleas as the undergrowth in the deep mountains. They are fascinating when hidden away among rocky crags or when planted on the banks above a pond. They make both yin and yang mountains their principal home.

44. The peach tree is not considered very desirable. Nevertheless, being an auspicious tree, it is acceptable to plant it in a large-scale landscape garden, in the concealment of other trees. Its direction is east.

45. Pomegranate. This is a tree of the village. In the landscape garden, it should be planted at a place where you intend to creat the impression of hills bordering a village. However, since pomegranate has an exotic scenic quality when it bears fruit, you should set it off by planting it in an unobtrusive spot, in harmony with its surroundings. As a rule, you must be sure that this tree bears fruit before you plant it.

46. The pear tree. This tree, too, is not of the deep mountains, but rather makes hills and fields and villages its principal home. Varieties like the Chinese pear are particularly appealing.

47. Maple. Keep this tree uppermost in mind when planting. It is primarily a tree of the deep mountains, and not found in villages. Even so, do plant it there so that it is attractive and harmonizes with the surrounding scenery. Bear in mind the northeast as its principal direction. With this tree too, after locating one in a spot that corresponds to the mapells home site, you should plant the others in accordance with the scenic effect. The maple is an especially attractive tree.

48. Bear in mind that, as a rule, trees from hills and fields are to be planted in the hills and fields of the garden, trees from deep mountains are to be planted on the large mountains, and trees from villages are to be planted in village settings.

49. As a rule, in landscape gardens that feature an island, you should plant willows to the northwest, maples to the northeast, pines to the southeast, and cryptomerias to the southwest. By saying this, I do not mean to imply you must strictly follow it. These rules are intended for a large-scale landscape garden with a broad island. In these matters, you must listen to the dictates of your heart and then design in whatever way you feel best suits the scenic effect being created.

50. Bamboo must be planted to the north, in accordance with the visual impression it makes there.

51. Pines are striking when clustered along the flanks of the waterfall in whatever numbers the scenic effect calls for. Even if there is no waterfall, it is a good idea to plant clusters of pines along the descending ridges of hillside fields and mountain capes - scenery typical of the foothills of deep mountains - in whatever numbers are needed to produce a striking scenic effect. Consider the west as the pine's principal home, and plant it in accordance with the situation.

52. In the deep mountains you should plant mainly such trees as podocarpus, cryptomeria, hinoki cypress, cimmamon and camphor, castonopsis, paulownia, oak, daphniphyllum, pine and wild cherry. As the undergrowth beneath these trees, a mix of plants like azaleas, ilex, eurya, wild sumac, and bamboo grass will look splendid when they are growing luxuriantly together with no patch of ground exposed. But if either the trees above or the undergrowth below are unkempt, the scenic effect will be without merit. You must achieve the scenic effect of deep mountains, in which the trees and underbrush are growing luxuriantly together (but not too thickly) with a fresh, quietly graceful, natural feeling. Without a keen sensibility, this is impossible.

53. Plant citrus trees so as to capture in a single scenic ambience the impression of a village bordering on hills and fields. Keep in mind that the pattern of a formal wooden fence extending out from the eaves can serve to recall this image. Such fruit-bearing trees as loquat, tangerine, mandarin orange, citron, and chestnut are charming when planted to create this domestic effect.

54. As for the smaller herbs, it is good to plant chiefly such varieties as calanthe, wasabi, hyakunanso, kinkiso, and nekusa, all herbs that do not grow tall. When planting such herbs, you will do well to select those rich not only in scenic qualities, but also in poetic associations.

55. White chrysanthemums and asters have a magical affinity like that of the intimate converse between a man and a woman. When the effect would be appealing, prepare a special place that suits them and plant them there to good advantage. Or, plant them on opposite sides of a formal wooden fence, so that they appear to be peeking at one another through the fence.

56. As a rule, when thinning out the branches of trees, firth thoroughly observe the shape of the tree, giving priority to the front. As you do so, remember that branches sticking out in the same direction, one above the other, on the side of the tree the master faces are undesirable, and begin by pruning out the branch of lesser quality in any such pair.

When pruning vertical trees, as a rule you must not cut off the central leader that extends heavenward, for it is fundamental to the tree's natural growth; leave it erect. When it comes to horizontal trees, observe the natural growth pattern of the tree, and then prune it to bring out its inherent scenic qualities. Do the same for diagonal trees and vertical trees. Do not prune back the longer of those branches inherent to a tree's natural growth pattern.

For trees whose main interest lies in their foliage, all the branches with leave on them, from the upper part of the tree down to the base, are considered desirable; do not remove them. Prune out only those branches that wander erratically or are long and unkempt, so as to achieve a visually harmonious effect.

It is bad to cut off the branches of a tree indiscriminately. You should not prune out gnarled branches, even if they are somewhat unsightly.

57. When pruning back the roots of trees during transplanting, you must treat the larger ones as follows: First apply a hot iron to the cut ends of the roots. Then grind some pine resin into a powder and -mix it with sulphur, and after coating the cut ends of the roots with birdlime, spread the mixture over this. As a rule, you should treat the cut ends of branches in the same way. When you are about to plant the tree, thoroughly coat the roots with red clay that has been kneaded vigorously into a sticky paste. Then put this same soil into the hole as you plant the tree. If the roots are plentiful, you do not necessarily have to do it this way.

58. Alternately, in transplanting a tree, fill the hole with soil from where the tree was originally growing. After planting the tree, water it and then pack the soil down well with your feet. Such care assures the successful transplanting of a highly valued tree.

In moving and planting trees, it sometimes happens that the bark of a tree is peeled back, or a tree is abraded or cut part way through. In such instances, apply the preparation mentioned above. Always give the proper care to a newly planted tree, constantly watering it, shading it from the sun, spraying it with water in the morning, and removing spider webs. You must be ever attentive. These are secret matters relating to the planting of trees.

59. As a rule, when you make a garden on a site where the soil is excessively fertile, there will be no end to pruning the branches of trees and herbs growing ever taller and closer together. If you coat the cut ends of the branches with a mixture of rat droppings and sulphur, and then lightly apply a hot iron to this, the new growth will diminish and appear normal. If you want to keep herbs and the like delicate, make a powder of rat droppings and dust it over them from time to time. Particularly when you want to keep a plant like sweet flag delicate, do as follows: First clip off the tops. Next, spread a cloth over the plants. Then, after preparing a powder of rat droppings, get some on the tip of a toothpick and work it around on the cloth. Some will sprinkle down onto the plants. If you coat a toothpick and play it over the surface of the new shoots whenever they appear, the new growth will remain delicate.

60. As a rule, when varieties of trees first removed from the wilds are pruned back, do as before: Coat the cut ends with birdlime, pine resin, and sulphur, and apply a hot iron. Next, make a powder of betel-nut, add some powdered licorice, mix in birdlime, and coat the cut ends with this preparation. Then sprinkle pine resin over this, and again apply a hot iron.

61. When planting a tree that has been in transport, or that has been dug up and left out of the ground for as many as five or even ten days, first coat the cut ends of both and branches and roots with the preparation above and lightly apply a hot iron. Then, after digging the hole and planting the tree, cover the aread around the tree with a thick mulch of shredded arum root.

More ways of setting rocks.

62. You must never, never neglect the place in which the felicitous named rock is to be set for the master - make a mental note of this.

63. Even if it happens that a snake slithers down a tree and disappears in the direction that the Rock of the Spirit Kings is facing, toward where the Bufo Rock is to be set, you must not trample on the roots of the tree. When you make a landscape garden, maintain an attitude of reverence and respect, giving each aspect your full attention. You should solicit the kills and learning of others, and not simply do what you alone find interesting. Never treat lightly what you feel are secret matters. The placement of herbs and trees may appear simple, but there is not one person in a thousand who knows how to do it. Although numerous landscape garden scrolls have been handed down, keep only the one scroll that you consider most suited to your sensibility. The illustrations concerning rocks, the locations for setting rocks, and the locations for planting herbs and trees must be kept absolutely secret. In fear of the Eight Great Dragon Kings, it is forbidden to make gardens without observing the principles. These are priceless treasures, which you must never, never divulge! There are oral transmissions concerning this.

64. Boat-concealing Rocks. These rocks are set in the middle of the pond. By way of illustration, you may set the rocks by twos or threes, in a string with slight intervals between them, or you may set them in the horizontal triad configuration. The height of these rocks is not fixed - you should set them higher or lower depending on their shapes. They must be rocks that look as if they had once towered quite high, but have since crumbled and eroded away. Turning the possibilities over thoroughly in your mind, set them in a fascinating composition. The composition should convey the feeling of a boat vanishing between isles in the bay of Akashi. This scenic effect is a secret matter. So be it! So be it!

65. Taboo Rock. This rock is flat-topped and vertical. Set it so that it is inconspicuous from afar, and only comes into view when one draws near. The reason for this is that in the front part of the pond many tall rocks are set on a projecting spit of land to create the impression of a boundless sea; this rock is set at a sufficient interval to be separate from them. It is placed on the south side of the pond, and visually depicts Mount Fudaraku. Therefore, it is also called the Kannon Rock. Set it at the height of a man's elbows.

66. The Folding Screen Rocks look as if a folding screen had been unfurled. With no fixed size, they are set back behind the rocky coast where the water from the falls flows out into the pond, at a point where one might find the scenery of steep cliffs. Continually unfolding like an escarpment, they represent scenery of great variety. The same composition may be used in the northwest part of the garden.

67. Subordinates Rocks. This name refers to smallish rocks in a bed of white sand. They are set so that they barely protrude, almost as if one took no account of them. Still, it is fine if they stick up a little. Use them in any number, in the horizontal-triad or the crescent configuration. Set them helter skelter, to create an intriguing quality like that of gently rustling leaves. They may also be set at the base of a tree.

68. Hovering Mist Rock. This rocks is set beside and slightly above a Barrier Rock. It is a vertical rock. In height, it should be set 0.3 shaku above the Barrier Rock. Yet it must be used at a point close to the pond where one might find the trailing ridge of a lower peak. This is because the mist always rises from a point close to the pond. If you do not keep this fully in mind, you will not be able to set it properly.

69. Buddhist Triad Rocks. These three rocks are set to one side or the other of the waterfall, depending on the composition. How they are set depends on whether the composition is to represent the Shaka triad, the Amida triad, or the Fudo triad. The central figure is set at a height of 3 shaku, the others at 2.5 shaku. The composition must not be lacking in substance, nor must it be used in the garden of a secular residence. Here too, depending upon the garden, you may need to set the central rock at a height of only 1 shaku, and then set the other two rocks in proportion to it. These rocks must never be set carelessly.

70. Water-channeling Rocks. These are used to imitate the effect of water being channeled between rocks at the point where a stream or river flows out from the mountains. This is not a scenic effect for which the shapes of the rocks are specified; you should just set rocks with highly distinctive features so as to bring out these particular qualities.

71. Torii Stones. These stones are set in the pond, toward the east shore close to the Water-dividing Rock. They are flat-topped, and there are three of them, set in the horizontal triad configuration. They stand 1.3 or 1.2 shaku above the water.

72. Dragon's Abode Rocks. These rocks number thirty-three, and are set off to the east of the central island in a crescent-shaped configuration. The rock at one end of the crescent should be set so as to resemble the dragon's head, and the rock at the other end should resemble the dragon's tail. The first is set at a height of 1 shaku, the last at 0.6 shaku. This configuration of rocks is not very desirable; with the dragon as master of the pond, if they are set poorly, it would not bode well for the master of the house.

73. The Water Striking Rocks must be set just slightly away from the shore of the pond at a point that is in the path of the current, so that as the water flows by, it strikes against them. These rocks combine both diagonal and vertical shapes. Two or three are placed out along the edge of a sandspit in front of the master's house. As the water flows along, it will naturally strike up against them. The height at which these rocks are set depends upon the breadth of the pond. These are fascinating rocks. You must bear these things in mind when you position them.

74. Wind and Rain Rocks. This composition is used at a choice location in the central area of the garden. Flat-topped rocks are used to create a diagonal formation. You establish this diagonal quality with the principal rock, and then set four or five more rocks in descending fashion. Begin by setting the largest, which is 1.5 shaku in height. After that, set the others in gradually descending sizes of 1 shaku, 0.8 shaku, 0.6 shaku, 0.4 shaku, and 0.2 shaku. Because they are set like this in imitation of the pattern of wind-driven rain, they are called the Wind and Rain rocks.

This is a dynamic composition. Bear these things well in mind when you make it.

75. Water-dividing Rock. This rock had diagonal sloping sides. You must set it so that it looks splendid when the water is flowing at full volume. Because it is the rocks that stands in the middle of the current where the water flows out into the pond, do not set the Falling Water Rocks until you have set the Water-dividing Rock.

76. Barrier Rocks are set on the peaks. You may set them facing in any direction, at any place on the mountain tops. Their shapes include all three forces - horizontal, diagonal, and vertical. These rocks greatly resemble mountain peaks and create a striking scenic effect. You should set each at the height best suited to it. Because they simulate peaks, it is difficult to specify how many you will need. Construct steep mountains and set these rocks to create the impression that a path along which a person might journey winds among the peaks. Keep these things fully in mind as you set these rocks.

77. The Flowing Water Rocks are set in the middle of the pond, out in front of the main viewing position. The special feeling of these rocks cannot exist without water. They are "water bottom rocks", set at the bottom of the water in the horizontal triad configuration, so that the tips of two or three are just barely visible above the waves. Here, too, there are no specified dimensions. They should simply be set harmoniously, with an eye to their own special scenic qualities and the way they will look in respect to the surrounding water surface.

78. The Respect and Affection Stones must be set to the northeast, in the seclusion of other rocks so they cannot be seen from farther away. There are two stones, whose shapes create the impression of a man and a woman engaged in intimate conversation. They are set at heights of 1 shaku and 0.85 shaku, respectively, but this may vary depending on the height of the other rocks. This composition is used primarily in the garden of a secular residence.

79. The Bufo Rock is set in the southeast facing the northwest, also in the seclusion of other rocks so that it is not seen together with the Rock of the Spirit Kings, and is inconspicuous. It resembles a toad, yet its size may vary. Thoroughly consider its relationship to the other elements when you set it.

80. Stream-rippling Rock. There is no specified shape for this rock. But it must have a scenic quality and be set so that ripples are formed as the water flows around it.

This rock is also called the Stream-Dividing Rock. It is one of the fascinating scenic effects that employ rocks. Keep these things fully in mind when setting it.

81. Falling Water Rocks. These rocks are set so that the water falling from the upper level of the pond flows around and over them. They are diagonally shaped rocks, with one set 0.62 shaku above the water, and the other immersed in the water. A third may be set just 0.02 or 0.03 shaku above the water.

82. Bridge-anchoring Rocks. These are set next to the onion-flower-shaped bosses at both ends of the bridge that crosses to the central island. There are two different shapes. One type is flat-topped and the other has diagonally sloping sides. They are placed 1 shaku away from the bosses, or, depending upon the size of the bridge, only 0.7 or 0.5 shaku away, whichever the proportional balance calls for.

83. Master Rock. The most suitable place to set this rock is at the point where a projecting cape of the island meets the island proper, or off to the northwest, to the right of the residential buildings. In shape, this rock is neither flat-topped nor a vertical. Rather, from nearby, it has an understated elegance that commands people's respect. It should be set at a height of 3 shaku or, depending upon the garden and the desired effect, at a height of 2 or even 1 shaku.

84. The Attendant Rocks are set to either side of the Master Rock. If there is only one, it is set to the right of the Master Rock. In shape, these are flat-topped rocks, resembling persons with their heads lowered, respectfully saying something to the Master Rock. Their height is 1 shaku for a 3-shaku Master Rock. Adjust their height based on that proportion. Set them in postures of deep respect for the Master Rock.

85. The Never Aging Rock may be set either in the pond or in the garden proper. In shape, it combines all three forces - horizontal, diagonal, and vertical. You should by all means use this rock. Its height is 2.5 shaku. Below it the Rock of Ten Thousand Eons is set. The Never Aging Rock must have an enchanting scenic atmosphere. Keep these things fully in mind when you set it.

86. The Rock of Ten Thousand Eons is the ancient-looking rock set below the Never Aging Rock. It has the shape of a turtle. Set it so that its upper surface is like a round cushion laid on the ground. There is no specified size; here too, it depends on the size of the Never Aging Rock. Set it so that it bears a striking resemblance to the shape of a turtle.

87. The Rock of the spirit Kings is set in the northwest. It is a flat-topped rock with a ledge in front and a balanced form from the front and both sides. You can find detailed descriptions of it in writted compilations of the oral transmissions. On top it has the shape of a vertical rock, and in front, that of a diagonal rock. It should be set at a height of 3 shaku or, depending upon the garden, as little as 1 shaku, 0.8 shaku, 0.6 shaku, 0.7 shaku, or even 0.3 shaku. These are very important rocks. You must set them with an eye to their harmonious balance.

88. The Frolicking Birds Rocks are set between the central island and the shore of the pond out in front of the house. These rocks have both horizontal and diagonal lines, and rather resemble the shapes of birds. They should be set 0.5 shaku above the water, so that the diagonal sides are partly submerged. Three, four or five in number, they should compose a scene reminiscent of birds at play. These rocks make an especially intriguing scenic effect in the landscape garden.

89. Companion Rock. This rock is set to the left of the Status Rock. Flat-topped, it is set at a height of 0.62 shaku. But you must vary its height in proportion to the height of the Status Rock. Bear this fully in mind and set it with an eye to its balance with the Status Rock.

90. The Status Rock is set slightly away from and to the left of the Fulfillment Rock. It has diagonally sloping sides and is flat-topped. Its standard height is 1 shaku, but there are times when it is set at 0.6 shaku or even 0.3 shaku. This is decided on the basis of the master's rank and the overall situation. If done well, it will contribute to the scenic quality.

91. Constant Waters Rock. This rock is set as a rocky point on the central island of the pond, on a sandspit extending out from the island's south side. It is diagonally shaped, with no specified size. set it in an interesting way that goes well with the shape of the island, and so that the water in passing washes up against it. To create this effect, it is always best to use a rock in the upright position.

92. Current-impeding Stone. This stone is set as if it were a bridge pillar. There are no specifications as to its shape. It is set 0.3 shaku above the water. Another opinion says it is set at the same height as the bridge, but 0.3 shaku is the accepted standard.

93. Human Form Stones. These stones are set 0.75 shaku away from the edge of the veranda of the master's house. They may be set in a large-scale landscape garden, but their use should not be especially favored. These are stones with equal power to bring both good and bad luck. When mountain rocks are used, the indwelling spirits must be exercised. You must not place them in the garden of an ordinary lay person's residence. In shape, these stones are flat-topped and have the look of two people standing face to face engaged in conversation. one stone is 3.5 shaku in height, the other is 3.2 shaku. This composition should never be used in the garden of an ordinary person's residence, no matter how much it is desired.

94. The stump of a willow may be left there to view, but the stump of a pine tree must be speedily dug up and disposed of.

You must never show this writing to outsiders.

You must keep it secret.

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