JAPAN
path should be associated with it to suggest a distant origin, or a mountain to suggest a spring, or a rockery to suggest a concealed font. There was also a waterfall landscape which called for certain salient features. All this was greatly elaborated by a monk called Soseki, who worked many of the moral precepts of the Zen sect into the fabric of his landscape; and ultimately, in the second half of the fifteenth century, the artist priest Soami extended the system so greatly and added so many subtle conceptions that he is often spoken of as the father of landscape gardening in Japan. Setting out by enumerating and defining twelve principal varieties of landscape and waterscape, he proceeded to indicate the constituents of each and their derivations. Thus, in rockeries he placed sea and river stones; plain and mountain stones; current stones and wave stones, stones that divide a stream, stones from which it flows, and stones against which it breaks; stones for standing beside; detached stones; erect stones and prostrate stones; water-fowl-feather-drying stones; mandarin-duck stones; three-Buddha stones, and sutra stones. Then of islands there was the wind-beaten or salt-strewn isle, which had neither moss nor rock because it represented a spot swept by constant sand-showers; there was a central island, or isle of elysium, to which no bridge led since it lay in mid-ocean; there was the wave-beaten island, the tide-lapped island, the guest
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