Bai Wen

Editor/savage hardcore

Chà silence is an aesthetic consciousness in Japan, which is self-evident to the Japanese and has no clear definition. Silence is not only a kind of world outlook, outlook on life and aesthetic type, but also a design rule.

In Japanese, "love" has many meanings, such as loss, poverty, depression, peace of mind, carefree pleasure, sigh and so on. Originally, it was a word used to express people's physical and mental state. In the Middle Ages, it gradually transformed into a new aesthetic consciousness to describe "the beauty of inadequacy". In the Muromachi era, it developed rapidly with the concept of tea ceremony. After that, there were people in the Edo era (jugglers; Excellent, advocate) Matsuo Bashō completely and truly established the "beautiful you". "Beauty" refers to the extraordinary beauty achieved by the subtle imperfection of time, such as pottery with manual traces, content with simplicity, no need for decoration, and pointing directly to the source.

In Japanese, "silence" originally refers to the appearance of deterioration with time, and also means a quiet state. The so-called "quietness" refers to "feeling beauty from idleness and ancient customs", such as the patina left over from ancient bronzes, which is a shocking beauty that cannot be stopped even if it is mottled or faded. "Silence is better than sound" is one of its characteristics.

People live in nature, depend on nature, and nature is close to people. Japan is a country that advocates nature. Japanese designers focus on how to live in harmony with nature and truly feel the power of nature in the dribs and drabs of urban life. Japanese design advocates conforming to nature and pursuing simplicity and exquisiteness, which is exactly the concept embodied by silence. Therefore, Japanese design has a unique Japanese flavor, not just the beauty of silence.

The dry landscape garden can best reflect the aesthetics of silence. Long 'an Temple, the most representative dry landscape garden in Kyoto, contains 15 dry rocks. Only 14 pieces can be seen from any angle except the position of the host computer. No matter from any angle, there is a stone invisible. Fifteen is profit, representing perfection, and fourteen is loss. In fact, it embodies eternal beauty with imperfection. The ubiquitous silence aesthetics has a profound influence on Japanese behavior patterns and culture.

Silence aesthetics highly advocates the use of white, which has both positive and negative significance, and coincides with Zen. White will not be out of date because of the passage of time.

Ganjing Garden is a place where Zen masters meditate and meditate. Therefore, it is different from Guiyuan (a garden that needs to be appreciated when you are in the garden) and Kaitian (a garden with tea ceremony function that has appeared since Antu Taoshan era, usually built opposite the tea table). It does not have the function of sightseeing or walking, but its main function is to let viewers face it quietly and think.

Therefore, the style classification of dry landscape gardens is fixed based on the ideological connotation of Zen and the way of sitting and watching, and the main manifestations are different.

1. Pingting drought landscape

Refers to the dry land landscape completely paved with white sand, without ups and downs, and built on the flat ground. Such as the south courtyard of the abbot of Longan Temple in Kyoto and the garden of Yuantong Temple.

2. Quasi-flat landscape

There are artificially piled sand hills in the paved white sand. (In addition to sand grains, sand can also be condensed and piled up into islands of sand mountains, implying an ideal place. For example, the abbot's court of Dade Temple in Kyoto and the abbot's south court of Jiguang Institute.

3. Dry pool type dry landscape

The style of the enclosure pool is like Chiquanyuan, with stone groups and stone bridges. There is no water in the pool, but white sand without lines is used to compare the still pool water, which is called "symbolic dry pool". Such as Qing 'an Temple Garden in Shiga Prefecture and Xihong Anji Garden in Kyoto.

4. Mainstream landscape

Many stone groups symbolizing the land are used, and white sand with sand grains symbolizes water flow. There are stones in the sand, and the water flow implied by the white sand will form new lines when it meets the stones, that is, sand grains. For example, the abbot's courtyard of Kyoto Daxian College.

5. Mountain-building arid landscape

The sandbars connected with the water surface generally have slopes. Using this slope, combined with the outline of sandbar, the grain of white sand is made. The dry landscape built by mountains is mostly built in places with slopes. There are artificial or natural mountains made of white sand in the park. Such as Tianlong Temple and Xihe Temple in Kyoto.

6. Special forms of arid landscape

For example, the silver beach facing the platform in Silver Pagoda has no stones or other elements, only grains made of gravel and sand hills, which is a highly abstract expression. To an abstract extent, dry landscape is definitely the ultimate form of various Japanese gardens.

The greatest feature of dry landscape is the ingenious combination of sand and stone, which makes it present the artistic conception of small universe and embodies the world view of Zen. Sometimes sand is used to describe the sea, and stones are used to describe the island. Sometimes sand becomes a sea of clouds, and stones become mountains exposed from the clouds. Dry landscape can exist independently as a garden style, or it can be integrated with other styles. In addition to the formation of sand and stones, other vegetation, such as moss, can also be used as an element to make a dry landscape. Dry landscape is the crystallization of the development of Japanese gardens.

References:

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[2] tea oolong. Know the sky, dry landscape special [M]. CITIC Publishing House, 20 17-05-0 1?

[3] Lidong Chen, Zhang Jianlin, Zhao-yang Xu. On the Similarity between Japanese Dry Landscape Art and Minimalist Gardens [J]. Guangdong Gardens, 2009,31(03): 5-8.

[4] the road is smooth. Research on the spatial environment of "device" and "field" from the perspective of silence aesthetics [D]. Lu Xun Academy of Fine Arts, 20 19.

[5] Qian Lulu. Aesthetic implication of Japanese garden art [J]. Artist, 2016,32 (06): 241-242.