ABSTRACT
In order to attain this aim, all sorts of means have been resorted to. Many a connoisseur, tea-master, and artist have taxed their resources to realise the ideal. Some of them reproduced in miniature famous scenes of China or Nippon. Upon the one hand, they so planned the garden and planted trees to give it a visual appearance of extending far beyond its confines, stretching to distant hills. Upon the other, they so designed it as to form a seclusion from the world, and create a sylvan solitude conducive to retrospection. Great ingenuity has been displayed in either direction. In some instances, with only a few stones in a narrow strip of ground a great expanse of landscape has been evolved as the background. In another instance, Rikyu, in his garden at Sakai, obstructed the open view of the sea, by planting a grove of trees in such a way that only when the guest stooped at the tsukubai (stone water basin) to wash his hand and rinse
his mouth preparatory to entering the cha-sekihe caught an unexpected glimpse of the shimmering sea through the trees-a glimpse of Infinity-thus suddenly revealing the relation of the dipperful of water lifted from the basin to the vast expanse of sea, and of himself to the universe.
