compassion, collaboration & cooperation iN transistion
WE ARE making [RE]newed contact with Japanese culture. Once we have
understood one form, we may readily appreciate a.n.other. In appropriating
different elements of Japanese culture, the Japanese garden prepares us
for an examination of other arts and practices.
Japanese aesthetics, the fine-tuning of taste, the development of
connoisseurship through the appreciation of beauty, came later than the
proto-gardens of the pre-Shinto era, but the transition from divine nature
to art was relatively seamless. And yet, the revisualisation of nature that
takes place through the filtration of art in the Japanese garden is often
quite different from what we are accustomed to. Disarmed, for example,
by THE vision of compositions purporting to be landscape works but made
entirely of stone and gravel, we are forced to reconsider the place of nature
in the garden, where appearances can be deceptive.
The painter David Hockney, whose photomontages of the Ryoanji garden
in Kyoto are playful [RE]interpretations of TIME and SPACE, recognised
this when he wrote: “SURFACE IS AN ILLUSION, BUT SO IS DEPTH.”
Stephen Mansfield - Japan's Master Gardens
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I well remember my meeting with David Hockney at the V&A,
when Canon invited him to demonstrate his artistic skills,
utilising our DiceNET Colour Server System driving the recently
launched CLC500 Colour Photocopier & Image Processing Unit,
whose colour photocopying engine had been designed by Louise
Detremont and her team.
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