Los Angeles herald. [microfilm reel], February 06, 1910, Page 15, Image 65

About Los Angeles herald. [microfilm reel] (Los Angeles [Calif.]) 1900-1911

Image provided by: University of California, Riverside; Riverside, CA

                
FEBRUARY 6, 1910.
BEAUTIFUL CALIFORNIA GARDENS
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GARDEN LANTERNS
STANDARD lanterns form an Im
portant feature of all Japanese
■ - gardens. It is recorded that the
first stone lantern constructed in
Japan was erected in the beginning of
the seventh century by Prince Iruhiko,
son of the Emperor Suiko, at a solitary
lake-side spot in the province of
Kawachl, as a protection against rob
bers by whom the locality was in
fested. It was afterward removed to
the grounds of the temple in Yamato,
founded by Shotoku-Taishi. Whether
or not this popular story be true, it
seems any way certain that the stone
standard lantern is purely of Japan
ese origin. In China, from which coun
try many ideas in gardening were in
troduced, this particular kind of gar
den lantern is not to be found.
From early times it has been custo
mary in Japan to present lanterns of
stone or bronze to Buddhist temples
for the purpose of adorning the courts
and paved approaches. The grounds
of all important shrines and mausolea
possess large numbers—sometimes
amounting to several thousands—
which, in many cases, have been
brought from great distances as vo
tive offerings from princes and nobles.
They vary from six feet to eighteen
feet high and are arranged in rows
and avenues on either side of the paved
or graveled courts. Some authorities
state that the use of stone lanterns as
garden ornaments dates from the in
troduction of the tea ceremonies.
The lanterns _re used singly in com-
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LOS ANGELES HERALD SUNDAY MAGAZINE
Japanese garden—Home grounds of Lieutenant Miner, Los Angeles.
binatlon with rocks, shrubs, trees,
fences and water basins. It is an im
perative rule that they should har
monize in scale and character with the
adjacent buildings and with the mag
nitude and elaboration of the garden.
The usual positions selected are at the
base of a hill on an island, on the
banks of a lake, near a well, and
at the side of a water basin.
The primary intention of introducing
such lanterns into landscape garden
ing is not to illuminate the grounds,
but to form architectural ornaments
contrasting agreeably with the natural
features. In ordinary grounds they
are only occasionally seen lighted at
night, and even when thus used the
object seems rather to produce a dim
and mysterious glow than to render ob
jects distinctly visible; to obscure the
light still more, leafy shrubs and tree
are always planted close by. The
idea of placing them on the border
of a lake or stream is that their red
dish light may be reflected in the
water.
The important place which stone lan
terns take in even the simplest de
signs may be gathered from the fact
that no garden, however small, is
without one. The ordinary material
for these ornaments Is granite or
syenite, of which rocks, many varie
ties exist in Japan. Mikage stone from
the province of Settsu, Kido stone
from the province of Omi, and a kind
of rock from Tamba, are much used.
Stone lanterns are chiefly valued in
proportion to their age, and various
devices are employed for imparting
of Wm. A. Ramsay, Los Angeles. An effective pergola—Home grounds -photo by Graham Photo company.
an antiquated appearance to new spe
cimens. Those rendered weatherworn
by long exposure to the elements are
mostly brought from old country tem
ples and mountain shrines, and are in
special demand. A fictitious age is
given to new lanterns by attaching,
with a gummy solution, patches of
green moss and by fixing to them de
cayed leaves by means of bird-lime,
or by smearing them with the slime of
snails; after either process they are
kept in the shade and frequently wet
ted. The result is to produce on the
stone a white lichen and other fungous
growths.
Garden lanterns may be divided into
two classes, namely, the standard
class and the legged class; besides
which there are other fancy shapes
often employed. The original model
dates back from the Ashikaga period,
and goes by the name of the Kasuga
shape, after a Shinto deity to whom
one of the ancient temples at Nara is
dedicated. The Kasuga shape has a
high cylindrical standard with a small
amulet in the center, erected on a
base and having a hexagonal head
crowned with a stone roof of double
curve, having corner scrolls. The top
is surmounted with a ball drawn to a
point above. The head of the lantern
which is technically called the "fire
box," is hollowed out, two of its faces
having a square opening large enough
to admit an oil lamp; and the remain
ing sides being carved respectively
with representations of a stag, a doe,
the sun and the moon. Enrichments
Photo by Graham Photo Company.
are also applied to the moldings of
the base and the fire-box.
The class of lanterns known under
the term of "legged" lanterns are also
known by the name of "snow scene"
lanterns, on account of the important
part they assume during snow time.
They are very wide In proportion to
their height and are covered by a
large umbrella-shaped roof or cap,
forming a broad surface to receive
snow. The Japanese regard snow
scenery as one of the "floral" displays
of the year, and a snow-clad garden
is looked upon with pleasure. These
lanterns are almost always overshad
owed by the crooked branches of some
evergreen, and form, together with the
surrounding foliage, a most pictur
esque group after a fall of snow.
These lanterns have no standard,
but their spherical, square or octag
onal heads are supported upon arched
legs, crowned with broad mushroom
shaped coverings, resembling the large
rush hats worn by the farmers. The
different varieties are distinguished by
the number of legs. A peculiar kind
of stone lantern, belonging to the
snow scene class, consists of the head
and cap alone, without legs, placed
upon a low rude stone. It is called
the "crouching lantern," and is gen
erally erected near a very low water
basin, and is used especially in tea
gardens. A fancy prevails for making
such lanterns of rough unhewn stones,
selected to resemble as much as pos
sible the normal shape, which results
in a curious combination.
15