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             Long before I knew about Buddhism I was fascinated 
              by the formal Zen gardens that I sometimes came across in my travels. 
              Like much of the very best abstract art they often puzzled me but 
              I felt strangely attracted by their spare, ordered beauty, their 
              mystery.  
            ‘A Zen Life in Nature,’ is a biography 
              of Muso Soseki (1275 –1351) who left behind him five major 
              gardens, amongst them Saihoji in Kyoto. Even today in a form much 
              changed from Soseki’s original vision, this is one of the 
              great Zen gardens of the world and represents perhaps the culmination 
              of his gardening practice. To Soseki, designing new gardens and 
              altering existing ones was an integral part of his practice of Zen. 
              All those who visit them even today come into contact, however superficially, 
              with his highly enlightened aesthetics and consciousness. These 
              had been cultivated over many years of devoted practice, often surrounded 
              by a few disciples in the wild remote mountains of China. One of 
              the major influences in his life was the ancient story of Ryu Rassu 
              who had been a reclusive monk of the T’ang era (618-907). 
              Ryu was a legendary figure in the Zen world for his dedication and 
              commitment to the enlightened life spent in the heart of nature. 
             Often Soseki, much sought by Emperors and rulers 
              because of his wisdom and diplomatic abilities, would, when possible, 
              retire to the wilderness in his intent to be a part of ‘distant 
              mind’, without leaving his place in this realm. Again he would 
              be called forth or sought out by young monks wishing to become his 
              disciples. After these periods of intense practice he, on a number 
              of occasions, planned and built a garden. This would express the 
              insights that he had acquired with the natural materials at hand. 
              Maybe it would be the relationship between life and death, or the 
              physical and spiritual worlds, or some other refined aspect of his 
              vision. In these artistic but earthy endeavours, he and his monks 
              strove to express that ‘something,’ which is almost 
              inexpressible. With stones, water, earth and trees, with wood and 
              plants, Soseki in his gardens leaves us subtle pointers to the nature 
              of reality and our place in it. 
             
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