Nonetheless, it is possible in art and life to create naturalistic designs, artistic arrangements that are in harmony with certain natural principles, even though such designs might not occur in nature in and of themselves. And this is despite the fact that the artist's designs might not last if left to their own devices. In short, it's possible in art and living to take an instinctive reaction or use an aspect of nature, and then working with nature, add one's own creativity to create a uniquely refined statement. And it's true that such artistic statements might not last or take place automatically within nature if not for the addition of the human creative impulse. But human beings are part of nature.

Still, the fact that Leonard Koren takes issue with the commonly held belief that Japanese rock gardens are natural does the reader a service. Assumption is deadly in art and most other aspects of life. It's the action of a lazy mind. By refusing to allow his readers to coast along, lulled by popularly held beliefs, the author aims at a reexamination of Japanese aesthetics and art--a valuable and important action which can be seen in his comments about Ryoanji. Ryoanji, located in Kyoto, has been widely hailed as perhaps the most significant of all rock gardens. It is certainly thought to be one to meditate on. Yet when I visited it (on more than one occasion), I was distinctly underwhelmed. Actually, I was overwhelmed by Japanese schoolchildren, tourists, and repeating taped messages that blared at would-be landscape contemplators through omnipresent loudspeakers. I quickly left to look for a less "famous" garden. Mr. Koren arrived at a similar conclusion, one which is not the norm, but which is certainly well-reasoned.

The author resolutely ignores "celebrity" rocks, moss, and foliage in an attempt to expose and explore a most unusual human undertaking. Again, separating moss and foliage from gardens of this type is atypical of tradition. Nevertheless, Mr. Koren offers well-articulated reasons for doing so, at least within the context of his book, and challenges the reader's preconceived ideas one more time. Perhaps whether we agree with his approach or conclusions is not the only point of consideration. As Japanese arts, Ways, and culture spread throughout the world, often being engaged in by non-Japanese, a reevaluation of these aesthetic pursuits is not only needed but inevitable. Our world is growing smaller, with East and West coming together in an endless number of elements. Now more than ever, individuals involved in Japanese cultural arts, in both Japan and the West, need to seriously examine what they do, why they do it, and what it all means. And well-written books like Gardens of Gravel and Sand encourage us in that direction.

The cover, layout, and photos (taken by the author) are striking. This is really a gorgeous book, one that brought back memories of my own visits to the gardens of Daitokuji and other Kyoto area temples. Leonard Koren is an articulate writer and a talented photographer. I probably would have picked up this volume for the duotone photos alone. The unique design and the fantastic photographs work to create a special feeling that's difficult to describe but tangible nonetheless.