Abstract
In this article I interrogate Teiji Itoh’s axiom of shakkei or the East Asian gardening technique of ‘borrowing scenery’. I draw on the field of soundscape ecology as well as discourses by Zhang, Chen and Fung on shakkei (Ch. jièjǐng) in terms of its first appearance in the 1635 Chinese treatise Yuanye (The Craft of Gardens) by Ji Cheng (1582–c.1642). In order to reason on the ontological status of Itoh’s axiom of shakkei as it pertains to a listening subject, I use a case study of the translocated sōzu (deer scarer) at Jōzan Ishikawa’s (1583–1672) garden at the hermitage of Shisen-dō in Kyoto. I trace the history of the sōzu from its agrarian past, and draw on Heian-era poetic references as well as historical Chinese sources to construct a semantics of the translocation of the auditory frame of the sōzu to Shisen-dō. I conclude with remarks that discuss the significance of the ontological dependence between sentiment (Ch. qing, Jp. jō) and scenery (Ch. jing, Jp. kei).
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