I have loved that lantern (and garden) since I saw it on the cover of Michael Yamashita's book "In The Japanese Garden.". I think he gives Haruzo Ohashi a run for his money...

Great question Jando. I haven't the faintest; heard them called harp style, and I guess they are always associated with water, but that's all I've got...

Scott

Jando,..
Started in 1676, Kenroku-en is a special garden in many ways, firstly being one of the '4 beautiful landscape' gardens, the other three being, Tokiwa-en of Mito, Ritsurin-en of Takamatsu, and Koraku-en of Okayama, more to research, not to leave you wanting...

the second unusual piece is that Toshitsune had little water in the castle/garden and to get the water he commissioned Itaya Heishiro to solve the problem. He did this by using the siphon system to get the water to run up hill from the river 5 miles away. It still works today.

The Koto bridge is the 'tuning' device on the neck of the koto, which is tuned by sliding it up or down, which allows different lengths of the strings to be tightened and played. Each string has a bridge...

-the top is of the yukimi type, making it a 'near water' lantern in which the underside of the lantern umbrella is most important as it echoes the level/expanse of the water.

Yukimi lanterns are often found in water, being an original position, as I would underline the importance of at least 'being familiar' with the sutras, if a question such as this arises, --in which Mike mentioned earlier that from the sutras, the leg shape of the yukimi was taken from the lotus.
Lotus of course being found emerging from the water, as the lantern would. As water placements (a shelf need be built) are difficult, I would suspect that the yukimi moved onto solid land, where the view was of the top, and only a part of the legs showing through reed grasses, again evoking 'in water', amongst lotus.

lastly, there are 6 sides to the yukimi umbrella, and I would suspect a relation there to the six impossible joinings (that you mentioned elsewhen), of vastness, solemnity, endeavor, venerability, abundant water, and vast views, that as a 'Chinese design impossibility' is the basis for this garden design, having succeeded (and you can go further into that story, I'm not needed for it)

looking at the 6 sided (6 principles) Narabe (pointed end type = Chinese) types, evoking China/other land with standard lotus legs, I pondered a year+ ago if the Kotoji successfully carries the thought of yukimi, plus leg in water, leg in 'other land', as shown by its placement in the garden, origin of the Koto instrument, etc., -- not trying to be cryptic, but as Mike mentioned he had done a lot of research that he has not had a chance to pass on to me (so I can't say, merely suspect and connect dots) and this post is long enough for limited time, best to ask Mike)
-perhaps others have more or different information to share,
edzard

H*ll of a good start edzard. Thank you...

Scott

Hi and thanks for the responses. Scott, yes I too have heard the Kotoji Lanterns meaning was harp tuner because it resembled the Japanese tuning instrument "Koto".

Edzard, I knew some of what you posted and I thank you for all the information. And I can see how the lotus flower is more prevalent on some lantern designs than others. I now will relate the six sides of the lantern to the six attributes in the garden. I also did not know that the Yukimi lanterns placement were originally in water. Do you suppose the water got so deep the lantern was moved to an Island and that is why it is usually placed today near water. Maybe the Kotoji lantern then was introduced with its long legs to keep the light above water. Just thinking out load. Mike can probably put fact to my ramblings.

I do know the original lanterns were made of metal and introduced to Japan from China. I think I also read they were not prevalent in the Japanese Garden until the introduction of the tea ceremonies. The tea master then used lanterns to light the path for the tea ceremony Today you do not see too many Japanese Gardens without a lantern. Funny how things evolve from need.

Now many of us who place a lantern in the garden do not give much thought to its origin or where the placement of a lantern would be correct. I know I didn't before learning more history of the Japanese Garden. Years ago before I got into this I purchased my Kotoji lantern for my garden because of its grace and beauty. I proudly displayed it atop of an island covered in stone next to a dry stream bed. It now looks much better one leg on land and the other in the water.

Now would it be correct to place the Kotoji entirely in water, I always thought it represented the connection between land and sea with one leg on land and the other in water. But there must be an earlier use and meaning with both legs in the water. Always more questions??????????????

Cheers Jando

Haruzo Ohashi's "Gardens of Japan" has a picture of "Mr. Mori's garden" that shows a kotoji-gata in the water (on rocks but both in the pond and level). Have seen this one with a leg buried in the bank and one in the water as well...

Thanks Scott I'll take a look. Then the next question is if this started from breakage of the lantern's leg then what was the original intent of the lantern????????? Was it to be placed with both legs in the water and is there a particular reason for that. I have always read the kotoji lantern was placed one leg in water and the other on land to symbolize how the land and sea related to each other. I haven't been able to find the answer to this and hopefully someone will be able to help.

Cheers Jando

The significant characteristic of the lotus is that it grows from the mud beneath the water to emerge as a beautiful flower. The symbolism contained in this is self evident and had been used by various religions notably Buddhism. Some sects use it as a symbol of an individuals struggle to enLIGHTenment and others as symbolic of the Buddhas journey to become the light. A lantern on top of the lotus speaks for itself. My suggestion, and this is purely conjecture is that the Kotoji lantern was placed as if arising from the water with the long leg stuck in the mud at the bottom of the lake. This placement would also show the lantern reflected in the water, which again could be laden with symbolism.
I have seen the six elements edzard refers to written as vastness, seclusion, artifice, antiquity, flowing water and majestic views, elements that are apparantly (I don't know Cinese or Japanese) implicit in the name of the garden.

acj, I am thinking along the same lines as you are. Thank you for stating it so eloquently.

Cheers Jando