Japanese garden

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Japanese garden ( ???? , nihon teien ) is a traditional garden whose design is accompanied by Japanese aesthetic and philosophical ideas, avoid artificial ornamentation, and highlight the landscape. Plants and worn, old materials are commonly used by Japanese garden designers to suggest ancient and distant natural landscapes, and to express the fragility of existence and unstoppable progress of time.

Ancient Japanese art inspired by past garden designers. In the Edo period, Japanese gardens have different looks.

Video Japanese garden

History

Origins

This unique garden idea started during the Asuka period. Japanese merchants watch the gardens built in China and bring many Chinese techniques and gardening styles back to Japan. Today, Japanese garden art traditions are still popular around the world, with many east and west practitioners expressing themselves through the medium.

Japanese Gardens first appeared on the island of Honshu, a large island in Japan. Their aesthetics are influenced by the different characteristics of the Honshu landscape: rugged volcanic peaks, narrow valleys, mountain streams with waterfalls and waterfalls, lakes, and beaches of small stones. They are also influenced by various types of flowers and various types of trees, especially pine trees, on the islands, and by four different seasons in Japan, including hot and wet summers and snowy snow seasons.

The Japanese garden has its roots in the Japanese religion of Shinto, with the story of the creation of eight perfect islands, and of the shinchi, the lake of the gods. The prehistoric shinto shrine to us, gods and spirits, is found on the beach and in the jungle throughout the island. Temples of prehistory often take the form of unusual rocks or trees characterized by rice fiber ropes ( shimenawa ) and surrounded with white or pebbles, a symbol of purity. The white pebble courtyard is the hallmark of the Shinto temple, the Imperial Palace, the Buddhist temple, and the zen garden.

Japanese gardens are also strongly influenced by the Chinese philosophy of Taoism and Amida Buddhism, imported from China in or around 552 AD. The Taoist legend speaks of the five mountain islands inhabited by the Eight Immortals, who live in perfect harmony with nature. Each Immortal flew from his home on the mountain behind the crane. The islands themselves are located behind a large sea turtle. In Japan, the five islands of Chinese legend become one island, called Horai-zen, or Horai Mountain. This legendary mountain replica, a perfect symbol of the world, is a common feature of Japanese gardens, like rocks representing turtles and cranes.

In ancient times

The earliest recorded Japanese garden is the pleasure park of the Emperors and the Japanese nobility. They are mentioned in several short passages from Nihon Shoki, the first history of Japanese history, published in 720 AD. In the spring of AD 74, the historical record noted: "Emperor Keik puts some carp into the pond, and rejoices to see them morning and evening". The following year, "The Emperor unleashed a two-hulled boat in Ijishi's pond at Ihare, and boarded the ship with his imperial concubine, and they feasted together." And in 486, "Emperor Kenz? Went into the garden and feasted on the edge of a winding stream".

Chinese gardens have a very strong influence in the early Japanese garden. In or about 552 AD, Buddhism was officially installed from China, through Korea, to Japan. Between 600 and 612, the Emperor of Japan sent four embassies to the Sui Dynasty Court of China. Between 630 and 838, the Japanese court sent fifteen more embassies to the Tang Dynasty court. This embassy, ​​with more than five hundred members each, includes diplomats, students, students, Buddhist monks, and translators. They brought back Chinese writings, art objects, and detailed descriptions of Chinese gardens.

In 612, Queen Suiko had a garden built with artificial mountains, representing Shumi-Sen, or Sumeru Mountain, which is famous in Hindu and Buddhist legends located in the center of the world. During the reign of the same Queen, one of her ministers, Soga no Umako, has a garden built in her palace featuring a lake with several small islands, representing the famous Eight Gods islands in Chinese legend and Taoist philosophy. This palace belonged to the Emperor of Japan, named "The Palace of the Isles", and mentioned several times in Man'y? Sh "," Collection of Countless Leaves ", the collection of the oldest known Japanese poetry.

It seems from the little evidence of available literature and archeology that the current Japanese garden is a simplified version of the Tang Dynasty Kingdom garden, with large lakes scattered with artificial islands and artificial mountains. Edges are built with heavy rocks as embankments. While these gardens have Buddhist and Taoist symbolism, they are meant to be a pleasure park, and a place for festivals and celebrations.

Nara period park (710-794)

The Nara Period is named after the capital of Nara. The first original Japanese garden was built in this city at the end of the eighth century. Coastlines and stones are naturalistic, different from the heavier, earlier continental modes of pool-edging. The two parks have been found in the excavation, both of which are used for poetry writing celebrations.

Garden of Heian period (794-1185)

In 794, at the beginning of the Heian Period, the Japanese court moved its capital into Heian-ky? (Kyoto right now). During this period, there are three different types of gardens; the palace gardens and the gardens of the nobles in the capital; villa gardens on the edge of town; and temple gardens.

The architecture of the palace, residence and garden in the Heian period follows Chinese practice. Homes and gardens are harmonized on the north-south axis, with living in the north and the main ceremonial and garden buildings in the south, there are two long wings to the south, like arms of armchairs, with gardens between them.. The gardens show one or more lakes connected by bridges and winding rivers. The southern garden of the imperial residence has a special feature of Japan; empty area of ​​white sand or gravel. The Emperor is the Japanese chief priest, and the white sand represents purity, and is the place where the gods can be invited to visit. This area is used for religious ceremonies, and dances for the welcoming of the gods.

The layout of the garden itself is largely determined according to the principles of traditional Chinese geomancy, or Feng Shui. The first known book on Japanese garden art, the Sakuteiki ( Maintenance Record of the Garden ), written in the 11th century, says:

"This is a good sign to make the river come from the east, to enter the park, pass under the house, and then go from the southeast.This way, the water of the blue dragon will bring all evil spirits from home to white tigers."

The Royal Garden The Heian period is a water park, where visitors walk by an elegant boating boat, listen to music, watch the distant mountains, sing, read poetry, paint, and admire the garden view. The social life in the park is remembered depicted in the classic Japanese novel, Tales of Genji, written around 1005 by Murasaki Shikibu, a woman who awaited the Queen. The trail of one such artificial lake, Osawa no ike, near Daikaku-ji Temple in Kyoto, can still be seen. It was built by Emperor Saga, who ruled from 809 to 823, and is said to be inspired by Dongting Lake in China. Small-scale replica of Kyoto Imperial Palace 794 AD, Heian-jing? Built in Kyoto in 1895 to celebrate the 1100th anniversary of the city. The southern park is famous for its cherry blossoms in spring, and for azaleas early in the summer. The western park is known for its iris in June, and the large eastern park lake is reminiscent of the relaxed boating parties of the 8th century. Toward the end of the Heian period, a new garden architecture style emerged, created by followers of Pure Land Buddhas. It's called "Paradise Gardens," built to represent the legendary Paradise of the West, where the Amida Buddha reigns. It was built by nobles who wanted to assert their strength and independence from the imperial household, which was getting weaker.

The best example of Paradise Garden is By? D? -in in Uji, near Kyoto. Initially the villa of Fujiwara Michinaga, (966-1028), who married his daughter with the sons of the Emperor. After his death, his son transforms the villa into a temple, and in 1053 builds the Phoenix Hall, which is still standing. The hall is built in traditional Chinese Song Dynasty Temple style, on an island in the lake. It houses the golden statue of the Amithaba Buddha, looking west. On the lake in front of the temple is a small island with white stone, representing the Horai Mountain, home of the Eight Taoist Deities, connected to the temple with a bridge, which symbolizes the road to heaven. It was designed for mediation and contemplation, not as a pleasure park. It is a lesson in Taoist and Buddhist philosophy made with landscapes and architecture, and prototypes for Japanese parks in the future.

Taman Heian yang sudah ada atau yang diciptakan kembali meliputi:

• Daikaku-ji
• Oleh? d? -in
• Istana Kekaisaran Kyoto
• J? ruri-ji

Periode Kamakura dan Muromachi (1185-1573)

The weakness of the Emperor and the feudal warlord rivalry resulted in two civil wars (1156 and 1159), which destroyed much of Kyoto and its gardens. Its capital moved to Kamakura, and then in 1336 returned to the Muromachi settlement in Kyoto. The Emperor reigned in name only; real power held by a military governor, sh? gun . During this period, the Government reopened relations with China, which had broken nearly three hundred years earlier. The Japanese monks went again to study in China, and Chinese monks came to Japan, fleeing from the Mongol invasion. The monks bring to them a new form of Buddhism, called only Zen, or "meditation". The first zen garden in Japan was built by a Chinese imam in 1251 in Kamakura. Japan enjoys religious awakening, art, and especially in the park.

Many of the famous temple gardens built at the beginning of this period, including Kinkaku-ji, The Golden Pavilion, built in 1398, and Ginkaku-ji, The Silver Pavilion, were built in 1482. In some ways they follow the principles of Zen spontaneity, extreme simplicity and moderation, but in other ways they are traditional Temple Song Dynasties; the upper floors of the Golden Pavilion are covered with gold leaf, and they are surrounded by traditional water parks.

The most famous garden styles found in this period are the zen garden, or the Japanese stone garden. One of the best examples, and one of Japan's most famous parks is Ry? An-ji in Kyoto. This garden only has a width of 9 meters and a length of 24 meters. It consists of white sand grabbed carefully to suggest water, and fifteen stones arranged carefully, such as small islands. It was meant to be seen from a sitting position on the porch's abode. There is much debate about what should be represented by rocks, but, as historian Gunter Nitschke says, "The garden in Ry? An-ji does not symbolize it has no value representing any natural beauty that can be found in the real, world or myth I regard it as an abstract composition of "natural" objects in space, a composition whose function is to encourage mediation. "

Some of the famous zen gardens in Kyoto are the work of one person; Mus? Soseki (1275-1351). He is a monk, a descendant of the ninth generation of the Emperor of Uda. He was also a powerful politician, writer, and court organizer, who armed and financed the vessel to open trade with China, and established an organization called the Five Mountains, comprising the most powerful Zen monks in Kyoto. He is responsible for the development of Nanzen-ji zen garden; Saih? -ji (The Moss Garden); and Tenry? -ji.

Taman-taman penting dari periode Kamakura dan Muromachi meliputi:

• Kinkaku-ji, (Paviliun Emas)
• Ginkaku-ji, (Paviliun Perak)
• Nanzen-ji
• Saih? -ji (The Moss Garden)
• Tenry? -ji
• Daisen-in

Periode Momoyama (1568-1600)

Momoyama period is short, only 32 years old, and mostly busy with war between daimy? S , the leaders of the Japanese feudal clan. The new center of power and culture in Japan is a fortified fortress of daimy? S , where new towns and parks emerge. The characteristic garden of the period featured one or more ponds or lakes next to the main residence, or shoin, not far from the castle. These gardens are meant to be viewed from above, from the castle or residence. The daimy? S has developed the skills of cutting and lifting large stones to build their castles, and they have army troops to move them. Artificial lakes are surrounded by small boulder beaches and adorned with large boulders, with natural stone bridges and stepping stones. The gardens of this period combine elements of the promenade garden, intended to be seen from the meandering garden streets, with zen garden elements, such as artificial mountains, meant to be contemplated remotely.

The most famous park of this type, built in 1592, is located near the Tokushima castle on Shikoku island. Important features include a 10.5 meter long bridge made of two natural stones.

Another famous park at that time was still there Sanb? -in, was rebuilt by Toyotomi Hideyoshi in 1598 to celebrate the cherry blossom festival, and to recreate the grandeur of the ancient garden. Three hundred gardeners worked on the project, dug up the lake and installed seven hundred large stones within 540 square meters. The garden is designed to be viewed from the main pavilion veranda, or from the "Hall of the Pure View", which is located at higher altitudes in the park.

To the east of the park, on the peninsula, is a stone structure designed to represent the mystical Horoscope. A wooden bridge leads to an island that represents a crane, and a stone bridge connects the island to another island that represents a turtle. which is connected by a covered bridge back to the peninsula. The park also includes a waterfall at the foot of a wooded hill. One feature of the Momoyama period period seen in Sanb-in is proximity to the building to the water.

Momoyama Period also saw the development of chanoyu (tea ceremony), chashitsu (tea shop), and roji (tea garden). Tea has been introduced to Japan from China by Buddhist monks, who use it as a stimulant to stay awake during long periods of meditation. The first great master tea, Sen no Riky? (1522-1591), is defined most closely on the appearance and rules of the tea house and tea garden, following the principles of wabi ( ?? ) "quiet and quiet refreshment".

Following Sen no Riky's rule, the tea shop should suggest a monk's hut. It is a small and very simple wooden structure, often with a thatched roof, with just enough space inside for two tatami mats. The only ornaments allowed inside the scroll with inscriptions and tree branches. It does not have a garden view.

The park was also small, and constantly watered into damp and green. Usually have cherry or elm trees to bring color in the spring, but instead have no bright flowers or exotic plants that will distract the visitor. A path to the entrance of the tea house. Along the way it waited for a bench for guests and a latrine, and a stone water basin near the tea house, where guests rinsed their hands and mouths before entering the tea room through a small square door called nijiri-guchi , or "entrance to creep in", which requires low bending to pass through. Sen no Riky? decided that the garden should be left unopened for several hours before the ceremony, so the leaves would be spread in a natural way on the road.

The leading gardens of this period include:

• Tokushima Castle garden on Shikoku Island.
• Tai-an tea house in My Temple? ki-an in Kyoto, built in 1582 by Sen no Riky ?.
• Sanb? -in in Daigo-ji, in Kyoto Prefecture (1598)

Edo Period (1615-1867)

During the Edo period, power was won and consolidated by the Tokugawa clan, which became Shogun, and moved the capital to Edo, which became Tokyo. During this time, Japan, except for the port of Nagasaki, was almost closed to foreigners, and Japan was not allowed to travel to any country except China or the Netherlands. The Emperor remained in Kyoto as a puppet leader, with authority only on cultural and religious matters. While Japan's political center is now Tokyo, Kyoto remains the cultural capital, the center of religion and art. The Shogun family gave the Emperors little power, but with generous subsidies to build the garden.

The Edo period sees the widespread use of the new Japanese architecture, called Sukiya-zukuri, which literally means "to build according to the taste of choice." The term first appeared in the late 16th century referring to isolated tea houses. It was originally applied to simple country houses of samurai warriors and Buddhist monks, but in the Edo period it was used in every type of building, from house to palace.

Sukiya style was used in the most famous park of the time, Katsura Imperial Villa in Kyoto. The buildings are built in a very simple style, not decorated, a prototype for future Japanese architecture. They opened into the garden, so the garden seemed to be fully part of the building. Whether the visitor is inside or outside the building, he always feels at the center of nature. The garden building is arranged in such a way that it is always visible from the diagonal, rather than straight. This setting has a poetic name ganko , which means "the formation of wild goose in flight".

Most of the parks in the Edo Period are promenade or dry stone zen garden, and are usually much larger than previous gardens. The promenade gardens of the time made use of the numerous lending scenes ("shakkei"). The views of the mountains are far integrated in the design of the park; or, better yet, build a park on the mountain side and use different heights to reach landscape landscapes outside the park. Edo's promenade garden often consists of a series of iisho, or "well-known" views, similar to postcards. It could be a replica of a famous natural landscape, such as Mount Fuji, or a view of a Taoist or Buddhist legend, or a landscape depicting verses of poetry. Unlike zen gardens, they are designed to describe nature as it appears, not the internal rules of nature.

• Shugakuin Imperial Villa
• Shisen-d?, (1641)
• Suizen-ji
• Rikyu Hama
• K? raku-en (Okayama)
• Ritsurin Park (Takamatsu)
• Koishikawa K? raku-en (Tokyo), (1629)
• Ninna-ji, Kyoto
• Enman-in, Otsu
• Sanzen-in, north of Kyoto
• Sengan-en, Kagoshima (1658)
• Chishaku-in, southeast of Kyoto
• J? ju-in, at Kiyomizu temple, southeast of Kyoto. (1688-1703)
• Manshu-in, northeast of Kyoto (1656)
• Nanzen-ji, east of Kyoto. (1688-1703)

The Meiji Period (1868-1912)

The Meiji period saw the modernization of Japan, and the reopening of Japan to the west. Many old private gardens have been abandoned and left to be damaged. In 1871, a new law changed many gardens from the previous Edo period into a public park, preserving it. The designers of the park, faced with ideas from Western experiments with western style, leading to parks such as Kyu-Furukawa Gardens, or Shinjuku Gyoen. Others, more in northern Japan are kept for the Edo period blueprint design. The third wave is the natural style of the park, created by powerful industrial captains and politicians like Aritomo Yamagata. Many gardeners soon design and build gardens that serve this flavor. One of the parks famous for its technical perfection in this style is Ogawa Jihei VII, also known as Ueji .

Leading gardens in this period include:

• Kyu-Furukawa Gardens
• Kenroku-en, the 18th and 19th centuries, was completed in 1874.
• Chinzan-so in Tokyo in 1877.
• Murine's in Kyoto, completed 1898.

Modern Japanese garden (1912 to present)

During the Showa period (1926-1988), many traditional gardens were built by businessmen and politicians. After World War II, the main builders of the garden were no longer private, but banks, hotels, universities, and government agencies. Japanese Garden became an extension of the architecture of the building. The new gardens are designed by architectural school graduates, and often use modern building materials, such as concrete.

Some modern Japanese parks, like T? Fuku-ji, designed by Mirei Shigemori, is inspired by the classic model. Other modern gardens have taken a much more radical approach to tradition. One example is Awaji Yumebutai, a park on the Awaji island, in the Seto Inland Sea of ​​Japan, designed by Tadao Ando. Built as part of a resort and conference center on a steep slope, where the ground has been stripped to make an island for the airport.

Maps Japanese garden

Garden elements

Water

The ability to capture the essence of nature makes Japanese gardens unique and appealing to observers. Traditional Japanese gardens are very different in style from western gardens. The contrast between the western flower garden and the Japanese garden is very deep. "Western gardens are usually optimized for visual appeal while Japanese gardens are modeled with spiritual and philosophical ideas in mind." Japanese garden is always considered as a representation of a natural setting. The Japanese always have a spiritual connection with their land and the spirits that blend with nature, which explains why they prefer to incorporate the natural ingredients in their garden. Traditional Japanese garden can be categorized into three types: tsukiyama (hill garden), karesansui (dry garden) and chaniwa garden (tea garden). The main purpose of the Japanese garden is to try to be a space that captures the beauty of nature.

The small space given to create this garden usually poses a challenge for the gardener. Due to the importance of natural stone and tree arrangements, finding the right materials becomes highly selective. The calmness of the Japanese landscape and the simple but intentional Japanese garden structure is what really makes the park unique. "The two main principles incorporated in the Japanese garden are the reduction of scale and symbolization."

The Japanese garden always has water, be it a pond or river, or, in a dry stone garden, represented by white sand. In Buddhist symbolism, water and stone are yin and yang, two opposite things that complement and complement one another. A traditional garden will usually have irregularly shaped pools or, in larger parks, two or more ponds connected by channels or streams, and cascades, miniature versions of famous Japanese mountain waterfalls.

In traditional gardens, ponds and rivers are carefully placed according to Buddhist geomancy, art and science put things where it is most likely to attract good fortune. The rules for placement of water were placed in the first Japanese garden manual, Sakuteiki , or "The Creation of Gardens", in the 11th century (see "Literature" below). According to Sakuteiki, water should enter the gardens from the east or southeast and flow westward as the east is the home of the ancient Green Dragon ( seiryu ) The Chinese divinity is adapted in Japan, and west is the home of the White Tiger, the eastern divinity. The water that flows from east to west will bring evil, and the owner of the garden will be healthy and have long life. According to Sakuteiki, another favorable arrangement is the water flowing from the north, representing water in Buddhist cosmology, to the south, representing fire, the opposite (yin and yang) and therefore will bring good luck.

The Sakuteiki recommended some miniature landscapes that might use lakes and rivers: "sea-style", featuring rocks that seem to have been eroded by waves, sandy beaches, and pine trees; "broad river style", creating the course of a great river, winding like a serpent; style "marsh pond", large pool with aquatic plants; "Torrent mountain style", with lots of rocks and waterfalls; and "upright" style, a harsh landscape with small, low plants, soft reliefs and numerous scattered rocks.

Traditional Japanese gardens have small islands on the lake. In the sacred temple garden, there is usually an island that represents Mount Penglai or Mount Hai, the traditional house of the Eight Immortals.

The Sakuteiki explains the various types of artificial islands that can be made on the lake, including "mountainous islands", composed of jagged vertical rocks mixed with pine trees, surrounded by sandy beaches; "rocky island", comprised of "tormented" rocks that seem to have been destroyed by the ocean waves, along with small pine trees, with unusual forms; "cloud island", made of white sand in white form from the cumulus cloud; and "misty islands", low sand islands, without rocks or trees.

Waterfalls or waterfalls are an important element in the Japanese garden, a miniature version of a waterfall from the Japanese mountain stream. The Sakuteiki describes seven types of cascade. It notes that if possible the cascade should face the moon and should be designed to capture the reflection of the moon in the water.

Rock and sand

Stone, sand and gravel are important features of Japanese garden. A vertical stone may represent the Horror Mountain, the legendary home of the Eight Immortals, or Sumeru Mountain Buddhist teachings, or goldfish that jump from the water. A flat stone could represent the earth. Sand or gravel can represent a beach, or a flowing river. Rocks and water also symbolize the yin and yang, ( in and y? in Japanese) in Buddhist philosophy; hard rocks and soft water complement each other, and water, though soft, can melt the stones.

Crude volcanic rock (kasei-gan) is usually used to represent the mountain or as a stepping stone. The smooth and round sedimentary rock (suisei-gan) is used around the lake or as a stepping stone. Hard metamorphic rocks are usually placed by waterfalls or rivers. Rocks are traditionally classified as vertical high, low vertical, curved, lying, or flat. Stones should vary in size and color but from each other, but lack bright colors, which would be less smooth. Rocks with strata or veins must have veins all going in the same direction, and all stones must be firmly planted on the earth, giving the appearance of steadfastness and immortality. The rocks are arranged in a careful composition of two, three, five or seven stones, with the three most common. In the order of three, the highest stone usually represents heaven, the shortest stone is the earth, and the medium-sized stone is the human, the bridge between heaven and earth. Sometimes one or more stones, called suteishi , ("unnamed" or "discarded") are placed in seemingly random locations in the park, to indicate spontaneity, even though their placement is carefully selected.

In ancient Japan, sand ( suna ) and gravel ( fingers ) were used around Shinto shrines and Buddhist temples. It is then used in Japanese rock garden or Zen Buddhist garden to represent water or clouds. White sand represents purity, but the sand can also be gray, brown or bluish black.

Subsequent selection and placement of rocks is still a central concept in creating an aesthetic garden by Japan. During the Heian period, the concept of placing stones as symbolic representations of the island - either physically present or absent - began to hold, and can be seen in the Japanese word shima , which is "very important"... because the word it implies 'island ' "Furthermore, the principle of kowan ni shitagau , or" obey (or follow) the object request ", is, and still, the guiding principles of Japanese rock design shows "the arrangement of rocks is determined by their innate characteristics." The special placement of stones in Japanese gardens to symbolically represent the island (and later to include mountains), is found as aesthetic property of traditional Japanese gardens.Here are some aesthetic principles, as stated by Thomas Heyd:

The Stones, which are a fundamental part of the Japanese garden, are carefully selected for their weathering and are placed in such a way that gives viewers the impression that they are "naturally" where they are, and in which combination viewers [sic] found it. Thus, this gardening form tries to symbolize (or present) the processes and spaces found in the wild, far away from the city and the practical concerns of human life

Placement of stones is a "general purpose to describe the nature in its essential characteristics" - the main purpose of all Japanese parks. Furthermore,

while the stone cult is also important for Japanese gardening... because the stones are part of the aesthetic design and should be placed so that their position looks natural and their relationship is harmonious. Concentration of interest in detail such as rock or moss forms in stone lanterns causes sometimes to be exaggerated images and accumulation of minor features that, for Western eyes accustomed to more general surveys, may appear to be messy and restless..

Such attention to detail can be seen in places like Midori Falls in Kenroku-en Park in Kanazawa, Ishikawa Prefecture, because the rocks at the waterfall base are changed at various times by six different daimy.

In Japanese Heian gardens, built with Chinese models, the buildings occupy more or more space than parks. The garden was designed to be seen from the main building and its porch, or from a small pavilion built for that purpose. In the next gardens, the buildings were less visible. A rustic tea shop is hidden in their own little garden, and small benches and an open pavilion along the garden path provide a place for rest and contemplation. In later garden architecture, the house walls and teahouses can be opened to provide a garden view with care. Gardens and houses into one.

Garden Bridge

The bridge first appeared in the Japanese garden during the Heian period. In By? D? -in garden in Kyoto, a wooden bridge connecting the Phoenix pavilion with a small stone island, representing Mount Penglai or Mount Horai, the home of the Eight Taoist goddess doctrine, this Bridge symbolizes the way to heaven and immortality.

Bridges can be made of stone ( ishibashi) , or of wood, or made of logs with soil on top, covered with moss ( dobashi ); they can be curved ( soribashi ) or flat ( hirabashi ). Sometimes if they are part of the temple park, they are painted red, following Chinese traditions, but for the most part they are not painted.

During the Edo period, when large promenade parks became popular, streams and winding roads were built, with a series of bridges, usually with rough stone or wooden style, to take visitors on a scenic garden scenic tour.

Stone lanterns and water reservoir

For full articles, see T? r?

Japanese stone lanterns ( ??? , dai-d? R? , "platform light") date back to the Nara period and the Heian period. Initially they were only in the Buddhist temple, where they lined the streets and approach to the temple, but in the Heian period they began to be used in Shinto temples as well. According to tradition, during the Momoyama period they were introduced to the tea garden by the first great tea master, and in the garden then they were used purely for decoration.

In its complete and original form, dai-doro, like a pagoda, represents the five elements of Buddhist cosmology. A piece touching the ground represents chi , the earth; the next part represents sui , or water; ka or fire, represented by parts wrapping lantern or flame light, while f? (air) and k? (hollow or spirit) is represented by the last two sections, topmost and towards the sky. The segments express the idea that after death our physical bodies will return to their original form of origin.

The stone water basin, ( tsukubai ) was originally placed in the garden for visitors to wash their hands and mouth before the tea ceremony. Water is provided for basin with bamboo pipe, or kakei , and they usually have a wooden spoon to drink water. In the tea garden, the basin is placed low to the ground, so the drinker must bow to get the water.

Garden fences, gates and devices

Trees and flowers

There is nothing in the Japanese garden that is natural or left alone; each plant is chosen in accordance with the principle of aesthetics, either to hide unwanted landscapes, to serve as a background feature of a particular garden, or to create beautiful scenery, such as landscape paintings or postcards. Trees are carefully selected and arranged for their fall colors. Moss is often used to indicate that the park was ancient. Flowers are also carefully selected in the flowering season. Rare formal flowering plants in older gardens, but more common in modern parks. Some plants are chosen for their religious symbolism, such as lotus, sacred in Buddhism, or pine, which represent longevity.

The trees are carefully pruned to provide an interesting view, and to prevent them blocking other views of the garden. Their growth is also controlled, in a technique called Niwaki, to give them a more beautiful shape, and to make it look more ancient. Sometimes they are forced to bend, to give a better reflection or reflection in the water. The very old pine trees are often supported by wooden sticks, or their branches held by ropes, to prevent them from falling under the snow load.

At the end of the 16th century, new art was developed in the Japanese garden; that ? karikomi (???), a technique of pruning bushes into balls or round shapes that mimic waves. According to tradition, this art was developed by Kobori Ensh? (1579-1647), and it is most often done in the azalea bushes. It's similar to a topiary park made in Europe at the same time, except that European topiary gardens are trying to make trees look like geometric solid objects, while ? Karkikomi tries to make the bush look as if they are almost liquid, or in its natural flowing form. This creates an artistic light game on the surface of the bushes, and, according to park historian Michel Baridon, "it also plays the meaning of 'touching things' which even today works very well in Japanese design."

Pohon dan tanaman yang paling umum ditemukan di taman Jepang adalah azalea ( tsutsuji ), kamelia ( tsubaki ), pohon jati ( kashiwa ), aprikot Jepang ( ume ), cherry ( sakura ), maple ( momiji ), the willow ( yanagi ) , ginkgo ( ich? ), cypress Jepang ( hinoki ), cedar Jepang ( sugi ), pinus ( matsu ), dan bambu ( ambil ).

Ikan

The use of fish, especially nishiki-goi (colored goldfish), or carp as a decorative element in the garden is borrowed from Chinese gardens. Goldfish developed in China over a thousand years ago by selectively breeding Pruss goldfish for color mutations. With the Song dynasty (960-1279), yellow, orange, white and red-white have been developed. Goldfish was introduced to Japan in the 16th century. Koi was developed from goldfish in Japan in the 1820s. Koi is a carp that is cultivated ( Cyprinus carpio ) selected or taken for coloring; they are not distinct species, and will return to their original colors for generations if allowed to multiply freely.

src: japanesegarden.org

Aesthetic principles

Early Japanese gardens mostly followed the Chinese model, but gradually Japanese gardens developed their own principles and aesthetics. This is outlined by a series of landscaping gardening guides, beginning with Sakuteiki (Notes on Gardening) in the Heian Period (794-1185). The principles of the sacred garden, such as the Zen Buddhist temple garden, are different from the pleasure park or promenade; for example, the Zen Buddhist garden is designed to be seen, while sitting, from a platform with views of the entire park, without entering it, while the promenade garden is meant to be seen by walking through the park and stopping at a series of scenic points. However, they often contain common elements and use the same technique. Some basic principles are:

Miniaturization . The Japanese garden is a miniature and ideal natural landscape. Stones can represent mountains, and ponds can represent oceans. Parks are sometimes made to appear larger by placing stones and larger trees in the foreground, and smaller ones in the background.

Hide ( miegakure , "hide and uncover"). The Zen Buddhist Garden is meant to be seen at once, but the promenade garden is meant to be viewed one landscape at a time, just as the landscaped scrolls painted open the scroll. Features hidden behind hills, groves of trees or bamboo, walls or structures, which will be found when visitors follow a winding path.

Borrow scenes ("shakkei") . Smaller gardens are often designed to incorporate views of features outside the park, such as hills, trees or temples, as part of the scenery. This makes the park look bigger than it really is.

Asymmetry . Japanese gardens are not placed on a straight ax, or with one feature that dominates the scene. Buildings and garden features are usually placed to be viewed from the diagonal, and are carefully composed into landscapes that contrast with right angles, such as buildings with natural features, and vertical features, such as rocks, bamboo or trees, with horizontal features, such as water.

According to park historian David and Michigo Young, in the heart of the Japanese garden is the principle that the park is a work of art. "Although inspired by nature, it is an interpretation rather than a copy, it must appear natural, but not wild."

Seyemon Kusumoto landscape gardener writes that Japan produces "the best work of nature in limited space".

src: www.seattle.gov

Difference between Japanese and Chinese garden

Japanese gardens during the Heian period were modeled in Chinese gardens, but in the Edo period there was a clear distinction.

Architecture . Chinese gardens have buildings in the middle of the garden, occupying most of the garden space. The building is placed next to or above the central body of water. The park building is very elaborate, with lots of architectural decor. In the next Japanese garden, the buildings are separated from water bodies, and the buildings are simple, with little ornaments. The architecture in the Japanese garden is mostly or partially hidden.

Viewpoint . Chinese gardens are designed to be viewed from within, from buildings, galleries and pavilions in the middle of the park. Japanese garden is designed to be viewed from the outside, such as in Japanese rock garden or zen garden; or from the road that crosses the park.

Rocks Usage . In a Chinese garden, especially in the Ming dynasty, rocks are selected for their extraordinary shape or resemblance to animals or mountains, and are used for dramatic effects. They often become stars and garden centerspieces. In the next Japanese garden, the stones are smaller and placed in a more natural setting. integrated into the garden.

Sea Landscape. Chinese gardens are inspired by China's inland landscape, especially lakes and mountains of China, while Japanese gardens often use miniature sights from the coast of Japan. Japanese gardens often include white sand or gravel beaches and rocks that seem to have been worn by waves and tides, which rarely show up in Chinese gardens.

src: www.normandale.edu

Garden style

Chisen-shoy? -tenen or pond farm

The chisen-shoy? -tenen ("lake-spring-boat tourist park") was imported from China during the Heian period (794-1185). This is also called shinden-zukuri style, after the main architectural style of the building. It featured a large residence, an ornament with two long wings reaching south to a large lake and garden. Each wing ends in a pavilion where guests can enjoy views of the lake. Visitors make a tour of the lake in a small boat. These gardens have large lakes with small islands, where musicians who play during festivals and ceremonies can look across the water at the Buddha. No original parks from this period are left, but reconstruction can be seen in Heian-jing? and Daikaku-ji Temple in Kyoto.

The Paradise Garden

The Garden of Heaven arose in the late Heian period, created by the nobles of the Amida Buddhist sect. They are meant to symbolize Heaven or the Holy Land ( J? Do ), where the Buddha sits on a platform contemplating the lotus pond. These gardens feature a lake island called Nakajima, where the Buddhist hall is located, connected to the beach with a curved bridge. The most famous example of surviving is the garden of the Temple of the Phoenix Hall of? D? -in, built in 1053, at Uji, near Kyoto. Other examples include the J? Ruri-ji temple in Kyoto, Enro-ji Temple in Nara Prefecture, Hokongoin in Kyoto, Tsu-ji Temple in Hiraizumi, and Shiramizu Amidado Park in Iwaki City.

Karesansui dry stone garden

Karesansui Park (???) or Japanese stone garden, became popular in Japan in the 14th century thanks to the work of a monk, Mus? Soseki (1275-1351) who built a zen garden in five major monasteries in Kyoto. These gardens have white sand or pebbles that are randomized in water, carefully arranged stones, and sometimes stones and sand covered in moss. Their goal is to facilitate meditation, and they are meant to be seen while sitting on the living verandah of the h? J? , the abbot. The most famous example is the Ry Temple? An-ji in Kyoto.

Roji , or tea garden

The tea garden was created during the Muromachi period (1333-1573) and the Momoyama period (1573-1600) as a setting for a Japanese tea ceremony, or chanoyu. The garden style takes its name from roji, or the road to the teahouse, which should inspire the visitor to meditation to prepare himself for the ceremony. There is an outdoor garden, with gates and covered arbor where guests await an invitation to enter. They then pass through the gates to the inner garden, where they wash their hands and rinsed, as before entering the Shinto shrine, before going to the teahouse itself. The track is always moist and green, so it will look like a remote mountain lane, and there are no bright flowers that can distract the visitor from his meditation. The early tea house has no windows, but then the tea-house has a wall that can be opened for a garden view.

Kaiy? -shiki-teien, or promenade park

A promenade or a walk-in park (go-round style landscape garden) appeared in Japan during the Edo period (1600-1854), in the villas of nobles or warlords. These gardens are designed to complement homes with the new sukiya-zukuri architecture style, which mimics the tea house. These gardens are meant to be seen by following a clockwise path around the lake from a carefully composed scene. These gardens use two techniques to give an interest; to borrow scenes ("shakkei"), which take advantage of landscapes outside the park, such as mountains or temples, incorporating them into landscapes so the park looks bigger than it really is; and miegakure , or "hide-and-reveal," which uses winding roads, fences, bamboo and buildings to hide the scene so visitors will not see it until it is at its best point of view. The Edo Period Garden also often features recreation from famous sights or scenes inspired by literature; Suizen-ji J? Ju-en Garden in Kumamoto has a miniature version of Mount Fuji, and Katsura Villa in Kyoto has a miniature version of the Ama-no-hashidate sandbar at Miyazu Bay, near Kyoto. Rikugi-en Park in Tokyo creates a small landscape inspired by eighty-eight famous Japanese poems.

Tsubo-niwa garden page

These small gardens were originally found in the interior courtyard of the Heian period and the palace, and are designed to provide a glimpse of nature and some privacy to the residents on the back side of the building. They are as small as one tsubo , or about 3.3 square meters. During the Edo period, traders began to build small gardens in the back room of their shops, which faced the street, and their residence, which lies behind. These small gardens are meant to be seen, not included, and usually have stone lanterns, water basins, stepping stones and some plants. Today, tsubo-niwa is found in many Japanese residences, hotels, restaurants and public buildings. A good example of the Meiji period is found in the Murin-an villa in Kyoto.

Hermitage garden

Park hermitage is a small park usually built by a samurai or government official who wants to retire from public life and devote himself to study or meditation. It is attached to a country house, and is approached by a winding road, which shows it deep in the forest. It may have a small pool, a Japanese rock garden, and other features of a traditional garden, in miniature, designed to create serenity and inspiration. An example is Shisen-d? park in Kyoto, built by bureaucrats and scholars who were exiled by the shogun in the 17th century. Now the Buddhist temple.

src: japanesegarden.org

Japanese garden art and literature

Garden Manual

The first Japanese gardening manual was Sakuteiki ("Garden Records"), probably written at the end of the eleventh century by Tachibana no Tohshitsuna, (1028-1094). Citing older Chinese sources, it explains how to organize the garden, from the placement of rocks and rivers to the depth of the pond and the height of the right waterfall. Although based on previous Chinese garden principles, it also reveals unique ideas for Japanese gardens, such as islands, beaches and rock formations that mimic Japanese sea views.

In addition to providing advice, Sakuteiki also gives a terrible warning of what happens if the rules are not followed; the authors warn that, if a stone that is in nature in a horizontal position standing upright in the garden, it will bring havoc to the owner of the garden. And, if a large rock pointing to the north or west is placed near a gallery, the owner of the garden will be forced to leave before one year passes.

Another influential work on Japanese gardens, bonseki, bonsai and related art is the Rhymeprose in the Miniature Landscape Garden (about 1300) by the monk Zen Kokan Shiren, who explains how meditation in the miniature garden purifies the senses and mind and leads on the understanding of the true relationship between man and nature.

Other influential garden guidelines that help define the aesthetics of Japanese gardens are the Senzui Narabi ni Yagyo no Zu (Illustrations for Designing Mountain Landscape, Water and Slope Hill), written in the 15th century, and Tsukiyama Teizoden (Building the Mountains and Creating the Garden), from the 18th century. The Japanese gardening tradition has historically been derived from sensei for apprenticeship. The opening words from The illustration for designing mountain, water and hillside scenes (1466) is "If you have not received oral transmission, you can not make a garden" and the closing warning is "You can not show the writing this to an outsider You must keep it a secret ".

This garden manual is still being studied today.

Gardens in literature and poetry

• The Tale of Genji , the classic Japanese novel of the Heian period, describes the role of the Japanese garden in the life of the palace. The characters attended the festival in the old Imperial imperial court garden, took a boat trip on the lake, listened to music and watched a formal dance under the trees.

Gardens are often the subject of poetry during the Heian period. A poem in an anthology of that period, Kokin-Shu , describes Kiku-shima , or chrystanthemums island, is found in the Osawa pond in the large garden of the period called Saga-in .

I have thought that here

only one chrysanthmum can grow.

Who has planted

others in depth

from the Osawa pool?

Another poem from the Heian period, in Hyakunin isshu, describes a cascade of rocks, which simulates waterfalls, in the same garden:

old Cascade

stop roaring,

But we keep hearing

Murmur

of its name.

Japanese philosophy, painting and garden

In Japanese culture, garden-making is a high art, similar to the art of calligraphy and ink painting. The garden is considered a three-dimensional textbook of Taoism and Zen Buddhism. Sometimes the lesson is very literal; Saih garden? -ji showing pool shaped like Japanese character shin (?) or x? n in Chinese, the spirit of Chinese philosophy, what character newspaper? but it is a full cursive, sousho style (??) for shin to be used; this famous "grass writing", would be appropriate for gardening purposes indeed, since in cursive writing the character changes depending on the context and, of course, because it is cursive, depending on the person saying that the character it will be done with a pencil stroke, it will match the state of mind and context rather than newspaper print. However, usually the lesson is contained in the arrangement of rocks, water and plants. For example, lotus flowers have a specific message; Its roots are in the mud at the bottom of the pond, symbolizing the misery of the human condition, but the flowers are pure white, symbolizing the purity of the spirit that can be attained by following the teachings of the Buddha.

The Japanese stone garden is meant to be an intellectual riddle for the monks who live next to them to learn and solve it. They follow the same principles as suiboku-ga, Japanese black-and-white painting in the same period, which, according to Zen Buddhist principles, tries to achieve maximum effect using minimum essence. element.

One of the painters who influenced the Japanese garden was Josetsu (1405-1423), a Chinese Zen monk who moved to Japan and introduced a new style of ink brush painting, moved away from the misty romantic landscape of the previous period, and used the asymmetry and white space area, similar with white space made by sand in the zen garden, to separate and highlight mountains or branches of trees or other elements of his paintings. He became the main painter of the Shogun and influenced the generations of painters and garden designers.

Japanese gardens also follow the principle of Japanese landscape painting perspective, which features close-up areas, intermediate planes, and distant planes. The empty space between different planes is very important, and filled with water, moss, or sand. Park designers use a variety of optical tricks to give the garden an illusion of being bigger than it really is, by borrowing the scenery ("shakkei"), using the outer view of the park, or using miniature trees and bushes to create the illusion that they are so far away.

src: www.gardenvisit.com

Noteworthy Japanese parks

In Japan

Japan's Ministry of Education, Culture, Sports, Science and Technology appoints the most famous of the scenic beauty of the nation as Special Place of Beautiful Beauty , under the Law for the Protection of Cultural Property. On March 1, 2007, 29 sites were listed, more than half of which were Japanese gardens, as below;

Boldface entri menentukan Situs Warisan Dunia.

• wilayah T? hoku
  • M? ts? - ji Garden (Hiraizumi, Iwate)
• wilayah Kant
  • Kairaku-en (Mito, Ibaraki)
  • Rikugi-en (Bunky ?, Tokyo)
  • Kyu Hamarikyu Gardens (Ch ??, Tokyo)
• Wilayah Ch? bu
  • Kenroku-en (Kanazawa, Ishikawa)
  • Ichij? dani Asakura Family Gardens (Fukui, Fukui)
• wilayah Kansai
  • Oleh? d? - di Taman (Uji, Kyoto)
  • Taman Jisho-ji (Kyoto, Kyoto)
  • Nij? Castle Ninomaru Garden (Kyoto, Kyoto)
  • Taman Rokuon-ji (Kyoto, Kyoto)
  • Ry? an - ji Garden (Kyoto, Kyoto)
  • Tenry? -ji Garden (Kyoto, Kyoto)
  • Kebun Sanb? di di Daigo-ji (Kyoto, Kyoto)
  • Kebun lumut Saih? - ji ("Kuil Moss") (Kyoto, Kyoto)
  • Taman Daitoku-ji (Kyoto, Kyoto)
  • Taman Daisen-in di Daitoku-ji (Kyoto, Kyoto)
  • Murin-an taman, Kyoto, Kyoto
  • Taman Negoro-ji (Iwade, Wakayama)
• Wilayah Ch? goku
  • Museum Seni Taman Adachi (Yasugi, Shimane)
  • K? raku-en (Okayama, Okayama)
  • Matsue Vogel Park (Matsue)
  • Sh? raku-en, (Tsuyama)
• Wilayah Shikoku
  • Taman Ritsurin (Tak

    Source of the article : Wikipedia