Japanese Garden, Dabolim

History

Origins

The idea of these unique gardens began during the Asuka period. Japanese merchants witnessed the gardens that were being built in China and brought many of the Chinese gardening techniques and styles back to Japan. Today, the tradition of Japanese garden art is still popular around the world, with many eastern and western practitioners expressing themselves through the medium. Japanese gardens first appeared on the island of Honshu, the large central island of Japan. Their aesthetic was influenced by the distinct characteristics of the Honshu landscape: rugged volcanic peaks, narrow valleys, mountain streams with waterfalls and cascades, lakes, and beaches of small stones. They were also influenced by the rich variety of flowers and different species of trees, particularly evergreen trees, on the islands, and by the four distinct seasons in Japan, including hot, wet summers and snowy winters.Japanese gardens have their roots in the Japanese religion of Shinto, with its story of the creation of eight perfect islands, and of the shinchi, the lakes of the gods. Prehistoric Shinto shrines to the kami, the gods and spirits, are found on beaches and in forests all over the island. Prehistoric shrines often took the form of unusual rocks or trees marked with cords of rice fiber (shimenawa) and surrounded with white stones or pebbles, a symbol of purity. The white gravel courtyard became a distinctive feature of Shinto shrines, Imperial Palaces, Buddhist temples, and Zen gardens.Japanese gardens were also strongly influenced by the Chinese philosophy of Daoism and Amida Buddhism, imported from China in or around 552. Daoist legends spoke of five mountainous islands inhabited by the Eight Immortals, who lived in perfect harmony with nature. Each Immortal flew from his mountain home on the back of a crane. The islands themselves were located on the back of an enormous sea turtle. In Japan, the five islands of the Chinese legend became one island, called Horai-zen, or Mount Horai. Replicas of this legendary mountain, the symbol of a perfect world, are a common feature of Japanese gardens, as are rocks representing turtles and cranes.

In antiquity

The earliest recorded Japanese gardens were the pleasure gardens of the Japanese Emperors and nobles. They are mentioned in several brief passages of the Nihon Shoki, the first chronicle of Japanese history, published in 720. In the spring of the year 74, the chronicle recorded: "The Emperor Keikō put a few carp into a pond, and rejoiced to see them morning and evening". The following year, "The Emperor launched a double-hulled boat in the pond of Ijishi at Ihare, and went aboard with his imperial concubine, and they feasted sumptuously together". And in 486, "The Emperor Kenzō went into the garden and feasted at the edge of a winding stream".The Chinese garden had a very strong influence on early Japanese gardens. In or around 552, Buddhism was officially installed from China, via Korea, into Japan. Between 600 and 612, the Japanese Emperor sent four legations to the Court of the Chinese Sui Dynasty. Between 630 and 838, the Japanese court sent fifteen more legations to the court of the Tang Dynasty. These legations, with more than five hundred members each, included diplomats, scholars, students, Buddhist monks, and translators. They brought back Chinese writing, art objects, and detailed descriptions of Chinese gardens. In 612, the Empress Suiko had a garden built with an artificial mountain, representing Shumi-Sen, or Mount Sumeru, reputed in Hindu and Buddhist legends to be located at the centre of the world. During the reign of the same Empress, one of her ministers, Soga no Umako, had a garden built at his palace featuring a lake with several small islands, representing the islands of the Eight Immortals famous in Chinese legends and Daoist philosophy. This Palace became the property of the Japanese Emperors, was named "The Palace of the Isles", and was mentioned several times in the Man'yōshū, the "Collection of Countless Leaves", the oldest known collection of Japanese poetry. It appears from the small amount of literary and archaeological evidence available that the Japanese gardens of this time were modest versions of the Imperial gardens of the Tang Dynasty, with large lakes scattered with artificial islands and artificial mountains. Pond edges were constructed with heavy rocks as embankment. While these gardens had some Buddhist and Daoist symbolism, they were meant to be pleasure gardens, and places for festivals and celebrations.

Nara period (710–794)

The Nara Period is named after its capital city Nara. The first authentically Japanese gardens were built in this city at the end of the eighth century. Shorelines and stone settings were naturalistic, different from the heavier, earlier continental mode of constructing pond edges. Two such gardens have been found at excavations, both of which were used for poetry-writing festivities. One of these gardens, the East Palace garden at Heijo Palace, Nara, has been faithfully reconstructed using the same location and even the original garden features that had been excavated.

Heian period (794–1185)

In 794, at the beginning of the Heian Period, the Japanese court moved its capital to Heian-kyō (present-day Kyoto). During this period, there were three different kinds of gardens: palace gardens and the gardens of nobles in the capital, the gardens of villas at the edge of the city, and the gardens of temples. The architecture of the palaces, residences and gardens in the Heian period followed Chinese practice. Houses and gardens were aligned on a north-south axis, with the residence to the north and the ceremonial buildings and main garden to the south, there were two long wings to the south, like the arms of an armchair, with the garden between them. The gardens featured one or more lakes connected by bridges and winding streams. The south garden of the imperial residences had a specially Japanese feature: a large empty area of white sand or gravel. The Emperor was the chief priest of Japan, and the white sand represented purity, and was a place where the gods could be invited to visit. The area was used for religious ceremonies and dances for the welcoming of the gods.The layout of the garden itself was strictly determined according to the principles of traditional Chinese geomancy, or Feng Shui. The first known book on the art of the Japanese garden, the Sakuteiki (Records of Garden Keeping), written in the 11th century, said: It is a good omen to make the stream arrive from the east, to enter the garden, pass under the house, and then leave from the southeast. In this way, the water of the blue dragon will carry away all the bad spirits from the house toward the white tiger. The Imperial gardens of the Heian period were water gardens, where visitors promenaded in elegant lacquered boats, listening to music, viewing the distant mountains, singing, reading poetry, painting, and admiring the scenery of the garden. The social life in the gardens was memorably described in the classic Japanese novel The Tale of Genji, written in about 1005 by Murasaki Shikibu, a lady-in-waiting to the Empress. The traces of one such artificial lake, Osawa no ike, near the Daikaku-ji temple in Kyoto, still can be seen. It was built by the Emperor Saga, who ruled from 809 to 823, and was said to be inspired by Dongting Lake in China.A scaled-down replica of the Kyoto Imperial Palace of 794, the Heian-jingū, was built in Kyoto in 1895 to celebrate the 1100th birthday of the city. The south garden is famous for its cherry blossom in spring, and for azaleas in the early summer. The west garden is known for the irises in June, and the large east garden lake recalls the leisurely boating parties of the 8th century. Near the end of the Heian period a new garden architecture style appeared, created by the followers of Pure Land Buddhism. These were called "Paradise Gardens", built to represent the legendary Paradise of the West, where the Amida Buddha ruled. These were built by noblemen who wanted to assert their power and independence from the Imperial household, which was growing weaker. The best surviving example of a Paradise Garden is Byōdō-in in Uji, near Kyoto. It was originally the villa of Fujiwara Michinaga (966–1028), who married his daughters to the sons of the Emperor. After his death, his son transformed the villa into a temple, and in 1053 built the Hall of Phoenix, which still stands. The Hall is built in the traditional style of a Chinese Song Dynasty temple, on an island in the lake. It houses a gilded statue of the Amitābha Buddha, looking to the west. In the lake in front of the temple is a small island of white stones, representing Mount Horai, the home of the Eight Immortals of the Daoists, connected to the temple by a bridge, which symbolized the way to paradise. It was designed for mediation and contemplation, not as a pleasure garden. It was a lesson in Daoist and Buddhist philosophy created with landscape and architecture, and a prototype for future Japanese gardens. Notable existing or recreated Heian gardens include: Daikaku-ji Byōdō-in Kyoto Imperial Palace Jōruri-ji

Kamakura and Muromachi periods (1185–1573)

The weakness of the Emperors and the rivalry of feudal warlords resulted in two civil wars (1156 and 1159), which destroyed most of Kyoto and its gardens. The capital moved to Kamakura, and then in 1336 back to the Muromachi quarter of Kyoto. The Emperors ruled in name only; real power was held by a military governor, the shōgun. During this period, the Government reopened relations with China, which had been broken off almost three hundred years earlier. Japanese monks went again to study in China, and Chinese monks came to Japan, fleeing the Mongol invasions. The monks brought with them a new form of Buddhism, called simply Zen, or "meditation". The first zen garden in Japan was built by a Chinese priest in 1251 in Kamakura. Japan enjoyed a renaissance in religion, in the arts, and particularly in gardens.Many famous temple gardens were built early in this period, including Kinkaku-ji, The Golden Pavilion, built in 1398, and Ginkaku-ji, The Silver Pavilion, built in 1482. In some ways they followed Zen principles of spontaneity, extreme simplicity and moderation, but in other ways they were traditional Chinese Song-Dynasty Temples; the upper floors of the Golden Pavilion were covered with gold leaf, and they were surrounded by traditional water gardens. The most notable garden style invented in this period was the zen garden, or Japanese rock garden. One of the finest examples, and one of the best-known of all Japanese gardens is Ryōan-ji in Kyoto. This garden is just 9 meters wide and 24 meters long. It is composed of white sand carefully raked to suggest water, and fifteen rocks carefully arranged, like small islands. It is meant to be seen from a seated position on the porch of the residence the abbot of the monastery. There have been many debates about what the rocks are supposed to represent, but, as garden historian Gunter Nitschke wrote, "The garden at Ryōan-ji does not symbolize. It does not have the value of representing any natural beauty that can be found in the world, real or mythical. I consider it as an abstract composition of "natural" objects in space, a composition whose function is to incite mediation."Several of the famous zen gardens of Kyoto were the work of one man; Musō Soseki (1275–1351). He was a monk, a ninth-generation descendant of the Emperor Uda. He was also a formidable court politician, writer and organizer, who armed and financed ships to open trade with China, and founded an organization called the Five Mountains, made up of the most powerful Zen monasteries in Kyoto. He was responsible for the building of the zen gardens of Nanzen-ji; Saihō-ji (The Moss Garden); and Tenryū-ji. Notable gardens of the Kamakura and Muromachi Periods include: Kinkaku-ji (the Golden Pavilion) Ginkaku-ji (the Silver Pavilion) Nanzen-ji Saihō-ji (The Moss Garden) Tenryū-ji Daisen-in

Momoyama period (1568–1600)

The Momoyama period was short, just 32 years, and was largely occupied with the wars between the daimyōs, the leaders of the feudal Japanese clans. The new centers of power and culture in Japan were the fortified castles of the daimyōs, around which new cities and gardens appeared. 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 were meant to be seen from above, from the castle or residence. The daimyōs had developed the skills of cutting and lifting large rocks to build their castles, and they had armies of soldiers to move them. The artificial lakes were surrounded by beaches of small stones and decorated with arrangements of boulders, with natural stone bridges and stepping stones. The gardens of this period combined elements of a promenade garden, meant to be seen from the winding garden paths, with elements of the zen garden, such as artificial mountains, meant to be contemplated from a distance.The most famous garden of this kind, built in 1592, is situated near the Tokushima castle on the island of Shikoku. Its notable features include a bridge 10.5 meters long made of two natural stones. Another notable garden of the period still existing is Sanbō-in, rebuilt by Toyotomi Hideyoshi in 1598 to celebrate the festival of the cherry blossom and to recreate the splendor of an ancient garden. Three hundred garden-builders worked on the project, digging the lakes and installing seven hundred boulders in a space of 540 square meters. The garden was designed to be seen from the veranda of the main pavilion, or from the "Hall of the Pure View", located on a higher elevation in the garden. In the east of the garden, on a peninsula, is an arrangement of stones designed to represent the mythical Mount Horai. A wooden bridge leads to an island representing a crane, and a stone bridge connects this island to another representing a tortoise, which is connected by an earth-covered bridge back to the peninsula. The garden also includes a waterfall at the foot of a wooded hill. One characteristic of the Momoyama period garden visible at Sanbō-in is the close proximity of the buildings to the water.The Momoyama period also saw the development of the chanoyu (tea ceremony), the chashitsu (teahouse), and the roji (tea garden). Tea had been introduced to Japan from China by Buddhist monks, who used it as a stimulant to keep awake during long periods of meditation. The first great tea master, Sen no Rikyū (1522–1591), defined in the most minute detail the appearance and rules of the tea house and tea garden, following the principle of wabi (侘び) "sober refinement and calm".Following Sen no Rikyū's rules, the teahouse was supposed to suggest the cottage of a hermit-monk. It was a small and very plain wooden structure, often with a thatched roof, with just enough room inside for two tatami mats. The only decoration allowed inside a scroll with an inscription and a branch of a tree. It did not have a view of the garden. The garden was also small, and constantly watered to be damp and green. It usually had a cherry tree or elm to bring color in the spring, but otherwise did not have bright flowers or exotic plants that would distract the attention of the visitor. A path led to the entrance of the teahouse. Along the path was waiting bench for guests and a privy, and a stone water-basin near the teahouse, where the guests rinsed their hands and mouths before entering the tea room through a small, square door called nijiri-guchi, or "crawling-in entrance", which requires bending low to pass through. Sen no Rikyū decreed that the garden should be left unswept for several hours before the ceremony, so that leaves would be scattered in a natural way on the path.Notable gardens of the period include: Tokushima Castle garden on the island of Shikoku. Tai-an tea house at Myōki-an Temple in Kyoto, built in 1582 by Sen no Rikyū. Sanbō-in at Daigo-ji, in Kyoto Prefecture (1598)

Edo period (1615–1867)

During the Edo period, power was won and consolidated by the Tokugawa clan, who became the Shoguns, and moved the capital to Edo, which became Tokyo. During this time, Japan, except for the port of Nagasaki, was virtually closed to foreigners, and Japanese were not allowed to travel to any country except China or the Netherlands. The Emperor remained in Kyoto as a figurehead leader, with authority only over cultural and religious affairs. While the political center of Japan was now Tokyo, Kyoto remained the cultural capital, the center for religion and art. The Shoguns provided the Emperors with little power, but with generous subsidies for building gardens.The Edo period saw the widespread use of a new kind of Japanese architecture, called Sukiya-zukuri, which means literally "building according to chosen taste". The term first appeared at the end of the 16th century referring to isolated tea houses. It originally applied to the simple country houses of samurai warriors and Buddhist monks, but in the Edo period it was used in every kind of building, from houses to palaces. The Sukiya style was used in the most famous garden of the period, the Katsura Imperial Villa in Kyoto. The buildings were built in a very simple, undecorated style, a prototype for future Japanese architecture. They opened up onto the garden, so that the garden seemed entirely part of the building. Whether the visitor was inside or outside of the building, he always had a feeling he was in the center of nature. The garden buildings were arranged so that were always seen from a diagonal, rather than straight on. This arrangement had the poetic name ganko, which meant literally "a formation of wild geese in flight".Most of the gardens of the Edo period were either promenade gardens or dry rock zen gardens, and they were usually much larger than earlier gardens. The promenade gardens of the period made extensive use of borrowing of scenery ("shakkei"). Vistas of distant mountains are integrated in the design of the garden; or, even better, building the garden on the side of a mountain and using the different elevations to attain views over landscapes outside the garden. Edo promenade gardens were often composed of a series of meisho, or "famous views", similar to postcards. These could be imitations of famous natural landscapes, like Mount Fuji, or scenes from Taoist or Buddhist legends, or landscapes illustrating verses of poetry. Unlike zen gardens, they were designed to portray nature as it appeared, not the internal rules of nature. Shugakuin Imperial Villa Shisen-dō (1641) Suizen-ji Hama Rikyu Kōraku-en (Okayama) Ritsurin Garden (Takamatsu) Koishikawa Kōraku-en (Tokyo) (1629) Ninna-ji, Kyoto Enman-in, Otsu Sanzen-in, north of Kyoto Sengan-en, Kagoshima (1658) Chishaku-in, southeast of Kyoto Jōju-in, in the temple of Kiyomizu, southeast of Kyoto (1688–1703) Manshu-in, northeast of Kyoto (1656) Nanzen-ji, east of Kyoto (1688–1703)

Meiji period (1868–1912)

The Meiji period saw the modernization of Japan, and the re-opening of Japan to the west. Many of the old private gardens had been abandoned and left to ruin. In 1871, a new law transformed many gardens from the earlier Edo period into public parks, preserving them. Garden designers, confronted with ideas from the West experimented with western styles, leading to such gardens as Kyu-Furukawa Gardens, or Shinjuku Gyoen. Others, more in the north of Japan kept to Edo period blueprint design. A third wave was the naturalistic style of gardens, invented by captains of industry and powerful politicians like Aritomo Yamagata. Many gardeners soon were designing and constructing gardens catering to this taste. One of the gardens well-known for his technical perfection in this style was Ogawa Jihei VII, also known as Ueji.Notable gardens of this period include: Kyu-Furukawa Gardens Kenroku-en, 18th and 19th centuries, finished in 1874. Chinzan-so in Tokyo in 1877. Murin-an in Kyoto, finished 1898.

Modern Japanese gardens (1912 to present)

During the Showa period (1926–1989), many traditional gardens were built by businessmen and politicians. After World War II, the principal builders of gardens were no longer private individuals, but banks, hotels, universities and government agencies. The Japanese garden became an extension of the landscape architecture the building. New gardens were designed by landscape architects, and often used modern building materials such as concrete. Some modern Japanese gardens, such as Tōfuku-ji, designed by Mirei Shigemori, were inspired by classical models. Other modern gardens have taken a much more radical approach to the traditions. One example is Awaji Yumebutai, a garden on the island of Awaji, in the Seto Inland Sea of Japan, designed by Tadao Ando. It was built as part of a resort and conference center on a steep slope, where land had been stripped away to make an island for an airport.