The dry landscape garden (枯山水 Karesansui) is the best known type of Japanese garden type and is often called Zen garden

1. SUBMITTED BY : Nancy Bansal, V.Swathi, Shivali Gupta, Nishtha Longia

2.  Japanese gardens are a combination of many complex factors like history , social
structure and religion.
 The art of gardening is believed to be an important part of Japanese culture for many
centuries.
 The garden design in Japan is strongly connected to the philosophy and religion of the
country.
 Shinto, Buddhism and Taoism were used in the creation of different garden styles in
order to bring a spiritual sense to the gardens and make them places where people
could spend their time in a peaceful way and meditate
 Core values of Japanese gardening have been largely shaped by Chinese culture and
tradition.
 Religion ,in particular Buddhism ,also had a major influence on Japanese gardening.
 According to Shintoism ,the native religion of Japan everything in nature is sacred;
trees, plants, and rocks.
 They used white gravel in temples as to keep areas clean and white as a means of
enticing the spirits and gods to visit these places.
 Shintoism is not much the worship of rocks ,but the veneration of the spirit that created
those objects.

3. • The line between garden and its surrounding landscape is not distinct.
• Gardens incorporate natural and artificial elements and thus, fuse the
elements of nature and architecture.
• In the Japanese garden, the viewer should consider nature as a picture
frame into which the garden, or the man- made work of art, is inserted.

5.  A common design principle found in most Japanese garden is the use of asymmetry.
 Plants and trees are often arranged in an asymmetric fashion, as are fences and hedges.
 The clever use of space is unique where empty spaces are deliberately left unfiled to create
feeling of spaciousness and uncluttered calm.
Nature is the ideal that you must strive for. You can idealize it, even symbolize it, but you
must never create something that nature itself cannot.
Balance, or sumi. The proportions and spaces are an essential Design principle
The “emptiness” of portions of the garden. This space, or ma, defines the elements around
it, and is also defined by the elements surrounding it. It is the true spirit of yin and yang.
Without nothing, you cannot have something. It is a central tenet of Japanese gardening.

6. SY M B O L I S M
In this type of garden you will not find any plant or water but it is present in a symbolic sense:
Plants are represented by moss that surrounds the rock.
Water is represented by raked gravel

7. t h e c h a n g e s w i t h s e a s o n s
In spring one revels in the bright green of new buds and
the
blossoms of the azaleas.
In summer you appreciate the contrasts of the lush
foliage
painted against the cool shadows and the splash of koi
in the
pond.
Fall wrests the brilliant colors from dying leaves as they
slip into
the deathly hush of winter, the garden buried under a
shroud of
snow.
Winters is as much a garden season in Japan as spring.
The Japanese refer to snow piled on the branches of
trees a
sekku, or snow blossoms, and there is a lantern known
as
yukimi that is named the snow viewing lantern.

9. Natural: that should make the garden look as if it grew by itself
Asymmetry: that creates the impression of it being natural
Odd numbers: It supports the effect of the asymmetry
Simplicity: that follows the idea of 'less is more'
Triangle: that is the most common shape for compositions made of
stones, plants, etc.
Contrast: that creates tension between elements
Lines: that can create both tranquility and tension
Curves: that softens the effect
Openness: that indicates interaction between all elements

11. There are three indispensable or key elements without which a Japanese garden
cannot be made
• Rocks
• Plants
• Water
• Other subsidiary elements:
• Fences
• Gates
• Lanterns
• Paths
 A stone lantern representing four natural elements: earth, water, fire and wind
 Statues of male and female lions, placed at the entrance of the garden in order to
protect the garden from intruders, representing the two opposite forces: yin and
yang (fire and water, male and female).
 Water basin known as a deer chaser, which keep deer away by making a special
sound when filled up
 The koi fish swimming in ponds, which has a decorative meaning
 Typical japanese bridge, called a moonbridge, whose purpose is to reflect artistic
feelings.

12. PLANTS
 Japanese garden is predominately green with its use of evergreen trees.
 The trees and plants are chosen not just for their beauty and gracefulness but also for their
symbolism.
 The deep greens of pines symbolize timeless and longevity, while the colors of the maples
and cherries reflect the changing seasons.

13. Cherry (Prunus serrulata ) and plum trees are extensively used in Japanese gardens. Both
flowers in early april.
Pinus thumbergii (black
pine): it is the most
popular pine for garden
work in Japan.
The needles are deep
green and the bark
almost jet black.
In damp conditions
moss will grow
naturally without any
help from men.
• Moss:
• It is a primitive plant and there are
many different varieties in existence.
• Moss needs damp shady conditions in
order to flourish.
• In constantly dry, sunny aspect, it will
not grow.
• moss is most often found in woodland
area under the shade of trees where
nothing else will grow.

14. T R E E S I N J A P A N E S E G A R D E N S
• Scientific Name: Abies Firma
• Habitat: Evergreen
• Texture: Coarse
• Height: 40’ to 70’
• Leaf: 1.5" dark green needles are notched at base; sharp prickly point
• Flower/Fruit: 3.5 to 5" brown cones
JAPANESE FIR
JAPANESE STRIPPED – BARK MAPPLE
Scientific Name: Acer capillipes
Habit: Deciduous
Growth Rate: Moderate
Site Requirements: Sun to partial shade; prefers moist, well drained soil
Texture: Medium
Form: Round head; low branches
Height: 30 to 35’
Flower/Fruit: Greenish white flowers on 2.5 to 4" pendulous raceme;
attractive samara in fall

15. • Scientific Name: Acer palmatum
• Growth Rate: Slow to moderate
• Site Requirements: Light dappled shade; evenly moist, well
drained soil; protect from drying winds
• Texture: Medium to fine
• Form: Low; dense rounded top; spreading branches;
assumes a layered look
• Height: 15 to 25'
• Flower/Fruit: Small red to purple flowers; attractive if
viewed closely but insignificant from a distance
JAPANESE MAPLE

16. JAPANESE CHERRY BIRCH
•Scientific Name
Betula grossa
•Growth Rate: Moderate
•Site Requirements: Sun; moist well drained soil
•Texture: Medium
•Form: Pyramidal
•Height: 20 to 25'
•Leaf: 2 to 4" alternate, simple leaves; yellow fall color
•Flower/Fruit: Nonshowy flowers

17. ROCKS
 The rocks are like the coordinates of a garden project.
 Choosing the right type of rock and positioning them on right place.
 Size is meaningful only when viewed in the context of the scale of the garden &
its relationship with the neighboring rocks and other artifacts.
 Variation in rock sizes offer greater contrast & interest resulting in the more
dynamic arrangement of rocks.

18.  Rocks are often used to represent islands and mountains, so conical or dome
shape would be the obvious choice.
 Colors, generally bright colors are avoided.
 Color of rocks generally varies from grey to black, and from yellow to brick red
on other hand.

19.  Texture, one of the vital characteristics of any rock.
 A jagged textured rock gives feeling of timelessness and dignity.
 Smooth rocks like water worn stones or glacial boulders convey the feeling of
antiquity especially when combined in an interesting shape.

20.  Placing of rocks in Japanese gardens is quite rhythmic
just like a music composition where individual rocks
acts as musical notes.
 Certain guidelines or ground rules are followed to
achieve good results such as :
 Rocks of varying sizes are used to emphasize the
contrast.
 Generally asymmetric arrangement of rocks is
preferred over symmetrical arrangement.
 Sometimes there is a tradition for arranging the rocks
to reflect the philosophical concept heaven, earth
and man.

21. WATER OR IKE
 Water is used not just for its visual quality, but also for its sound.
 The Japanese have learnt to exploit the sound of water in all its various form. it varies
from powerful waterfall to water falling into a water basin, creating different emotions.
 It represents the sea, lake, pond or river in nature.
 Non geometrical in appearance; in order to preserve the natural shapes, man- made
ponds are asymmetrical.
 The bank of the pond is usually bordered by stones
 A fountain is sometimes found at the bottom of a hill or hillside or secluded forest.
 Wells are sometimes found in a Japanese garden.

22. There are number of ways in which water can be used in Japanese gardens:
 As a pond or lake setting, in a stream and as a waterfall.
 If the objective is to create an expensive atmosphere then a pond or lake is the
answer.
 If the aim is dynamic effect, which will stimulate both visual and acoustic senses
then waterfall is more suitable.

23.  Usually used in tea gardens.
 Flat stepping stones served to preserve the grass as well as orient the viewer to a
specific visual experience.
 Step- stones are found near the veranda or entrance of the house or tea room.
The visitor of the house or room is expected to place his shoes on the step- stone
before entering.
PATHS OR TOBI ISHI

24. Two kinds of stone water basins-
 kazari- chozubachi, which is kept near the verandah
 tsukubai for tea garden
Stone lanterns are placed besides prominent water basins whose luminance
underscored the unfinished beauty of the tea aesthetic.
WATER BASINS &
LANTERNS

25. FENCES & WALLS
 There are three types of fences:
 the short fence which extends from the house into the garden
 an inner fence and an outer fence.
 Short fences or sodegaki are screens that hide unwanted views or objects.
 They are about 6 or 7 feet high.
 Add color and texture to the garden.
 Materials used are bamboo, wood and twigs of bamboo or tree.

27.  The stroll gardens (public parks with ponds and lakes).
 The Zen temple gardens (usually dry landscape gardens).
 Tea gardens.
 Courtyard gardens.

28. THE STROLL GARDENS
 Legacy of ancient Chinese imperial park tradition .
 The imperial hunting parks complete with vast man-made lakes and miniature mountains
and islands.
 The imperial gardens were created on a massive scale and filled with all manner of
choice indigenous plants, shrubs, and trees.
 Stroll gardens are by definition gardens for walking in. here visitors can enjoy a leisurely
stroll taking in all beautiful scenery. All the ingredients that make a Japanese garden are
here- rocks, plants, and water.

29. THE ZEN TEMPLE
GARDENS
 Also described as “gardens of emptiness”, Not gardens in conventional sense of word, but
sublime works of art.
 Generally, a garden that has nothing but a few bare rocks in patch of sand.
 Their gardens were uncluttered and reduced to the bare minimum.
 Some refer to them as mini-malsit gardens also.
 Also called “Kare-sansui” which means empty land scape.
 Zen warriors(highly educated) developed a very sophisticated and refined sense of artistic
taste and that combined with their very simple and frugal life style evolved into the
characteristic Zen style that we know today.

30. TEAGARDENS
ZEN RELIGION AND THE TEA CEREMONY.
CHARACTERISTICS
 On first impression tea garden appears to be simply a small Japanese garden
consisting of a few stepping stones plus a lantern, water basin and tiny hut.
 The traditional tea garden is in fact two garden in one.
 There is the simple outer garden, where guest gather in a waiting area, and the
inner garden that contains the tea house.
 The outer garden is approached by a stepping stone path, lit by a rough stone
lantern.
 The tea garden is essentially a small garden no bigger than the passage way of a
normal suburban house including the backyard.
 The stepping stone path leads to the waiting area which has a simple hut like
structure with a bench often referred to as the waiting pavilion.
 The entrance area, which incorporates the stepping stone path is the outer
garden.
 Beyond this is the inner garden, which has the tea house

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32. COURTYARD
GARDENS
 The Japanese courtyards are not large areas, in fact are
very small spaces seldom more than fifty to a hundred
square feet in size.
 A simple arrangement of gravel and a few rocks or just a
minimalist planting of bamboo or rush will do the trick.
 The scale of courtyard garden makes it ideally suited for
indoor, roof top and atrium situations.
 The elements of a courtyard garden are similar to the
elements of a tea garden, however more shade tolerant
plants are used. The design principles of traditional
Japanese courtyard gardens, are very suited for create
contemporary small spaces on roofs or terraces

34. •Also known as Rokuon-ji, is a Zen buddhist temple in Kyoto, Japan.
•It is one of 17 World Cultural Heritage sites in Kyoto.
•The Golden Pavilion is a three-story building on the grounds of the Rokuon-ji temple complex.
•The top two stories of the pavilion are covered with pure gold leaf.
•The Golden Pavilion is set in a magnificent Japanese strolling garden.
•The pavilion extends over a pond, called Kyoko-chi (Mirror Pond), that reflects the building.
•The kinkaku-ji grounds were built according to descriptions of the Western Paradise of the
Buddha Amida, intending to illustrate a harmony between heaven and earth.
•The largest islet in the pond represents the Japanese islands.
•The four stones forming a straight line in the pond near the pavilion are intended to represent
sailboats anchored at night, bound for the Isle of Eternal Life in Chinese mythology.
INTRODUCTION

35.  The Kyoko-chi pond spreads in the central of the garden (south) with the Kinugasa-yama
mountain (north) in the background.
 Inside the pond are eight vary sized islands or famous rocks dedicated by feudal lords of
that time, expressing the Land of Happiness by likening it to the Shichiho-ike pond drawn
in the Jyodo (paradise) mandala.
 The gorgeous Golden pavilion symbols the Land of Happiness.

36.  The pond reflects the Golden Pavilion like a mirror, and makes the gorgeous Golden
Pavilion shine even more.
 The rustic thatch-roofed building stands in great contrast to the shiny Golden Pavilion.
 These falls in the Kinkaku-ji garden drop a distance of 2.3 meters before emptying into the
pool below. In the pool are stones resembling carp (rigyoseki), in reference to the ancient
Chinese myth that when carp climb up waterfalls they transform into dragons. The dragon
itself is exemplified by the diagonal rock seeming to rise up out of the water at the base of
the falls.
PLANNING

37.  Tranquility Pond (Anmintaku, also known as Ushitaku and Bôuntaku) is a small pool
surrounded by trees.
 Because it never dried up, even during droughts, the pond was also used as a spot at which
to pray for rain.
 In the center is a small island with a five-element stupa known as the White Snake
Mound.

38.  In the front garden of the Abbot's Quarters is a kochô wabisuke tree planted by Emperor
Gomizunoo. This is the oldest living example of a kochô wabisuke tree, which is a variety
of camella.

40.  Lake of 1.25 hectares was dug, hills and islands were formed,
beaches made, pavilions built and planting undertaken.
 Has 16 bridges connecting the lake.
 Lake used for boating parties and the surrounding land as a
stroll garden, in effect a tea garden on an enormous scale.
 The 'Katsura Tree' (Cercidiphyllum japonicum) was
associated with the God of the Moon and the garden has a
platform to view its rising.
 There are 23 stone lanterns to light the stroll path after dark.
 Stone basins were used for hand-washing before a tea
ceremony.
 Garden designed not only for meditation (Zen) but also for
ceremonious courtly pleasures.
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