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Japanese Garden Design
- 1. RIMT-COA SIRHIND SIDE MANDI GOBINDGARH BACH-505 LANDSCAPE ARCHITECTURE SUBMITTED BY: SUBMITTED TO: Akansha Batra(02) ar.rakesh kumar Angadveer singh(05) yadav Arpit Mehta(08) Diksha chugh(15) Jatin sharma(37)
- 3. CONTENTS Introduction Essential Aspects Design Principles Basic rules in the design of Japanese gardens Elements of Japanese Garden Types of Japanese Gardens Case study Bibliography
- 4. INTRODUCTION 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.
- 5. ESSENTIAL ASPECTS • 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.
- 7. DESIGN PRINCIPLES Miniaturization: The Japanese garden is a miniature and idealized view of nature. Rocks can represent mountains, and ponds can represent seas. The garden is sometimes made to appear larger by placing larger rocks and trees in the foreground, and smaller ones in the background. Concealment: (miegakure, literally 'hide and reveal.') The Zen Buddhist garden is meant to be seen all at once, but the promenade garden is meant to be seen one landscape at a time, like a scroll of painted landscapes unrolling. Features are hidden behind hills, trees groves or bamboo, walls or structures, to be discovered when the visitor follows the winding path. Borrowed Scenery :(Shakkei) Smaller gardens are often designed to incorporate the view of features outside the garden, such as hills, trees or temples, as part of the view. This makes the garden seem larger than it really is. Asymmetry: Japanese gardens are not laid on straight axes, or with a single feature dominating the view. Buildings and garden features are usually placed to be seen from a diagonal, and are carefully composed into scenes that contrast right angles, such as buildings with natural features, and vertical features, such as rocks, bamboo or trees, with horizontal features, such as water.
- 8. BASIC RULES IN DESIGN OF JAPANESE GARDEN 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
- 9. BASIC ELEMENTS IN JAPANESE GARDEN WATER ROCKSANDSAND WATERBASIN STATUES STONELANNTERN KOIFISH GARDENBRIDGES GARDENFENCES,GATESANDDEVICES TREESANDFLOWERS
- 10. Japanese gardens always have water, either a pond or stream, or, in the dry rock garden, represented by white sand. A traditional garden will usually have an irregular- shaped pond or, in larger gardens, two or more ponds connected by a channel or stream, and a cascade, a miniature version of Japan's famous mountain waterfalls. In traditional gardens, the ponds and streams are carefully placed according to Buddhist geomancy, the art and science of putting things in the place most likely to attract good fortune. According to the Sakuteiki, the water should enter the garden from the east or southeast and flow toward the west because the east is the home of the Green Dragon, the west is the home of the White Tiger, the divinity of the east. Traditional Japanese gardens have small islands in the lakes. In sacred temple gardens, there is usually an island which represents Mount Penglai or Mount Horai, the traditional home of the Eight Immortals. RIKUGI-EN-GARDEN IN TOKYO CASCADE AT NANZEN-JI GARDEN IN KYOTO
- 11. A flat rock might represent the earth. Sand or gravel can represent a beach, or a flowing river. Rocks and water also symbolize yin and yang in Buddhist philosophy; the hard rock and soft water complement each other, and water, though soft, can wear away rock. Rough volcanic rocks are usually used to represent mountains or as stepping stones. Smooth and round sedimentary rocks are used around lakes or as stepping stones. Hard metamorphic rocks are usually placed by waterfalls or streams. Rocks are traditionally classified as tall vertical, low vertical, arching, reclining, or flat. Rocks should vary in size and color but from each other, but not have bright colors, which would lack subtlety. Rocks with strata or veins should have the veins all going in the same direction, and the rocks should all be firmly planted in the earth, giving an appearance of firmness and permanence. Rocks are arranged in careful compositions of two, three, five or seven rocks, with three being the most common. In a three- arrangement, a tallest rock usually represents heaven, the shortest rock is the earth, and the medium-sized rock is humanity, the bridge between heaven and earth. Rock composition at Tōfuku-ji (1934)
- 12. In ancient Japan, sand (suna) and gravel (jari) were used around Shinto shrines and Buddhist temples. Later it was used in the Japanese rock garden or Zen Buddhist gardens to represent water or clouds. White sand represented purity, but sand could also be gray, brown or bluish- black. Selection and subsequent placement of rocks was and still is a central concept in creating an aesthetically pleasing garden by the Japanese. Rock placement is a general “aim to portray nature in its essential characteristics” - the essential goal of all Japanese gardens. Negoro-Temple (Negoro-ji), Prefecture Wakayama. Ritsurin Garden
- 13. The bridge symbolized the path to paradise and immortality. Bridges could be made of stone (ishibashi), or of wood, or made of logs with earth on top, covered with moss (dobashi); they could be either arched (soribashi) or flat (hirabashi). Sometimes if they were part of a temple garden, they were painted red, following the Chinese tradition, but for the most part they were unpainted. when large promenade gardens became popular, streams and winding paths were constructed, with a series of bridges, usually in a rustic stone or wood style, to take visitors on a tour of the scenic views of the garden. The Flying Geese Bridge in Kenroku -en garden bridge at Byōdō-in temple (1052) Stone bridge in Koishikawa Kōrakuen
- 14. Japanese stone lanterns were located only at Buddhist temples, where they lined the paths and approaches to the temple. They were introduced to the tea garden by the first great tea masters, and in later gardens they were used purely for decoration. In its complete and original form like the pagoda, represents the five elements of Buddhist cosmology. The piece touching the ground represents chi, the earth; the next section represents sui, or water; ka or fire, is represented by the section encasing the lantern's light or flame, while fū (air) and kū (void or spirit) are represented by the last two sections, top-most and pointing towards the sky. The segments express the idea that after death our physical bodies will go back to their original, elemental form. Stone water basins, (tsukubai) were originally placed in gardens for visitors to wash their hands and mouth before the tea ceremony. The water is provided to the basin by a bamboo pipe, or kakei, and they usually have a wooden ladle for drinking the water. In tea gardens, the basin was placed low to the ground, so the drinker had to bend over to get his water. Stone lanterns Water basins
- 15. The exterior wall of Katsura Imperial Villa, designed, like all the garden, for purity and simplicity The tradition al garden gate of the Adachi Museum of Art Gate of the Urakue n tea garden, seen from inside. A shishiodoshi is garden device, made of bamboo and wood, designed to scare away birds. As the bamboo tube fills with water, it clacks against a stone, empties, then fills with water again.
- 16. Each plant is chosen according to aesthetic principles, either to hide undesirable sights, to serve as a backdrop to certain garden features, or to create a picturesque scene, like a landscape painting or postcard. Trees are carefully chosen and arranged for their autumn colors. Flowers are also carefully chosen by their season of flowering. Formal flowerbeds are rare in older gardens, but more common in modern gardens. Maple combined at Tenryū-ji Garden in Kyoto Topiary plant sculpture known as o-karikomi in Chionin Garden. O-karikomi sculpted trees and bushes at Chiran Samurai Residence.
- 17. The use of fish, particularly goldfish as a decorative element in gardens was borrowed from the Chinese garden. Koi are domesticated common carp (Cyprinus carpio) that are selected or culled for color.
- 18. TYPES OF JAPANESE GARDENS Chisen-shoyū-teienor pond garden The ParadiseGarden Karesansui dry rock gardens Roji, or teagardens Kaiyū-shiki-teien, or promenadegardens Tsubo-niwacourtyardgarden Hermitagegarden
- 19. The chisen-shoyū-teien, literally "lake-spring-boat excursion garden", was imported from China. It is also called the shinden-zukuri style, after the architectural style of the main building. It featured a large, ornate residence with two long wings reaching south to a large lake and garden. Each wing ended in a pavilion from which guests could enjoy the views of the lake. Visitors made tours of the lake in small boats. These gardens had large lakes with small islands, where musicians played during festivals and ceremonies worshippers could look across the water at the Buddha. No original gardens of this period remain, but reconstructions can be seen at Heian-jingū and Daikaku-ji Temple in Kyoto.
- 20. The Paradise Garden appeared in the late Heian Period, created by nobles belonging to the Amida Buddhism sect. They were meant to symbolize Paradise or the Pure Land (Jōdo), where the Buddha sat on a platform contemplating a lotus pond. These gardens featured a lake island called Nakajima, where the Buddha hall was located, connected to the shore by an arching bridge.
- 21. These gardens have white sand or raked gravel in place of water, carefully arranged rocks, and sometimes rocks and sand covered with moss. Their purpose is to facilitate meditation, and they are meant to be viewed while seated on the porch of the residence of the hōjō, the abbot of the monastery.
- 22. The style of garden takes its name from the roji, or path to the teahouse, which is supposed to inspire the visitor to meditation to prepare him for the ceremony. There is an outer garden, with a gate and covered arbor where guests wait for the invitation to enter. They then pass through a gate to the inner garden, where they wash their hands and rinse their mouth, as they would before entering a Shinto shrine, before going into the teahouse itself. The path is always kept moist and green, so it will look like a remote mountain path, and there are no bright flowers that might distract the visitor from his meditation. Early tea houses had no windows, but later teahouses have a wall which can be opened for a view of the garden.
- 23. These gardens were designed to complement the houses in the new sukiya-zukuri style of architecture, which were modeled after the tea house. These gardens were meant to be seen by following a path clockwise around the lake from one carefully composed scene to another. These gardens used two techniques to provide interest;shakkei, or "borrowed scenery", which took advantage of views of scenery outside the garden, such as mountains or temples, incorporating them into the view so the garden looked larger than it really was; and miegakure, or "hide-and-reveal," which used winding paths, fences, bamboo and buildings to hide the scenery so the visitor would not see it until he was at the best view point.
- 24. These small gardens were originally found in the interior courtyards of Heian Period and palaces, and were designed to give a glimpse of nature and some privacy to the residents of the rear side of the building. They were as small as one tsubo, or about 3.3 square meters. During the Edo Period, merchants began building small gardens in the space behind their shops, which faced the street, and their residences, located at the rear. These tiny gardens were meant to be seen, not entered, and usually had a stone lantern, a water basin, stepping stones and a few plants. Today, tsubo-niwa are found in many Japanese residences, hotels, restaurants, and public buildings.
- 25. A hermitage garden is a small garden usually built by a Samurai or government official who wanted to retire from public life and devote himself to study or meditation. It is attached to a rustic house, and approached by a winding path, which suggests it is deep in a forest. It may have a small pond, a Japanese rock garden, and the other features of traditional gardens, in miniature, designed to create tranquility and inspiration.
- 26. CASE STUDIES: 1. 2.