Home - A Place in Time
The Japanese garden tradition started in the early Heian period when the new capital was established at Heian-kyo (modern day Kyoto). This provided an opportunity to build a new city in a geomantically ideal location. The new Heian aristocracy were allocated plots near the Imperial Palace, where they built their homes and gardens. From surviving manuscripts and silk scroll paintings it was clear that gardens were closely linked with the building complex and this degree of integration continued for the next thousand years.
The city planners of the new Kyoto developed a plan based on Chinese (T'ang dynasty) lines with the Imperial Palace to the North, protected by the Kitayama mountains of the black turtle behind with the Higashiyama hills to the east on the blue dragon side, the Arashiyama hills to the West on the white tiger side, according to the rules of Feng Shui. Water ran through the area from the North East to the South West. The city had 9 major roads running North-South and 11 major roads running East-West dividing the city into 74 large blocks (the numerate will need to include those blocks allocated to the Imperial Palace), each of which was sub-divided into 16 smaller plots (cho). The Heian aristocrats were allocated one cho or more depending on status, each of which measured about 120m square. It was here that they built their Shinden-Zukuri style residences.
S
hinden-Zukuri
The plot was enclosed with a solid earthen, tile capped wall with a main gate to the east and a second gate to the west with the main building complex facing South over the Southern courtyard, which formed the principle outside space. Behind the open courtyard was the main Shinden (sleeping) hall, with secondary halls connected by covered corridors to the North, East and West. Further corridors from the halls to the East and West led down to waterside pavilions providing some enclosure of the Southern court. The whole complex faced the garden to the South, which often represented a third of the the whole plot. Following geomantic tradition the water flowed from the North East to a large pond bounding the Southern court. This led to the development of gardens in a confined, bounded space. The Southern court was used for poetry readings, archery and other literary/sporting activities. The pond would be used for boating despite it's impracticability and the gardens were light and open including a greater variety of shrubs and flowers than modern practice. Behind the garden would be a small hill constructed from the earth excavated to make the pond. The pond would typically have an island with access bridges and pathway through the island
Few gardens exist from this period other than the boating ponds at Byodo-in and the remnant Imperial Garden of Shinsen-en. The plan shown is based on the picture scroll showing the Hojuji mansion in Kyoto near Sanjusangendo. The picture shows a typical Heian style dragon boat used for ceremonial purposes and for viewing the blossom and azaleas. The other picture shows the exotic décor typical of the period. The Nishi Hongan-ji palace although of a later build is of the Heian style.
Buke-Yashiki
By the end of the 12th century the colourful Heian court life led to a breakdown in society with the warrior class (samurai) taking over effective control from the aristocracy. There was a re-action to the opulence of the nobility and a further influx of Chinese ideas, in particular that of Zen Buddhism with gardens being built in the more frugal confines of the warrior residences and Zen temples. The large temples and Shinden residences of the Heian period gave way to a new form of architecture, which was not only smaller but made greater use and flexibility of space using internal walls and sliding screens (shoji). By the Muramachi period this had developed into the distinctive Shoin-Zukuri style used for both the warrior residences and Buddhist temples. During the dark ages of militaristic rule, society became withdrawn and the gardens reflected this together with a theme of images of Chinese landscapes related to the then popular Zen Buddhism. The emerging warrior elite embraced the ideals of Zen Buddhism sharing their desire for self enlightenment and seeking the “inner truth”. This philosophy can be seen in the sparse design and use of space in the gardens of medieval Zen temples.
The Buke-Yashiki residences of the warrior class were smaller than the shinden residences of the Heian aristocracy and with the introduction of the carriage entrance, reduced the area available for the garden. These sand and rock gardens are called dry landscape gardens (kare-san-sui), which often embody an abstract scene of distant mountains and water and are designed for contemplation and viewing from the adjacent hall. Ryoan-ji and Ryogen-in gardens were early examples of this new form of garden. The story of the Abbott's garden at Daisen-in temple is well known with its mountains and valleys illustrating the Buddhist source of life and the widening river suggests the trials and tribulations of life flowing into the vast sea of peace in paradise. The plan illustrates the residence of the Hosokawa family, who were senior ranking samurai, whilst the picture shows a smaller residence in Matsue. The other picture shows a contemporary dry landscape garden at the Zen Buddhist temple of Ryogen-in with its crane rock arrangement in a sea of gravel.
So-an
As the medieval period came to a close and trade increased, there was increasing prosperity and the rise of wealthy merchants with the development of the tea ceremony. Taking tea started in the Shoin halls but the great tea masters of the time sought to focus on the aesthetics by taking the ceremony out to a simple rustic building in the garden. The so-an (grass cottage) was developed for this purpose. This required the surrounding garden to be calming of the spirit and to represent a walk though the mountains to a place of contemplation and rustic simplicity – a complete move away from the opulence of the tea gatherings in the Shoin.
Tea gardens were “shoe-horned” into a wide variety of settings and are therefore small in size. The notion of wabi (rustic simplicity and elegance) led to a new architectural style, although retaining some elements of the old Shoin style, in particular the use of the alcove (tokonoma) and shelves to display artwork. The Sukiya style replaced the square cut posts and beams with their decorative wall hangings with more natural, bare wooden elements. These were chosen with great care for their shape and texture and this approach was applied to the garden. In this way the architecture and the garden were closely linked with nature. The patina of age that develops with something that is cherished is evident in both the tea house, the utensils and the well tended garden. The garden itself was traditionally a path representing a spiritual journey. The word roji used to describe it means dewy ground, which reflects the atmosphere of Kyoto's cool mossy tea gardens. The planting suggests the depths of the mountains with evergreens and mostly non flowering shrubs. The tea masters used stepping stones and old weathered lanterns to add to the atmosphere of the garden.
The plan illustrates a typical tea garden with it's winding path, waiting arbour, basin and tea house. The picture shows a tea house in the Gion district of Kyoto and is a modern re-construction.
Machiya
The
Edo period saw the increasing prosperity of the the merchant class from their trade (in tea, sake, utensils etc.) with the ruling warrior class that a new form of architecture developed; the machiya or town house. This incorporated the shop at the front with the living quarters behind and a storehouse at the back. Between these separate buildings small spaces were left open for light and air, which eventually emerged as courtyard gardens (tsubo niwa), often in the style of the tea garden. In Kyoto the shinden residences of the Heian aristocrats occupied one cho in area, this was sub-divided into 32 plots for the commoners. It was on this small plot that the machiya developed with minimum frontage but reasonable depth occupying about 400 square metres. Some of these buildings exist today in Gion district of Kyoto, Sannomachi in Takayama and Naramachi in Nara. The facades are simple and hide the secrets of the architectural and garden treasures within. The plan illustrates a typical layout of the machiya with it's shop front, living quarters, storehouse and exclusive “indoor” garden representing the height of integration of house and garden. The picture shows typical merchants houses in the Gion district and the tsubo niwa style garden seen at Seiryo-ji.
The origins of the courtyard gardens pre-date the Edo period back to Heian times where small interstitial spaces between buildings were planted with wisteria and other plants, which gave their names to the courtyard. Other examples are to be found in the Zen temples and samurai residences but it is in the machiya that it was most highly developed with the building itself providing the framework for these small private gardens. The gardens range from 5-15 square metres in size and the word tsubo is a measurement of area of property approximately 3.3 square metres.
Gassho-Yashiki
The Edo period also saw the improved status of the farming class who produced the highly prized silk. The country residences of the mountain farmers were wooden structures with steeply sloping thatched roofs, known as gassho-yashiki (praying hands style). These were often 3-4 storeys high and accommodated both the animals and the extended family with silk worm cultivation on the upper levels. To this end there are window openings in the gable ends to allow the wind to blow through. The homes were aligned on a common axis to catch the prevailing wind. A number exist today in a few villages in the Shokawa valley. The picture shows a typical example in the Hida Folk Village in Takayama with a small rice paddy. Gardens did not extend much beyond the vegetable plot in such communities.
Edo Period Stroll gardens
Japan suffered many centuries of war and strife which finally ended with the unification under the Tokugawa shogunate and a move of the capital city to Edo (modern day Tokyo). The military warlords (Daimyo's) were obliged to spend half their time at court in Edo and half in their respective provinces, leaving behind their families in Edo. This system of control produced an extended period of peace and stability with urban development. As a result of this they built large well landscaped gardens in both Edo and the provinces, many of which survive today. The gardens were used to entertain guests and to impress them of the wealth of the Daimyo and the estates would provide a political seat and refuge for visiting nobility. Substantial amount of land was allocated to the aristocracy and Imperial family who also built large estates and constructed stroll gardens. Shugaku-in, Katsura Rikyu and Sento Gosho in Kyoto are some of the best examples.
The plan illustrates some of the extensive buildings and gardens of the Katsura Imperial Villa with its pine clad, bridged islands and representations of coastal scenery (Ama no Hashidate). It is the pinnacle of Sukiya style. The picture shows the lovely garden of Shoren-in.
Modern gardens – Residential & Commercial
Many larger residential houses of the wealthy, together with restaurants, hotels and commercial enterprises have gardens which vary considerably in size. Restaurant gardens in particular are highly praised and rank among the top gardens in Japan and embrace most styles of garden. The garden of a restaurant near the Nison-in temple in Arashiyama has a stunning, extensive dry landscape garden, designed for viewing by the diners and from the roadside gateway. Commercial gardens however are smaller and often include a well sculptured pine, cherry tree, azalea and a rock arrangement set in gravel. The picture shows a typical Kyoto office with a small roadside garden. Whilst land is a premium, many residential houses have small gardens including the obligatory pine, most were well tended, many included a lantern or two.
The plan shows a typical residential garden designed by Katsuo Saito and demonstrates the importance of water, again the bridged island, winding path with screened and revealed views together with the principle arboreal elements. The picture is an excellent example of a dry landscape garden with its mountain streams crossed by many bridges until the sea with its boat [stone] is reached.
Conclusion
There is a parallel line in the development of English gardens although somewhat later, with the early Tudor knot gardens of the aristocracy and subsequent formal renaissance gardens; the monastic herb gardens and the Capability Brown landscape gardens of the wealthy landowners to the humble potager garden. However it is the Japanese building style with its wooden tradition of large overhanging eaves and open verandas, providing respite from the hot humid summers and subsequent development of the removable shoji screens, that enabled the garden to be fully embraced as an extension to the house. It is this, that has brought about the integration of house and garden and leads to a change in life style. Japan has enjoyed a thousand years or more of garden culture, which we can enjoy to this day and for the years to come.
This article was written by David Burgess of Jade Pavilions.
Copyright Jade Pavilions 2007.
Manufacturers of award winning, configurable oriental teahouses, pavilions, bridges and entrances. More information about Jade Pavilions.
