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Ryanji(late15thcentury)inKyoto,Japan,afamousexampleofazengarden
Amountain,waterfall,andgravel"river"atDaisenin(15091513)
JapaneserockgardenFromWikipedia,thefreeencyclopedia
TheJapaneserockgarden(karesansui)or"drylandscape"garden,oftencalledazengarden,createsaminiaturestylizedlandscapethroughcarefullycomposedarrangementsofrocks,waterfeatures,moss,prunedtreesandbushes,andusesgravelorsandthatisrakedtorepresentripplesinwater.[1]Azengardenisusuallyrelativelysmall,surroundedbyawall,andisusuallymeanttobeseenwhileseatedfromasingleviewpointoutsidethegarden,suchastheporchofthehojo,theresidenceofthechiefmonkofthetempleormonastery.ClassicalzengardenswerecreatedattemplesofZenBuddhisminKyoto,JapanduringtheMuromachiPeriod.Theywereintendedtoimitatetheintimateessenceofnature,notitsactualappearance,andtoserveanaidtomeditationaboutthetruemeaningoflife.[2]
Contents
1History1.1EarlyJapaneserockgardens1.2ZenBuddhismandtheMuromachiPeriod(13361573)1.3Laterrockgardens
2Selectionandarrangementofrocks3Sandandgravel4Symbolism5LandscapepaintingandtheZengardencritique6Seealso7List8References9Bibliography
9.1Note10Externallinks
History
EarlyJapaneserockgardens
RockgardensexistedinJapanatleastsincetheHeianPeriod(7841185).TheseearlygardensweredescribedinthefirstmanualofJapanesegardens,Sakuteiki(RecordsofGardenKeeping),writtenattheendofthe11thcenturybyTachibananoToshitsuna(10281094).TheywerelargelycopiedfromtheChinesegardensoftheSongDynasty(9601279),wheregroupsofrockssymbolizedMountPenglai,thelegendarymountainislandhomeoftheEightImmortalsinChinesemythology,knowninJapaneseasHorai.[3]TheSakuteikidescribedexactlyhowrocksshouldbeplaced.Inonepassage,hewrote:"Inaplacewherethereisneitheralakeorastream,onecanputinplacewhatiscalledakaresansui,ordry
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landscape..."Thiskindofgardenfeaturedeitherrocksplaceduprightlikemountains,orlaidoutinaminiaturelandscapeofhillsandravines,withfewplants.Hedescribedseveralotherstylesofrockgarden,whichusuallyincludedastreamorpond,includingthegreatriverstyle,themountainriverstyle,andthemarshstyle.Theoceanstylefeaturedrocksthatappearedtohavebeenerodedbywaves,surroundedbyabankofwhitesand,likeabeach.[4]
WhitesandandgravelhadlongbeenafeatureofJapanesegardens.IntheShintoreligion,itwasusedtosymbolizepurity,andwasusedaroundshrines,temples,andpalaces.Inzengardens,itrepresentswater,or,likethewhitespaceinJapanesepaintings,emptinessanddistance.Theyareplacesofmeditation.
ZenBuddhismandtheMuromachiPeriod(13361573)
TheMuromachiPeriodinJapan,whichtookplaceatroughlythesametimeastheRenaissanceinEurope,wascharacterizedbypoliticalrivalrieswhichfrequentlyledtowars,butalsobyanextraordinaryflourishingofJapaneseculture.ItsawthebeginningofNohtheater,theJapaneseteaceremony,theshoinstyleofJapanesearchitecture,andthezengarden.[5]
ZenBuddhismwasintroducedintoJapanattheendofthe12thcentury,andquicklyachievedawidefollowing,particularlyamongtheSamuraiclassandwarlords,whoadmireditsdoctrineofselfdiscipline.ThegardensoftheearlyzentemplesinJapanresembledChinesegardensofthetime,withlakesandislands.ButinKyotointhe14thand15thcentury,anewkindofgardenappearedattheimportantzentemples.Thesezengardensweredesignedtostimulatemeditation."Nature,ifyoumadeitexpressivebyreducingittoitsabstractforms,couldtransmitthemostprofoundthoughtsbyitssimplepresence",MichelBaridonwrote."Thecompositionsofstone,alreadycommonChina,becameinJapan,veritablepetrifiedlandscapes,whichseemedsuspendedintime,asinacertainmomentsofNohtheater,whichdatestothesameperiod."[6]
ThefirstgardentobeginthetransitiontothenewstyleisconsideredbymanyexpertstobeSaihji,"TheTempleofthePerfumesoftheWest,"popularlyknownasKokedera,theMossGarden,inthewesternpartofKyoto.TheBuddhistmonkandzenmasterMusKokushitransformedaBuddhisttempleintoazenmonasteryin1334,andbuiltthegardens.ThelowergardenofSaihjiisinthetraditionalHeianPeriodstyleapondwithseveralrockcompositionsrepresentingislands.Theuppergardenisadryrockgardenwhichfeaturesthreerock"islands."Thefirst,calledKameshima,theislandoftheturtle,resemblesaturtleswimmingina"lake"ofmoss.Thesecond,Zazenseki,isaflat"meditationrock,"whichisbelievedtoradiatecalmandsilenceandthethirdisthekaretaki,adry"waterfall"composedofastairwayofflatgraniterocks.Themosswhichnowsurroundstherocksandrepresentswater,wasnotpartoftheoriginalgardenplanitgrewseveralcenturieslaterwhenthegardenwasleftuntended,butnowisthemostfamousfeatureofthegarden.[7]
MusoKokushibuiltanothertemplegardenatTenryji,the"TempleoftheCelestialDragon".ThisgardenappearstohavebeenstronglyinfluencedbyChineselandscapepaintingoftheSongDynastywhichfeaturemountainsrisinginthemist,andasuggestionofgreatdepthandheight.ThegardenatTenryjihasarealpondwithwaterandadrywaterfallofrockslookinglikeaChineselandscape.SaihjiandTenryjishowthetransitionfromtheHeianstylegardentowardamoreabstractandstylizedviewofnature.[7]
ThegardensofGinkakuji,alsoknownastheSilverPavilion,arealsoattributedtoMusoKokushi.Thistemplegardenincludedatraditionalpondgarden,butithadanewfeatureforaJapanesegardenanareaofrakedwhitegravelwithaperfectlyshapedmountainofwhitegravel,resemblingMountFuji,inthe
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center.Thescenewascalledginshanada,literally"sandofsilverandopensea".Thisgardenfeaturebecameknownaskogetsudai,orsmallmountainfacingthemoon,"andsimilarsmallMountFujismadeofsandorearthcoveredwithgrassappearedinJapanesegardensforcenturiesafterwards.[8]
ThemostfamousofallzengardensinKyotoisRyanji,builtinthelate15thcenturywhereforthefirsttimethezengardenbecamepurelyabstract.Thegardenisarectangleof340squaremeters.[9]Placedwithinitarefifteenstonesofdifferentsizes,carefullycomposedinfivegroupsonegroupoffivestones,twogroupsofthree,andtwogroupsoftwostones.Thestonesaresurroundedbywhitegravel,whichiscarefullyrakedeachdaybythemonks.Theonlyvegetationinthegardenissomemossaroundthestones.Thegardenismeanttobeviewedfromaseatedpositionontheverandaofthehj,theresidenceoftheabbotofthemonastery.[10]
ThegardenatDaisenin(15091513)tookamoreliteraryapproachthanRyanji.Therea"river"ofwhitegravelrepresentsametaphoricaljourneythroughlifebeginningwithadrywaterfallinthemountains,passingthroughrapidsandrocks,andendinginatranquilseaofwhitegravel,withtwogravelmountains.
TheinventionofthezengardenwascloselyconnectedwithdevelopmentsinJapaneseinklandscapepaintings.JapanesepainterssuchasSesshTy(14201506)andSoami(died1525)greatlysimplifiedtheirviewsofnature,showingonlythemostessentialaspectsofnature,leavinggreatareasofwhitearoundtheblackandgraydrawings.SoamiissaidtohavebeenpersonallyinvolvedinthedesignoftwoofthemostfamouszengardensinKyoto,RyanjiandDaisenin,thoughhisinvolvementhasneverbeendocumentedwithcertainty.
MichelBaridonwrote,"ThefamouszengardensoftheMuromachiPeriodshowedthatJapanhadcarriedtheartofgardenstothehighestdegreeofintellectualrefinementthatitwaspossibletoattain."[11]
Saihji,ortheMossGarden,anearlyzengardenfromthemid14thcentury.Themossarrivedmuchlater,whenthegardenwasnottended.
ThegardenofGinkakujifeaturesareplicaofMountFujimadeofgravel,inagravelsea.itwasthemodelforsimilarminiaturemountainsinJapanesegardensforcenturies.
PartofthegardenatRyanji(late15thcentury),themostabstractofallJapanesezengardens
ClassictriadrockcompositionatRyanji.
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InthegardenofDaisenin,ariverofgraveltakesvisitorsonametaphoricaljourneythroughlife
Thewhitegravel"ocean"ofthegardenofDaisenji,towhichthegravelriverflows.
TheGardenoftheBlissfulMountainatZuihoin,asubtempleofDaitokuji.
InZuihoingarden,someoftherocksaresaidtoformacross.ThegardenwasbuiltbythedaimyotomoSrin,whowasaconverttoChristianity.
Laterrockgardens
DuringtheEdoperiod,thelargepromenadegardenbecamethedominantstyleofJapanesegarden,butzengardenscontinuedtoexistatzentemples.Afewsmallnewrockgardenswerebuilt,usuallyaspartofagardenwherearealstreamorpondwasnotpractical.
In1880,thebuildingsofTfukujitempleinKyoto,oneoftheoldesttemplesinthecity,weredestroyedbyafire.In1940,thetemplecommissionedthelandscapehistorianandarchitectShigemoriMireitorecreatethegardens.Hecreatedfourdifferentgardens,oneforeachfaceofthemaintemplebuilding.Hemadeonegardenwithfiveartificialhillscoveredwithgrass,symbolizingthefivegreatancienttemplesofKyotoamodernrockgarden,withverticalrocks,symbolizingMountHoraialarge"sea"ofwhitegravelrakedinacheckboardpatternandanintimategardenwithswirlingsandpatterns.[12]
Inthelastcentury,zengardenshaveappearedinmanycountriesoutsideofJapan.
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ThegardenofTfukuji(1940).ThefivehillssymbolizethefivegreatzentemplesofKyoto.
ThemodernzengardenatTfukuji(1940).
Azengardeninacheckboardpattern,atTfukuji(1940).
AcourtyardzengardenatTfukuji(1940).
partofthemodernzengardenatTfukuji(1940).The"islands"oftheimmortals.
PartofthemodernzengardenatTfukuji(1940).
ShitennjiHonbgarden
AsmallgardenintheJapaneseTeaGardenofGoldenGatePark,inSanFrancisco
SandandstonegardenlocatedinthePortlandJapaneseGardens.
An'yinGardenofTaisanjiinKobe,Hyogo,Japan.
Rosanjigarden
ShitennjiinOsaka
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AdachiMuseumofArt
Taizin,Myshinji,inKyoto
Kmyzenji
Jissin,inKyoto(Iwakura)
GroundplanoftheTsuboenkaresansuiorZengarden,Lelystad,Netherlands
Aminiaturedrylandscapegarden
JapaneseGardenatHamiltonGardens,Waikato,NewZealand
Selectionandarrangementofrocks
TheselectionandplacementofrocksisthemostimportantpartofmakingaJapaneserockgarden.InthefirstknownmanualofJapanesegardening,theSakuteiki,'"Creatingagarden"isexpressedas"settingstones",ishiwotaterukotoliterally,the"actofsettingstonesupright."Itlaidoutveryspecificrulesforchoiceandtheplacementofstones,andwarnedthatiftheruleswerenotfollowedtheownerofthegardenwouldsuffermisfortune.[13]InJapanesegardening,rocksareclassifiedaseithertallvertical,lowvertical,arching,reclining,orflat.[14]
Forcreating"mountains",usuallyigneousvolcanicrocks,ruggedmountainrockswithsharpedges,areused.Smooth,roundedsedimentaryrocksareusedforthebordersofgravel"rivers"or"seashores."[14]InChinesegardensoftheSongdynasty,individualrockswhichlookedlikeanimalsorhadotherunusualfeatureswereoftenthestarattractionofthegarden.InJapanesegardens,individualrocksrarelyplaythestarringroletheemphasisisupontheharmonyofthecomposition.[14]Forarrangingrocks,therearemanyrulesintheSakuteiki.Forexample:
"Makesurethatallthestones,rightdowntothefrontofthearrangement,areplacedwiththeirbestsidesshowing.Ifastonehasanuglylookingtopyoushouldplaceitsoastogiveprominencetoitsside.Evenifthismeansithastoleanataconsiderableangle,noonewillnotice.Thereshouldalwaysbemorehorizontalthanverticalstones.Ifthereare"runningaway"stonestheremustbe"chasing"stones.Ifthereare"leaning"stones,theremustbe"supporting"stones."
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Rocksarerarelyifeverplacedinstraightlinesorinsymmetricalpatterns.Themostcommonarrangementisoneormoregroupsofthreerocks.Onecommontriadarrangementhasatallverticalrockflankedbytwosmallerrocks,representingBuddhaandhistwoattendants.Otherbasiccombinationsareatallverticalrockwitharecliningrockashortverticalrockandaflatrockandatriadofatallverticalrock,arecliningrockandaflatrock.Otherimportantprinciplesaretochooserockswhichvaryincolor,shapeandsize,toavoidrockswithbrightcolorswhichmightdistracttheviewer,andmakecertainthatthegrainsofrocksruninthesamedirection.
AttheendoftheEdoperiod,anewprinciplewasinventedtheuseofsuteishi,"discarded"or"nameless"rocks,placedinseeminglyrandomplacestoaddspontaneitytothegarden.[14]Otherimportantprinciplesofrockarrangementincludebalancingthenumberofverticalandhorizontalrocks.
Sandandgravel
Gravelisusuallyusedinzengardens,ratherthansand,becauseitislessdisturbedbyrainandwind.Theactofrakingthegravelintoapatternrecallingwavesorripplingwater,knownassamon()[15]orhkime(),hasanaestheticfunction.Zenpriestspracticethisrakingalsotohelptheirconcentration.Achievingperfectionoflinesisnoteasy.Rakesareaccordingtothepatternsofridgesasdesiredandlimitedtosomeofthestoneobjectssituatedwithinthegravelarea.Nonethelessoftenthepatternsarenotstatic.Developingvariationsinpatternsisacreativeandinspiringchallenge.
Stonearrangementsandotherminiatureelementsareusedtorepresentmountainsandnaturalwaterelementsandscenes,islands,riversandwaterfalls.Stoneandshapedshrubs(karikomi,hakozukuritopiary)areusedinterchangeably.Inmostgardensmossisusedasagroundcovertocreate"land"coveredbyforest.
Symbolism
IntheJapaneserockgarden,rockssometimessymbolizemountains,(particularlyHorai,thelegendaryhomeoftheEightImmortalsinBuddhistmythology)ortheycanbeboatsoralivingcreature(usuallyaturtle,oracarp).Inagroup,theymightbeawaterfalloracraneinflight.
IntheearliestrockgardensoftheHeianperiod,therocksinagardensometimeshadapoliticalmessage.AstheSakuteikiwrote:
"Sometimes,whenmountainsareweak,theyarewithoutfaildestroyedbywater.Itis,inotherwords,asifsubjectshadattackedtheiremperor.Amountainisweakifitdoesnothavestonesforsupport.Anemperorisweakifhedoesnothavecounselors.Thatiswhyitissaidthatitisbecauseofstonesthatamountainissure,andthankstohissubjectsthatanemperorissecure.Itisforthisreasonthat,whenyouconstructalandscape,youmustatallcostplacerocksaroundthemountain."[16]
Someclassicalzengardens,likeDaisenin,havesymbolismthatcanbeeasilyreaditisametaphoricaljourneyontheriveroflife.Others,likeRyanji,resisteasyinterpretation.Manydifferenttheorieshavebeenputforwardaboutwhatthegardenissupposedtorepresent,fromislandsinastreamtoswimmingbabytigerstothepeaksofmountainsrisingabovethecloudstotheoriesaboutsecretsofgeometryoroftherulesofequilibriumofoddnumbers.GardenhistorianGunterNitschkewrote:"ThegardenatRyanjidoesnotsymbolizeanything,ormoreprecisely,toavoidanymisunderstanding,thegardenof
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Ryanjidoesnotsymbolize,nordoesithavethevalueofreproducinganaturalbeautythatonecanfindintherealormythicalworld.Iconsiderittobeanabstractcompositionof"natural"objectsinspace,acompositionwhosefunctionistoincitemeditation.".[17]
Arecentsuggestion,byGertvanTonderofKyotoUniversityandMichaelLyonsofRitsumeikanUniversity,isthattherocksofRyanjiformthesubliminalimageofatree.Theresearchersclaimthesubconsciousmindissensitivetoasubtleassociationbetweentherocks.Theysuggestthismayberesponsibleforthecalmingeffectofthegarden.[18]
LandscapepaintingandtheZengardencritique
ChineselandscapepaintingwasoneofthemanyChineseartsthatcametoJapanwithZenBuddhisminthefourteenthcentury.ThattheBuddhismofZeninfluencedgardendesignwasfirstsuggestednotinJapan,butintheWestbyaHawaiangardenjournalistLoraineKuckinthe1930sanddisputedassuchbyascholarofJapanesegardenhistory,WybeKuitertin1988.[19]Thiswaswellbeforescholarsjumpedonthebandwagoninthe1990stodeconstructthepromotionandreceptionofZen.[20]ThecritiquecomesdowntothefactthatBuddhistpriestswerenottryingtoexpressZeningardens.AreviewofthequotesofBuddhistprieststhataretakento"prove"ZenforthegardenareactuallyphrasescopiedfromChinesetreatisesonlandscapepainting.SecondarywritersontheJapanesegardenlikeKeaneandNitschke,whowereassociatingwithKuitertwhenhewasworkingonhisresearchattheKyotoUniversityjoinedtheZengardencritique,likeKendallH.Brown,whotookasimilardistancefromtheZengarden.InJapanthecritiquewastakenoverbyYamadaShoujiwhotookacriticalstancetotheunderstandingofallJapaneseculture,includinggardens,underthenominatorofZen.[21]ChristianTagsoldsummarizedthediscussionbyplacingperceptionsoftheJapanesegardeninthecontextofaninterdisciplinarycomparisonofculturesofJapanandtheWest.[22]
ZenpriestsquotefromChinesetreatisesonlandscapepaintingindicatingthattheJapaneserockgarden,anditskaresansuigardenscenerywasandstillisinspiredbyorbasedonfirstChineseandlateralsoJapaneselandscapepainting.[23]Landscapepaintingandlandscapegardeningwerecloselyrelatedandpracticedbyintellectuals,theliteratiinspiredbyChineseculture.Aprimarydesignprinciplewasthecreationofalandscapebasedon,oratleastgreatlyinfluencedby,thethreedimensionalmonochromeink(sumi)landscapepainting,sumieorsuibokuga.InJapanthegardenhasthesamestatusasaworkofart.Thougheachgardenisdifferentinitscomposition,theymostlyuserockgroupingsandshrubstorepresentaclassicsceneofmountains,valleysandwaterfallstakenfromChineselandscapepainting.Insomecasesitmightbeasabstractasjustafewislandsinasea.AnyJapanesegardenmayalsoincorporatesexistingsceneryoutsideitsconfinement,e.g.thehillsbehind,as"borrowedscenery"(usingatechniquecalledShakkei).
Seealso
GardenspaHigashiyamaBunkainMuromachiperiodJapanesegardenWabisabi
List
Shrinesandtempleswithrockgardens:
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InKyoto:
DaitokujiDaiseninJishojiJissoinMyoshinjiRozanjiRyoanjiTofukuji
OutsideKyoto:
An'yin(Kobe)BingoAnkokuji(Fukuyama)HarimaAnkokuji(Kato,Hyogo)Jmyji(Kamakura)KinbyzanZuisenji(Kamakura)Komyozenji(Fukuoka)Shitennoji(Osaka)
References1.
OnoKenkichiandWalterEdwards:"Bilingual(EnglishandJapanese)DictionaryofJapaneseGardenTerms
(Karesansui.p.20)fromKansaiPrhttp://en.wikipedia.org/wiki/Main_Pageocess,Nara2001TheKaresansuidefinitionwasextractedwithpermissionfromTheonline"living"guidetorealizeaZengarden(http://www.zengarden.org/)byP.M.Patings.
2. GunterNitschke,LeJardinjaponais,pg.65.3.
MichelBaridon,LesJardinsPaysagistes,Jardinieres,Poetes,pg.485487.4.
MichelBaridon,LesJardins,pg.4885.
Nitschke,lejardinjaponais,pg.67.6. Baridon,LesJardinspg.472.7.
Nitschke,lejardinjaponais,pg.6873.8.
Nitschke,Lejardinjaponais,pg.86.9.
Nitschke,LeJardinJaponais.YoungandYoungputthesizeattwentyfivemetersbytenmeters.
10. Nitschke,LeJardinJaponais,pg.90.11.
MichelBaridon,:LesJardins,pg.474.TranslationofthisexcerptfromFrenchbyD.R.Siefkin.12.
Nitschke,LejardinJaponais,pg.21721813.
MichelBaridon,LesJardins,pg.485490.14.
YoungandYoung,TheArtoftheJapaneseGarden.pg.22.15.
JAANUS,"samon(http://www.aisf.or.jp/~jaanus/deta/s/samon.htm)"16.
Baridon,LesJardins,pg.492.17.
Nitschke,LejardinJaponais,"pg.92.TranslationofthiscitationfromFrenchbyD.R.Siefkin.18.
vanTonder,GertLyons,MichaelJ.(September2005)."VisualPerceptioninJapaneseRockGardenDesign"
(http://www.kasrl.org/axiomathes.pdf)(PDF).Axiomathes(Springer)15(3):353371(19).doi:10.1007/s1051600454488(https://dx.doi.org/10.1007%2Fs1051600454488).Retrieved20070108.
19.
WybeKuitert,Themes,Scenes,andTasteintheHistoryofJapaneseGardenArt,p.150160,JaponicaNeerlandicaVolume3,GiebenPublishers,AmsterdamISBN9050630219http://edepot.wur.nl/206169
20.
ReviewElizabethtenGrotenhuis,JournalofJapaneseStudies,Vol.29,No.2(Summer,2003),pp.429432http://www.jstor.org/stable/25064424
21.
YamadaShoji,(EarlHartmantransl.)ShotsintheDark,Japan,Zen,andtheWest,TheUniversityofChicagoPress,2009
22.
ChristianTagsoldSpacesofTranslation:JapaneseGardensintheWest,Habilitationsschrift,HHUDusseldorf
23.
Kuitert,Wybe(March2013)."CompositionofSceneryinJapanesePreModernGardensandtheThree
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WikimediaCommonshasmediarelatedtoJapaneserockgarden.
DistancesofGuoXi".StudiesintheHistoryofGardens&DesignedLandscapes(TaylorandFrancis)33(1):115.doi:10.1080/02666286.2012.753189(https://dx.doi.org/10.1080%2F02666286.2012.753189).
Bibliography
WybeKuitert(1988).Themes,Scenes,andTasteintheHistoryofJapaneseGardenArt.GiebenAmsterdam.ISBN9050630219.WybeKuitert(2002).ThemesintheHistoryofJapaneseGardenArt.HawaiiUniversityPress.ISBN0824823125.DavidYoungMichikoYoung(July2005).TheArtoftheJapaneseGarden.TuttlePub.ISBN9780804835985.GnterNitschke(2007).Lejardinjaponais:Angledroitetformenaturelle.ISBN9783822830345.Baridon,Michel(1998).LesJardinsPaysagistes,Jardiniers,Poetes.,ditionsRobertLafont,Paris,(ISBN222106707X)MiyekoMurase(1996).LArtDuJapon.LGF/LeLivredePoche.ISBN9782253130543.DanielleElisseeff(20100923).Jardinsjaponais.ISBN9782359880298.VirginieKlecka(20110415).JardinsJaponais.ISBN9782815300520.
Note
*TheSakuteikiisagardenbookwithnotesongardenmakingthatdatesbacktothelateseventeenthcentury.ItsoldesttitleisSenzaiHish,"SecretExtractsonGardens",andwaswrittennearly1000yearsago,makingittheoldestworkonJapanesegardening.Itisassumedthatthiswaswritteninthe11thcenturybyanoblemannamedTachibananoTichitsuna.Inthistextliesthefirstmentionofthekaresansuiinliterature.OnlyrecentlywesawanEnglishmoderntranslationofthisgardeningclassic.
Externallinks
ZenGardens:imagesandmeaning(http://www.aboutzen.info/perceive/zengarden.htm)PhotoGalleryofJapaneseZenGardens(http://www.phototravels.net/kyoto/zengardensindex.html)VirtualtouroftheZenGardensinandaroundKyoto(http://learn.bowdoin.edu/japanesegardens/)GeometricalconceptsofJapaneserockgarden(http://www.phantomgallery.64g.ru/sad/sad1en.htm)StanfordUniversityarticleonthehistoryandmeaningofsomeJapanesegardens(http://www.stanford.edu/group/sjeaa/journal42/japan2.pdf)PDF(180KB)Tsuboen(http://www.zengarden.org/)AvirtualtourofthekaresansuigardeninTheNetherlandsStudyintothekaresansuigardensoftheEdoera(http://www.zengarden.org/html/page_samurai.htm)karesansuigardensofTraditionalSamuraiResidencesNeuroscienceunlockssecretsofZengarden(http://www.nature.com/nsu/020923/0209238.html)(Requiressubscription)
NeuroscienceunlockssecretsofZengarden(http://www.lauralee.com/news/zensecrets.htm)(Mirror)
Criticismsoftheterm"ZenGarden"(http://www.rothteien.com/superbait/zenviewpoints.htm)inJapaneseGardenJournal
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