DOI Heft:
No. 4 (July, 1893)
DOI Artikel:Holme, C. Geoffrey: Artistic gardens in Japan
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.17188#0150
Artistic Gardens in Japan
supposed to illustrate in its various parts the fifty-
three posting stations on the great road between
FROM THE " CHIKUSAN TEIZODEN "
Tokio and Kioto, known as the Tokaido. These
views, however, are so combined as to form one
picturesque whole, and the art in it is so concealed
that one's first impression upon seeing it is that it
is a nature-formed spot of exquisite beauty. Its
hills clothed with verdure, its forest trees, its placid
waters, its winding, shady pathways make of it an
Elysium. Every hill, island, waterfall, almost every
rock, in a well-designed Japanese garden is con-
structed or placed there in accordance with some
known regulation. It is necessary that one should
be acquainted with the precepts which govern
these arrangements in order to thoroughly appre-
ciate all the careful thought that has been given
by the gardener in the planning of a Japanese
garden.'
The art which is displayed in the laying out
even of quite a small garden is of a high order.
The would-be designer is specially cautioned that
the space at his disposal is first to be considered.
He must observe if there be any natural features
of hill, trees, or water, in the neighbourhood of
which he may make use, that they may form, as it
were, part of the design. To copy the effects
sought for and obtained in a large garden is not
advised. A comparatively great amount of detail
is recommended in a small garden to give it im-
portance. In a Japanese work entitled Chikusan
Teizoden, a number of interesting gardens are
figured, many of which are quite small in size—
mere glorified back-yards, in fact. These gardens
were in existence two hundred years ago at Sakai,
in the province of Idzumi, and to-day their coun-
terparts may still be found in many Japanese
cities. From the illustrations of this work, here
reproduced, it will be seen that the effects are
obtained principally by the pleasant grouping of
lanterns, stones, and shrubs, by the arrangement of
stepping-stones in lieu of pathways, and by the
presence of rivulets or water-beds spanned by small
bridges. Although these various accessories exist
more or less in the large gardens, it is in the
smaller ones that they form the most prominent
features.
The presence of one or more stone lanterns,
or ishi-doro, is almost indispensable. In recent
years these objects have been made in decorated
porcelain, but they are not favoured by men of
taste. A very old stone lantern covered with
lichen and moss is the great desideratum, and high
prices are often paid for genuine examples. Their
size should be proportioned to that of the garden
and the nature of its arrangement. To obtain the
effect of age upon a new lantern, it is said that
lichen may be made to grow if the slime of snails
be smeared upon it, and it be kept in a cool damp
place. Fallen leaves are also attached to it by
FROM THE "CHIKUSAN TEIZODEN "
supposed to illustrate in its various parts the fifty-
three posting stations on the great road between
FROM THE " CHIKUSAN TEIZODEN "
Tokio and Kioto, known as the Tokaido. These
views, however, are so combined as to form one
picturesque whole, and the art in it is so concealed
that one's first impression upon seeing it is that it
is a nature-formed spot of exquisite beauty. Its
hills clothed with verdure, its forest trees, its placid
waters, its winding, shady pathways make of it an
Elysium. Every hill, island, waterfall, almost every
rock, in a well-designed Japanese garden is con-
structed or placed there in accordance with some
known regulation. It is necessary that one should
be acquainted with the precepts which govern
these arrangements in order to thoroughly appre-
ciate all the careful thought that has been given
by the gardener in the planning of a Japanese
garden.'
The art which is displayed in the laying out
even of quite a small garden is of a high order.
The would-be designer is specially cautioned that
the space at his disposal is first to be considered.
He must observe if there be any natural features
of hill, trees, or water, in the neighbourhood of
which he may make use, that they may form, as it
were, part of the design. To copy the effects
sought for and obtained in a large garden is not
advised. A comparatively great amount of detail
is recommended in a small garden to give it im-
portance. In a Japanese work entitled Chikusan
Teizoden, a number of interesting gardens are
figured, many of which are quite small in size—
mere glorified back-yards, in fact. These gardens
were in existence two hundred years ago at Sakai,
in the province of Idzumi, and to-day their coun-
terparts may still be found in many Japanese
cities. From the illustrations of this work, here
reproduced, it will be seen that the effects are
obtained principally by the pleasant grouping of
lanterns, stones, and shrubs, by the arrangement of
stepping-stones in lieu of pathways, and by the
presence of rivulets or water-beds spanned by small
bridges. Although these various accessories exist
more or less in the large gardens, it is in the
smaller ones that they form the most prominent
features.
The presence of one or more stone lanterns,
or ishi-doro, is almost indispensable. In recent
years these objects have been made in decorated
porcelain, but they are not favoured by men of
taste. A very old stone lantern covered with
lichen and moss is the great desideratum, and high
prices are often paid for genuine examples. Their
size should be proportioned to that of the garden
and the nature of its arrangement. To obtain the
effect of age upon a new lantern, it is said that
lichen may be made to grow if the slime of snails
be smeared upon it, and it be kept in a cool damp
place. Fallen leaves are also attached to it by
FROM THE "CHIKUSAN TEIZODEN "