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Functions of the Japanese Garden
The long history of the Japanese Garden has led to lead to the creation of several styles which relate back to their original function. The early aristocratic estates were centred round one or possibly several lakes with islands and were designed to be viewed from a boat. The creation of lakes and islands is inextricably linked to early myths concerning five floating islands supported by giant turtles and inhabited by immortal beings. These myths were carried on by the followers of Amida Buddha who believed that the immortals spent their time drifting in boats amongst the lotus blossoms of the Western paradise. This idea was accepted as a reality and provided a relief from the strife affecting Japan at that time.Civil unrest, disease and the threat of Mongol invasion caused immense suffering during the eleventh and twelfth century. . Symbols of longevity such as the tortoise and crane islands are carried through to this day The immortals were believed to ride on the backs of cranesr Japanese gardens are so heavy with symbolic values that their well being reflect the well being of the household. Bring and Wayembergh (1981) state that the japanese garden"functions almost as a magical talisman to ensure both good health and prosperity".
The use of raised mounds and large rock groups symbolising mountains (seen as the abode of the gods) is typical of these gardens, Cave (1996) suggesting that the use of earth mounds is an echo of the ancient burial mounds created for tribal chiefs. This use of mountains and water has given the name sansui, or mountain - water, to this type of garden.These gardens often had paths winding along the edge of the lakes and from this the strolling water garden arose. The paths normally consisted of stepping stones winding through trees with clearings to give set views of the lake or buildings. Eliovsen (1970).
Japanese architecture tends to provide a graduation between house and garden, the eaves of houses extending out onto verandas and the paper screens which form the "wall" can be pulled back to provide a rectilinear frame from which a set view of the garden can be contemplated. Nitschke (1990) discusses this at some depth in his book" Right angle and Natural form", he feels that the imposition of man in the form of the framing right angle on the natural forms of nature is central to the Japanese idea of the garden. Viewing gardens employ the concept of shakkei, or borrowed scenery, where distant views were incorporated into the scene, framed by the use of hedges and trees. This idea of the viewing garden finds its peak in the Dry landscape or karesansui (dry- mountain-water) gardens so typical of Zen Temple garden
Most karesansui gardens are viewing gardens, not intended to be entered but contemplated from a set location. The use of sand or gravel to symbolise water is central to the karesansui garden, the raking of gravel round stones resembling the ripples caused by rocks in water. Cave (1996) writes that, " still water (the mind) reflects reality purely, but as soon as a stone (thought) makes ripples, reality becomes distorted." Water is also suggested by the creation of dry waterfalls and streambeds, often planted with ferns, with stepping stones or a bridge across to further heighten the impression. Stones placed here should convey the direction in which the water would flow. Sometimes carefully selected pebbles can be placed at the bottom of these to create the impression of rushing water, the Japanese often wet these stones to bring out their innate beauty. These stones are usually off-white or grey though the occasional red or black stone can be added for interest. Cave (1990).
Some karesansui gardens have no plants in them save some moss round the stone groupings though the majority use clipped Azalea, s and pines. The use of evergreen plants is a prerequisite of Japanese gardens to give colour during the winter, the passage of the seasons being marked by the flowering of Azalea,s and cherries in spring and the autumnal foliage of the maples. Pines have great significance to the Japanese, the Black Pine Pinus thunbergia and the Red Pine Pinus densiflora being clipped to resemble those found on the windswept coastlines of Japan. Most private gardens have viewing gardens seen from the main room in the house and a strolling garden hidden from view. Eliovsen (1970). During the momoyama era, Hideyoshi partitioned land around Kyoto into thin strips. The resultant houses required narrow internal courtyards known as tsubo to provide sunlight and ventilation during the oppressive summer heat, indeed people believed they would suffocate without these tsubo (Ohashi 1988).
For reasons of hygiene as well as aesthetics, these courtyards often utilised gravel or stones so that the area could be regularly swept with a broom, thus plants were usually kept to a minimum, perhaps a few bamboo and ferns, or a small Camillia.
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