Japanese Gardens
The role of gardens play a much more important role in Japan than here in the United States. This is due primarily to the fact the Japanese garden embodies native values, cultural beliefs and religious principles. Perhaps this is why there is no one prototype for the Japanese garden, just as there is no one native philosophy or aesthetic. In this way, similar to other forms of Japanese art, landscape design is constantly evolving due to exposure to outside influences, mainly Chinese, that effect not only changing aesthetic tastes but also the values of patrons. In observing a Japanese garden, it is important to remember that the line between the garden and the landscape that surrounds it is not separate. Instead, the two are forever merged, serving as the total embodiment of the one another. Every aspect of the landscape is in itself a garden. Also when observing the garden, the visitor is not supposed to distinguish the garden from its architecture. Gardens in Japan incorporate both natural and artificial elements, therefor uniting nature and architecture into one entity. Japanese gardens also express the ultimate connection between humankind and nature, for these gardens are not only decor
Kinkakuji, also known as the Golden Pavilion (1394), serves as an example of this Shinden type. The site in northern Kyoto was developed as a large retirement estate by Ashikaga Yoshimitsu (1358-1409) beginning in 1394. The pavilion itself was sited the edge of a sprawling palace complex that no longer exists today. This was intended as proof that the warrior shogunate could contribute to the cultural and aesthetic life of the land to an extent equal to that of the imperial aristocracy. It has been recorded that the actual emperor of Japan visited Kinkakuji in 1408, the first time an emperor had ever stayed with a person that was not a member of the imperial court. The shogun died the year after. After his death the palace was turned over to the Rinzai sect of Zen Buddhism and it has remained under its control ever since. The result is an asymmetric composition which achieves a certain balance. Rhythm is achieved in the composition of the garden by arranging the stones in different alternating heights, creating a sense of movement for the eye. One can realize the importance of harmony and design of the garden as each stone is carefully placed in their own positions. Each factor-position, height, and color-is taken into account to create an environment of harmony. Japanese aristocrats from at least mid-eighth century customarily had gardens near their homes. During the Heian period a somewhat standard type of garden evolved in accordance with the Shinden type of courtier mansion (Bring and Wayembergh, p. 28-29). Characteristic of the Heian period was its extremely rigid class stratification; life for the farmers, merchants and artisans consisted of very simplified dwellings in comparison to those of members of the aristocracy. The architecture "norm" for aristocratic homes was in the Shinden-zurkuri style, "which was clearly based on the principle that the individual parts of the building should be merged as much as possible into the garden" (Yoshida, p.12). The main building, named the Shinden, represented the area reserved for the master himself, and always opened up to the south side of the garden. There were corridors, or tai-no-ya, connecting the Shinden to the rest of the buildings in the complex. There corridors created an enclosure which is where a lake would be placed and where the stroll garden was erected.
Some common words found in the essay are:
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Approximate Word count = 2545
Approximate Pages = 10 (250 words per page double spaced)
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