Park culture Japan. There are few places in the world where gardening art has reached such inspired subtlety as in Japan. Japanese landscaping art Ancient japan landscaping art

December 14, 2010

The genetic roots of the Japanese garden with its formalized components and composition techniques go back to ancient "pre-architectural" forms. They go to that period in the history of Japan, which could be called the first stage of the cultural development of this civilization, associated with the worship of the forces of nature. It was then that in ancient Japan the religious system "Shinto" - "the path of the gods" was formed, which subsequently determined not only the principles of the formation of landscape gardening art, but also many features of Japanese culture. In ancient Shintoism, there were no visually perceived symbols of deities, they were identified with specific objects or natural phenomena. The deification of the entire surrounding world was expressed in the statement: the deity cannot be seen, but it can be felt by experiencing the beauty of nature and its rhythm, one can join the deity and, contemplating, comprehend the truth. The hidden power of "mono-no-ke" (a material object and at the same time a formless, "original" space) and "ke" (a mysterious power that permeates all objects and spaces). The first material personification of mono-no-ke was a stone, realized as a receptacle, a shell of a deity. This was the most important stage in the philosophical and artistic comprehension of reality, the formation of not only religious ideas about the deity, but also the relationship between object and space. Places of worship were created from an object - a stone, fenced with ropes, and a space covered with pebbles, usually rectangular, in which this deity exists. The place of worship did not have any structures and was symbolically separated from the surrounding nature, in essence, remaining one with it. The art of stones and the emotional attitude towards them was partly associated with phallic cults, whose special altars have survived to this day. The compositional scheme of the garden necessarily takes into account the difference between stones that express the male or female principle.

Naive primitive Shinto served as the basis for two important aesthetic ideas, formed from the deification of nature and worship of it: the symbolization of natural form and symbolization through spatial form. Throughout its history, Japan has borrowed artistic and other ideas from different peoples. However, passing through the prism of national consciousness and traditional artistic experience, the ideas were assimilated and completely modified, filled with new meaning in the context of each particular era. Even Buddhism, with its developed philosophy and strong system of religious dogmas, took on different forms in Japan than in India, China, and other countries.

In the 6th century, Japan officially adopted Buddhism, who assimilated the local teaching and transformed it into rebushinto, the meaning of which is to identify the Shinto and Buddhist deities. The high spirituality of the individual in the worldview of Buddhism came into contact with nature endowed with spirituality, which was the basis of the foundations of Shintoism. From this arose a completely special perception of the surrounding world, its inseparable unity with man, their deep inner connection.

Japanese culture has absorbed largely reworked cosmogonic ideas about yin-yang and the constancy of change. “Tao gives birth to one, one gives birth to two, two gives birth to three, and three gives birth to all beings. All creatures carry yin and yang in themselves, are filled with qi and form harmony ”(Lao-tzu. “Tao-te-ching”).

General Buddhist theses about the omnipresence of the Buddha (he lives in everything, in animate and inanimate nature), about rebirth (which, in general, puts a person on a par with nature in all its manifestations) in combination with the ideas of Taoism and Confucianism, they occupied an important place in understanding the relationship of man to the natural world and his place in this world.

The first Japanese gardens were created in the ancient capital of Nara (VIII century). The ensemble of the city in the regularity of the plan and the distinctness of the structure coincided with the Buddhist symbolic scheme of the universe - the mandala. Nara was built in the likeness of the Chinese capital of Chang-an, so it is not surprising that the first gardens in Japan were also modeled after the Chinese. The Nihonshoki chronicle mentions Korean craftsmen who first built gardens with artificial hills and bridges on Japanese soil during the reign of Empress Suiko, there is also a mention of one person who had the nickname "Minister of Gardens" because he planted a magnificent garden around the house garden.

The formation of an original culture in the 8th and 9th centuries took place under the intense influence of China, which experienced a period of brilliant flowering of poetry, painting, and architecture. Chinese samples were a kind of aesthetic norm and standard.

The continental (Chinese) idea of the garden as an artificially transformed nature, combined with the spatial representations of the animistic cults of ancient Japan, transformed the traditional form of the Japanese medieval garden. The gardens of China were created as an earthly semblance of paradise, where the very beauty of nature should help a person to penetrate the secrets of life and achieve immortality. The garden gave solitude, the opportunity to enjoy and contemplate the power and grandeur of nature.

At that time in China there were no strict canons defining building a garden, there was a general constructive scheme: a skeleton (mountains) and blood (water), which expressed the main and general cosmogonic principle of unity and opposition of two principles - positive, light male (mountain or stone) and negative, dark female (water) . The very composition of the garden was supposed to leave an impression of freedom, non-compulsion and irregularity, inherent in nature itself - this powerful element, beautiful in its naturalness, in the unity and clash of its forces. It is impossible to convey the pulse of nature, its life rhythm by a random ratio of its individual details. The task of the artist is to understand the inner meaning of the life of nature and express it in his work.

The Chinese idea of an artificial and at the same time natural garden was not yet accepted in the culture of Nara, the time of the establishment of Buddhism. In creating large architectural complexes such as Todaiji, the architects left the natural environment in its natural forms, organizing the space around the temples with the layout of the paths of the processions. The mind and will of the architectural and planning solution contrasted with the spontaneity of nature, and did not correspond to it, as would happen in the next era - Heian, the most important period in the history of Japanese artistic culture.

Feeling, feeling, experiencing beauty, a person penetrated into the essence of being. But the Buddhist illusion and ephemeral nature of the world deprived the sense of beauty of cheerfulness. Beauty is fleeting, it is instantaneous, barely perceptible and transient, ready to disappear without a trace in the next moment. Exquisite Heian culture founded a new type of attitude to the world - admiration. Not just observation, but experience and acute perception. Beauty is revealed to a person only at moments of the highest emotional stress. And the language of true emotion is poetry, and it was during this era that the classic works of Japanese literature were created. The Heian culture had a decisive influence on the formation of Japanese gardening art, as it opened up a new relationship between man and nature - contemplation.

The refined and sophisticated Heian era is being replaced by the courageous, brutal cult of power of the Kamakura era (XIII - XIV centuries). Being practically the antithesis of the previous period, the time of the military nobility created the prerequisites for the formation of a new attitude to nature. Not sensual beauty, personifying human experiences, but animation, power and strength of nature now seem to be its main qualities.

After the unification of the country under the rule of the Ashikaga shoguns, both cultures - Heian and Kamakura gradually converge, which served as the basis for the flourishing of the arts of the Muromachi period. The teachings of Zen corresponded to the ideals of the military class that came to power. Recognition of the spirituality of man, the perception of man as part of the natural world, equivalent to everything else, determined the attitude of Zen to the environment. Nature does not oppose man as a hostile force, he is one with it, he is part of it. "Knowing the world, you know yourself." According to Zen, in the contemplation of nature, the most important thing is the fusion of subject and object, a person's feeling of nature as part of his natural being. “Beauty lies not in the form, but in the meaning that it expresses, and this meaning is revealed when the observer conveys his entire essence to the bearer of this meaning...”.

Zen asceticism is based on respect for nature, but it is not the suppression of the individual, but the absence of egoism in relation to the natural world, the rejection of self-affirmation. Zen asceticism is simplicity, moderation, masculinity, its path is an intuitive comprehension of kinship with the natural world in all its manifestations. The inner essence of nature is similar to the essence of man and it is logically impossible to understand it. Intuitive comprehension of the truth is possible in one of the moments of enlightenment. "The universe comes into being every time a person opens their eyes to look at it." Without completely denying the intellect, Zen recognizes it only to the extent that it coincides with intuition. The image-symbol, the image-sign help the poetic-metaphorical way of thinking Zen irrationally, intuitively comprehend the truth. This type of artistic thinking determined the structure of the canon of Japanese gardens, which during this period became a concise and concentrated expression of the universe. The aesthetic value of plants, stones, sand and water in the semiotic nature of Japanese garden art is secondary to what they symbolize.

The Shinto tradition of the symbolism of space through its identification with a deity grew in the Middle Ages into a stable tradition of spiritualizing the architectural-spatial form, saturating it with ethnic and religious-philosophical content. At the same time, the change in spatial concepts in medieval garden art from its addition in the Nara and Heian periods to the canonization of the genre under the influence of Zen Buddhism in the Muromachi era as a whole was a complex and multilayered phenomenon.

Japanese gardens were inspired by Chinese gardens. The difference between Japanese and Chinese gardens S.S. Ozhegov describes it as follows: “... In Japan, a garden is formed around a compact, usually symmetrical, group of buildings. The Chinese garden includes symmetrical groups of buildings with an axial construction and usually with courtyards. In China, the main, most expressive points of view of the landscape are emphasized by gazebos, gates, and special round openings (in the shape of the moon). The Japanese garden is designed in such a way that the change of beautiful landscapes goes continuously along the conditioned path ... ".

The Japanese garden is a work of landscape art that is difficult to perceive, which, like any other aspect of the culture of the Land of the Rising Sun, unusual for Europeans, cannot be understood without delving into its history, traditions and religious beliefs. It is also necessary to take into account the fact that the Japanese treat nature differently than the Europeans: they believe that it cannot be comprehended logically, but only intuitively.

Traditional gardens (Kanji, nihon teien) in Japan can be found everywhere: in private homes or in the neighborhood - in a city park, in Buddhist temples and Shinto shrines, in historical sites like old castles. Many Japanese gardens are better known in the West as Zen gardens. Tea masters, following the old custom, created exquisite Japanese gardens of a completely different style, praising rustic simplicity.

Typical Japanese gardens include several obligatory elements, real or symbolic:

- stone lantern among plants
- water
- island
- bridge leading to the island
- tea house or pavilion

Turning to history, it should be noted that it is very difficult to give a date for the appearance of the first Japanese gardens, with the exception of a few archaeological finds in the cities of Azuka, Nara and Kyoto with small remnants of gardens from Early Japan. Although some sources, such as the Japanese chronicle of the eighth century (Nihon Shoki), bring little clarity to this issue.

Her lyrics mention gardens that belonged to the ruling class. Some sources indicate that these gardens may have served as a model for gardens in the estates of the Heian period. The design of early gardens must have been heavily influenced by religion, with the emphasis placed on natural objects in Shinto beliefs. japanese chinese garden park

Although the true meaning is somewhat obscure, one of the Japanese words for garden is niwa, meaning a place that was cleaned and cleaned in anticipation of the arrival of kami, the divine spirit of Shinto. The admiration for large rocks, lakes, ancient trees and other unique objects of nature has greatly influenced the appearance of the Japanese garden.

With the advent of Buddhism, Japanese gardens began to turn to mythical mountains, islands and seas. These images, often in the form of a stone or group of stones, continue to play a role in Japanese garden design, although it is not always known whether they were deliberately incorporated into the landscape in the early centuries or are the product of a later interpretation. One thing is clear, a pond or lake was usually included in early designs, and these elements have run throughout the history of Japanese gardens.

Just as Buddhism and Taoism came from Korea and China, so many other elements of early Japanese culture caused early garden designs in Japan to possibly emulate Korean or Chinese designs (historical records from the Azuka Period suggest that a garden design for Soga no Umako , probably had a Korean pattern).

Water in terms of area can occupy from 30 to 70%, islands, all kinds of bridges are arranged. Stone and water symbolized the powerful forces of nature, and these arrangements of gardens have not lost their symbolic meaning to this day. Separate and assembled in the composition of the stones (ishigumi) are the "skeleton" of the garden. Stones in the gardens have always been located according to special rules, they are selected according to type, color, texture.

The Japanese garden is saturated with symbols, for example, islands in reservoirs - a turtle, a crane.

Moss gardens, rock gardens, miniature gardens, gardens for tea ceremonies were created.

It was in Japan that they learned to specially age stones, sculptures, and grow miniature plants.

“... The traditions of Kyoto distinguish three types of gardens: “Ke” is intended for internal household needs; "Hare" serves for formal traditional ceremonies; gardens "Sooki" have only an aesthetic function. Often the functions of “ke” and “hare” or “hare” and “bitch” merge in one kindergarten ... "

To create an atmosphere of the East, it is enough to build a small pond and gardens of stones or sand or gravel, arrange lanterns in an oriental style. As a rule, we create a hybrid of Japanese and traditional Western styles, such a mixture of styles can look very impressive than a strict imitation of Japanese style.

Japanese garden(jap. “b–(’l‰Ђ, ‚Y‚SCH‚s‚D‚ў‚¦‚s, nihon teien or jap. ?a -’l‰Ђ, ‚n‚U‚¤‚D‚ў‚¦‚s, wafu teien) - a kind of garden (private park), the principles of organization of which were developed in Japan in the VIII-XVIII centuries.

Started by the first temple gardens founded by Buddhist monks and pilgrims, the whole beautiful and complex system of Japanese garden art gradually took shape.

In 794, the capital of Japan was moved from Nara to Kyoto. The first gardens resembled places for celebrations, games and open-air concerts. The gardens of this period are inherently decorative. They planted a lot of flowering trees (plum, cherry), azaleas, as well as a climbing plant wisteria.

However, in Japan there are also gardens without greenery, created from stone and sand. In their artistic design, they resemble abstract painting.

The Japanese garden symbolizes the perfect world of earthly nature, and sometimes acts as the personification of the universe. The characteristic elements of his composition are artificial mountains and hills, islands, streams and waterfalls, paths and patches of sand or gravel, decorated with stones of unusual shapes. The landscape of the garden is shaped by trees, shrubs, bamboo, grasses, beautifully flowering herbaceous plants, and moss. Stone lanterns, gazebos, tea houses can also be placed on the territory of the garden.

The formation of the foundations of Japanese gardening took place under the influence of the evolution of Japanese architecture, as well as the religious and philosophical ideas of the Japanese nobility. Initially, the garden was an integral part of the residences of aristocrats, but was later borrowed by Buddhist monasteries and noble samurai. Since the 19th century, it has become widespread among Japanese commoners, becoming an integral part of many private homes. In the 20th century, the construction of Japanese-style gardens became popular outside of Japan.

The three most famous gardens in Japan are traditionally considered Kenroku-en (Kanazawa), Koraku-en (Okayama) and Kairaku-en (Mito).

"Three Gardens of Japan":

Kenroku-en

Koraku-en

Kairaku-en

Monastery gardens:

Ryoan-ji garden

Tofukuji Garden

Saiho-ji garden

Daitoku-ji garden

When creating a landscape, Japanese masters, first of all, tried to reveal the originality of each thing.

Eight basic principles for the arrangement of the park, developed by Chinese architects:

1. Act depending on external conditions (availability of water, terrain);
2. Make the most of the surrounding nature (use what is behind the fence and around);
3. Separate the main from the secondary (what will be the main thing on the site - that should be highlighted);
4. Use contrasts (big and small, light and dark, high and low, wide and narrow and...);
5. Achieve more in small things;
6. Use the gradual disclosure of views;
7. Use the harmony of proportions;
8. Take into account the time of perception of the landscape.

In addition, there are gardens subordinated to one idea, for example, gardens of stones, water, mosses, seasons. In them, the main "character" is suitably arranged groups of stones or a waterfall, or mosses of various colors and textures, or a lone tree on a low hillock.

Bibliography

1. http://ru.wikipedia.org/wiki/%D0%AF%D0%BF%D0%BE%D0%BD%D1%81%D0%BA%D0%B8%D0%B9_%D1%81 %D0%B0%D0%B4
2. Nikolaeva N. S. Japanese gardens. -- M.: Art spring, 2005.
3. ЃwЉv”g“b–(’l‰ЂЋ““TЃxЏ¬–mЊ’‹g Љv”gЏ‘“X ISBN 4000802070
4. ЃwђAЋЎ‚M’l Џ¬ђmЋЎ є‰q‚МђўЉEЃx“тЌи”Ћђі T “c”Ё‚Э‚I‚ЁЋB‰e ’WЊрЋР ISBN 4473011585
5. ЃwЊНЋRђ…Ѓx ЏdђXЋO-zh ‰НЊґЏ‘“X ISBN 4761101598
6. ЃwЊG‘g’l‰Ђ‚МЋv‘zЇђ_ђеђўЉE‚Ц‚М“ІњЫЃx‹аЋq-T”V T Љpђm‘IЏ‘ ЉpђmЏ‘“X ISBN 4047033391
7. Ѓw'l‰Ђ‚M'†ђўЋjЃx'«-?‹`ђ‚Ж“ЊЋRЋR'' -рЋj ¶‰”ѓ‰ѓCѓuѓ‰ѓЉЃ[”t“c”Н v ‹gђмЌO ¶ЉЩ ISBN 4- 642-05609-2
8. http://www.biolokus.ru/landshaft/styles.html

Garden art of China and Japan

China. The first information about gardens in this country, which has come down to us in written sources, drawings and other images, dates back to the 12th century. BC e. One of the first parks of Ancient China was created by the Chinese ruler Cheu. My Wang, who came to power after him, laid out luxurious gardens with various structures. Emperor Ching Hi-Hoang during his reign created a grandiose park with an area of more than 1000 hectares. Unfortunately, information about the planning of ancient Chinese parks has not reached us.

The arrangement of gardens in China had two directions. One of them was characterized by the presence of miniature gardens on small plots of land. These included numerous gardens in Suzhou and Shanghai. In these gardens the trees are dwarfed.

A characteristic feature of the second direction was the use of large plots of land for gardens and parks with the arrangement of reservoirs combined into a single composition.

One of the best examples of parks in this direction, which has survived to this day, is Yiheyuan Park, located in the suburbs of Beijing. The park has an area of 330 hectares:

Yiheyuan Park is like a collection of smaller copies of the most beautiful places in China (3). The central motif of the park is Kunming Lake and Mount Wanypou-shan. A stream meanders under the mountain. The landscapes of the banks of the stream imitate the terrain characteristic of the provinces located south of the river. Yangtze.

The features of landscape gardening art in these two areas are as follows: the natural landscapes of the country serve as the basis for the creation of gardens and parks; images taken from painting were used for the park landscape; the relief is processed with such care that it is perceived as created by nature; the most important element of the garden is water; gardens are filled with all kinds of structures, porcelain and bronze items in the form of urns, lanterns, sculptural images of birds and animals; The range of trees in the gardens is very diverse.

In the XVII-XVIII centuries. Chinese gardening art developed especially rapidly under Emperor Chen Leung. The gardens of China were both monumental and miniature. There are many different structures in the parks: pavilions, gazebos, galleries, walls, fences, bridges, etc. Park alleys were decorated with a large number of decorative elements. Lime stones, marble slabs, mosaics were used for paving, the paths were decorated with drawings of birds and animals.

Artificial relief was often created in parks. Trees and shrubs were planted in groups and even entire groves, of which bamboo, plum and pine are the most popular. Much attention was paid to floral design. Ponds and rocks were widely used. The most famous parks are Yiheyuan (330 ha) and Beihai (104 ha) in Beijing, Liu Garden in Suzhou (4).

Japan. The emergence of Japanese gardens dates back to the reign of Emperor Suiko (592--628 AD). When creating gardens, the Japanese made extensive use of the landscapes depicted in the paintings. The main subjects were mountains, hills, stones and water. The garden in Japanese is called "ten-sai", which means "mountain and water." Sometimes in the gardens there is no specific image of hills, springs or rivers, but there is only a hint of their shape - a symbol. Then there is the so-called

sculpted "dry landscape", which seeks to convey the beauty of valleys and gorges, mountain streams without the use of water. Stone plays the main role in such gardens. In Japan, there are gardens consisting only of stones and sand.

One of the characteristic gardens of this type is the Ryosanji Garden in Kyoto. The garden is in the shape of a rectangle. Its flat surface is strewn with coarse white sand, on which there are 15 stones of various shapes. The white sand is processed with bamboo rakes to create the illusion of sea waves. There is no vegetation here, but due to the proportions and skillful arrangement of stones, this garden is an outstanding work of garden art in Japan.

Of the vegetation, deciduous and coniferous evergreen trees are most common in Japanese gardens. The dense-flowered pine, captured by many artists in engravings and drawings, is especially popular. A characteristic feature of the Japanese garden are dwarf trees grown in pots. These trees are twisted and bent with such skill that one gets the impression that it was not the hand of man, but nature, that gave them these strange shapes.

Flowers are rare in Japanese gardens, but irises, lotus, and lilies are almost always grown in ponds.

The first information about the parks of Japan that has come down to us from various sources dates back to our era. Parks in Japan were intended for solitude, reflection, quiet contemplation of the beauty of nature, embodied in the garden composition. The main elements of the composition are relief, and not only natural, but often artificial, water devices - ponds, rivers, waterfalls, rocks of various shapes and sizes, a diverse assortment of tree and shrub species, deciduous, coniferous, evergreen and beautifully flowering.

A characteristic feature of the Japanese garden is a landscape with elements of symbolism, formed based on the imagination of a person who must think of a particular landscape. For example, if there is no water mirror on the site, it is replaced with smooth sand, and the mountains are symbolized by a composition of rocks and stones.

The Japanese garden or park is mainly of three types: a flat garden without a pond, a flat garden with a pond and islands, and a garden with hills and a pond (5).

Already in the XII century. treatises on landscape gardening appeared in Japan; they set out the main theoretical provisions and principles of landscape gardening, indicate the rules for the use of the territory and its division. The following balance of the territory of the palace and park ensemble is recommended, %: 40 - for buildings, 30 - open spaces of a garden or park, 30 - green spaces.

Plantings for decorating a garden or park were chosen very carefully, there was almost no floral decor. Of the coniferous trees, the common pine was a favorite species. Other types of pine were used, as well as cedar, spruce, cryptomeria, cypress, yew, juniper, etc. The same can be said about hardwoods and flowering ones; along with fruits - cherries, plums, apricots - magnolia, rhododendron, forsythia, daphne, weigelia were often used. There were relict gingko tree, camphor tree, etc.

Japanese gardening art is not characterized by bright colorful design, it is rather monochromatic. Stones are of great importance; sometimes large, sometimes small, they are arranged vertically or horizontally, depending on the design, thus replacing the sculptural decor. The stones are set alone, in groups, creating a mound or grotto, emphasizing the turn of the path or coastline. In Japan, it is popular to create miniature "parks" that fit in a ceramic vase, but amaze with the complete resemblance of dwarf trees to their real prototypes. The art of creating such gardens is called bansai. It originated in Japan about seven centuries ago. In the West, "Japanese dwarfs" gained fame after they received the Gold Prize at the International Paris Exhibition in 1937. Japanese Gardens

Japan's religion, Shinto, is rooted in nature. The ceremonies and gods of Shinto are closely related to the seasons and landscape. With the construction of the capital - Kyoto - the culture of creating gardens began to flourish. This time is known as the Heian period (794-1185 AD), which is associated with the appearance of a style characteristic of gardens. Many gardens in this period occupied large areas. Almost always in the center of the garden there was a large pond, which also served to supply water. In the gardens, early-flowering plants were especially valued, much attention was paid to evergreens and conifers. Chrysanthemums were widely used for autumn flowering. The Japanese garden is a huge source of images for the viewer, a place of transformation and a dreamer's corner that allows one to go beyond the limits of everyday reality. Gardens in Japan in the past were meant for meditation, they were created to please the eye, to serve as food for the mind and senses. The first mention of a garden in Japan dates back to 74 AD. The first gardens, according to literary sources, abounded with winding streams, they were laid out around ponds. The plants in the gardens were very diverse.

The main ideas of the Japanese garden: miniaturization and symbolism, the main qualities are natural authenticity and artistry. The Japanese garden is designed for static perception. By tradition, gardens are planned in such a way that a picturesque view opens from the place of observation, especially from the shore of the reservoir.

Basic materials for Japanese gardens: water, stone, vegetation.

The Japanese garden is saturated with symbols, for example, islands in reservoirs - a turtle, a crane.

Moss gardens, rock gardens, miniature gardens, gardens for tea ceremonies were created.

It was in Japan that they learned to specially age stones, sculptures, and grow miniature plants.

The Japanese garden is a special garden, we only adapt it at home to the natural environment and culture of the country in which it is created. We only manage to give a Japanese flavor to any one section of our garden or use individual elements as garden decorations, for example, Japanese lanterns are arranged independently of the original symbolism as purely decorative garden decorations. To create an atmosphere of the East, it is enough to build a small pond and gardens of stones or sand or gravel, arrange lanterns in an oriental style. As a rule, we create a hybrid of Japanese and traditional Western styles, such a mixture of styles can look very impressive than a strict imitation of Japanese style.

Gardens of China. The history of gardens in China has more than three millennia. The purpose of the Chinese garden was to evoke a philosophical mood in the viewer, the gardens symbolized heaven on earth.

The Chinese landscape is a combination of geometric forms of building architecture. in harmony with skillfully made artificial landscape compositions (as a rule, we are talking about imperial palaces). The gardens of China are very diverse and do not resemble each other. It is difficult to combine them in one style or another, in addition, the large garden inside was divided into several - these were gardens of natural landscapes, home gardens, gardens of scientists, gardens of literature. Gardens of scientists and literature - they do not have official splendor, they were intended for relaxation, reflection, intellectual work.

In China, gardens were made by improving, aesthetic refinement of beautiful corners of wildlife. The peculiar understanding of nature in the landscape art of China, one of the most ancient and original arts in the world, influenced the development of the landscape park in Europe. Generalization and reflection of the appearance of nature is the main principle. The Chinese "prefer relaxation to a walk", hence the construction of the garden, based on the contemplation of landscapes. According to the rules of Chinese landscape design, the garden had to be laid out so that there were several views, one smoothly turning into another.

A large change of impressions is created by the construction of a complex relief: hills, rocks, ravines give way to valleys and meadows, dark coniferous forests alternate with sunny deciduous forests, mossy rocks with turbulent streams give way to the calm expanse of lakes. Melancholy, joy and exultation are evoked by the contrasting solutions of the garden. To enhance the experience, the Chinese used the sound effects of a raging wind, echo, birdsong, and the sound of water. The parks abound with small lakes, with characteristic high bridges, pavilions with tiled roofs, kiosks, arches, pagodas (compositions made of natural stone) and other structures that were placed in places with the best views for relaxing and admiring nature. Merging with the surrounding nature is elevated to a principle, even the fence is destroyed, which is replaced by a moat or a fence hidden in a disguised moat. The natural landscape serves as an extension of the park.

Parks are usually divided into several complexes with a central ensemble dominating the entire park. It is characteristic that the architectural ensembles have a regular layout and are built on the southern slopes along a strict axis directed from north to south in such a way that the facades of the buildings are brightly lit by the sun.

The whole territory is divided into three parts - middle, eastern and western. The center of the garden is usually a reservoir or an artificial hill. Around it there are pavilions connected by open galleries, stone compositions in the form of slides, walls or individual unique sculptures, bridges, gazebos, water channels. When creating a landscape, Chinese masters, first of all, tried to reveal the originality of each thing.

Eight basic principles for the arrangement of the park, developed by Chinese architects:

1. Act depending on external conditions (availability of water, terrain);

2. Make the most of the surrounding nature (use what is behind the fence and around);

3. Separate the main from the secondary (what will be the main thing on the site - that should be highlighted);

4. Use contrasts (big and small, light and dark, high and low, wide and narrow and...);

5. Achieve more in small things;

6. Use the gradual disclosure of views;

7. Use the harmony of proportions;

8. Take into account the time of perception of the landscape.

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Abstract on the topic:

"Philosophy and Mythology in the Landscape Art of Japan"

completed:

10th grade student

MBOU secondary school No. 29 of the city of Irkutsk

Maslov Nikolay

Typical Japanese gardens include several obligatory elements, real or symbolic:

Stone lantern among plants

Bridge leading to the island

Tea house or pavilion

The Japanese garden is saturated with symbols, for example, islands in reservoirs - a turtle, a crane.

Moss gardens, rock gardens, miniature gardens, gardens for tea ceremonies were created.

It was in Japan that they learned to specially age stones, sculptures, and grow miniature plants.

Started by the first temple gardens founded by Buddhist monks and pilgrims, the whole beautiful and complex system of Japanese garden art gradually took shape.

However, in Japan there are also gardens without greenery, created from stone and sand. In their artistic design, they resemble abstract painting.

The three most famous gardens in Japan are traditionally considered Kenroku-en (Kanazawa), Koraku-en (Okayama) and Kairaku-en (Mito).

"Three Gardens of Japan" :

Kenroku-en

Koraku-en

Kairaku-en

monastery gardens :

Ryoan-ji garden

Tofukuji Garden

Saiho-ji garden

Daitoku-ji garden

When creating a landscape, Japanese masters, first of all, tried to reveal the originality of each thing.

Eight basic principles for the arrangement of the park, developed by Chinese architects:

1. Act depending on external conditions (availability of water, terrain);

2. Make the most of the surrounding nature (use what is behind the fence and around);

3. Separate the main from the secondary (what will be the main thing on the site - that should be highlighted);

4. Use contrasts (big and small, light and dark, high and low, wide and narrow and...);

5. Achieve more in small things;

6. Use the gradual disclosure of views;

7. Use the harmony of proportions;

8. Take into account the time of perception of the landscape.

Bibliography

1. http://ru.wikipedia.org/wiki/%D0%AF%D0%BF%D0%BE%D0%BD%D1%81%D0%BA%D0%B8%D0%B9_%D1%81 %D0%B0%D0%B4

2. Nikolaeva N. S. Japanese gardens. -- M.: Art spring, 2005.

3. ЃwЉv”g“b–(’l‰ЂЋ““TЃxЏ¬–mЊ’‹g Љv”gЏ‘“X ISBN 4000802070

4. ЃwђAЋЎ‚M’l Џ¬ђmЋЎ є‰q‚МђўЉEЃx“тЌи”Ћђі T “c”Ё‚Э‚I‚ЁЋB‰e ’WЊрЋР ISBN 4473011585

5. ЃwЊНЋRђ…Ѓx ЏdђXЋO-zh ‰НЊґЏ‘“X ISBN 4761101598

6. ЃwЊG‘g’l‰Ђ‚МЋv‘zЇђ_ђеђўЉE‚Ц‚М“ІњЫЃx‹аЋq-T”V T Љpђm‘IЏ‘ ЉpђmЏ‘“X ISBN 4047033391

7. Ѓw'l‰Ђ‚M'†ђўЋjЃx'«-?‹`ђ‚Ж“ЊЋRЋR'' -рЋj ¶‰”ѓ‰ѓCѓuѓ‰ѓЉЃ[”t“c”Н v ‹gђмЌO ¶ЉЩ ISBN 4- 642-05609-2

8. http://www.biolokus.ru/landshaft/styles.html

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Subject of research: landscape gardening art in Japan.

Japanese gardens are typological art, where the individual beginning, artistic originality do not play a significant role.

Knowledge about authentic Japanese gardens, oddly enough, is very scarce and, unfortunately, not systematized, they are clipped, fragmentary. Sometimes we have to make sure that our ideas about the subject are quite one-sided. From a closer acquaintance with Japanese gardens often keeps the exotic philosophical meanings contained in them. And, as a rule, the most difficult thing to perceive is the idea that not all Japanese gardens and not all of its elements are filled with symbols that are completely alien to Western perception.

Reflecting on the organization of urban space, the new environment for people, architects more and more often use the principles of the Japanese garden, the experience of creating not only a plastic, but emotionally significant ensemble that breaks the monotony of a typical building, enriching the impressions of a resident of a big city.

According to the type of artistic impact on a person, a garden was usually compared with a landscape in painting. And here and there there is no definite concreteness, but there is always a general constructive scheme: mountains are the "skeleton" of nature, water is its "blood". The very ratio of mountain-water (in Chinese, shan shui, that is, landscape) expresses the main and most general cosmogonic principle, the unity and opposition of two principles - yin-yang. The positive, light masculine principle yang was personified by a mountain or stone, and the negative, dark feminine principle was personified by water. The analogy of a picturesque landscape with a garden was complete, beyond doubt, based on the unity of the philosophical and aesthetic principles of the era. This is how the type of oriental garden itself arose, where the "protagonist" is nature as a powerful element, beautiful in its naturalness, in the unity and clash of its forces. But to convey the pulse of nature, its life rhythm is impossible by a random and therefore chaotic correlation of its individual details. The task of the garden artist, as well as the landscape painter, was to understand the inner meaning of the life of nature and express it in his work. Then you can comprehend nature, not only by seclusion in the mountains, but also by contemplating a picture or a garden.

The Japanese garden as a typological art for its perception and understanding requires at least some knowledge of its "alphabet", the meaning of those simplest elements that each artist operated on when building the composition of any garden and counting on its more or less accurate, but not necessarily unambiguous reading by the viewer. An unusual combination of the most careful and scrupulous choice of every detail with the idea of natural nature, complex Buddhist overtones with an appeal to feeling and open emotion, intuitive comprehension of the beauty of natural forms - all this requires some preparation, knowledge of the "code" that allows you to reveal the encrypted meaning of the Japanese garden.

The perception of the Japanese garden as a work of art requires, first of all, knowledge of its canonical structure.

The purpose of the study: the application of Japanese gardening art in practice in the field of landscape design.

Research objectives:

· To study the literature on the history of the origin of the Japanese garden.

· Consider the typology of the Japanese garden on the examples of four existing types of gardens.

· To study the application of Japanese gardens in landscape design.

The object of the study is the landscape art of Japan.

The subject of the study is the application of the typology of gardens in Japan.

Japanese authors point to the oldest book on gardening, "Senzai Hisyo" (or "Sakutei-ki"), dating back to the Heian era. The famous "Tsukiyama Sansui den" manual is attributed to the late 15th and early 16th century artist Soami. The most complete manual, including ancient treatises and still used in Japan, "Tsukiyama Teizo den" was compiled in 1735 by Kitamura Enhinsai.

References to the gardens of Japan in our literature are in "Japanese Notes" by Ilya Ehrenburg, "Japanese" by Nikolai Mikhailov (co-authored with Zinaida Kosenko), "The Rock Garden" by Daniil Granin and, of course, "Sakura Branch" by Vsevolod Ovchinnikov.

The last of these books about Japan was the book by Boris Agapov, on which he worked for a very long time and died on the eve of its publication.

The Buddhist monk Tessen Soki is famous for saying that in the rock garden lies "the art of cutting thirty thousand miles to a distance of one foot." And the monk Senzui said that he would never get tired of admiring the garden of Ryoanji and immediately forgot about the passage of time.

As Francois Berthier & Graham Parkes mention in Reading Zen in Stones: A Japanese Garden of Dry Landscape, one of the stones in the second group from the left has the name Kotaro engraved on it. In one of the texts of 1491, a certain Kotaro is mentioned, who lived at a Buddhist temple. It is known that in that year he collected moss for the Shokukuji monastery. It is probably his name that keeps the stone in Ryoanji.

At first, in Japan, parks were arranged according to a typical Chinese model - with man-made hills, pavilions and a characteristic landscape interpretation of the composition. But gradually, the main ideas of China were transformed into their own direction of landscape gardening art, with a whole system of canons. Their essence was vividly expressed by the architect Makoto-Nakamura: "The beauty of the Japanese garden is achieved through two main ideas: miniaturization and symbolism."

In 1772, the director of the Royal Botanic Gardens in Kew, William Chambers, "On Oriental Horticulture" was published. The colorful description of Chinese gardens that Chambers studied and the use of this type of planting in Kew Garden in London contributed to the spread of landscape parks.

In the course of the study, it is necessary to analyze the special literature on the origin and purpose of gardens in Japan, to consider historical references in which garden and park design is mentioned. Compare gardens of different types and identify their use today.

Park culture Japan. There are few places in the world where gardening art has reached such inspired subtlety as in Japan. Japanese landscaping art Ancient japan landscaping art

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