Japanese gardens, landscape architecture of Japan and Europe. Japanese gardening art Abstract Characteristic features of Japanese gardening art

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.

You came to my garden
Admire the cherry blossoms.
I'm glad.
When the flowers fall
I will be bored.
(Otikochi Mitsune)

Find the right solution to a problem or relax and reflect, Japanese prefer in garden, being sure that nature is an ideal to follow, that in it philosophy life, and a person needs only to understand it.

Here a carnation bloomed in my garden,
What my dear has planted
Saying to me:
"When autumn comes,
Admiring her, you remember me!
(Otomo Yakamochi)

The desire to get closer to nature led the Japanese many centuries ago to create gardens of a peculiar style.

That's right, someone near the waterfall
Breaks the threads of necklaces, -
White pearls are pouring all the time
Colored edges
Satin sleeves...
(Arivara Narihira)

The Japanese like to look at stones and water for a long time, which, in their opinion, have magical powers. Continuous contemplation and admiration of the beauties of nature allows you to forget about the hardships of everyday life, relax and come to peace of mind.

Right, nice
When you sit all day
At home with a book
Suddenly at the gate to hear
Close friends of the voice.
(Tachibana Akemi)

Japanese garden - this is a small corner of natural nature, consisting of five components: spiritual - ideas - and four material - stones, water, plants and architectural elements, denoting the connection of man with nature. At the core ideas creation Japanese garden the concepts of Eastern religion and philosophy , which is expressed in various compositional solutions. This is a garden of hills, ponds and islands, it is also a place for tea ceremonies, for walks, philosophical garden and others Japanese gardens with varying degrees of difficulty.

All japanese gardens unite are commontraits : lack of straight lines and symmetry (winding paths or a stream should not divide the garden into equal symmetrical parts); connection of static and dynamic parts; obligatory presence of stones, pebbles, mosses; low plants, taking into account their growth and flowering; the predominance of green, gray and brown plants; the intimacy of the garden, the closeness from the outside world with bamboo fences or gates, which means separation from the world of vanity and everyday problems.

Silence around.
The chestnut leaf plunges
into a clear stream.
(Shohaku)

For Japanese garden choose a secluded corner, hidden from the eyes of neighbors. It is a place of peace and meditation. It is desirable to separate it with a hedge, planting, for example, brilliant cotoneaster or sharp spirea.

In this world
Sorrows thick growth,
But in the bamboo thickets
The wanderer will find lodging for the night,
Seeing a loved one in a dream
(Fujiwara no Toshinari)

Everything in Japan is harmonious and flawless. Landscape art in Japan also strictly obeys these principles. The beginning of the formation of this art was laid at the time of the first development of Japanese culture. It was Shintoism, as a religion of harmony with nature, that became the traditional religion of the ancient Japanese, who were devoted to beauty, as a faithful servant to their master. It was the Shinto beliefs, which means “the way of the gods”, that significantly influenced the development and principles of gardening art.

In Shintoism, deities were identified with natural phenomena, which were considered the receptacles of their powers and beings. The ancient Japanese believed that the deity cannot be seen, but its manifestations are reflected in everything around. Contemplation of the beauty and rhythm of the surrounding nature will help to realize and come closer to the harmony of the divine world, penetrating the material world. “Mono-no-ke” is that unity, that harmony of the divine and visible world, which was the subject of worship in ancient Japan. The first incarnation of mono-no-ke was a stone, which, according to Shinto beliefs, was the receptacle of the divine spirit, so to speak, the shell of a deity. The veneration of the stone has become one of the most important stages in understanding the real reality. Places of worship were created in this way: the actual shell of the deity - a stone - was placed in a space covered with pebbles and fenced off with ropes. Thanks to this design, the object of worship turned out to be inseparable from the surrounding nature, and remained one with it. To this day, the composition of the Japanese garden retains the difference between stones symbolizing the male and female principles.

No matter how naive the original Shintoism seemed, it was thanks to it that two fundamental aesthetic ideas were formed: the conclusion of symbols in natural and spatial forms. Despite the fact that throughout its history, Japan often borrowed ideas from other peoples, these ideas took on completely different forms, and eventually became truly Japanese, filled with new meaning each time the dynasty changed.

The Buddhism of Japan, borrowed in the 6th century, also acquired completely different expressions and completely different philosophical principles than in India, where this faith was actually born, or in China, from where it was borrowed. Japanese Shintoism and Buddhism merged into one entity - rebushinto. The spirituality of nature in Shintoism and the person in Buddhism produced a new spirituality, defined by the fusion of Shinto and Buddhist deities. It was here that the inseparable perception of the surrounding world and human nature was born.

Japanese culture also included ideas about the nature of yin and yang - the male and female beginnings of being, active and passive principles, as well as the belief in the sustainability of change. The unity of yin and yang forms harmony. Over time, all these principles were embodied in the structure of the arrangement of items in the Japanese garden.

For the first time, the mention of the Japanese garden dates back to the VIII century. In the ancient capital of Japan, Nara, which in its structure was identical to the mandala - the Buddhist scheme of the universe, Japanese gardens were arranged in the likeness of Chinese ones. In ancient chronicles, there are references to the arrangement of gardens during the reign of Empress Suiko. The period from the 8th to the 9th centuries is characterized by multiple borrowings of the culture of China, which at that time was the center of oriental art. It was the Chinese standards that were perceived as a real cultural model.

Chinese gardens embodied people's ideas of paradise, where they could, enjoying the beauty of the surroundings, comprehend the truth. Bliss from the contemplation of the magnificence of nature was supposed to bring complete unity with the deity. At that time, there were no strict principles for arranging a garden. However, one principle was obligatory: the embodiment of the skeleton (whose symbol is stones) and blood (water), which symbolized the unity in the flesh of the light masculine principle (yang) and the dark feminine (yin). The composition of the garden had to embody the properties of nature itself - variability, fluidity, naturalness and unity in diversity and opposition. Each master created a Japanese garden in accordance with these laws, and at the same time expressed his understanding of nature.

At the time of the Nara, there was still no concept of the unity of an artificial and natural garden. The natural garden remained intact, and the space was organized by planning the movement of processions. In the next period of development of the Japanese Heian culture, the human introduction to the structure of the garden will correspond to the natural, and not contrast with it. The sophisticated Heian culture demanded an intense perception of beauty, which constituted a new perception of the world. This perception is contemplation. It was by the acuteness of experience that a person penetrated into the essence of being. Classical Japanese poetry took shape during the refined Heian era.

With the advent of the warlike era of Kamakura, the attitude towards the art of creating a garden also changed. Now it was not so much the sensuality and subtlety of the perception of nature that played a decisive role, but the power and rebelliousness of natural forces.

After the Ashikaga shoguns came to power, the opposite cultures of Heian and Kamakura became somewhat closer and transformed into a single one. During this period, Zen Buddhism flourished in Japan, which was not slow to be reflected in the art of creating a garden. Zen does not involve the opposition of nature and man, but their harmonious unity, the identification of the object and subject of contemplation. The main thing in Zen is simplicity and moderation, the comprehension of unity on the basis of intuitive perception, Zen thinking is irrational, it almost completely rejects the insight into the essence of things with the mind. And accordingly, it was these principles that were reflected in the culture of creating a Japanese garden of this period. The canon of creating a garden suggests a basis not on the aesthetic value of an object (stones, sand, water, plants), but on the symbol that it carries in the structure of the universe.

Ministry of Education and Science of the Russian Federation

"Volga State Engineering and Pedagogical University"

Coursework in the history of design, science and technology

LANDSCAPE ART OF JAPAN

Introduction

Chapter I. History of Japanese Gardens

Chapter II. Types of Japanese gardens. Their properties and applications

Chapter III. The meaning and application of the Japanese garden

Chapter IV. Modern Japanese garden

Conclusion

List of sources

Application

INTRODUCTION

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.

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.

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.

CHAPTER I. History of Japanese Gardens

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

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. 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).

Recent archaeological finds in the ancient capital of Nara have unearthed the remains of two eighth-century gardens associated with the Imperial Court: the To Garden with a pond and stream located within the imperial palace grounds, and the Kyuseki Garden with a stream found within the modern city. They may have been modeled after Korean or Chinese gardens, but the stone structures found in To Garden seem to have more in common with prehistoric Japanese stone monuments than with Chinese examples. Whatever their origin, both To and Kyuseki accurately foreshadow the development of later Japanese gardens.

The most important early treatise on gardens is Sakuteiki - Sakuteiki (Example of gardening). Written sometime in the eighth century by Tachibana no Toshitsuna, the illegitimate son of Fujiwara no Yorimichi, the treatise was completed in 1289. Tachibana no Toshitsuna was a minor official who served as head of the Construction Secretariat, and he may also have been a garden designer, including his own estate. The sakuteiki reflects the aesthetic sensibility of the large estates of the Heian period. It may well be based on earlier treatises on gardens, now lost. The Sakuteika text is not illustrated, and while its instructions are precise and understandable to the gardener, they are not just technical aspects of gardening. Some of his language is rather vague and even contradictory, but it is clear that many of the principles discussed in the manual appear in later garden designs.

Here are some of them:

The garden must match the topographic features of the site, including the natural flow of water.

Garden elements can model famous scenic spots, and the idea should reflect the poetry of the Heian era. This idea has found its way into many gardens known today, a good example of which is the Katsura garden, in which the Amanohashidate sandbar is copied.

Gardens should be consistent with what is recognized in the Chinese principles of feng shui, taking into account the symbolism, the choice of elements, and their auspicious placement.

Gardens should capture the spirit of nature as well as replicate its elements.

In artistic creativity, in works of art, each nation tells about itself and about what it has managed to learn and understand, unravel and feel. The Egyptian pyramid, like a frozen mathematical formula of ancient wisdom; a Greek statue of a beautiful young man as the embodiment of the harmony and beauty of man; the Russian icon is an expression of the complex and quivering life of the spirit - all these are revelations of centuries and peoples, unique and precious. Japanese gardens also belong to them - one of the characteristic creations of the national genius, which has become a wonderful page in the great Book of Art, which mankind has been writing throughout history and which every new generation is learning to read. Why is it that the appearance of a Japanese garden is so easily compared with the forms of modern architecture and is found today on all continents. The art of Japanese gardens is primarily a story about nature, its harmony, laws and order. But it also reveals the complex inner world of a person with a tense life of the spirit and the eternal search for truth. For a European brought up in the bosom of Western civilization, Japanese gardens open up new facets of people's attitudes to the environment and to themselves, their values and ideals. When we look at a painting or a statue, even if the name of their creator is unknown, there is no doubt that it was all made by the hand of a person, that this is the fruit of his imagination, inspiration and talent. And the artist of the Japanese garden constantly acts as if in collaboration with nature, not only using natural mosses and trees for his work, but sometimes seeing the task in making the garden seem like a part of the natural environment, organically merging with it. Here lies one of the main difficulties in the perception of this art for a person of a different era, a different culture, because it exists on the border of art and non-art, the creativity of the artist and the "creativity" of nature. Nevertheless, every garden, large and small, is the result of strenuous effort, great spiritual work and deep reflection. The Japanese art of gardens arose not just out of love for nature and admiration for its beauty, but a very special attitude towards it, a sense of belonging to it. Even in ancient times, the deification of mountains and trees, springs and waterfalls became the basis of religious beliefs, which later became known as Shintoism. Worship of nature has developed a special respect for it and close attention. Man felt himself a part of the great cosmos, where everything takes its place and fulfills a certain purpose. According to the beliefs of the ancient Japanese, which were preserved in the Middle Ages, the surrounding world was considered alive and sentient, and its creations were considered the highest value, becoming the ideal of beauty. Comprehension of the patterns of the life of nature, its rhythms, variability was the goal of human thinking, the meaning of existence. Therefore, in Japanese culture, the idea of conquering nature or even resisting it could not arise. On the contrary, the main thing was the search for harmony with the world as a condition for the inner harmony of man. In order to express understanding of the environment, to create an image of the universe, the garden artist used the materials of nature itself, but grouped and compared them in such a way as to convey the great and universal through the small and the individual. Stones, shrubs, a stream turned into grandiose mountains, mighty trees, seething streams, a dramatic picture of the struggle of the elements unfolded over an area of several square meters.

When we look at a painting or a statue, even if the name of their creator is unknown, there is no doubt that it was all made by the hand of a person, that this is the fruit of his imagination, inspiration and talent. And the artist of the Japanese garden constantly acts as if in collaboration with nature, not only using natural mosses and trees for his work, but sometimes seeing the task in making the garden seem like a part of the natural environment, organically merging with it. Here lies one of the main difficulties in the perception of this art for a person of a different era, a different culture, because it exists on the border of art and non-art, the creativity of the artist and the "creativity" of nature. Nevertheless, every garden, large and small, is the result of strenuous effort, great spiritual work and deep reflection. The Japanese art of gardens arose not just out of love for nature and admiration for its beauty, but a very special attitude towards it, a sense of belonging to it. Even in ancient times, the deification of mountains and trees, springs and waterfalls became the basis of religious beliefs, which later became known as Shintoism. Worship of nature has developed a special respect for it and close attention. Man felt himself a part of the great cosmos, where everything takes its place and fulfills a certain purpose. According to the beliefs of the ancient Japanese, which were preserved in the Middle Ages, the surrounding world was considered alive and sentient, and its creations were considered the highest value, becoming the ideal of beauty. Comprehension of the patterns of the life of nature, its rhythms, variability was the goal of human thinking, the meaning of existence. Therefore, in Japanese culture, the idea of conquering nature or even resisting it could not arise. On the contrary, the main thing was the search for harmony with the world as a condition for the inner harmony of man. In order to express understanding of the environment, to create an image of the universe, the garden artist used the materials of nature itself, but grouped and compared them in such a way as to convey the great and universal through the small and the individual. Stones, shrubs, a stream turned into grandiose mountains, mighty trees, seething streams, a dramatic picture of the struggle of the elements unfolded over an area of several square meters.

Tsubo Garden.

This is a purely urban phenomenon. It appeared in Japan in the early Middle Ages due to an increase in the density of the urban population and, accordingly, an increase in the density of buildings. The name itself speaks of its size, coming from the area unit, tsubo, equal to 3.3 square meters. m. Another translation of the word “tsubo” is a jug, a pot, that is, a kind of small container, which, in fact, is the tiny space allotted to this garden among the houses. The tsubo garden is a microcosm - a small universe created in the tight space between one's own and a neighboring house. Perhaps in this universe it will be possible to place only some semblance of a garden with a small number of plants, but the Japanese have created art that displays the cosmos even with the help of kakemono and ikebana in tokonoma on an area of no more than 2 square meters. m. This tiny garden also says a lot about the peculiar character of the Japanese. The inner garden is not just a light well, similar to the home garden of the Mediterranean coast, but it seems to be the embodiment of both the philosophy of life and the resourcefulness of the Japanese, who manage to live in unity with nature even in cramped city houses. In addition to outdoor tsubo, there are also "internal tsubo" located inside the house. Nowadays, such gardens are often used in interior design.

Rules for creating a tsubo garden.

Japanese tea ceremony garden

Zen culture created another wonderful variety of the Japanese garden, the tea ceremony garden. It was new not in form but in function. What was new in this garden was the presence of a special Tsukubai vessel for washing hands.

The garden leading to the entrance to the tea house is an important component in this ceremony, helping the participants to properly tune in to the upcoming action.

The aesthetics of the garden is entirely consistent with the ideals of the Tea Ceremony: simplicity, modesty, discreet charm, spiritual unity of all participants in the ceremony.

Gradually, the tea ceremony becomes an integral part of the culture of Japan - first in Buddhist monasteries as part of a ritual action, and then in the court environment as a sophisticated entertainment; then in the rest of society, in the form of gatherings over a cup of tea.

The tea ceremony garden is characterized by small size, its essential parts are:

Path leading to the Tea House;

Waiting bench where guests are waiting for an invitation to enter the Tea House;

Vessel for washing hands - Tsukubai;

Stone lantern - Oribe.

The path was covered with uneven stones, which forced any visitor, regardless of rank, to look at their feet. There were also specially leveled sections of the path, where visitors, stopping, could admire the garden.

The entrance to the tea house was very small, and everyone entering must certainly bend down, and those who have a sword leave it at the threshold. All this symbolized the equality of all the guests who entered the Tea House.

The style of tea gardens in Japan was finally formed in the 16th century, when the tea ceremony became an integral part of Japanese Zen Buddhist culture.

rock garden

The Chinese believed that there were islands of immortals in the East Sea, the main of which is called Horai.

In search of these islands, they also sailed to Japan. Associating the legends about these islands with the idea of a Buddhist paradise, people sought to create miniature islands in the gardens. At first, these were artificial islands among garden ponds, then dry gardens appeared, where the combed sand depicted sea waves, and the stones depicted the islands of the immortals. Later, stones began to be laid out in the form of sacred animals, most often in the form of a crane and a turtle, symbolizing longevity, as well as the heights of the soaring of the human spirit and the depth of knowledge. The stone could also symbolize Mount Sumeru, according to Buddhist ideas, the sacred mountain in the center of the world, and one of the mythological characters, and the Buddha himself. Thus, a dry garden for the uninitiated is a mystery garden. As a rule, it is perceived by a European only emotionally, aesthetically, but its deep meaning can be understood only by mastering the ancient language of symbols. But the emotional impact of the stone is very strong. No wonder the cult of stones existed all over the world, and in Japan, echoes of the animistic faith are still alive, deifying stones, rocks, and entire mountains of unusual size, shape or color. The magical properties of stones are believed in our time not only in the East. Japanese rivers are not deep and short, but many of them originate in the mountains and, having a turbulent current, drag stones from the slopes, bringing them to the mouth. These are not glacial rounded boulders, but stones that have broken off rocks, that is, stones with sharp edges. Searching between them for stones of a beautiful shape, in which something divine is hidden, revealing their beauty by arranging them was, as a rule, the occupation of Buddhist clergymen of the Middle Ages. They were called "monks negotiating with stones." The clergyman could, having processed the source material, whether it be stone or wood, extract a statue from it. It was even believed that large stones already hide them in themselves. If so, then we can talk about the worship of the Buddha, not yet out of the stone, a large stone, concealing a statue of Buddha. This stone was to take its rightful place thanks to the art of arranging stones. However, it is not easy to find stones that are beautiful in themselves, by nature, for such an arrangement, therefore, over time, the stones began to undergo a little additional processing, nevertheless striving to ensure that the arrangement looked as natural as possible. The creators of the rock gardens of those times left behind outstanding works. From these gardens one can judge the wonderful sense of form of the Zen monks of the Middle Ages. In this sense, garden compositions made of stones, unlike plantings, of course, are involved in eternity.

At present, the sacred aspect is not of decisive importance when creating a rock garden, although it is not completely discounted. All the more important are its aesthetic merits. It would not be a big exaggeration to call the attitude of the Japanese towards garden stones downright reverent. Suffice it to say that if plants are watered with water as needed, then true connoisseurs water the stones every day, watching how they come to life from the play of chiaroscuro on the edges, admiring the fresh shine of inclusions, changing their color during the day. However, it should be remembered that a rock garden does not only consist of stones, sand and gravel. It can include plants, paths, and water. As mentioned above, the name of the garden is given only by its "main character", but it does not have to be a one-man show. Over the centuries of existence of rock gardens, five principles have been developed that underlie their creation.

Tree garden.

In the feelings of the Japanese, who love the greenery of the trees, there may be a certain longing for life among the forests, which were their very first habitat. Amazed by the vital energy of vegetation, responding with his soul to the cycle of its rebirths, the Japanese loves not only miniatures of laconic landscapes, but also gardens of trees. The garden of trees grows together with its owner, responding to all states of his soul. This garden is perhaps the closest to natural landscapes and best of all allows you to relax from the bustle of the city. Japan is dominated by trees with dense, smooth, shiny foliage, among which there are many evergreen species. However, in gardens, mixed plantings of evergreen and deciduous trees are more often used, allowing you to watch the blossoming buds in spring, escape from the scorching heat in summer, follow the nuances of yellow and red tones in autumn, and admire the graphic beauty of bare branches in winter. The garden, in which the shrubs are cut, reveals the beauty of the formed volumes. The formation of volumes by cutting dense shrubs, such as boxwood, small-leaved varieties of rhododendrons, cotoneaster, privet, allows not only to abstract the natural appearance of distant mountains and forests, but also to emphasize the beauty of densely growing small leaves of these plants. A more difficult task is the formation of trees. This is a special art that requires special training. The formation of plants is carried out not only to give them a generalized, smoothed outline, inherent in distant species, but also to emphasize the specifics of the garden. For example, if the garden depicts a rocky sea coast, then a tilted pine tree with a trunk twisted by constantly blowing sea winds will look good in it. In addition, shaping and pruning allows you to slow down the growth of plants and control their size in accordance with the size of the garden itself. It is completely alien to the Japanese style of shaping plants to give them geometric or animal shapes that are unnatural for trees and bushes, so popular in regular Western gardens.

Basic rules for creating a tree garden.

CHAPTER II. Types of Japanese gardens. Their properties and applications

The Japanese garden today is as diverse as it was hundreds of years ago, but now this diversity is characterized not only by the difference in the types of gardens, but also by the degree of exposure to European influence. There are gardens untouched by this influence. These are old, famous gardens that have become a national treasure. They are groomed and cherished, sweeping away every extra leaf and removing every sprout that has appeared out of place. These are museum gardens. These include such large gardens as Shugaku-in, Katsura Palace Garden, Kinkakuji Garden. Traditional gardens have also been preserved at temples and in monastic complexes. These are either old, carefully restored gardens, such as Ryoanji, Ryugen-in, or new ones, but created according to ancient canons, for example, the Tagadai garden. A traditional garden can also be created by some rich lover of antiquity in his country villa, but it must be a very rich lover. Land in Japan is so expensive and so scarce that there is no concept of "dacha" or "homestead".

Tsubo garden.

1. Layout of buildings with a tsubo garden.

Since the tsubo garden is not something external to the house and must exactly match the style of the building, it is desirable to provide for it already at the level of the architectural design. Following the path of least resistance, you can lay the tobiishi, put a lantern and tsukubai, limiting yourself to this, but then the tsubo garden ceases to fulfill one of its main functions - introducing a piece of nature into the "stone jungle". In addition, the lantern and tsukubai may simply not be in harmony with the architectural design of the building.

The tsubo garden is located in close proximity to the dwelling and is easily visible through and through, so the dirt in it immediately catches the eye. In the absence of careful care, the garden immediately loses its appearance. For example, it is beautiful when the ground is strewn with white pebbles, but it quickly gets dirty and is difficult to clean. At the same time, if you leave the ground as it is, then, say, during heavy rain, the plants will get dirty with flying spray. Therefore, there is a need to cover the surface of the earth with a lawn, moss, in its partial paving. In addition, water is easily retained in a small, fenced tsubo garden on all sides. When wet, the garden dries out with difficulty, resulting in unfavorable conditions for the development of most plants. In such a garden, good drainage is absolutely essential, as well as a system for the rapid removal of rainwater.

Examples of decorating a tsubo garden.

Two tsubo in roji style

Both gardens are limited by the walls of houses only on two sides. The first garden is bigger, 7m x 5m. In the corner opposite the house, there is a canopy resembling a simple tea house. It can be made even more like a tea pavilion by covering it with some natural material such as shingles. In Japan, cypress bark is traditionally used for this. One relatively large tree is planted in the garden and, as an addition to it, several more trees and shrubs, trying to use as few species as possible. It is better if the shrubs are flowering, but not too colorful. It should be borne in mind that if an overly luxurious tree is planted in such a small garden or original stones are collected that divert all attention to themselves, the garden itself does not become more beautiful from this. (Fig. 1) The second garden resembles a path in roji leading to the tsukubai. It is quite small and consists only of a row of landings, a path of oblong slabs and a tsukubai. If possible, it is better to enclose both gardens with a wattle fence or other simple fence about a person's height, although in urban conditions this is very difficult. As a rule, in the city, fences have to be made of artificial materials.

Tsubo water garden.

A tsubo garden can also be a water surface. Such a garden is the most complex in technical terms, but it gives the rooms the greatest amount of light, since it is also reflected from the water surface. In a water tsubo, you can arrange a small island by planting flowers on it and laying tobiishi to care for them.

Tea garden.

The ways in which a garden is laid out can be divided into four very different categories: a natural landscape that imitates nature, a landscape that is secluded, a dry landscape that allows you to feel water where there is none, and a flat garden - a hiraniva garden. Any category is good for a tea garden, as long as the main thing in it is wabi. The word roji, which in Japanese is called a tea garden, contains the character for “road”, since the garden was originally given the meaning of the road leading to the tea pavilion. At the same time, the roji should consist of two gardens with landscapes of different nature, called the “inner roji”, located in front of the pavilion, and the “outer roji”, broken in front of the gate leading to the inner roji. If one part of the garden is, say, a dense grove, then it is desirable that the other part spread out like a field, displaying the beauty of rural nature. True, modern tea gardens are rarely divided into indoor and outdoor, except when the tea garden is arranged in one of the areas of a large park. The gate, located on the border between the inner and outer roji, is a traditional element of the tea garden, as is the lantern, and tsukubai (“squatting”), a stone vessel for ritual washing, mati-ai - a bench on which guests are waiting for the owner to arrange tea ceremony. These elements help to immerse yourself in tea samadhi. In addition, passing by them, people involuntarily admire the garden landscape.

In fact, chanoyu begins from the moment you enter roji, so when making it, you should pay the closest attention to creating an atmosphere of naturalness in it, which is a necessary sign of wabi. In one way or another, it is necessary to make sure that with a rather large actual expenditure of labor, artificiality is not felt. The main thing is what is generally characteristic of the tanoyu - abstinence from luxury, reverence for peace and quiet, and by no means magnificent splendor and competition in originality. It is also extremely important that the roji separates the tea pavilion from the usual living space, becoming "a road outside the mortal world." The entrance to the pavilion is arranged separately from the living rooms, and the guest, passing through the roji, appreciating its charm, shakes off the dust of the world, calms his heart, and plunges into a state of tana. Apparently, this peace is the essence of tea drinking.

At present, due to the tightness of land and the high cost of such an enterprise, it has become increasingly difficult to arrange traditional roji with the obligatory tea pavilion and bench. Nevertheless, when creating it, one should not neglect the old techniques and iconic elements of the garden, such as lanterns, tsukubai, tobiishi, which are specially laid unevenly to make the passage of a tight garden space unhurried.

Elements of a traditional tea garden.

If roji is not divided into inner and outer, then matiai is a place where guests who enter the garden from hakamatsuke await the invitation of the owner. If the roji is divided, then there are two matiai - an outer bench and an inner one, where guests are waiting for the start of the tea ceremony. Matiai is not just a bench, but a small three-wall structure with a canopy, where round mats, a tray with smoking accessories, etc. lie, and sometimes a hanger is also made. Matiai settles down at some distance from the hakamatsuke, and the toilet can either be adjacent to it or stand separately. If the area is small, it is better to use the toilet of the main house.

Since ancient times, water has been important for the tea ceremony, so a well was dug in the roji. The importance of water can be judged from the fact that often the pavilion was built after searching for a place where high quality water could be obtained. The “log house” of the well was laid out from flat stones, and a tobiishi path was led to it. Stones were placed nearby for scooping water and for a tub. The well was covered with a lid woven from bamboo with the help of palm ropes. Nowadays, of course, it is more convenient to take water from the water supply, but it is better, if possible, to make a well and take water from it.

Inner gate, nakakuguri.

The inner gate is located on the border between the outer and inner roji, and the host greets guests by standing on their inner side. These gates are made double or lifting, such as blinds. Between two roji, a nakakuguri can also be installed - a barrier in the form of a wall with a small opening, in front of and behind which a “guest stone” and a “climbing stone” are placed. This peculiar gate, as well as nijiriguchi - a low entrance to the tea pavilion, through which you can climb only by bending over, were made specifically to equalize guests of different classes, because both a commoner and a prince had to bow before such passages. The guest gets through the nakakuguri to the inner roji, rinses the hands and mouth of the tsukubai, and through the nijiriguchi enters the tea room, but in the case of a large distance between the entrance to the roji and the pavilion, both the inner gate and the nakakuguri are located at this gap. It is assumed that then the guest will be able to keep up to nijiriguchi the mood for the tea room, which he received while climbing into the nakakuguri. It can also be said that due to the presence of such functionally similar elements as nakakuguri and nijiriguchi, the relationship between the roji space and the tea pavilion is comprehended. The design of the gate and the shape of the nakakuguri can be different and is selected in accordance with the appearance of the garden.

The main function of the lantern is lighting, but its other function, which is to complement the roji landscape, is of no small importance. Moreover, with the advent of electric lighting, the lantern usually serves purely decorative purposes.

The old manuals recommend installing lanterns in any two places located at the nakakuguri, the bench, the nijiriguchi, the tsukubai, or the sword stand, which may also be found in the tea garden. But such a place can be one or three - depending on the type of roji. However, it is highly desirable to put it next to the tsukubai, if not for practical, then for aesthetic reasons. This is a key part of the garden that is hard to miss.

As for the material, almost all lanterns are made of stone, although depending on the landscape, they can be either wooden or metal, placed on a stone plinth or wooden frame.

There are also quite a few forms of lanterns, and they are selected in accordance with the purpose, the place of installation, so that the lantern fits organically into the landscape and looks natural in it.

It separates the inner garden from the outer garden or the main garden from the roji and, in addition, it has an important decorative function. There are many types of fences and many ways to make them. Bamboo fences are most often used, and the first among them is lattice. It is most suitable for places where the charm of simplicity needs to be brought out, such as the border between two roji. The height of such a fence is approximately 120 cm.

Types of trees for each case are selected separately, but the main thing is to avoid an unnatural choice when, say, a tree that lives in the depths of the mountains is planted next to water. In addition, care should be taken that the trees do not obscure each other and do not line up. There is also a rule that it is undesirable to plant flowering trees, such as plum, cherry, etc., so that the roji is not too bright. One way or another, it is important to cherish naturalness and do everything in accordance with the spirit of wabi-sabi.

Rock garden.

Basic principles of using stones.

1. Stones are an object of worship. Stones have always been associated with people's lives, regardless of part of the world, but ideas about them in different parts of the world did not always coincide. In many Western countries, stone was used in large quantities for building work, but in Japan, stone was rarely used for this purpose. He played a special role in cult practice, where he spiritualized, became the object of faith and aesthetic enjoyment of natural beauty, not changing at a kaleidoscopic speed. The object of worship could be not just stones, whole rocks, which were completely hung with shimenawa - ritual straw ropes with strips of paper woven into them. Such huge stones were considered the dwelling place of the deity, and not just minerals. An echo of the cult significance of the stones has been preserved in the arrangements of dry landscapes of later times. For example, you can install stones in the garden in such ways as "Mount Horai", "Mount Xumi" (Mount Sumeru), "Three Jewels" (Buddha, Dharma, Sangha). When placing "Mount Horai" in the middle of the reservoir, one large stone is placed, symbolizing this mountain. Mount Xumi is depicted as an arrangement of a group of severe-looking stones in the center of a reservoir or on an artificial hill. "Three Jewels" is also a constellation based on Buddhist ideas. There are also performances based on folk beliefs and mythological stories, such as "Crane Island" and "Turtle Island". All these constellations continue to exist in our time. On their basis, more and more types of islands are being created, and they prefer to form the “Crane Island” by planting a tree on it, which extremely enlivens the view. (fig.2)

2. The choice of stones.

First of all, attention is drawn to the form. Stones are best used in groups, then even if there is a defect in the form of one of them, in general, harmony arises. However, for landscape stones that are admired individually, choosing the right shape is extremely important. When choosing a stone, it is also necessary to take into account the nature of the place where this stone will be installed.

The natural character of the stone.

Stones that have been exposed to wind and rain for a long time, washed out by currents or waves, are better suited for the garden than stones with fresh chips that reveal their structure. The part of the stone that protrudes from the ground and is exposed to climatic influences is oxidized, small inclusions are dissolved, the stone is erased. Sharp corners disappear, and then he expresses peace. Usually they like mossy stones and, in general, stones that have an old look.

3. Balance in the arrangement of stones.

The place and method of setting stones varies depending on the purpose pursued when laying out a garden, so it cannot be said that what is good in one place will surely work in another. But in any case, to maintain dynamics and balance, frontal compositions should be avoided. This also applies to waterfall stones and those placed near the tsukubai. At reservoirs and streams, stones are often set at key points. In the case of modeling mountains and islands with stones, the important point is usually a balanced distribution of stones, carried out in the absence of horizontal symmetry.

4. The number of stones to be placed.

The general basis for the arrangement of stones is the use of their odd number, i.e. three, five and seven, although two stones can also be composed. In Japan, odd numbers are loved because the number 753 is considered lucky. In principle, there can be as many stones as you like, but, as a rule, they are made up of groups of two or three pieces, or just one stone is taken. For example, the arrangement of five stones may consist of groups of 2-2-1 or 3-2, of seven stones - 3-2-2 or 2-3-2. In this case, the arrangement should not have horizontal symmetry.

It is bad to install nearby stones of the same height. Stones of the same shape and volume are not placed side by side. Mountain, river and sea stones are not used together. Stones are not made up of different colors. Kisei (strength of spirit, spirit) of stones should not work in different directions. Inclusions cannot be ignored.

Avoid placing stones on the same line parallel to the building.

The stones are not placed in the same vertical line. (Fig. 3) When creating compositions from stones, it is necessary to use the main compositional technique, which is always used when planning a Japanese garden. It lies in the fact that any compositionally related garden objects should form an imaginary scalene triangle. It is largely due to this technique that a Japanese garden, even the most abstract, evokes a feeling of some kind of hidden internal energy, restrained dynamics. For a rock garden, the simplest case of such a composition is a group of three stones, the tops of which, connected to each other, form a triangle. In more complex cases, one or more vertices may contain groups of stones connected by their internal triangles. In the case of a group of two elements, one of the vertices remains empty, but this emptiness must be played up so that the third element is somehow implied there, maintaining the balance of the composition.

Among garden stones there are horizontal, flat, vertical, inclined, stepped. There are angular and rounded stones. When placing, they are grouped in a certain way, but the methods of setting each individual stone are, in principle, the same, only round stones and stones in the form of a dice are not used in the arrangements.

When installing a stone, first of all, it is necessary that there is a feeling of stability. Stones that look tossed or tipped over are not good. Stones buried in the ground are extremely stable. It is considered a good method in which the stone is buried half or two-thirds, but this requires a special mood, therefore, as a rule, the buried part is insignificant. If the basic installation rules are followed correctly, the stone looks stable. When roots are stretching in the ground and there is a danger of their breakage, it is more important to think not about the stability of the stone, which disappears due to poor contact with the ground, but rather about making the stone smaller and lighter. It is better that the underground part of the stone has a shape that allows these roots to be preserved. Even if the stone is especially valuable, and you want it to look big and tall, there is still an unpleasant sensation at the thought of damaged roots. Stones found standing upright in natural settings are usually set upright in gardens as well. There is also an inclined setting, but even with it, the stone should not seem to be falling. To express force and movement, as a rule, a stepped arrangement is used. In the event of a break in the roots or a defect in the stone, it is better to plant grass or shrubs, hiding these shortcomings. The most difficult thing is to correctly install the main stone, while the rest, as it were, obey its will, making up a harmonious composition with it. The main stone, which, as a rule, is also the largest, is usually placed in the background so that it does not act overwhelmingly on the viewer and does not divert all attention to itself. True, there are cases when reverse perspective is used to increase the depth of the garden, placing large objects in the foreground, but this method must be used with great care.

Sand patterns.

It is possible that the beginning of the creation of drawings, called "sand patterns" or "broom trail", was the beautiful view of the yard after it was cleaned. Perhaps the messy sweeping marks were given the appearance of a pattern to make them look decent. Since ancient times, the attendants of Shinto shrines have evoked a sense of cleanliness by sprinkling areas with white gravel or fine gravel. They did the same in the Heian era, sprinkling white gravel on the wide courtyard in front of the sanctuary and the bottom of the reservoir. However, white gravel is not always good, in sunny areas it tires the eyes, but in the northern areas, in shady gardens, etc. white sand or gravel creates a sense of light. If you want a sense of calm to emanate from the site, it is better to use brown or other dark tones. This technique is used in dry gardens at the present time, and when creating patterns, of course, they are attracted, first of all, by images associated with water, such as sea waves and river flows. A pattern of straight lines usually symbolizes stagnant water, wavy ones - flowing, and concentric circles - waves beating on the shore of the island.

1 - checkered pattern; 2 - a pattern of curved lines; 3 - a pattern in the form of sea waves; 4 - spiral pattern; 5 - braided pattern; 6 - floral pattern; 7 - a pattern of curved lines (2); 8 - a pattern in the form of a pavement; 9 - a pattern of straight lines; 10 - spiral pattern (2); 11 - a pattern in the form of intertwining waves. (fig.4)

The pattern is applied using special heavy rakes, the shape of the teeth of which can be changed depending on the pattern being created. The pattern is chosen not only on the basis of personal preferences. It is necessary that it be in harmony with the rest of the elements of the garden and, if necessary, carry a functional load. For example, lines that are horizontal with respect to the viewpoint lead the eye into depth and contribute to the visual expansion of space.

Paved paths.

Processed natural stones, bricks, various concrete products, etc. are used as material for paving the paths, but in any case, there must be a decorative pattern formed by stones. In the case of stones of irregular shape, the width of the seams between them is not the same. If rounded stones are used where three stones meet, triangular gaps may form. When the gaps are too large, there is a feeling of a gap, and if you fill these gaps with small stones at random, the view will be very unsightly.

With any form of stones, irregular or symmetrical, four seams converging at one point are undesirable in Japanese-style gardens. Laying should be done in such a way that quadrangles do not form during the preparation of stones. In this case, the long axis of each stone should be perpendicular to the direction of the path. The width of the seam varies depending on the size of the material and the finish, but it is bad both when it is too narrow and when it is too wide. For example, a width of about 10 mm is suitable for bricks. In the case of large stones, the gaps are made wide, and it is possible, by filling them with earth, to plant grass and flowers there. In addition, the impression created by the track also depends on the depth of the seam. If the material is thick, it is better to make a deep seam. For thin stones laid with mortar, it must be sufficient to fill with mortar. Despite the beauty of the paths made of natural stones, they are uneven and difficult to walk on. The paths, made up of flat processed stones, are both classic and modern, so they are successfully used in our time. (Fig. 5)

In Japanese gardens, there is a kind of paths laid in a special way from individual stones. These stones are called tobiishi - "flying stones". Obviously, they are so named because they can rise quite strongly, up to 8 cm, above the surface of the earth. Unlike paved paths, whose primary purpose is to provide ease of movement, tobiishi paths are much more aesthetically pleasing. Moreover, they are often deliberately made uncomfortable for fast walking. Therefore, most often paths of this type are created in tea gardens with their unhurried, calm, meditative atmosphere. The great master of the tea ceremony, Sen no Rikyu, who actually determined its ritual, believed that the tobiishi path should only be 60% practical, and 40% aesthetic. Another master, Furuta Oribe, believed that the aesthetic load should be the main one. The visitor walks along the tobiishi, carefully looking under his feet, until he reaches a larger observation stone. Having reached it, the visitor stops, raises his head and freezes, fascinated by a wonderful view or a special detail of the garden, which the owner wanted to draw his attention to. If the garden is large enough and the path forks, then the owner can control the visitor's movement with the help of sekimori ishi ("guardian stone"). This is a small pebble, 8-10 cm in diameter, beautifully tied with a black rope and closing the passage along the path, at the beginning of which lies. All this serves to deliver the greatest aesthetic pleasure to the visitor and set him up for a tea ceremony. Due to their aesthetic qualities, tobiishi have come to be used not only in tea gardens. In gardens not designed for walking, such paths can be purely decorative or serve as a gardener to care for plants. Where tobiishi are intended primarily for walking, however, they can be processed to give them a more comfortable shape, since it is quite difficult to find many natural stones that are comfortable for walking. Artificial tinted stones can also be used. It is better if with the help of toning the impression of an old stone is created. The dimensions of the tobiishi are determined by the convenience of walking and are usually 40 - 60 cm. The observation stones are somewhat larger.

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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

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 ... ".

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

Stone lantern among plants

Bridge leading to the island

Tea house or pavilion

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.

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 ... "

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.

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

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Japanese gardens, landscape architecture of Japan and Europe. Japanese gardening art Abstract Characteristic features of Japanese gardening art

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