These
other gardens being admired are not Zen gardens but possibly dry landscape
gardens or courtyard gardens designed to give a relaxing, calm and comforting
feel to the often tiny but intricate spaces around the ryokan. They have a few
serene plants, often carefully pruned and shaped, pillows of mosses and maybe
water, and the composition of rocks, pebbles and gravel is considered and
ordered.
The
whole surroundings of these inns are intensely soothing. As soon as you enter
you feel you have arrived in a different, highly restful world. You can glimpse
different views of parts of various mini green gardens from inside to captivate
you further. The contrast is heightened when you compare the soothing, cool inn
with the jostling, hot streets just a few steps away. Many of these gardens are
just a few square metres in size.
When
the Japanese design a dry landscape garden they will usually start with the
stones and rocks. Today these cannot be simply purloined from the wild, and
they are usually recycled or reclaimed from elsewhere. The shape, size and
colour of these raw materials will dictate the way the garden develops, and
they will be arranged according to the fundamental concept of Japanese gardens
to create the feeling of a landscape. The rocks may symbolise land or an
island, other carefully selected stones may be positioned skilfully to
represent a waterfall, and smoothly raked gravel designed to represent the sea,
broad river or lake surrounding it.
The
plants are then chosen to accompany the hard landscape; for instance irises may
be planted on the “banks” of the water. The growing material comes in as a
secondary stage.
In
Yoko’s parents’ garden a stone represents Mount Fuji; there is also a tree that
is carefully pruned twice a year. This is a specialised job for professionals
and is expensive. Many trees are regularly shaped (there are different styles
of pruning, with Japanese names) not just to maintain them to the confines of
these often restricted spaces but to bring out the beauty of the tree, and to
show off its trunk and branch structure. If you cannot afford this high
maintenance, you leave out the tree. Yoko now lives in Cardiff with her British
husband; she prefers the trees pruned, he likes them natural.
Three
common elements that we Britons put into our “Japanese” gardens are tea-houses,
red lacquered bridges and stepping stones. Often our tea-houses are too high
and narrow. Proportions are cultural, though: the authentic tea-houses are
raised off the ground, so you view the garden from your knees while you drink
your tea. They are broad and lower than the proportions we use. Our buildings
are often used as focal points, whereas in Japan you come across them,
carefully placed in partial view initially, discreet and then slowly revealed.
Our red bridges pop up in quite small plots here. In Japan they will only
feature in quite large gardens – such as “stroll” gardens, which started as
aristocratic gardens in the 18th and 19th centuries – where they may be used to
cross a ravine. These gardens are designed to be walked around, enabling you to
admire a series of framed views, and you can stand back and glimpse the bridge
from various cleverly sited points. In a smaller space, a simple, large flat
stone would be used to get over water, real or imaginary, wet or dry.
Stepping
stones always lead somewhere in Japanese gardens. Yoko remembers visiting a
“Japanese” garden in Liverpool and the stepping stones ended up at a herbaceous
border; she was puzzled. “Are we meant to walk through this?” she wondered.
The
planting in traditional Japanese gardens is much calmer than we are used to and
the palette is more restricted. Camellias, azaleas, Prunus mume (Japanese
apricot) with its intense pink or white blossoms around February or March,
cydonias and cherries are popular, but on the whole there is less colour and
more foliage, giving that restful, verdant feel.
Japanese
gardens favour blank space, with carefully raked gravel or sheets of moss and
occasional plants. Part of this is that it is thought to make the garden look
more spacious. When you are working with a plot just three metres by five
metres or smaller, which is the size of many courtyard or dry gravel gardens,
this is important.
There
are many situations here, such as roof gardens, tiny low-maintenance spaces and
basement gardens, where features of a Japanese garden would work brilliantly.
So how to approach the design? Yoko recommends adding Japanese elements. Many
Japanese people now love roses and other plants that give colour, herbaceous
plants especially. Yoko has added peonies to hers, but she has used them in a
more Japanese way by positioning them near her shed, so she cannot see them
from her kitchen but “discovers” them when she pops down the path to her garden
building. The winding path, too, with its curvy route rather than going
directly from A to B, is more Japanese. And does it have lots of empty space to
make it look larger? “Oh no. I am quite undisciplined – I just like to cram
lots in!” she says.
Modern
gardens are changing in Japan, too. Previously, gardens were often designed to
be viewed (or walked through on certain routes) and not physically used. But
now they are starting to eat, sleep and entertain in their gardens as we do.
It
seems that quite a lot of British influence has rubbed off on Yoko, too. “The
point of a garden is to have it so you enjoy it and it makes you happy,” she
says.
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