The art of Japanese dry gardens, known as karesansui, transcends mere landscaping; it embodies a profound narrative deeply rooted in Japanese culture and aesthetics. Japanese dry gardens serve as serene spaces for meditation and reflection, embodying Zen Buddhist principles of simplicity and harmonizing with nature. Through meticulously arranged elements and profound symbolism, Japanese dry gardens offer all visitors a timeless experience of cultural significance. Spanning four decades, from the Sand and Stone Garden in Portland, Oregon, to the Dry Rock Garden in Lethbridge, Alberta, Canada, each garden embodies a unique Western interpretation of Japanese aesthetic principles. Through exploration of Japanese dry gardens, a profound realization emerged to me: while echoes of Japanese aesthetics resonate in Western interpretations of dry gardens, aesthetic and narrative distinctions cause them to deviate from their Japanese counterparts, making them decidedly Western. From the prominence of storytelling to the religious affiliations, the dynamic interplay between tradition and adaptation shapes the landscape of Japanese dry gardens in the West.
In order to understand the depth of Japanese dry gardens and their connection to Asian art, we must first understand what a Japanese dry garden is. This unique Japanese gardening style crafts a miniature stylized landscape by thoughtfully arranging rocks, moss, pruned trees, and bushes into a landscape that merges aesthetic beauty and narration. Gravel or sand in these gardens is meticulously raked to elicit the appearance of water ripples. The miniature elements that are included in these gardens, such as the careful arrangement of stones, can symbolize the natural occurring beauty of the world, such as mountains, water features, and islands. Moss commonly serves as ground cover, mimicking an area of land covered by a forest in most of these gardens. Japanese gardens in general prioritize beauty through asymmetry and contrast, hence elements like stones are often arranged in odd numbers to replicate the naturalistic yet idiosyncratic harmony of nature. Even-numbered arrangements, by contrast, are avoided as they can imply perfection or artificiality, traits that are frowned upon in Buddhism.
When initially researching these gardens I came up with a question that encompasses my abundant curiosity in these meticulously crafted feats of botanical engineering: “how can Japanese dry gardens tell stories through their arrangement?” Over the course of the semester, this question evolved, transforming into: “what are Japanese dry gardens like in the West? And, more importantly, how does this affect their ability to tell a story?” To answer the questions for both myself and my classmates, I had to understand how these gardens connected to Asian art. There are three main ways that they are intertwined, symbolism and metaphor, Zen Buddhism influence, and minimalistic simplicity. In the category of symbolism and metaphor, the elements within Japanese dry gardens are rigorously selected and arranged to communicate symbols and tell transcendent stories. For example, mere rocks can become mountains, raked gravel might represent the tranquility of flowing water, and simple moss could represent islands. Every element is systematically chosen to stand in for a part of nature. The cohesive arrangement of these elements frequently narrates a story or philosophical concept, harmonizing with the symbolic nature that permeates through many Asian artistic traditions. The roots of Japanese dry gardens are deeply intertwined with Zen Buddhism, which is quite prominent in Japan. Central to Zen philosophy are notions of simplicity, mindfulness, and the appreciation of truly living in the present moment. The layout of these dry gardens mirrors these guiding principles, featuring minimalistic and tranquil landscapes that promote reflective contemplation. Lastly, Asian art frequently places a high value on simplicity and minimalism. Japanese gardens encapsulate these minimalist ideals through the strategic use of a few key elements like rocks, gravel, and moss. Simplicity and minimalism resonate deeply with the Japanese philosophy of wabi-sabi, an exquisite embrace of impermanence, in art and life. Wabi-sabi invites us to cherish the fleeting essence of existence and find joy in the beauty born from this transience. Japan’s reverence for wabi-sabi gives rise to an aesthetic that treasures austerity and the allure of imperfection.
To gain a comprehensive understanding of the evolution of Japanese dry gardens in Western settings, it is crucial to explore a timeline. There is a forty-year span between the most recent dry garden that I studied and the oldest one I researched in the West. This emergence of Japanese dry gardens in the West is only ten years shorter than the span of Japanese dry gardens that I studied in Japan. Dry gardens materializing in the West were closer chronologically in relation to each other than their purely Japanese counterparts. I would have expected the span to be smaller, as these gardens are clearly not as popular in the West, demonstrated by their lack of widespread prevalence. It is important to note that a majority of Japanese immigration to America happened between 1886 and 1911, so it is not surprising that we did not see any gardens before this time period. My surprise with the time span in Japan has to do with the association of Japanese dry gardens with many older temples.
Focusing specifically in the West, the timeline of these gardens begins in 1961, originating with the Sand and Stone Garden located at the Portland Japanese Garden in Portland, Oregon, USA. Soon to follow, in 1967, the Dry Rock Garden at Nikka Yuko Japanese Garden was created, located in Lethbridge, Alberta, Canada. 1988 was a monumental year for the emergence of dry gardens in the West, as The Japanese Garden at Montreal Botanic Gardens located in Montreal, Québec, Canada was designed, along with the opening of Tenshin-en, which is located in Boston, Massachusetts, USA. Most recently, in 2001, Roji-en at the Morikami Japanese Gardens, located in Palm Beach County, Florida was designed.
Transitioning into a discussion on the specific gardens themselves, I would like to start with the Morikami Japanese Gardens, specifically their Roji-en garden, designed by Hoichi Kurisu.
(Morikami Rock Garden, Daniel Di Palma, 14 May 2017, Japanese/American, Florida, USA, Photograph, Rock Garden at the Morikami Japanese Museum and Gardens. https://en.m.wikipedia.org/wiki/File:Morikami_Rock_Garden.jpg).
The Roji-en Japanese gardens harmoniously intertwine with the museum’s ambiance to showcase six distinct garden styles inspired by Japan’s rich historical heritage. Their rock garden is devoid of lush vegetation, challenging conventional Western garden paradigms. At Morikami, a similar dedication to overt simplicity and essence pervades, epitomizing nature’s essential qualities in a compact yet still evocative space. What is intriguing to observe about this specific garden is that it does not hold any religious significance or affiliation, as there does not seem to be a background or story behind the arrangement of the stones and gravel. The stones and gravel are traditionally crafted and taken care of, but the Morikami garden differentiates itself from gardens in Japan, in that it provides stones and gravel with seemingly no narrative significance. The Morikami Museum acknowledges that there is no individual, objective way to interpret the garden’s stylistic choices. Understanding this message as a founding principle considered in the arrangement of the garden, designer Hoichi Kurisu was inspired by, but did not overtly replicate qualities found among many significant gardens in Japan. Kurisu aimed to create a wholly unique garden, one rooted, conceived, and constructed in the spirit of the gardens made by the masters. However, his goal was still to bring a breath of fresh air into an art form steeped in Japanese tradition. In a letter from the Master Garden Designer that is available on the Morikami Museum website, he states “I will have accomplished my goal if visitors to the gardens come away refreshed and feeling better about themselves and their world while looking forward to sharing their experiences here with others.” This implies that this garden’s main use is a space for reflection, individualistic interpretation, and connection with others in a beautiful botanical setting.
The dry garden at the Japanese Garden at Montreal Botanic Gardens, designed by Ken Nakajima comprises eleven stones and granitic sand sourced from the Shirakawa River in Kyoto Prefecture.
(Zen Garden, Michel Tremblay, date unknown, Japanese/Canadian, Montreal, Canada, Photograph, Jardin Botanique de Montréal, https://espacepourlavie.ca/en/file/9276)
Inspired by Japan and its archipelago, this dry garden’s sand serves as a representation of water, with the stones embodying mountainous islands. The intricate patterns in the sand may depict waves or ocean currents. The freedom of this raking often reflects the idiomatic imagination of whoever the garden’s caretaker is when the garden is raked. This dry garden, unlike the Roji-en Japanese garden, does set out to deliberately tell a story.The arrangement of the rocks represent the geography of Japan. It is interesting to see how this garden is quite traditional when compared to other Western dry gardens. The stones represent landscapes and mountains, as often seen in classical Japanese dry gardens. The sand represents water, another aspect found in classical gardens. Strengthening its connection to tradition, this garden furthers its Japanese roots, as it uses stones and sand that originate in Japan, solidifying the Montreal Botanic Gardens’ link with Japan and its rich culture.
Tenshin-en, which was designed by Kinsaku Nakane, and is located at the Museum of Fine Arts in Boston, Massachusetts boasts a plentiful array of more than seventy plant species, contributing an aesthetically diverse set of colors, textures, sizes, and shapes to the scenery.
(Tenshin-en, creator unknown, photograph, date unknown, Japanese, Boston, Massachusetts, https://www.mfa.org/collections/featured-galleries/japanese-garden-tenshin-en)
Most notably, cherry blossoms, Japanese maples, and pines are used as symbols representing the ever-changing seasons. Tenshin-en is centered around a collection of over two-hundred stones, featuring a dry waterfall. A defining monument in the garden is the set of towering stones, symbolizing Mount Sumeru, and two Isles of the Immortals: the Tortoise Island and the Crane Island. There is significantly more storytelling related to Japan in this dry garden, as opposed to the examples of dry gardens discussed earlier. This was the karesansui garden that inspired me to change my research question to focus more on Japanese dry gardens in the West, because when I initially presented my project to my peers, they were curious about Western gardens (specifically this example).
The Portland Japanese Garden was designed in the 1960s by Takuma Tono at a time when Zen Buddhism held little familiarity in the United States.
(Sand and Stone Garden- Portland Japanese Garden- Portland, Oregon, Daderot (via Wikipedia), 1 November 2017, Japanese/American, Photograph, Portland Japanese Garden- Portland, Oregon, USA
Inspired by the ancient Indian tale found in the Jataka Sutra, depicting a previous incarnation of Buddha, the designer drew inspiration from a painted panel housed in the Horyu-ji in Nara, as well as other Buddhist relics. The narrative of this garden portrays Buddha’s dilemma of rescuing a famished tigress and her offspring trapped in a ravine, illustrating a profound lesson in compassion and self-sacrifice along the path to enlightenment. This garden takes Japanese stories and weaves cultural narratives throughout the entirety of the space, placing heavy emphasis on tradition. Its connection to a specific narrative makes it stand alone, becoming all the more compelling to visit because of its authenticity to the meaning of karesansui gardens and the importance of storytelling found within them.
Lastly, the Dry Rock Garden at Nikka Yuko Japanese Garden designed by Dr. Tadashi Kubo drew inspiration from the renowned Zen Buddhist temple, Ryoanji, located in Kyoto, Japan.
(Our Trip to Nikka Yuko Japanese Garden, Kim Siever, 25 July 2009, Japanese/Canadian, Alberta, Canada, Photograph. https://commons.wikimedia.org/wiki/File:Zen_Garden_(3760951386).jpg )
The Ryoanji Temple in Kyoto boasts Japan’s renowned rock garden. Enclosed by low walls, this rectangular expanse of gravel has fifteen rocks meticulously arranged amidst patches of moss. The garden’s origins and symbolism remain enigmatic, fueling diverse interpretations. Some speculate it embodies the imagery of a tiger carrying cubs across a pond or islands adrift in a vast sea. However, the garden’s true essence eludes definitive explanation, granting each visitor the liberty to generate their own understanding of the garden’s symbols. Such ambiguity is echoed in the aesthetic ambiance of Nikka Yuko Japanese Garden. Visitors are not led by prescribed narratives, but are instead empowered to craft their own meanings from the serene beauty that surrounds them. While some gardens adhere to fixed symbolism, this particular garden invites and even urges the imposition of abstract or personal interpretations onto its design.
Over the course of my research on Japanese dry gardens in the West, there were occasional similarities that I would observe between the arrangement of gardens in Japan compared to the West. The most common overlap was the natural materials used in gardens regardless of their locations.
However, there were significantly more apparent variations between Western and Japanese that I observed. For example, most of the Japanese dry gardens in the West focus significantly less on storytelling and narrative than their counterparts in Japan. If they do incorporate storytelling into the garden, they often take inspiration from Zen gardens found in Japan. I also observed that the religious significance and relation to Zen Buddhism is less obviously apparent in Western adaptations. These Zen gardens are not affiliated with religious temples, they are more often associated with museums. Throughout my research, I found that the accessibility and visibility of Japanese dry gardens in the West pose challenges compared to their abundance in Japan. While these gardens serve as cultural gems, they often remain hidden within larger botanical or museum settings, limiting their exposure and accessibility to the broader public. These gardens hardly ever act as stand-alone exhibits. Instead, they appear as part of a larger garden or as mentioned earlier, tend to be parts of a museum. Lastly, I noticed that it is much harder to find information and have access to these Japanese dry gardens in the West than in Japan, probably due to differences in popularity.
The resources used to help me with my initial research included Christian Tschumi’s Between Tradition and Modernity: The Karesansui Gardens of Mirei Shigemori which discussed Mirei Shigemori, a pioneer in Japanese garden design from 1925 to 1975. Shigemori was known to reject traditional European styles, instead innovating with a decidedly modern approach still rooted in Japanese culture. Despite being overlooked in Japanese garden history, his work offers valuable insights into the evolution of these gardens in 20th-century Japan, while still honoring their cultural heritage. Another helpful reference was François Berthier’s and Graham Parkes’ Reading Zen in the Rocks: The Japanese Dry Landscape Garden. The discussion of how Zen rock gardens, which were popularized in Western museums and remained enigmatic despite their widespread replication, demonstrated the importance of gardens and their cultural appeal. Their work offers a concise history of these gardens, focusing on the famous Ryoanji Temple in Kyoto, exploring origins, influences, and Zen Buddhism connections as well as the philosophical significance of rocks. Together, their work provides a comprehensive study of this captivating garden form. Harriet Osgood Taylor and Walter Tyndale’s work Japanese Gardens, offers an in-depth exploration of various styles and elements of Zen rock gardens, accompanied by lavish illustrations. This guide provides valuable insights into the rich world of Japanese garden design. Lastly, Langdon Warner’s Japanese Gardens is a helpful reference, as it discusses the many cosmetic elements of Zen gardens including, rocks, water, trees, garden furniture, symbols, and more. Warner’s work also discusses the many iterations of dry garden design, and the unique differences in Japanese garden design throughout the years.
The exploration of Japanese dry gardens in the West unveils a nuanced narrative, deeply influenced by cultural adaptation and reinterpretation. These gardens, while echoing the aesthetic principles and philosophical underpinnings of their Japanese counterparts, undergo a transformative process in their migration to Western soil. Each Western interpretation reflects a distinctive blend of Japanese aesthetics and Western traditions. Central to the essence of Japanese dry gardens, is their ability to convey stories and philosophical concepts through meticulously arranged elements. However, as evidenced by the examples above, the depth of storytelling varies significantly across Western interpretations of dry gardens. While some gardens, like the Portland Japanese Garden, uphold profound narratives rooted in Buddhist teachings, others, like Roji-en at the Morikami Japanese Gardens, prioritize a space for introspection and reflection above explicit storytelling.
The distinctive evolution of Japanese dry gardens in the West is signified by their departure from religious origins. Unlike their Japanese counterparts, many Western gardens lack overt religious affiliations and are often integrated into museum settings rather than temple grounds. This shift makes readily apparent the dynamic interplay between tradition and adaptation, where the essence of Zen Buddhism is subtly interwoven with Western concepts of aesthetic appreciation.. Overall, the journey of Japanese dry gardens in the West embodies a fusion of cultural exchange and artistic reinterpretation. As these gardens continue to evolve and thrive in new landscapes, they serve as a testament to the enduring legacy of Japanese aesthetics while simultaneously reflecting the connection between tradition and innovation across the world.
Bibliography
François Berthier, and Graham Parkes. 2005. Reading Zen in the Rocks: The Japanese Dry Landscape Garden. Chicago, Ill.; London: University Of Chicago Press.
Harriet Osgood Taylor, and Harriet Osgood. 1912. Japanese Gardens. Dodd, Mead & Co.
“Japanese Dry Garden.” 2024. Wikipedia. May 2, 2024. https://en.wikipedia.org/wiki/Japanese_dry_garden#:~:text=Many%2C%20with%20gravel%20rather%20than.
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Warner, Langdon. 1947. Japanese Gardens. Society for Japanese Studies. Brooklyn, N.Y.
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