Introduction
The tranquil beauty woven by stone, water, and plants—have you ever experienced a sense of time slowing the moment you step into a Japanese garden? The sound of gravel beneath your feet, the colors of the sky reflected in the pond, pine branches swaying in the breeze. Japanese gardens distill the beauty of nature into spaces that represent the pinnacle of human-created aesthetic perfection.
A Japanese garden is far more than simply a “pretty garden.” It is a comprehensive art form that has been refined over more than 1,300 years, from the Heian period to the present day. Garden masters spend months determining the placement of a single stone or tree, guided by a uniquely Japanese aesthetic sensibility that embraces the idea that “change begins the moment completion is achieved,” masterfully blending nature and artifice.
While many garden cultures exist around the world, none intertwine philosophy and aesthetics as deeply as the Japanese garden. Where French formal gardens pursue geometric perfection, Japanese gardens seek “perfect beauty within imperfect nature.” Sand patterns in a dry landscape garden represent waves, stones symbolize islands—it is this abstraction and symbolism that continues to captivate artists and designers from around the globe.
In this article, we provide a thorough guide covering the history and origins of Japanese gardens, their various styles including stroll gardens, dry landscape gardens, and tea gardens, as well as renowned gardens across Japan. We also offer detailed tips on how to appreciate and enjoy these gardens, making this a comprehensive resource for first-time visitors and seasoned enthusiasts alike. Read on to enrich your next garden visit.
What Is a Japanese Garden?
A Japanese garden is a broad term for gardens created based on traditional Japanese landscaping techniques and aesthetic principles. Their most defining characteristic is the concept of “shakkei” (miniaturized scenery)—the idea of condensing natural landscapes such as mountains, rivers, seas, and forests into an artificial space. Within a single garden, you will find artificial hills (tsukiyama) representing mountains, ponds symbolizing seas and lakes, and streams (yarimizu) evoking rivers, all arranged so that visitors can experience various natural scenes as they stroll through the space.
Central to understanding Japanese gardens is the concept of “wa” (Japanese aesthetics). The Japanese sense of beauty epitomized by “wabi-sabi”—finding perfect beauty in imperfection—is deeply reflected in garden design philosophy. Alongside meticulously trimmed hedges (okarikomi), you will find stepping stones intentionally placed in irregular patterns. Stone arrangements are asymmetrical rather than symmetrical. All of these are deliberate design choices, products of sophisticated techniques aimed at creating an appearance of “naturalness.”
Another defining characteristic of Japanese gardens is that they are an “art of time.” Cherry blossoms in spring, lush greenery in summer, autumn foliage, winter snow—the garden’s expression changes dramatically with the passing of the four seasons. The same garden reveals completely different faces depending on the season, time of day, and weather. In particular, a garden enveloped in morning mist or a dry landscape garden blanketed in snow possesses an ethereal beauty that defies words.
Modern Japanese gardens vary enormously in scale—from large daimyo (feudal lord) gardens like Kenrokuen in Kanazawa (approximately 11.4 hectares) to tiny temple gardens in Kyoto measuring just a few dozen square meters. Regardless of size, however, all Japanese gardens are guided by common design principles, and their philosophical depth has profoundly influenced architects, artists, and designers worldwide.
Today, there are over 200 gardens designated as scenic places by the national or prefectural governments in Japan, and when including private gardens, thousands of Japanese gardens exist across the country. Japanese gardens have also been built in North America, Europe, and throughout Asia, widely recognized as symbols of Japanese culture.
History of Japanese Gardens
Nara and Heian Periods — The Birth of Shinden-zukuri Gardens
The history of Japanese gardens can be traced back to the Asuka and Nara periods. In the early 7th century, craftsmen from the Korean kingdoms of Baekje and Silla brought garden-building knowledge that laid the foundation for Japan’s garden culture. The Nihon Shoki (Chronicles of Japan) records that during the reign of Empress Suiko (593–628 CE), “a garden was made to the south of the palace, a pond was dug, and a small island was built”—considered the oldest written reference to a Japanese garden.
During the Nara period (710–794), many gardens were built in the capital of Heijo-kyo. Gardens of this era were strongly influenced by Tang Dynasty China, with “pond gardens” (chisen-shiki) as the predominant style. The approach of placing islands in a pond surrounded by stones and trees derived from Chinese Taoist mythology—specifically, the idealized paradise of Mount Horai, said to be the dwelling place of immortals.
Japanese gardens began to develop their own distinct identity during the Heian period (794–1185). With the relocation of the capital to Heian-kyo (present-day Kyoto), aristocratic culture flourished, and gardens evolved into “shinden-zukuri gardens” closely tied to noble life. These gardens featured expansive ponds placed on the south side of aristocratic mansions, connected by corridors and covered walkways. Islands were created within the ponds and linked by bridges.
Gardens of this era served as stages for the elegant pursuits of the aristocracy—boating excursions across the pond and poetry gatherings (kyokusui no en) held at the water’s edge. Notable examples include the Byodo-in temple in Uji, built by Fujiwara no Yorimichi, and the gardens of Retired Emperor Go-Shirakawa’s Hojuji-dono. In the late Heian period, the Sakuteiki, Japan’s oldest treatise on garden design, was written, codifying the fundamental principles of garden design. It contains wisdom still relevant today, such as: “When placing stones, mix large and small stones, and vary the arrangement of horizontal and vertical stones.”
Kamakura and Muromachi Periods — The Birth of Dry Landscape Gardens and Zen Influence
The Kamakura period (1185–1333) marked a major turning point in Japanese garden culture. The catalyst for this transformation was the introduction of Zen Buddhism. Brought from Song Dynasty China to Japan, Zen Buddhism spread rapidly among the warrior class and brought revolutionary changes to garden design.
Zen philosophy values “the beauty of empty space” and “the beauty of austere simplicity.” From the lavish gardens of aristocratic culture, Zen temple gardens shifted toward spaces stripped down to their absolute essence. It was within this context that the “karesansui” (dry landscape garden) style was born. This style, which uses only sand and stones to represent mountain and water landscapes without actual water, first emerged during the Kamakura period and came to full fruition in the Muromachi period.
The Muromachi period (1336–1573) is one of the most important eras in the history of Japanese gardens. The most celebrated garden designer of this period was Muso Soseki (1275–1351). A Zen monk who also possessed extraordinary talent in garden design, Muso Soseki created numerous masterpieces including Saihoji (the Moss Temple), Tenryuji, and Eiho-ji. Saihoji (Moss Temple) in particular features a two-tiered structure with a dry landscape garden covered in over 120 varieties of moss on the upper level and a pond stroll garden on the lower level—a UNESCO World Heritage masterpiece that continues to captivate visitors today.
In the late Muromachi period (after the Onin War), numerous stone gardens were built in Kyoto’s Zen temples. Among these, the most influential was the stone garden of Ryoanji, believed to have been created between the late 15th and early 16th centuries. Composed of only white sand and 15 stones within a space measuring 22.6 meters by 17.9 meters, this garden is known worldwide as the crystallization of Zen beauty pushed to its most abstract extreme. The stone garden of Ryoanji is covered in detail in a separate article.
Azuchi-Momoyama and Edo Periods — The Golden Age of Daimyo Gardens
From the Azuchi-Momoyama period (1568–1600) through the Edo period (1603–1868), Japanese gardens entered a new phase of development. This era was defined by two major trends: the evolution of “tea gardens” (roji) driven by the spread of the tea ceremony, and the rise of “daimyo gardens” showcasing feudal lord power.
The wabi-cha aesthetic perfected by Sen no Rikyu (1522–1591) deeply influenced garden design. The “roji” (tea garden) leading to the tea house served as a “threshold” separating the visitor from the secular world. Composed of stepping stones, stone water basins (tsukubai), stone lanterns, and waiting benches, the tea garden became established as a form of Japanese garden that condenses a profound spiritual world within a small space.
During the Edo period, feudal lords across the country competed to build grand gardens. These magnificent gardens, built to demonstrate the authority of the shogunate and daimyo families, were called “daimyo gardens” and developed as “pond stroll gardens” (chisen-kaiyushiki) featuring vast grounds with ponds, artificial mountains, waterfalls, and tea houses. Korakuen (completed in Mito in 1700), Kenrokuen (begun in Kanazawa in 1676), and Kairakuen (built in Mito in 1842) later earned the title of “Three Great Gardens of Japan” and continue to attract numerous visitors today.
What Edo-period daimyo gardens pursued was the perfection of “shakkei” (miniaturized scenery). The technique of incorporating famous landscapes from China and Japan within a single garden was refined to the highest degree, allowing visitors to enjoy various “celebrated views” as they strolled through different parts of the garden. Since the gardens also served as venues for daimyo tea gatherings, tea rooms, rest houses, and Noh stages were built within the grounds, transforming gardens from mere places of contemplation into comprehensive cultural spaces.
One of the most important garden designers of the Edo period was Kobori Enshu (1579–1647). Enshu established a distinctive aesthetic called “kirei-sabi” (refined rusticity) and designed numerous masterpieces including the Koho-an of Daitokuji, the gardens of Katsura Imperial Villa, and the Konchi-in garden of Nanzenji. His style, known as “Enshu-gonomi” (the Enshu taste), profoundly influenced subsequent generations of garden designers. The sub-temple gardens of Daitokuji still preserve works by master designers including Kobori Enshu.
Meiji Period Onward — Modern Gardens and the Fusion with Western Culture
After the Meiji Restoration of 1868, Japan’s rapid westernization also affected garden culture. As many daimyo gardens fell into disuse or disrepair following the abolition of feudal domains, the new government adopted a policy of developing and opening select gardens as “public parks.” It was during this period that Kenrokuen, Korakuen, and Kairakuen were first opened to the general public.
The Meiji period saw the creation of “modern gardens” that incorporated Western landscaping techniques into traditional Japanese garden design. Particularly noteworthy are the residential gardens built by numerous zaibatsu (industrial conglomerates) and businessmen during the Meiji and Taisho eras. The former Hama Rikyu (now Hama Rikyu Gardens), originally built by Mitsubishi founder Iwasaki Yataro, and the Keitakuen garden (within Tennoji Park, Osaka) of the Sumitomo family retain traditional pond stroll garden foundations while featuring innovative attempts to harmonize with Western-style buildings.
During the Taisho and Showa periods, an innovative garden designer named Mirei Shigemori (1896–1975) emerged. While conducting thorough research into traditional dry landscape gardens, Shigemori incorporated Modernist design sensibilities to create numerous distinctive stone gardens. His works at Kishiwada Castle, Tofukuji Hojo Garden, and Matsunoo Taisha are highly regarded as masterpieces of modern dry landscape garden design.
Japanese garden culture continues to thrive today. While the Japanese Institute of Landscape Architecture and certified garden technicians across the country work to preserve and transmit traditional techniques, younger garden designers are expanding the possibilities of Japanese gardens with fresh interpretations and new methods. Japanese garden construction and restoration projects are underway around the world, serving as important platforms for international promotion of Japanese culture.
Types of Japanese Gardens
Pond Stroll Gardens — The Quintessential Daimyo Garden Style
The pond stroll garden (chisen-kaiyushiki) is a garden style featuring a large central pond surrounded by promenades. Designed so that visitors can walk around the pond and enjoy the changing scenery from every angle, it is the most expansive and grand style among all Japanese garden types.
While the origins of pond stroll gardens lie in Heian-period shinden-zukuri gardens, the style reached its full maturity in the daimyo gardens of the Edo period. These gardens are characterized by vast grounds (often spanning several to over ten hectares) with a large central pond, surrounded by multiple tea houses, rest pavilions, bridges, and stone lanterns, all connected by stone-paved or stepping-stone paths that allow visitors to take in the entire garden as they walk.
The highlight of pond stroll gardens lies in the artful use of “shakkei” (borrowed scenery) and “shukei” (miniaturized scenery)—the landscape constantly changes depending on where you stand and the angle from which you look. The sky and trees reflected upside down in the pond, the seasonal colors of flowering trees, the waterside view from atop a bridge—walking through a single garden can feel like embarking on a journey through diverse scenery.
Notable examples of pond stroll gardens include the Three Great Gardens of Japan (Kenrokuen, Korakuen, and Kairakuen) as well as Suizenji Jojuen (Kumamoto), Shukkei-en (Hiroshima), Rikugien (Tokyo), and Kiyosumi Gardens (Tokyo). While they vary greatly in scale, design, and plantings, all uphold the essential principle of the pond stroll garden: enjoyment through walking.
- Key features: Promenades arranged around a large central pond
- Viewing style: Walk through the garden and enjoy 360-degree changes in scenery
- Notable examples: Kenrokuen (Kanazawa), Korakuen (Okayama), Kairakuen (Mito)
- Best seasons: Each season offers highlights, from cherry blossoms in spring to autumn foliage
Dry Landscape Gardens — Zen Gardens Expressing Water with Stone and Sand
The dry landscape garden (karesansui) is a Japanese garden style that represents mountain and water scenery using only sand, gravel, and stones—without any actual water. Sand patterns (samon) raked into white sand with brooms and rakes represent the flow of rivers and ocean waves, while stone arrangements symbolize mountains and islands. It is this ultimate level of abstraction and symbolism that has earned the karesansui worldwide acclaim as “one of the most quintessentially Japanese art forms.”
The development of dry landscape gardens is deeply intertwined with the introduction of Zen Buddhism. The Zen philosophy of sharpening the mind through meditation and finding truth in silence drove the pursuit of beauty in “empty space” within gardens. Perceiving “flow” where there is no water, seeing “the passage of time” in motionless stones—because of this profound spirituality, dry landscape gardens became popular as front gardens of the hojo (abbot’s quarters) in Zen temples.
The sand patterns in dry landscape gardens are carefully re-raked each morning by gardeners or monks. Visitors must never set foot on the raked sand. Quietly contemplating the serene world of white sand seas and rocky islands from the veranda or corridor—this is the proper way to appreciate a dry landscape garden.
While the stone garden of Ryoanji is the most famous dry landscape garden in the world, Kyoto’s Zen temples including Daitokuji, Myoshinji, Tofukuji, and Kenninji house many acclaimed examples. In modern times, the stone gardens by Mirei Shigemori are also highly regarded, with the Hojo Garden at Tofukuji (created in 1939) particularly renowned as a modern dry landscape masterpiece.
Tea Gardens (Roji) — Pathways Imbued with the Spirit of Tea
The tea garden (roji) is a garden designed along the path leading to a tea room. Developed alongside the maturation of the tea ceremony during the Azuchi-Momoyama period, the tea garden serves as a “threshold” where guests shed their “worldly mindset” and prepare their spirit for the world of tea before entering the tea room.
The elements of a tea garden are strictly defined. It is divided into two areas—the outer roji (soto-roji) and the inner roji (uchi-roji)—separated by a middle gate (nakamon). The outer roji contains a waiting bench (machiai) where guests await their host’s invitation, while the inner roji features a stone water basin (tsukubai), stepping stones, and stone lanterns. Every element is chosen to embody the spirit of tea: “wa-kei-sei-jaku” (harmony, respect, purity, and tranquility).
The plantings in tea gardens are intentionally subdued. Showy flowering trees are avoided in favor of moss, evergreens, and bamboo. This reflects both a consideration to prevent guests from becoming overly excited before entering the tea room and a desire to create an atmosphere of year-round “calm.” The concept of “ichigo ichie” (one time, one meeting)—treasuring each encounter as a once-in-a-lifetime experience—is deeply embedded in the design philosophy of the tea garden.
Miniaturized Scenery Gardens and Borrowed Scenery Gardens
Miniaturized scenery gardens (shukei-teien) are gardens that recreate famous landscapes from China and Japan in condensed form within a single garden space. Shukkei-en in Hiroshima is a prime example, with its central pond modeled after West Lake in Ming Dynasty China, condensing celebrated views from various regions.
Borrowed scenery gardens (shakkei-teien) employ a technique that incorporates mountains, trees, buildings, and other scenery outside the garden as part of the garden itself. Famous examples include Shisendo and Tenryuji (which borrows the backdrop of Arashiyama) in Kyoto, and Shugakuin Imperial Villa (which borrows Mount Hiei). By deliberately framing external scenery within the garden’s composition, the garden space feels larger than it actually is, creating visual depth.
Famous Gardens Across Japan — The Three Great Gardens
Kenrokuen in Kanazawa — The Pinnacle of Varied Daimyo Gardens
Located in Kanazawa, Ishikawa Prefecture, Kenrokuen is one of the “Three Great Gardens of Japan” alongside Kairakuen in Mito and Korakuen in Okayama. This quintessential Edo-period daimyo garden was developed over approximately 180 years by the Maeda clan, lords of the Kaga domain. Today, it spans approximately 11.4 hectares and welcomes around 1.6 million visitors annually, making it Kanazawa’s premier tourist attraction.
The name “Kenrokuen” means “garden that combines six qualities,” referring to the six attributes of an ideal garden described in the Luoyang Mingyuan Ji by Song Dynasty poet Li Gefei: spaciousness, seclusion, artifice, antiquity, water features, and panoramic views. It was named by the late Edo-period lord Matsudaira Sadanobu. The garden’s greatest charm lies in its ability to unite these seemingly contradictory elements—expansiveness and tranquility, artifice and naturalness, age and purity, and magnificent views.
The history of Kenrokuen began in 1676, when the 5th lord Maeda Tsunanori created the Renchi-tei (Lotus Pond Garden). Successive lords continued to expand and develop the garden over the generations, and the name “Kenrokuen” was established during the time of the 11th lord, Maeda Harunaga. The most extensive development took place during the era of the 13th lord, Maeda Nariyasu (1820s–1840s), bringing the garden close to its current form.
Kenrokuen offers a wealth of highlights. Kasumigaike Pond, the largest in the garden, covers approximately 5,800 square meters, and the four seasons reflected on its surface are breathtaking. The Karasaki Pine standing at the pond’s edge is a black pine grown from seeds the 11th lord obtained from Karasaki on the shores of Lake Biwa, with a trunk circumference of about 4.7 meters and a branch spread of approximately 11 meters that overwhelms all who see it. In winter, “yukitsuri” (snow-hanging ropes) are installed to protect the branches from heavy snow, and the majestic form of Kenrokuen in winter, set against a backdrop of white, is especially popular.
The Kotoji Lantern, a two-legged stone lantern standing at the edge of Kasumigaike Pond, is the iconic symbol of Kenrokuen, and visitors never tire of photographing it. The Neagari Pine (Raised-Root Pine) is a remarkable pine with countless exposed roots above ground, said to have been shaped by the 13th lord Nariyasu during his youth.
Kenrokuen transforms with every season. From late February to early March, approximately 200 plum trees bloom in the plum grove; in early April, cherry blossoms adorn the pond’s edge. From July to August, water lilies and irises can be enjoyed, and from October to November, autumn foliage paints the garden in brilliant hues. The yukitsuri in winter (approximately November through March) is Kenrokuen’s signature seasonal spectacle.
Kenrokuen is currently designated as a Special Place of Scenic Beauty by the national government, with an admission fee of 320 yen for adults (as of 2024)—relatively affordable. Free early morning and evening admission hours are also available. Adjacent to Kanazawa Castle Park, the two are best visited together.
Korakuen in Okayama — A Serene Garden of Water and Greenery
Located in Okayama City, Korakuen is a pond stroll garden built in 1700 by Ikeda Tsunamasa, lord of the Okayama domain. With a vast area of approximately 13.3 hectares, Korakuen boasts the largest footprint among the Three Great Gardens and is designated as a Special Place of Scenic Beauty.
Korakuen’s most distinctive feature is its open spatial composition. Approximately 20% of the garden is covered in lawn, creating a bright and airy landscape where visitors can feel the expanse of the sky, rather than a dense, enclosed garden. At the center lies Sawa-no-ike Pond, surrounded by Yuishinzan, an artificial hill, and various structures including the Ryuten pavilion, once used for tea gatherings and banquets.
Construction of Korakuen began in 1687. Lord Ikeda Tsunamasa is said to have harbored such deep passion for this garden that he named it after the famous “Houle Yuan” (Korakuen) of Luoyang, China. Completed in 1700 after 13 years of work, Korakuen was subsequently enhanced by successive lords and opened to the public in the Meiji period.
One of Korakuen’s highlights is the view of Okayama Castle’s keep seen from within the garden. The striking black-plastered castle (also known as “Crow Castle”) set against the garden’s greenery and reflected in the pond is a perfect embodiment of borrowed scenery. Cherry blossom-lined paths in spring, lotus and water lilies in summer, autumn foliage, and winter snow offer beauty in every season.
Korakuen also hosts seasonal events throughout the year, including the “Moon-Viewing Noh” and “Korakuen Flower Corridor” in spring and autumn. During special nighttime openings, visitors can enjoy the garden illuminated in a dreamlike atmosphere. It is accessible in about 15 minutes on foot from JR Okayama Station or by streetcar. Admission is 410 yen for adults (as of 2024).
Kairakuen in Mito — A Garden World-Renowned for Its Plum Blossoms
Located in Mito, Ibaraki Prefecture, Kairakuen is a garden built in 1842 by Tokugawa Nariaki, the 9th lord of the Mito domain. One of the Three Great Gardens of Japan, it has also been listed in the Guinness Book of Records as one of the largest parks in the world. The name “Kairakuen” means “a garden to enjoy together,” reflecting Nariaki’s vision of opening the garden as “a place for the people to enjoy together.”
Kairakuen is world-famous above all as a celebrated plum blossom destination. With approximately 100 varieties and 3,000 plum trees, the “Mito Plum Festival” from late February through late March—when white, red, and green plum blossoms burst into bloom simultaneously—draws over 800,000 visitors annually.
The design of Kairakuen strongly reflects the personal philosophy of Lord Nariaki. Kairakuen was not merely a garden for contemplation—it was designed to serve multiple functions: the plum fruits provided “emergency provisions” (bikoshoku) for making pickled plums, the bamboo grove supplied materials for bows, arrows, and spear shafts as “military resources,” and the grounds served as a place for samurai retainers to practice martial and literary arts. Kobuntei, the building at the garden’s center, is where Nariaki hosted literary figures, scholars, and retainers for intellectual exchange, and visitors can still tour its interior today.
Adjacent to Kairakuen are Senba Lake and Senba Park, bringing the total area to approximately 300 hectares (the main Kairakuen garden itself is about 13 hectares). Beyond plum season, cherry blossoms, wisteria, bush clover, chrysanthemums, and other flowers bloom throughout the year, while swans and ducks inhabit the naturally rich environment of Senba Lake. Kairakuen is accessible by bus in about 10 minutes from JR Mito Station, with admission to the main garden at 300 yen (as of 2024; 500 yen during the Plum Festival).
Famous Gardens of Kyoto
The Stone Garden of Ryoanji — The Supreme Achievement of Dry Landscape Gardens
Located in Ukyo Ward, Kyoto, Ryoanji is a Zen temple of the Rinzai school’s Myoshinji branch, founded in 1450 by Hosokawa Katsumoto. The stone garden on the south side of the hojo (abbot’s quarters) is a masterpiece of dry landscape garden art, known worldwide for its composition of only white sand and 15 stones within a space measuring 22.6 meters by 17.9 meters.
The greatest mystery of Ryoanji’s stone garden is the fact that from any vantage point, only 14 of the 15 stones are visible. The stones are arranged in five groups (of 5, 2, 3, 2, and 3), and from the east, west, or south verandas, one stone is always hidden behind another. It is said that only those who have achieved enlightenment can see all 15 stones at once—a enigmatic design that continues to spark intellectual curiosity around the world.
The oil-earthen walls (abura-dobei) enclosing three sides of the stone garden are made of a special clay mixed with rapeseed and plant oils, which have seeped out over the centuries to create distinctive patterns. The white sand is raked in “wave-like” patterns around the stones, suggesting that the stones are islands floating in the sea.
Queen Elizabeth II of the United Kingdom visited in 1975, and President Bill Clinton visited in 1994—Ryoanji’s stone garden continues to attract political leaders, artists, and philosophers. It was registered as a UNESCO World Cultural Heritage Site (Historic Monuments of Ancient Kyoto) in 1994. Admission is 600 yen for adults (as of 2024), and it is accessible by bus from Hankyu Omiya Station.
The Moss Garden of Saihoji (Moss Temple) — A Mystical Garden Covered in 120 Varieties of Moss
Located in Nishikyo Ward, Kyoto, Saihoji (Moss Temple) is a Rinzai Zen temple revived in 1339 by Muso Soseki. Its garden, blanketed in over 120 varieties of moss, is popularly known as the “Moss Temple” and was registered as a UNESCO World Cultural Heritage Site in 1994.
The garden of Saihoji is arranged in a two-tiered structure. The lower-level pond stroll garden centered on “Ogon-ike” (Golden Pond), designed by Muso Soseki, features over 120 varieties of moss covering the entire ground like a green carpet, creating a serene and mystical atmosphere. The upper level contains the dry landscape garden “Shito-an,” where massive stones are powerfully arranged in a Zen rock garden.
A distinctive feature of Saihoji is its advance reservation system (sutra-copying visit). Visits are paired with a sutra-copying experience, and advance application by return postcard is required (admission from 3,000 yen). This system strictly limits the number of visitors, maintaining an atmosphere of tranquility that sets it apart from commercially crowded tourist sites. Visiting Saihoji requires advance preparation and the right mindset, but the experience is immeasurably rewarding.
The Sub-Temple Gardens of Daitokuji — A Showcase of Master Garden Designers
Located in Kita Ward, Kyoto, Daitokuji is the head temple of the Rinzai school’s Daitokuji branch. Within its grounds, 24 sub-temples (tatchu—small temples built to tend the graves of eminent monks) form an enormous temple complex. The sub-temple gardens, created by master designers representing different eras, are treasured by garden enthusiasts as a remarkable collection of diverse Japanese garden styles.
Among Daitokuji’s sub-temple gardens, the garden of Daisen-in is particularly renowned. Created in the early 16th century, this dry landscape garden masterfully arranges stones, sand, and trees within a narrow space just 2 to 5 meters wide, depicting in miniature the journey of water from a mountain gorge to the open sea. With a 4.5-meter-tall boulder representing “Mount Horai” as the water source, the three-dimensional stone composition featuring bridges, waterfalls, and streams carved in stone is among the most visually compelling of all dry landscape gardens.
The garden of Koto-in, known as the family temple of the warlord Hosokawa Tadaoki, is especially beautiful for its moss and maple tunnel along the approach path. During the autumn foliage season, the vivid contrast of red and green creates a spectacular vista. Zuiho-in features two dry landscape gardens designed by Mirei Shigemori in 1961—”Dokuza-tei” (Garden of Solitary Sitting) and “Kanmin-tei” (Garden of Quiet Sleep)—both highly acclaimed as modern stone garden masterpieces.
How to View and Enjoy Japanese Gardens
A Japanese garden offers far more than a visual experience—understanding the intentions and philosophy behind its design dramatically deepens your appreciation. Here are some key tips for first-time visitors to keep in mind.
First and foremost, “stop and linger.” Modern tourism often encourages hurrying from one spot to the next, but the true essence of a Japanese garden reveals itself when you pause and observe the same scene from various angles. In dry landscape gardens especially, sit down on the veranda and gaze quietly at the garden for several minutes. What initially appears as “just stones and sand” will gradually transform into a grand landscape of mountains and sea—this is the magic of karesansui.
Next, be conscious of “borrowed scenery” and “miniaturized scenery.” When you pay attention to how the garden designer incorporated background mountains and trees, and where the “frame” was intentionally set, the designer’s intent becomes visible. For example, reflections on the pond’s surface are intentionally calculated, so standing at a specific location (a designed veranda or the top of a bridge) reveals the most beautiful “picture.”
Sound and light are also essential elements of garden appreciation. The trickling of a stone water basin (tsukubai), the rustling of bamboo and pine needles in the wind, birdsong—these are “soundscapes” intentionally created by the garden designer. Similarly, the soft morning light, the strong midday light, and the warm reddish light of evening cause the same garden to reveal completely different expressions. If possible, visiting in the early morning is highly recommended.
The garden’s appearance also changes dramatically with the visiting season. While spring (cherry and plum blossoms) and autumn (foliage) are the most popular times, a garden in summer’s deep green with the chorus of cicadas, or a garden draped in winter snow, each possesses its own extraordinary beauty. Snow-covered dry landscape gardens and pine trees with yukitsuri in particular offer the most ethereal scenery of the entire year.
When visiting a Japanese garden, it is important to maintain a quiet and respectful demeanor, much like when observing shrine visit etiquette. Loud voices and noise not only disturb the garden’s atmosphere but also affect other visitors’ experience. Additionally, understanding the differences between Shinto and Buddhism before visiting temple gardens will help you more deeply appreciate the religious significance embedded in the garden.
Conclusion
Japanese gardens are an art form of “dialogue between nature and humanity” refined over more than 1,300 years of history. From Heian aristocrats’ shinden-zukuri gardens to Zen monks’ dry landscape gardens, feudal lords’ grand pond stroll gardens, and tea masters’ rustic roji—while taking many forms, all Japanese gardens share a common spiritual foundation: revering nature and finding beauty within it.
The Three Great Gardens of Kenrokuen, Korakuen, and Kairakuen, the stone garden of Ryoanji, the moss garden of Saihoji, and the sub-temple garden collection of Daitokuji—the masterpiece gardens found throughout Japan are all well worth visiting. We invite you to go in person, listen to the voice of the stones, gaze at the sky reflected in the water, and receive the message that Japanese gardens are trying to convey.
