Japanese Gardens And The Garden

When I first look at Hiroshige’s Plum Garden at Kameido, 1857, I see a grove of flowering trees, with a fence in the background to keep visitors off the lush green grass. The main focal point of this photo is the large tree branch in the foreground. This branch has several offshoots from it with dainty white flowers. Looking past this I see several other trees in the background, all with flowers blooming on them, but none with leaves. In the farthest background, there is a metal fence that is separating several people from the garden of trees. There is also a partial shack in the background on the far most right-hand side of the picture. I also see what appears to be the back of a sign, mostly hidden, in the upper left corner of the foreground. It appears to be sunset during the painting, with the horizon lighter and the higher sky a red color. There are several blocks of oriental writings, a red rectangle in the lower left corner over the body of the tree branch; then two in the top right corner in the sky, one green square and

facilities, residential complexes, office towers, department stores, and high-tech structures are some excellent examples of Japanese Architecture (hkuhist2.hku.hk).

The river represents the period between life and death. Another part of this symbol is the air representing life and under the rocks and waterfall representing death. Just as the transition from life to death is in motion, so is the rushing of the water. Both have a beginning and an ending point, but the part in the middle is constantly moving, swirling and churning. As the girl loses hope for survival and the waterfall is approaching, the narrator states, “[S]he becomes part of the river” (45). The girl now crosses over the borderline of life and death, and she is about to be swallowed up by the falls of death and can never return to life. However, when the diver goes into the river to save her, he comes out saying that “he’d never enter that river again” (47). He encounters the spiritual eccentricity of the edge of death when he looks into lifeless girl’s animated eyes, and he can not fathom that experience. Another symbol that is introduced twice is the gurgle of the aquarium, which symbolizes the attempt to understand nature’s cycle of life. As she floats downstream, the girl remembers “her sixth-grade science class, the gurgle of the aquarium at the back of the room”(45). During this moment, all of her thoughts are puzzled, and she cannot understand the death awaiting her. Later on, after sleepless nights, the diver is in the empty school where “the only sound the gurgle of the aquarium” (48). This moment is the point at which he decides

The gardens of both Matsu and Sachi symbolize them, and this gives the reader an insight on each of their respective personalities. Matsu’s garden turns more riveting and reveals more secrets as one goes deeper through it while Sachi’s garden illustrates that beauty can be in all forms. These descriptions of the garden mirror their owners and give more information about them. One example is that in the later portion of The Samurai Garden, it is revealed that Matsu was one of the primary founders of Yamaguchi. Like his garden, Matsu’s tale only becomes more

The second device that is ubiquitous in this passage is symbolism. The symbols found in this passage include rain, sunlight, lightning, and the aroma of rain. A common theme in The Bean Trees is plants. This theme is introduced in the passage through the symbol of rain. Rain is a meaningful symbol due to the fact that rain is a key factor in the growth and development of plants. Since plants have symbolised both Taylor and Turtle, the rain that occurs in the passage creates a sense of growth for both characters as they are both in the process of growing and developing.

"The garden is a world filled with secrets. Slowly, I see more each day. The black pines twist and turn to form graceful shapes, while the moss is a carpet of green that invites you to sit by the pond. Even the stone lanterns, which dimly light the way at night, allow you to see only so much. Matsu 's garden whispers at you, never shouts; it leads you down a path hoping for more, as if everything is seen, yet hidden. There 's a quiet beauty here I only hope I can capture on canvas." - Stephen at the beach house planning to paint Matsu 's garden, page 31

Secrets fill the garden. In Gail Tsukiyama’s novel “The Samurai’s Garden”, she uses metaphors to show the audience the garden and its’ curator in a mysterious light. Tsukiyama’s character Stephen gazes upon Matsu’s garden with wonder and amazement. He compares it to another world, “The garden is a world filled with secrets… Matsu’s garden whispers at you, never shouts; it leads you down a path hoping for more, as if everything is seen, yet hidden” (Samurai 31). Tsukiyama creates another world within the fences of the garden. She integrates the secrets of its’ caretaker into the aura of the garden. The metaphor to another world impacts the reader by allowing the reader to see the mystery and beauty that shrouds it. The cloak of beauty shows

Gail Tsukiyama’s The Samurai’s Garden is set in 1930s Japan, the theme of war and peace is developed through Character interaction. Characters in the story have very different reactions to the same circumstances. Through the character of Stephen, one can conclude that outside forces do not control a person’s life because in life, people can take what has been given to them and do with it what they wish. In other words, life is what you make of it. Even though the war in China is very important to Stephen, he does not let it interfere with his descisions in Tarumi.

The Japanese garden at the Huntington Library created a beloved feeling. The moon bridge, the koi-fill pond, and the Japanese house brought an iconic feature to the garden. The garden brings inspiration to the people with its unique landscape traditions, the craftsmanship, horticulture, and rituals. The Japanese house was an important element to the Japanese garden. The Japanese house has five rooms and

The role of gardens play a much more important role in Japan than here in the United States. This is due primarily to the fact the Japanese garden embodies native values, cultural beliefs and religious principles. Perhaps this is why there is no one prototype for the Japanese garden, just as there is no one native philosophy or aesthetic. In this way, similar to other forms of Japanese art, landscape design is constantly evolving due to exposure to outside influences, mainly Chinese, that effect not only changing aesthetic tastes but also the values of patrons. In observing a Japanese garden, it is important to remember that the line between the garden and the landscape that surrounds it is not separate. Instead,

Insignificant droplets of water plunging to the ground, gradually elaborating into a system which proclaims its existence with such scintillation and momentous significance, the river. The river that carries the same inexorable rate which we live our lives by, parallels to the current of an unstoppable river. Shifted to different directions by the different obstacles encountered, the river finds different routes to get to the destination it desires and life mimics its nature as many avenues close and others open. But the river carries on and does not pass through the same obstacle twice, it does not struggle or brawl the happenings opposed to it, it simply takes another path and learns from its mistakes. The river symbolizes life. In the book Siddhartha by Herman Hesse. The river plays a significant role on a reflective surface which redirects his actions into the eyes of the protagonist, Siddhartha.

I remember I once told you that the rock garden outside of the tatami room has a Connecticut River shaped rock bend. Maybe the painting is a nice resemblance to the arrangement of the garden -- with the theme of flowing river inspiring profound thoughts or stimulating meditative state... This is also a collision of the Chinese and Japanese ways of representing (and potentially symbolizing) rivers [re: James Cahill, The Poetic Journey?]. As etiquette, the garden can only be appreciated from inside the room. So, a viewer encounters concurrently the stream/brook/river in the scroll, and the garden rock “river.” How does s/he feel? All the “rivers” are unreal. But the juxtaposition of the couplet and the painting changes the meaning/reception of

Tanikawa likens the child to a natural stream of water through the use of symbolism. The child

embassy building and beyond the embassy building. Masuno leads his viewer at this garden section to view the west and south in a spirit of adventure. Japan is geographically situated to the southwest of Canada. It is far away geographically speaking. However, here at the Canadian garden and Pacific pond, the combined use of the window and door transparency in windowed architecture, garden design and shakkei usage give the viewer a feeling of proximity between Canada and Japan. This is in accordance with the ancient Japanese tradition of shakkei. (Masuno & Nose, 2002)

This Paper will be an analysis of the development of Japanese landscape painting, analyzing the historical context behind these paintings and what led to the changes in style. Both of these paintings are representative of their specific culture during this rapidly changing time and these changes will be discussed in relation to the artwork. I am going to be discussing Japanese landscape painting, the outside influences shaping Japanese landscape painting but also focusing on the internal elements of Japanese culture shaping the style of artworks. The changing techniques and styles as well as the changing political climate will all be looked at.