Arts Teaching Kit for Senior Secondary Curriculum

Visual Arts
Aesthetics of Zen in
Japanese
[Teacher notes]
Garden

Organizer Sponsor Research Team

Contents
Preamble
Teaching plan i

Lesson 1: Aesthetics of Zen in Japanese Garden

Arts | Aesthetics of Zen in Japanese Garden

1.1 Principles of Japanese aesthetics 01

1.1.1 Qualities of Wabi-Sabi 03

1.1.2 Seven aesthetic principles for Wabi-Sabi 04

1.2 The classical Zen garden 05

1.2.1 Beginning of Zen garden 05

1.2.2 Functions of Zen garden 05
1.2.3 How to appreciate Zen garden 06

1.3 Case studies — Classical Zen gardens in Japan 07

1.3.1 mro Garden in Kenninji, Kyoto 07

1.3.2 The Dry Rock Garden —Karesansui — in Ryoanji, Kyoto 08
1.3.3 Moss Garden in Tofukuji, Kyoto 09

1.4 Cases studies — Modern architectural interpretations of Zen 10

1.4.1 Awaiji Yumebutai in Hyogo, by Tadao Ando 10

1.4.2 EXPO2000 Japan Pavilion in Hannover, by Shigeru Ban 13
1.4.3 Oasis 21 in Nagoya, by Casai Hideki 14

Exercise: Creating an artwork for a teahouse 16

Summary, Key words and Further reading 17

Appendix: Important books and people in the history of Zen garden 18

Disclaimer
Create Hong Kong of the Government of the Hong Kong Special Administrative Region provides funding support to the project only, and does not otherwise take part
in the project. Any opinions, findings, conclusions or recommendations expressed in these materials/events (or by members of the project team) do not reflect the
views of the Government of the Hong Kong Special Administrative Region.
© 2012 Hong Kong Institute of Architects
Topic 07
Aesthetics of Zen in Japanese Garden

Major teaching areas Interdisciplinary teaching areas

Visual Arts Design and Applied Technology
Strand 1 Visual Arts Appreciation and Criticism in Context • Strand 1 Design and Innovation

• Formal Knowledge • Strand 2 Visual Arts Making

• Modes of presentation
• Knowledge of history and ways of seeing
• Knowledge in context

Arts | Aesthetics of Zen in Japanese Garden

Learning objectives
• To understand the influence of Zen concept — Wabi-Sabi — on Japanese aesthetics
• To learn how the principles of aesthetics are applied in Zen garden
• To know the ways of appreciating Zen garden
• To see how the aesthetics of Zen is represented in modern architectural language

Teaching plan
Lesson Contents
Lesson 1 • 1.1 Reasons for the development of Zen garden in Japan
Aesthetics of Zen in • 1.2 Functional and conceptual perception on Japanese garden
Japanese Gardens • 1.3 Typical techniques being used in Zen garden
• 1.4 Examples of Zen representation in traditional teahouse, and modern
garden and courtyard

Appendix: Further knowledge on the documentary and designers for Zen garden in the
Important books and history
people in the history of
Zen gardens
i
 Arts | Aesthetics of Zen in Japanese Garden
Lesson 1 Aesthetics of Zen in
Japanese Garden

01
Lesson 1
Aesthetics of Zen in Japanese Garden

‘Zen is discipline in enlightenment.’

「禪是證覺的戒律。」
— D. T. Suzuki (鈴木大拙)

‘If you want to see, see right at once.

When you begin to think, you miss the point.’
— Master Soshi (淨心禪師)

Arts | Aesthetics of Zen in Japanese Garden

Dry rock garden in Ryoanji, Kyoto

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1.1 Principles of Japanese Aesthetics
‘We may say that Sabi applies more to the individual objects and environment generally, and Wabi to
the living of a life ordinarily associated with poverty, insufficiency or imperfection. Sabi is thus more
objective, whereas wabi is subjective and personal.’
— D. T. Suzuki (鈴木大拙)

Arts | Aesthetics of Zen in Japanese Garden

1.1.1 Qualities of Wabi-Sabi
The Japanese world view is nature-based and concerned with the beauty of
studied simplicity and harmony with nature. This Japanese aesthetic of the
beauty of simplicity and harmony is called Wabi-Sabi. According to D. T. Suzuki
(鈴木大拙), Wabi-Sabi are understood as follow.

Wabi
Wabi truly means ‘poverty’, or negatively ‘not to be in the fashionable society
of the time’. To be poor, not to be dependent on things worldly — wealth,
power, and reputation; and yet to feel inwardly the presence of something of
the highest value, above time and social position.

Sabi
Sabi consists in rustic unpretentiousness or archaic imperfection; it shows
apparent simplicity or effortlessness in execution and richness in historical
association; and it contains inexplicable elements that raise the object in
question to the rank of an artistic production. These elements are generally
regarded as derived from the appreciation of Zen. The utensils used in the
tearoom are mostly of this nature.

The Japanese architect, Kisho Kurokawa (黑川紀章) (1934-2007), interpreted

Wabi-Sabi as the splendour of simplicity with a taste of ambiguity, like an old
man dressed in his glorious armour. The three qualities of Wabi-Sabi can be
concluded as:
• Impermanence (非常)
• Imperfect (非圓滿)
• Incomplete (非完成)
©Chloe Lun 03
1.1.2 Seven Aesthetic Principles for Wabi-Sabi
In Japanese Zen, there are seven aesthetic principles for achieving Wabi-Sabi.

1. Fukinsei (不均整) Yugen

Asymmetry, irregularity Yugen (幽玄) is an important concept in
traditional Japanese aesthetics. Yugen suggests
2. Kanso (簡素) that beyond what can be said but it is not an
Simplicity allusion to another world. It is about this world,
this experience.
3. Shibumi (涉味)
Minimalist
‘To watch the sun sinking behind a
4. Shizen (自然) flower clad hill. To wander on in a
Without pretence, being natural huge forest without thought of return.
5. Yugen (幽玄)
To stand upon the shore and gaze after
Subtly-profound grace, symbolic a boat disappearing behind distant
islands. To contemplate the flight of
6. Datsuzoku (脫俗) wild geese seen and lost among the
Unbounded by convention, freedom
clouds. And, the subtle shadows of

Arts | Aesthetics of Zen in Japanese Garden

7. Seijaku (靜寂) bamboo on bamboo.’
Tranquillity — Zeami Motokiyo (觀世元清)

[Discussion]
1 Beginning of contemplated analysis on Zen garden (
觀修禪庭) — look at the photo of a classical Zen
gardens in Japan. How will you describe the setting,
elements and the sense of space?

Suggested Answers
Possible perspectives
Based on a phenomenal view, the Zen garden can
be said as symbolizing hills or land amidst ocean
though there is no actual water apart from patterns
of sand suggesting the motion of waves. This is
the aesthetics of Yugen. From what appears to
show what does not appear. The subtle existence in
spirituality is sensed.

The three qualities of Wabi-Sabi — impermanence,

imperfect and incomplete (非常、非圓滿和非完
成) — can be felt. The green moss always changes
to follow the cycle of seasons. The cycle of arising
and cessation (生滅) represents impermanence.
The rustic appearance of the rocks suggests © Chloe Lun
imperfectness. The non-stop ploughing of sand shows
incompleteness.

There are also particular stories that the landscape

represents and may be related with Taoist (道家)
thoughts, such as the Eight immortals on the Horai
island (蓬萊島的八仙). 04
1.2 The Classical Zen Garden Space — Ma
The Japanese Zen gardens placed in between buildings is a good experience The sense of Ma (間) is the Japanese
of Ma (間). They are connecting spaces for different destinations, yet they attitude on a defined space-time,
carry with them the essence of the Zen meditation. What one learns in the stressing the important existence of
class in theoretical aspect can be directly experienced in meaning. They are the empty space, like the space of
not physically accessible but are mentally accessible by the enlightened silence between two music notes.
mind. Zen says, ‘Not founded upon words, by pointing directly into the this view of Ma embraces the
mind. One sees the [original] nature to attain buddhahood. (不立文字，直 conception of duality and change.
指人心，見性成佛。)’ Ma indicates the relationship of the
essence of things and the external
phenomena. Ma denotes a resultant
1.2.1 Beginning of Zen Garden state in between things.

Zen came to Japan in the 7th century, the time of Prince Shotoku (聖德太子) when Dosho (道昭) brought
the teaching back from the Chinese patriarchs. A meditation hall and temple at the Gangoji complex (元興
寺) in Nara were relics of the initial arrival of Zen.

This Buddhist awakening was initiated by Master Eisai

(榮西禪師) (1141-1215) who took knowledge of Zen from China and was considered as the founder of
Japanese Zen. He built a number of Zen temples including the Kenninji Temple (建仁寺) in Kyoto with a
combination of other Buddhist sects. Master Eisai also brought tea seeds from China and planted in the
temples.

Arts | Aesthetics of Zen in Japanese Garden

Zen gardens refer to the classical landscaped gardens built in the Kamakura (鎌倉時代) and Muromachi (
室町時代) Periods (1185-1573) when Zen flourished in Japan.

1.2.2 Functions of Zen Garden

The Zen gardens are all symbolic to be presented as Zen case studies for learners and teachers to mediate
with insight. The hidden meaning all directs to various levels of enlightenment, the gradual or sudden
revelation (漸悟頓悟) of the original intrinsic nature (本性自性) in all human beings. In Zen, this is called
‘understanding the mind and seeing the nature. (明心見性)’

©Chloe Lun

The classical Zen garden with moss, rocks and sand

is seen as a miniature landscape. The origin of the
miniature landscape may be drawn from Shinto (神道)
whereby various gods of nature are present in all forms
of nature. Hence, the miniature landscape is not only for
pleasure but for deep respect with the mind. 05
1.2.3 How to appreciate Zen Garden
1. As an inner view, the Zen garden with its minimalist approach — barren rock, a bit of green moss and
white sand — is a Sabi approach to see poverty in our mundane world.

2. The Wabi way of seeing leads us to transcend this materialistic world (with the least attraction) to the
world of spirituality. The barrenness of the Karesansui garden represents removal of the defilement of
worldly things. These defilements are all made from conceptual elaborations.

3. With the Yugen way of seeing, one transcends the conceptual world and is directed to experience the
spiritual world of non-conceptuality.

Arts | Aesthetics of Zen in Japanese Garden

‘Zen is the religion of Jiju (self-reliance) and Jizai (self-being).’

— D. T. Suzuki (鈴木大拙)

From physical form to spiritual interpretations

On realization, Yugen is seeing truth from the delusive conceptuality. With the ultimate Sabi, the sand
deprived of all conceptuality can take up any form just as it is. This is Jiju (自由). With the ultimate Wabi,
the moss lives on the rock by merely adapting to its conditions. Life is seem emerging naturally. This is Jizai
(自在). In the state of Jizai, one understands the mind well. In the state of Jiju, one is liberated from the
06
conceptuality to see the intrinsic original nature of the mind.
1.3 Case Studies — Classical Zen Gardens in Japan

1.3.1 Garden in Kenninji, Kyoto

The Zen temple is found by Master Eisai (榮西禪師) in
1202. This Zen garden is surrounded by the priest’s living
quarters, abbot’s quarters and reception room. Its design
is based on the famous mro calligraphic work by Sengai
Gibon (仙厓義梵). The concept behind the circle, triangle
and square is that all things in the world are represented
by these three symbols. The elements of the garden — a
square well and a tree growing on a circular moss plate —
all set within a sand ground. The name of this garden then
follows the Zen saying to be ‘not founded on words’ (不之
落文字).

q The quarters are open to the Zen garden inspired by p One of the quarters in Kenninji, Kyoto. The painting
the painting. Rectangular water basic, moss growing hung on the wall symbolizes the three components of

Arts | Aesthetics of Zen in Japanese Garden

in a circular pattern with a rock, and tree symbolizing the universe — circle representing the heaven, square
life in the universe. Elements are not aligned representing the earth, and the triangle representing
symmetrically. life.

[External reference]
For further information, please visit:
ht t p ://w w w.k enninji.jp /eng lis h/ind ex .ht ml 07
1.3.2 The Dry Rock Garden —Karesansui (枯山水) — in Ryoanji, Kyoto
The temple and gardens are listed as Historic Monuments
of ancient Kyoto and as a UNESCO World Heritage Site. There
are fifteen rocks set with moss plates amidst the sand court.
The meaning of the garden has been puzzled to people and
hence Gunter Nitschke, a garden historian, remarked that
it does not symbolize anything. (Nitschke, 1991) A clay wall
surrounds the garden. Previously distant hills can be seen
over the walls which is a technique of ‘borrowed landscape’
(Shakkei) by the garden designers but now trees are grown
to obstruct the sight of hills.
Fun Facts
The fifteen rocks are set in such a manner that
many of the visitors can only see fourteen of
them at once, no matter what angle the garden
is viewed from. You could only see the last one
when you attain spiritual enlightenment.
For further information, please visit:
ht t p ://w w w.r yo anji.jp /

Arts | Aesthetics of Zen in Japanese Garden

pq Fifteen rocks are arranged in a way similar to islands amidst the ocean. The interior of Ryoanji temple is open to the
karesansui garden. Visitors sit on the deck, look at the garden and contemplate to be enlightened. The boundary
wall does not function as a barrier to the outer nature. Sakura tree is hanging over the garden. Seasonal changes of
the greater nature can be seen together with the dry rock garden, creating a harmonic atmosphere for meditation.

08
 Arts | Aesthetics of Zen in Japanese Garden
qp The moss garden was designed by Mirei Shigemori
1.3.2 Moss Garden in Tofukuji, Kyoto (重森三玲) in the 1930s.
The temple is one of the five great Zen temples in Kyoto.
The moss garden at the north is one of the four gardens at
the four cardinal side of the central hall. This moss garden
is at the north and built with square-cut stones and moss to
form a checkered pattern. This is a 20th-century construction

[External reference]
For further information, please visit:
ht t p:/ / w ww. tof ukuji. jp

09
1.4 Case Studies — Modern Architectural Interpretations of Zen

Arts | Aesthetics of Zen in Japanese Garden

1.4.1 Awaji Yumebutai in Hyogo, by Tadao Ando pq Inter-woven between the buildings, the
gardens here are now filled with water to
Awaji Yumebutai is a mixed-use complex of conference centre, form water gardens, the base of which is
hotel and memorial spaces, designed by Tadao Ando (安滕忠 made of seashells reminiscent of the new
雄). It was built along the hillside where the earth had been recycled use for dead sea lives.
used for landfill in the Osaka Bay area after the great Hanshin
earthquake in 1995. This tragic event also triggered the idea of
rebirth and reconstruction in conceiving the whole architectural
design.
On this project, Tadao Ando wrote, ‘Environment is not
something one gives or is given. It is what we cultivate and are
cultivated by. Hints for carving out the future of architecture
exist in this process of “cultivation”.’
(Source: “Tadao Ando 3 (Inside Japan)”)

[Discussion]
1 Can you name the basic elements in Zen garden and their
symbolic meanings in Tadao Ando’s water gardens? (e.g.
Water, sand, stone, moss, stroll paths...) Analyze them
with the Seven Aesthetic Principles for Wabi-Sabi.

10
 © Ani Chan
t Torii-like steel frame structure (above:
鳥居 — the traditional Japanese gate
©Ani Chan) was built on a human
scale along a floating passage on the
pond. It provides a good experience of
the Ma concept of Japanese spaces.
q Hyakudanen (百段苑), the one-

Arts | Aesthetics of Zen in Japanese Garden

hundred sections of stepped flower
beds each with an embedded cross,
© WSW pay respect to those who died in the
1995 tragedy.

© WSW 11
 Arts | Aesthetics of Zen in Japanese Garden
tp The elliptical courtyards of fair-
faced concrete form theatre
spaces with features of a pair of
annihilated bridges to show the gap
between lives in human history.
This disconnection is also a good
demonstration of the Ma concept.

12
1.4.2 EXPO2000 Japan Pavillion in Hannover, by Shigeru Ban
The Japanese pavilion is one of the exhibition buildings in the EXPO2000 of Hannover whose theme
is ‘Humankind. Nature and Technology — A New World Arising’. This is a 3100-square-metre paper
tube pavilion made of curvy paper recycled tubes as designed by Shigeru Ban (坂茂) to be low-tech
construction. The whole structure was bought and recycled by a German paper tube company after the
exhibition. Therefore, the building met its environmental consideration for complete recycle. Shigeru Ban
stated that, ‘The basic concept for the Japan Pavilion was a structure that would produce as little industrial
waste as possible when dismantled.’

[Discussion]
1 Explore the aesthetics of Yugen for this dry rock garden in the Japanese Pavilion.

Arts | Aesthetics of Zen in Japanese Garden

p A green hemisphere stood for the moss. The

exhibition on environmental awareness was accessed
through a ramp into the underground basement with
the translucent flow of the Zen garden as the ceiling.
The new Zen garden seems to embrace the message
of sustainability inside.

t Covered by the paper pavilion, the Zen garden was at

the ground level and set out as a translucent white
net representing the white sand with irregular shapes
to stand for all the rocks.
13
 1 2

1.4.3 Oasis 21 in Nagoya, by Casai Hideki

Arts | Aesthetics of Zen in Japanese Garden

In the middle of the dense urban city, the architect, Casai
Hideki (葛西秀樹) designed an elevated water garden
made of steel and glass surrounded by a glass walkway.
People walking on the glass walking to the garden will
experience an unexpected serenity expressed in modern
materials and traditional forms. The garden is commented
by the jury of an architectural competition as ‘using two
transparent materials — glass and water — to create an
experience that is both evocative and arresting’.

1 The base of the elliptical pond is made of laminated

safety glass punctuated by simple forms of silver-
coloured rocks.
2 The lower level of the roof garden is an outdoor
theatre. People at this level can view the refracted
image of visitors on the roof.
3 The elevated water garden becomes an oasis to have
a break from the busy urban life.
4 Refracted by the water of the pond, light falls on the
public spaces below forming an ever-changing floor
pattern suggesting an interesting spatial experience 3
above.
4

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 [Discussion]
1 The garden around the Bank of China Tower in Central is also set among an urban setting. Compare
the water elements in these two gardens.
p The design of the Oasis water garden gives a feeling
of serenity and tranquillity. The water is designed to
remain still to slow down visitors’s mind and bring
them to relaxation. The water ripples by the wind,
refracting oscillating images of visitors on the roof to
the lower level.
Arts | Aesthetics of Zen in Japanese Garden
q The water garden of the Bank of China Tower has
running water for Fengshui reasons. Water symbolizes
fortune in the Chinese culture. The running water
represents fortune will keep coming in and will
accumulate in front of the bank. Flower planters are
in geometrical shape. Their appearance associates to
the sculptured form of the Bank of China Tower.
15
 きあん）
ると同時に、千利休作と信じうる

[Exercise]
1 Creating an Artwork for tokonoma (床之間)

Tokonoma (床之間) is a built-in recessed space in a

Japanese room used for display of artistic items such
as painting scroll, flower arrangement, pottery or

Arts | Aesthetics of Zen in Japanese Garden

other sculptural item to represent the aesthetic taste
of the owner.

Fun Facts
Influenced by his visit to Japanese architecture,
Modernist architect Frank Lloyd Wright borrowed
his idea of tokonoma into his buildings as a
western counterpart of fireplace.

p Tokonoma in Myokian (妙喜庵), Kyoto.

After the lesson on the aesthetic representation of Zen in Japanese garden, create an artwork for a tokonoma, or
for the garden outside the tea ceremony room.
Instructions:
• The artwork can be a painting, a sculpture or a flower arrangement.
• Students should collect their materials from the nature: flowers, leaves, branches, stones, seashell, etc.
• Students can choose an approach of either expressing or contrasting the principles of Japanese aesthetics.
• Outcome: Artwork from the students are placed in the way they want in the classroom or outdoor space,
subject to availability of the school. The class walk around and appreciate the artwork. A sharing session is
suggested to express their inspiration and feeling after viewing.
• Documentation: The thinking process and the development of the artwork should be well-documented with
sketches, photographs and texts. A short statement should be provided to explain the inspiration and idea
of the artwork.

Teaching Tips
The uniqueness of the Zen culture help
giving Japanese culture a unique character.
More information can be found in Liberal
Studies Topic 03: ‘ Globalization and
Localization of Architecture and Urban
Planning’. 16
Summary
1. Wabi-Sabi is an attitude in Zen philosophy and has become the core value of Japanese Aesthetics.
Three qualities of Wabi-Sabi are: impermanence, imperfect and incomplete.
2. Seven aesthetic principles are used to achieve Wabi-Sabi: Fukinsei (Asymmetry), Kanso
(Simplicity), Shibumi (Minimalist), Shizen (Without pretence), Yugen (Subtly-profound grace),
Datsuzoku (Unconventional), Seijaku (Tranquillity).
3. Zen garden are classical mininatured landscape designed for understanding the mind and seeing the
nature. It brings visitors to a mental enlightenment based on the physical world.
4. Modern Japanese architecture and gardens are still following the aesthetics of Zen. The idea is
presented with the use of modern materials and technique.

Key words
Zen
Wabi
Sabi
Yugen (Subtly-profound grace)

Arts | Aesthetics of Zen in Japanese Garden

Ma (Space)
Karesansui garden

Further reading
1. “The art of Zen gardens: a guide to their creation and enjoyment”. Davidson, A. K. Los Angeles: Jer
emy P. Tarcher, Inc, 1983
2. “Zen architecture: the building process as practice”. Discoe, P. Layton: Gibbs Smith, 2008
3. “The modern Japanese garden”. Nose, M. R. Massachusetts: Tuttle Publishing, 2002
4. “Zen and landscape architecture” 《禪與園林藝術》。任曉紅、喻天舒著。北京：中國言實出版
社。2006 年。
5. Japanese Aesthetics, Wabi-sabi and the Tea Ceremony
ht tp: / / a r t. unt. edu/nt ie v a/dow nload/t eac hing /Cur r_ r es o ur c es /m ut li_ cult ur e/J a p an/Aes t het ics /
J a pa ne se % 2 0 Aes t het ics _Wa bi-Sa bi_Tea%2 0Cer emo ny.p d f
6. Seven Japanese aesthetic principles to change your thinking
ht tp: / / www. pr e sent at ionzen.com/pr es ent atio nz en/2009/09/ex p o s ing -o ur s elv es -t o -t r ad it io nal-
ja pa ne se - a e sthet ic-i deas -not ions -t hat -may-s eem-q uit e-fo r eig n-t o -mo s t -o f-us -is -a-go o.ht ml
7. Daisetz T. Suzuki. Zen and Japanese culture. Princeton, N.J. : Princeton University Press, 1970.

Organizer Sponsor Research Team

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 Appendix:
Important books and people
in the history of Zen garden
1. "Records of Garden Making" (The Sakutei-ki, 作庭記) is the first systematic documentary on Japanese
gardening, written by a Japanese court noble during the Heian period (794-1184).

2. D. T. Suzuki (鈴木大拙) (1870-1966) is an important author writing about Zen, Buddhism and Shin.

3. Muso Soseki (夢窗疏石) (1275-1351), was a Zen priest and one of the designers who wanted to
interpret the sansui paintings, His works include large pond and waterfall arrangement at Tenryuji (
天龍寺) in Kyoto, small garden at Tokiin (土岐院) in Kyoto, and moss gardens at Saihoji (西芳寺) in
Kyoto. His expertise is using small space and the rocks in it as a form of shorthand, to express the
essence of the natural world, the twists and turns of people’s lives.

あん）4. Kobori Enshu (小堀遠州) (1579-1647) designed bright and open gardens for pleasure. His works

Arts | Aesthetics of Zen in Japanese Garden

include design for gateways, ornaments, shapes and pattern of windows. He is renowned for his
同時に、千利休作と信じうる
innovations and refinements of “shakkei” technique.

京都府 妙喜庵（みょうきあん）

5. Sen-no Rikkyu (千利休) (1520-1591), was a tea master and arbitrator of Japanese culture. He defined
the rituals and associated arts of tea drinking, His expertise is filling small areas, and designing
within the existing limitations of space. He is renowned for his design of teahouse roji (entrance
path). He stated that roji has to be narrow, closed, more compact and immediate in their impact. The
roji is to help leaving everyday life, settling minds and preparing guests for entering the house.

18
p Myokian (妙喜庵), Kyoto is one of the tea houses design by Sen-no Rikkyu.