Japanese Gardens

In Miniature

A Standards-based Mini Unit

For Fifth and Sixth Graders

Author: Alice Trageser

K-8 Art Teacher
School: Hinesburg Elementary

UVM Asian Studies Outreach Program

Participant of Institute of Japan, 2000.
 2

UNIT SUMMARY
This unit provides opportunities for students to learn about the design of a traditional
Japanese garden and create their own miniature Japanese garden. They will learn the
important elements of Japanese aesthetics and apply them to their own Japanese
gardens.

Unit Author: Alice Trageser, k-8 Hinesburg Elementary Art Teacher

Grade Level: 5 and 6

Time to Complete: Approximately 3 hours and 15 minutes.

Essential Question
How do Japanese gardens represent traditional Japanese aesthetics?

Culminating Activity
Students will create a miniature Japanese garden that incorporates the elements of
traditional Japanese aesthetics. The garden will demonstrate simplicity, asymmetrical
design and incorporate traditional structures. The form, function, and technical design of
the garden container demonstrates traditional Japanese aesthetics.

Vermont Standards
Vital Results:
4.3 Students demonstrate understanding of the cultural expressions that are
characteristic of particular groups.
Fields of Knowledge:
5.28 Students use art forms to define and solve artistic problems with insight, reason,
and technical proficiency. This is evident when students:
aa. communicate at a basic level in dance, music, theater, and visual arts.
5.29 Students use the elements and principles of two and three dimensional design in
the visual arts, including line, color, shape, and texture, in creating, viewing, and
critiquing.
 3

Teacher Background Information

For this mini-unit, the focus is on the dry style of Japanese garden. In Japan this style is
known as "karesansui," where water is symbolically rendered in raked sand or water-
worn pebbles laid in the shape of a stream or a waterfall. Carefully chosen and placed
rocks represent islands or mountains, or in special cases, boats, turtles, or cranes. It's a
garden where the viewer slows down to use their imagination, and to sit and let the spirit
of it take you over. The spirit of it can be many things, but nature is always part of it
whatever the season. In Kyoto, Japan, there are many "karesansui" as part of the temple
grounds, as they are the perfect setting for meditation.

Historically the idea came from China along with Zen Buddhism in the Kamakura Period
(1185-1333). In China stone gardens were made for the noble class or Buddhist priests in
two styles. "Sekko" was a small garden of no more than 6' x 9'. "Kazan" was a garden
focused on huge, fantastic stones arranged to look like mountains.

The Japanese dry garden has a different feel and a different goal. Impressions are more
subtle and natural. There is no need to conquer or put nature in an order, like in a
Western garden. There is the wish to promote tranquillity by aesthetic spareness.
Simplicity is key and expresses the Zen idea of taking away layers to get to the essence of
a thing, to enlightenment.

Rock choice and placement is highly important in a Japanese garden. First of all, the
rocks are natural looking, not cut or polished by humans. Qualities such as color, texture,
streaking, and of course, shape and scale are carefully considered. Asymmetrical design
is the guideline for placing rock in the garden's design. There are some general principles
to follow with one being to use an odd number of rocks, and odd number within
groupings of rocks. Sometimes a rock is used alone, or if two are put together, one is
usually more vertical accompanied by horizontal shape. In a grouping of three rocks,
often two are closer and the other is a little bit separated. Seven, five, or three rocks are
most commonly used.

Teiji Ito writes on page 175 of his book (see bibliography) that, "The art of stones, which
reached its height during the Muromachi period, came naturally to the Japanese. With
their intuitive feeling for nature, with the original Shinto religion-animism with its spirits
inhabiting, waterfalls, trees, rocks-with their love of natural patterns, natural textures, it
would have been surprising if this feeling for rocks had not developed into an art."

Stone lanterns, "ishi-doro," were first placed in gardens to light the way to the temple
entrance and later for the entrance to tea houses. They each have some kind of window
openings where a light can be set and burned and some kind of roof over this. There are
many styles each with its own name; for example, the "yukumi" is the snow-viewing
lantern because it has a wide-roofed top on which snow gathers and is thought then to
look its best. The oldest style lanterns have no base and were meant to look planted on
the ground. Other kinds are set on pedestals, or a pair of long legs, or an arm so the light
can overhand a valley or the water.
 4

Water basins, "chozubachi" were also carved out of rock and placed first near temples
and later tea houses so that one could wash their hands and mouth to purify oneself
before entering. Often they are left the shape of the natural rock with the basin carved
out of the top, but some times they are rounded or squared. A famous one at Ryoan-ji
garden is round with a square hole made to resemble an old style coin.

Bridges or "hashi" are designed from wood or stone and in a dry garden are placed over a
stream of polished pebbles or over part of the sea of sand. They can be curved, like the
green bridge Claude Monet painted so many times in his water garden. They also can be
flat with one section or juxtaposed in several sections to create an intentional zig-zag
pattern. It was believed that evil spirits flowed in straight lines so having a crooked
bridge avoids them. Or it could be said that a crooked bridge slows you down to notice
where you are walking.

Paths also can be made in specifically named patterns, but the key idea here is usually
curves are employed and they are placed with asymmetrical design in mind. Also, like a
zig-zag bridge, a steeping stone path in a wavy line makes you slow down and pay
attention to the moment of each step. Remember Zen!
 5

A Comparison of Traditonal
Japanese and Western Aesthetics
(Compiled by the North Texas Institute for Educators on the Visual Arts)

Philosophies about art and life are markedly different between traditional Japanese (9th to
mid-19th cen.) and Western cultures (19th cen). A comparison of aesthetic characteristics
offers insight into both world views. Please keep in mind that the perspectives cited
represent generalizations, so there will always be exceptions.

Traditional Japanese Perspectives Traditional Western Perspectives

Art is a way of life. Art and aesthetics are
integrated into all aspects of daily life. Examples
include the tea ceremony, Japanese gardens,
architecture, and furnishings.
Art-making is an expression of collectivity, ritual,
tradition, and obligation to the group. Ordinary
objects for daily use were valued for their perceived
beauty.
Features of design in art: asymmetrical balance
(often on the diagonal), vertical and atmospheric
perspective, fine lines.
The world view is nonanthropocentric, regarding
humanity as harmonious with nature. Nature is
respected as the supreme creation and its principles
are revered.
Some of the principles of this view are:
Perishability - of life and natural materials;
appreciation of specific characteristics of the
seasons.
Suggestive - evokes the inner essence of an object,
understated and unassuming, but with quiet
presence; reason is subordinate to perception, mood
is emphasized over realistic depiction.
Concepts of beauty - surface design is emphasized
rather than the illusion of depth; flat colors, organic
forms.
Simplicity of design - surface design is emphasized
rather than the illusion of depth; flat colors, organic
forms.
Art is often considered to be elitist, elevated, and
separate from most aspects of daily life. Art objects
are displayed in museums, galleries, and homes.
Art-making is an expression of individuality,
personal self-expression. Originality, uniqueness,
and novelty are valued.
Features of design in art: symmetrical and
asymmetrical balance, linear perspective,
chiaroscuro; mass production impacted design.
The world view is anthropocentric, regarding
human beings as the center of the universe.
Humanity is respected as God's supreme creation,
more important than nature.
Some of the principles of this view are:
Permanence - of ideas, concepts, and materials;
preservation of works of art (such as in museums).
Naturalistic - realistic depiction; imitation of
nature; science questions the nature of reality; social
issues, often controversial ones, become subjects of
artworks.
Concepts of beauty - beauty was idealized by the
academic art of the time, but these concepts of
beauty were challenged by the Impressionists and
others.
Complexity of design - the use of value and
perspective to indicate depth, the illusion of 3-D
space on a 2-D surface.

Technical qualities - immediacy and spontaneity of
creation are valued in aesthetic objects (hand patina,
brush strokes).
Unity of beauty and function of form - form
follows function; the appearance, significance, and
meaning of objects is equally important.
Humility of humanity - humanity is subordinate to
nature; acceptance of the inevitable.
Technical qualities - idealized perfection; high
level of technical mastery in academic art; this
tradition was challenged by the Impressionists and
others.
"Art for Art's Sake" - novelty and eclecticism of
design; function was often subordinate to form; art
was its own form and needed no other reason to
exist.
Power of humanity - nature is subordinate,
humanity conquers nature and controls the
environment.
 6

A Comparison of
Traditional Japanese Gardens
with Western Gardens
Simplicity in design is very Complex design often used with
important many plants in several areas
ASYMMETRICAL design - main SYMMETRICAL design - main
features placed off-center, curvy features on center and balanced,
paths, rocks grouped in twos, threes, usually straight lines for paths, and
fives or one alone walls, and edges of garden.
Nature in control Nature under human control
Human touch is hidden Human touch is highly obvious
Often made in very small and Often made in large spaces
intimate spaces
Designed to be enjoyed in all four Usually designed for just the
seasons growing season
Designed to be a quiet place and to Designed to impress and show
promote spirituality wealth.
 7

Miniature Japanese Garden

Student Self-Assessment Rubric
(standards 4.3, 5.28aa, 5.29 embedded in each criteria)

Criteria Needed more Accomplished this Excellent job done

attention
Use of simplicity in I have added so many Half of my garden More than half of my
garden design things that I see very area is showing sand. garden area shows
little sand sand.
Use of asymmetrical The way I placed The way I placed The way I placed
design things on the sand in things on the sand in things on the sand in
my container can be my container is off- my container is off-
divided pretty evenly centered (off to one centered and has more
from side to side. side). things grouped on one
side than the other.
Use of traditional My lantern, bridge or My lantern, bridge, or My lantern, bridge, or
design water basin show water basin show the water basin shows
basic Japanese shape Japanese shape and Japanese shape, detail
but are not carefully are made with some and are made with
made. care. great care.
Application of My garden leaks sand My container holds My container holds
functional design or the walls are too sand, the walls are sand, the walls are
techniques. low in spots. functional and the built well, and much
shape of the container attention was given to
represents a the shape and
traditional Japanese finishing.
style.
Use of color I chose bright colors I chose quiet and I chose quiet and
to paint my clay natural colors. natural colors, painted
objects and container. each clay piece
carefully.

Scoring: For every "Needed more attention" - 1 point

For every "Accomplished this" - 2 points
For every "Excellent job done" - 3 points

Below standards - Between 5 and 8 points

Meets Standards - Between 9 and 11 points
Exceeds Standards - Between 12 and 15 points

Assessment Criteria for Rubric:

Criteria # 1,2,3, and 5 assess Standard 4.3
Criteria # 1,2,3,4, and 5 assess Standard 5.28aa
Criteria # 1,2,3,4,and 5 assess Standard 5.29
 8

Lesson # 1
Introduction to Japanese Gardens

Time to complete: 45 minutes

Materials: Slides or pictures of traditional Japanese gardens and western gardens.

(can also borrow a video of traditional Japanese gardens from the
UVM Asian Studies Outreach Program)
Sample or picture of miniature Japanese garden (could be one created by the
teacher_

Activity: Show slides or pictures to students of traditional Japanese and western gardens.
Make sure some of the slides or pictures incorporate ponds, streams and show
Images of the dry style of Japanese garden called "karesansui."
Show images of Japanese gardens that include bridges and basins. Draw
attention to the shape, lines and color used in the structures. Students
will be asked to recreate models of these structures for their gardens.
Ask students questions that relate to the characteristics or features they
noticed in these Japanese gardens.
Show students an example of a miniature Japanese garden at the end of their
discussion. Ask them about the features they see in this miniature model.
 9

Lesson # 2
Designing a Functional Container

Time to Complete: 1 hour

Materials: Clay
Visual pictures of Japanese gardens
Rolling pins
Popsicle sticks

Activity: Students begin creating their Japanese gardens. Before beginning the project,
hand out and discuss the criteria and levels of performance on the self-
assessment rubric for their end product.
Discuss the type of container that is needed for the garden and the importance
of the container to be able to hold sand without spilling over the sides.
Show students examples or pictures of miniature gardens once again.
Student use clay to make a low-walled container to hold their dry garden.
They will first draw a design of the container's base on a piece of 9" x 12"
paper and cut that shape out.
Next they will need to roll the clay into slabs no thinner than a chocolate chip
cookie.
They will put their patterns on the clay slab and use the edge of a popsicle
stick to cut the clay into the shape of the base.
Clay walls that are about 1" high are added to the base to make a container that
will hold sand. The techniques to solidly secure the walls to the base should
be emphasized.
Students can then use the clay to make miniature bridges, "hashi," stone
Lanterns, "ishi-doro," and water basins, "chozubachi." Miniature clay
examples and visual pictures should be provided.
Emphasize making these structures to scale so that they will fit in the
container without overwhelming the garden's design. Also encourage the idea
of selecting one or two of the three suggested items to replicate since there
usually isn't room for all three in the container. Note that these items are not to
be attached to the base, but kept separate.

Assessment Method: Self Assessment Rubric (to be used as a guide while students are
creating their miniature Japanese gardens).
 10

Lesson #3
Use of color

Time to Complete: 40 minutes

Materials: Watercolor paints

Brushes
Water containers
Rocks

Activity: Prior to this activity, ask students to bring 3-5 small rocks that were special
to them. The rocks need to fit within their palm and be small enough so
that their fingers can close over them. Only natural rocks can be use that are
not painted or polished.
Students are reminded that color is important in a Japanese garden. They can
then select colors to paint their containers and structures made in the
previous lesson. Natural colors should be used to paint their containers and
bridges, lanterns or water basins.
While they are painting, review the qualities of a Japanese garden to a
western style garden. Note the importance of rocks in a Japanese garden
and their symbolism.

Assessment Method: Use the same self-assessment rubric at the end of each lesson to
help guide students
 11

Lesson # 4
Japanese Garden Assembly

Time to Complete: 45 minutes

Materials: Clay containers and structures

Rocks
Sand
Moss
Small flat stones
Rake (made with mat board scraps, glue,bamboo skewers, and garden
clippers or forks can be used as rakes)

Activity: Students assemble their gardens by first putting sand in their container, then
rocks and finally their miniature lanterns, basins, or bridges. Provide bits of
moss, small flat stones for paths, and rakes.
When they settle on a final arrangement, raking patterns are discussed and
executed. Students fill out the self-assessment sheets and then set their
gardens up for exhibit in a display area. Provide time for students to discuss
their gardens with each other.

Assessment Method: Student Self-Assessment Rubric

Lesson Extension: Teach the form for writing haiku and have the students write one
about being in a Japanese garden.
 12

BIBLIOGRAHY & WEB SITES

**All these sites have some photos and most have some useful written information
about Japanese Gardens.**

Diane Moore (Institute of Japan, 2000 participant) created a power point presentation
called What Is Culture? This site has several photos of Japanese gardens and can be
accessed on-line. http://www.franklin.k12.vt.us

www.columbia.edu/itc/V3613/gardens/overview.html

www.niwa.org/Nature.html

www.japan-guide.com/e/e2099.html

www.outside-in.com/seiwa-en/index2.html Go to the bottom of the comment page for a useful

menu with pertinent information.

Books:

Addiss, Stephen with Audrey Yoshiko Seo. How to Look at Japanese Art. New York:
Harry N. Abrams, Inc., 1996

Fukuda, Kazuhiko. Japanese Stone Gardens. Rutland, VT; Tokoyo: Charles E. Tuttle,
Co., Inc.,1970

Ito, Teiji. The Japanese Garden, An Approach to Nature. New Haven, CT; London: Yale
University Press, 1972

Nitschke, Gunther. The Architecture of the Japanese Garden. Koln, Germany: benedikt
Taschen, 1991.

Sawano, Takashi. Creating Your Own Japanese Garden. Tokoyo: Shufunotomo Co,.
Ltd., 1999.