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We are one of the largest multipurpose avenue trees suppliers in India. Our avenue trees are

high on demand in the market for their versatile domestic as well as industrial uses. The trees

avenue we deal in are accessible in wide variety like elephent trees, khasid, sissoo, sawan, silver oak, gliricidia and so on.

Botanical name Common name

Adianthera povanica Lal chiroti

Albizzia richardiana Elephent trees

Cassia siamia Khasid

Erithrenia verginata

Dalbergia sissoo Sissoo

Gmelina arboria Sawan

Grevillia robusta Silver oak 

Gliricidia Gliricidia

Madhuca latifolia Mahuva

Mimsops elangi Elangi

Polythenia longifolia Ashoka

Parkia bingadolssi Tennis ball tree

Pongamia pinneta Karanja

Smania saman Rain tree

Sigapore cherry Singapore cherry

Swetenia mahagony Mahagony

Tesposia populina Porus people

Terminelia cattapah Forest badam

Writia tintoria

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We offer wide varieties of fencing species for the purposes of grilling and framing wide open

areas like farms and fields. The farm fencing species provided by us are accessible in a wide

range like agave plants, acacia concinna, bambusa arundinacea and so on. They are mainlythorny shrubs widely used to keep stray animals away from the crops. They are a good means of 

 protection from unwanted stuffs that can affect the growth of these crops

Agave Plants

We bring forth the finest quality agave plants that are effectively usedfor the fencing of the farms. The blue agave plants we supply in the

market have big and strong thrones, just like saw, which prevent

unwanted cattle to penetrate the cultivated farm. They require no

maintenance as they are drought resistant and can survive without anywater or rains.

Acacia Concinna

We offer superior quality acacia concinna, which is widely used in fencing the farm. The

shikakai acacia concinna supplied by us in the market are fast growing bushy creepers withcurvy thorns. Once the plant is grown fully, even the tallest animal like elephants can also not

transgress into the cultivated farms. Besides, we are one of the chief powder acacia concinna

suppliers in India.

Bambusa Arundinacea

We bring forth the best quality bambusa arundinacea in the market. They are green color 

clumps that are variedly used for secure fencing of wide open areas or farm. They have sharp

and strong thrones and grow as dense bush, so it is very difficult for the unwanted animals tocross the fence and destroy the fully cultivated field. In addition to this, we also supply high

quality arundinacea seeds that require average rain fall for its growth and survival.

Dendrocalamus Strictus

We supply the best quality dendrocalamus strictus i.e. small bamboo. Our dendrocalamusstrictus bamboo is draught resistant bamboo species that is extremely suitable for the low

rainfall climates and soil. They grow in thick bush and are comparatively stronger than the big

and hollow bamboos. They have other uses also than the usual fencing like making domestic

utility products.

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Jatropha Curcus

We present superior quality jatropha curcus in the market. They are non thorny species of 

fencing trees that attain the height of 4-5 feet, resembling green wall. Though they have no

thorns but jatropha curcus release some latex, which is harmful for the animals. Thus, the

animals keep away from this bushy plant. In addition to it, we also supply jatropha curcus

seeds and further we are one of the renowned jatropha seeds suppliers in India.

Prosopis Juliflora

We are a predominant manufacturer of prosopis juliflora also known as mesquite and kabulikikar. We are one of the eminent prosopis juliflora seeds suppliers, located in India. Our 

 produced prosopis juliflora seeds are competent enough to grow into trees, even in unfavorable

conditions or in any type of climatic conditions. We produce prosopis juliflora plant that are

hard and have long, fine & strong thorns. Within two years of time, it creates a strongconfining wall.

Pithecellobium Dulce

We are specialized in the supplying of pithecellobium dulce, which is high in demand in tea

& coffee estates. Suitable for all soils and different climates is the chef characteristics of our manufactured pithecellobium dulce seeds. These seeds are so influential that within 2 years the

tree will attain a height of 6-8 feet and in future they will attain a maximum height of 30 feet.

We offer pithecellobium dulce at the most affordable prices.

Scented Acacia

Sweet scented acacia manufactured by us truly signify sweet smelling quality of acacia. We

are one of the prominent acacia seeds suppliers, located in India, whose agricultural seeds are

 passed through various quality tests so as to assure the quality of the seeds. Our scented acacia

also called acacia fernanciana (scented babul) has clusters of blossoms and they have amesmerizing perfume.

Roadside Grasses

Grasses for roadside is very important because of soil erosion control and greenery look.Generally, these Roadside Grasses should be maintenance free and drought resistant.

According to our experience, we are engaged in offering various Roadside Grasses that are

suitable for this purpose.

Road Divider Plants

We are engaged in the processing & distribution of Road Divider Plants. Small shrubs are

 plants for road dividers as that give beautiful look to the roads and help during nighttimedriving. We offer various Road Divider Plants that are suitable to be planted in dividers, asthey require less water & maintenance.

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Flowering Trees

We supply an exclusive range of ornamental flowering trees, which are hard to find somewhereelse. When our small flowering trees grow to its maximum height, they leave a mesmerizing

effect on the onlookers.

Botanical name Common name Flowering colour

Bahunia parpuria Basavana pada Pink and white mix

Bombax cebia Red

Cassia nadosa Horse cassia

Cassia fistula Amaltas Yeloow

Cassia javanica

Calvilia recimosa Calvilia Gold colour 

Delonix regia Gold mohar Red

Jakaranda Jakaranda Voilet

Michelia champaka Sampige Yellow / white

Peltoform Yellow gold mohar Peltoform

Spethodia campanulata Safraon

Milleta peguensis Violet & white mix

Tecoma stans Yellow flower 

Tabubua avalanda Pink 

Tabubia rosia Rose colour 

Tabubia arjencia Yellow

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We are proud to be reckoned as one of the chief medicinal plants suppliers of India. Some of the

herbal medicinal plants supplied by us include Santalum album, Australian rose wood, Forestneem, Melia dubia, Red sander or Raktha chandan, Pterocarpus santalinus etc.,

Botanical name Common name

Santalum album Sandal / Chandan

Pterocarpus santalinus Red sander / Raktha chandan

Melia dubia Forest neem

Acacia cracicarpaAustralian rose wood

We present a huge variety of shade tree plants like Silver oak, Elephant tree etc., which are

 basically used for the purpose of providing shade.

Botanical name Common name

Acrocarpus fraxanifolis Pink cidar 

Albizzia richardiana Elephent tree

Albizzia amara

Grevillia robusta Silver oak 

shrubs like areca and pagoda, which are widely used for interior decorative purposes. Theseornamental

shrubs are extensively used for commercial purposes as well and are highly demanded for their

freshness and appealing look, which will enhance the beauty and décor of your house.

Botanical name Common name

Areca palm Areca

Plumeria Pagoda

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Kare-san-sui, "dry landscape" or 涸山水 "parched landscape"), also Kasansui (仮山水 "fake

landscape"), Furusansui (故山水 "old landscape") or  Arasensui (干泉水 "dry pond"), or 

colloquially Zen Garden is a Japanese rock garden , a special type of  Japanese garden . This

type of garden is called "dry garden" or "dry landscape garden" because it only from gravel consists, stones and boulders. With the exception of  moss  plants are not used. Also, water is

dispensed, this is indicated by appropriate in the gravel pattern.

Both the calculation of these rock gardens by Zen monks as well as the consideration of the

 Kare-san-sui is a meditation understood.

Water lines

The water lines that are drawn with the rake, can be natural structures such as streams or other  bodies of water symbolize, as is the case in western gardens. It is important that as no beginning

or end of lines can be seen. The samples should always be designed so that the lines and mergeinto each other stone settings are highlighted.

Stones

The arrangement of the stones should not result in geometric shape, very similar to the random

structure of nature. Any even number of blocks should be used. It is usually five or seven stones,

which are grouped or placed separately. The water lines should flow around the pre-placedstones. The variant to draw out the lines in the sand and then to place the stones, does not

correspond to the image of nature.

The effect of the garden of  Ryoan-ji in Kyoto could be due to the seemingly random arrangementof stones according to recent research.

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A small Zen garden

Zen garden are popular  miniatures that can adorn your desk, for example, serve to relax and playful meditation invite. The miniature Zen garden usually consists of a rectangular frame inwhich are coarse to fine-grained sand, stones or colored semi-precious stones. This is usually a

small wooden rake, with the "garden" can be edited

Lafcadio Hearn (1850-1904), a noted writer on Japan, said this about Japanese rock 

gardens: ―In order to comprehend the beauty of a Japanese garden, it is necessary tounderstand -- or at least to learn to understand -- the beauty of stones. Not of stones

quarried by the hand of man, but of stones shaped by nature only. Until you can feel,

and keenly feel, that stones have character, that stones have tones and values, the whole

artistic meaning of a Japanese garden cannot be revealed to you. Not only is every stonechosen with a view to its particular expressiveness of form, but every stone in the

garden or about the premises has its separate and individual name, indicating its purposeor its decorative duty.‖ 

Stone at Koyasan , 

INTRODUCTION. The Japanese typically categorize their gardens into three broad types. A

wonderful six-page review of Japanese gardens is offered by the Japan National Tourist

Organization (JNTO).

  Tsukiyama 築山 is a term to denote a hill garden as

opposed to a flat garden (hiraniwa平庭). Tsukiyama

gardens typically feature an artificial hill combined with a

 pond and a stream and various plants, shrubs, and trees.

Such gardens can be viewed from various vantage points asyou stroll along the garden paths, or appreciated from a

 particular temple building or house on the grounds.

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Representative examples can be found at Tenryuji Temple and Saihoji Temple, both in

Kyoto. Tsukiyama literally means constructed mountain. The older term was kasan仮山 

(artificial mountain). Tsukiyama gardens became particularly popular in the early Edo

 period. One common type of Tsukiyama garden is the tortoise and crane garden, whichtypically shows these fortuitous creatures on two separate islands, together with an isle of 

eternal youth. Representative examples can be found at Daigoji Sanboin Temple andKodaiji Temple, both in Kyoto. In Chinese and Japanese mythology, the turtle and crane

are symbols of long life and happiness. For a few more details on tsukiyama gardens,

   Karesansui 枯山水 (dry landscape gardens, also

known as rock gardens and waterless stream gardens)

are typically associated with Zen Buddhism, and

often found in the front or rear gardens at the

residences (houjou方丈) of Zen abbots. The main

elements of karesansui are rocks and sand, with thesea symbolized not by water but by sand raked in

 patterns that suggest rippling water. Representativeexamples are the gardens of Ryoanji Temple and

Daitokuji Temple, both in Kyoto. Plants are much

less important (and sometimes nonexistent) in manykaresansui gardens. Karesansui gardens are often, but not always, meant to be viewed

from a single, seated perspective, and the rocks are often associated with and named after 

various Chinese mountains. The first-ever Zen landscape garden in Japan is credited to

Kenchoji Temple in Kamakura. Founded in 1251, this temple was the chief monastery for the five great Zen monasteries that thrived during the Kamakura era (1185-1333). It

 became the center of Zen Buddhism thanks to strong state patronage. For more details onkaresansui,

 

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  Chaniwa 茶庭. With the introduction of the tea ceremony in

the 14th century AD, the chaniwa (garden attached to the tea-

ceremony house) also began to appear in Japan. In many cases,

the chaniwa is not really a full-fledged garden, but rather anarrow path leading up to the chashitsu (the main tea room).

The placement of the stepping stones that lead to the main tearoom is a hallmark feature of this garden type. Chaniwa also

feature stone lanterns and stone water basins (tsukubai),where guests purify themselves before partaking in the tea

ceremony.

The aim of the chaniwa designer is to create a feeling of solitude and detachment from

the world, one that matches the aesthetic simplicity of the tea ceremony (Jp. = sadou or 

chadou茶道). In Zen, minimalism and silent meditation

are important ways to achieve enlightenment. Chaniwa

gardens are not typically open to the public.

Zen, Tea, and Daruma The tea ceremony is closely associated with Zen Buddhismand the Indian sage Daruma (Bodhidharma). Daruma is

the undisputed founder of Zen Buddhism, and credited with Zen's introduction to China

during his travels to the Middle Kingdom sometime in the 5th or 6th century AD. Zen

was introduced to Japan early in the Kamakura Era (1185-1333) and became a favorite of the new Warrior Class (samurai) who had wrested power from the nobility. The primary

aim of Zen Buddhism is personal enlightenment, and according to Daruma,

enlightenment cannot be found in books or sutras or in performing rituals. Rather, it is to be found within the self through meditation. Daruma taught that within each of us is the

Buddha, and that meditation can help us remember our Buddha nature. By clearing our minds of distracting thoughts, by striving for a mental state free of material concerns, we

will rediscover our lost but true Buddha nature.

 The practice of Zen involves long sessions of zazen, or seated meditation, to clear the mind of distractions and to

gain penetrating insight. Zen's assimilation into Japanese

culture was accompanied by the introduction of green tea,

which was used to ward off drowsiness during the lengthyzazen sessions. One Daruma legend says that Daruma

 brought green tea plants with him when he traveled to

China; another says that Daruma plucked off his eyelids ina rage after dozing off during meditation -- the eyelids fell

to the ground and sprouted as China's first green tea

 plants!! To this day an early form of the tea ceremony iscarried out in some Zen monasteries in Japan in honor of 

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Daruma. (Note: Zen Buddhism is the term used in Japan, but Daruma‘s philosophy

arrived first in China, where it flowered and was called Chan Buddhism. Only centuries

later does it bloom in Japan, where it is called Zen).

  Zen Garden Art. Hill gardens and dry landscape gardens are often designed to imitate

the sweep of a vast landscape within a very limited space, and the subtle, minimal, andskillful arrangement of rocks, shrubs, trees, and running water are meant to provide the

viewer with a heightened sense of natural scenic beauty. One of Japan‘s most renowned

early designers was Musou Kokushi夢窓国師 (1275-1351). This famous Zen master,

whose real name was Muou Soseki, is credited with the construction of 66 Zen templesthroughout Japan, and with the design of dozens of Zen gardens, including those at

Zuisenji Temple in Kamakura and at Tenryuji and Saihoji temples in Kyoto. He was also

a noted writer of poems. Another celebrated gardener was Kobori Enshu小堀遠州 (1579

- 1647). Kobori is credited with many dry landscape gardens in Japan, including that at

Daitokuji Hojo (the Chief Abbot‘s residence at Daitokuji Zen temple in Kyoto) and thegarden at Kyoto‘s Old Imperial Palace. 

  In general terms, the Japanese Zen gardener aims to cultivate as if not cultivating, as if the gardener were part of the garden. Indeed, Japanese Zen gardens often appear helped

rather than governed by the gardener. With Zen, art aspires to represent not only nature

itself but to become a work of nature. To paraphrase Alan Watts, Zen art is the ―art of artlessness, the art of controlled accident.‖ For more on Zen art and its influence on

Japanese artistic sensibilities,

Karesansui TypeRock Garden at Komyoji Temple (Jodo Sect) in Kamakura

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Above Photo. Says Tadahiro Kondo: ―Karesansui  gardens are usually found at Zen temples, and

the most famous among them is that of Ryoanji in Kyoto. It is rare to find them in temples of the

Jodo (Pure Land) sect. In May, beautifully trimmed satsuki, or Rhododendron indicum, in thegarden will be in full bloom. I personally feel that the Komyoji garden here is more beautiful, or 

at least cleaner, than Ryoanji's, which is always crowded with sightseers. Worse still, at Ryoanji,

an admission of 500 yen does not allow us to get access to the main hall. The Ryoanji gardenattracts visitors with its enigmatic arrangement of 15 rocks (clustered so that one can see no morethan 14 from any single angle).‖ For more details on Komyoji Temple, please see Mr. Kondo's 

web site . 

Karesansui Type

Ryouanji竜安寺 (Kyoto) Zen Garden

Constructed in 15th century; a world cultural heritage site

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 Karesansui Type

Karesansui  枯山水 (かれさんすい) 

Below text courtesy JAANUS Literally "dry landscape." A common type of garden which suggests mountains and water using

only stones, sand or gravel and, occasionally, plants. Water is symbolized both by the

arrangements of rock forms to create a dry waterfall (karetaki 枯滝) and by patterns raked into

sand to create a dry stream (karenagare 枯流). The word karesansui is found in the 11th centurygarden manual SAKUTEIKI作庭記 and garden historians have designated Heian-period rock 

arrangemants as zenkishiki karesansui前期枯山水. Karesansui usually refers to dry gardens of 

the Muromachi, Momoyama and Edo periods, although the term kouki karesansui後期枯山水 

has been created to distinguish this later type. Because of their similarity to ink monochrome

landscape painting (suiboku sansuiga水墨山水画), particularly that of the Chinese Northern

Song (Hokusou北宋) dynasty (960-1126), karesansui gardens are also called suiboku

sansuigashiki teien水墨山水画式庭園 or hokusou sansuigashiki teien北宋山水画式庭園. Like

 paintings, the gardens are meant to be viewed from a single, seated perspective. In addition to the

aesthetic similarities to Chinese painting, the rocks in karesansui are often associated with

Chinese mountains such as Mt. Penglai (Jp; *Houraisan蓬莱山) or Mt. Lu (Jp; Rosan盧山).Given the multiple Chinese associations of karesansui gardens, they are the preferred type of 

garden for Zen禅 temples (Buddhism having arrived from China in the 7 century) and the best

examples are found in the front or rear gardens of Zen abbots' residences, houjou方丈.

Exemplary Muromachi period examples include the gardens at the Daisen'in大仙院 in Daitokuji

大徳寺 and at Ryouanji竜安寺. While Muromachi karesansui tend to use plants sparingly, early

Edo period gardens of this type often contrast an area of raked gravel with a section of moss and

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larger plants along the rear wall. The gardens at the houjou and Konchi'in金地院 at Nanzenji

南禅寺, and Shinju'an真珠庵 and Oubai'in黄梅院 at Daitokuji大徳寺 are good examples. The

aesthetic consonance with abstract art largely accounts for the resurgence of karesansui gardens

 both in Japan and abroad in the 20 century. A good example of a modern karesansui is Shigemori

Mirei's重森三鈴 1939 east garden at the Houjou方丈 of Toufukuji東福寺.

Kasan 仮山 

Literally artificial mountain. Also kasansui仮山水. A general term refering to an artificial

mountain modeled on a real or legendary mountain. Usually built in a garden. Between one andfive of these artificial hills would be built, and sometimes these could be climbed to enjoy a view

of the garden. The idea of recreating mountains in a garden originated in China with models of 

ledgendary peaks such at Penglai (Houraisan蓬莱山) and Kunlun (Konronsan崑崙山), Daoist

mountains of immortals, and Mt. Sumeru (Shumisen須弥山) of the Buddhist cosmology. Small

mountain models were also common in Japan since the Nara period. These could be made of ceramics, dried wood, or strangely-shaped stones, as seen in miniature tray landscapes, bonkei

盆景and bonseki

盆石. Tsukiyama

築山, the modern term for hill garden, has generallyreplaced this more archaic term, kasan.

Tsukiyama 築山 

Literally constructed mountain. The older term is kasan仮山. Referring to an artificial hill in a

garden, the term is used to denote a hill garden as opposed to a flat garden, hiraniwa平庭.

Tsukiyama gardens became particularly popular in the early Edo period. The importance of this

term can be seen in the title of the garden manual TSUKIYAMA TEIZOUDEN築山庭造伝 

where it was virtually a synonym for the garden in general. <end quotes from JAANUS>

Tsukiyama Type, Suizenji Koen in Kumamoto

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Built by the Hosokawa family in the 17th century. Miniature Mt. Fuji.

Photo by Jonathan Baker. His wonderful photo gallerySee the album named ―Kumamoto.‖ 

 Meigetsu-in Temple in Kita Kamakura

Meigetsu-in (Temple of the Clear Moon) in Kita Kamakura Japanese landscape gardens are famous worldwide for their quiet beauty. Although meticulously

cared for and highly artificial, Japanese gardens still appear extremely natural. This is one of thehalllmarks of Zen Buddhist art (Chinese in origin). The first-ever Zen landscape garden in Japan

is credited to Kenchoji Temple. Above photo scanned from Meigetsu-in entrance stub.

Perhaps the greatest watershed in Japanese aesthetics occurs with the introduction of ZenBuddhism during the Kamakura Era (1185-1333). The contribution of Zen to Japanese culture is

 profound, and much of what the West admires in Japanese art today can be traced to Zeninfluences on Japanese architecture, poetry, ceramics, painting, calligraphy, gardening, the tea

ceremony, flower arrangement, and other crafts. For a review of Zen‘s influence on Japanese art,

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 Modern, work by Japanese Potter  Sugiura Yasuyoshi  

from "Ash-Covered Ceramic Stones" Series

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Sand and Stone Garden

Stephanie Moss

(Karesansui )

Gardens of raked sand (or gravel) and stone are referred to as karesansui (literally, ―drylandscape‖) gardens. This style was developed in Japan in the later Kamakura period (1185– 

1333). Many Chinese landscape paintings of the Southern Sung dynasty were imported to Japan

in the 14th and 15th centuries by Zen Buddhist priests, and they were emulated by Japanese

artists like Sesshu (1420-1506). An important Japanese aesthetic principle underlying bothlandscape paintings and dry landscape gardens is yohaku-no-bi, literally ―the beauty of blank 

space.‖ 

While dry landscape gardens are sometimes referred to as Zen gardens, it is more accurate to

refer to them as karesansui. In Japan, often this style of garden is part of a Zen Monastery, such

as the famous Ryoan-ji in Kyoto (although it does occur elsewhere). Often attached to theabbot‘s quarters, this style of garden was not meant for meditation (zazen), but more for 

contemplation. Care of the garden is part of the monk‘s practice, as is every other action in their 

lives. For those who interpret these gardens as vehicles for contemplation, they may offer acosmic view of the universe represented in sand and stone.

This karesansui was designed by Professor Takuma Tono in the 1960s, when Zen Buddhism was

little known or understood in this country. Professor Tono was inspired by a tale that‘s said to beover 2,000 years old. A tale of a previous incarnation of Buddha, the Jataka Sutra originated in

India. It is recorded on a painted panel in the Horyu-ji temple at Nara, and it depicts the Buddha

facing the dilemma of saving a starving tigress and her cubs trapped in a bamboo ravine. TheBuddha‘s self -sacrifice to save starving creatures is a lesson in compassion on the path to

attaining enlightenment.

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Natural Garden

The Natural Garden was created to be an environment that encourages visitors to rest, relax, andreflect on the very essence and brevity of life. This garden in its current configuration is the mostrecent addition to the Portland Japanese Garden, and it is also the most contemporary style,

referred to as zoki no niwa, a style which includes plant materials that fall outside the list of 

 plants traditionally associated with Japanese gardens. Notable is the use of vine maple, a shrub

indigenous to this region. The garden focuses primarily on deciduous plants and is laid out to present seasonal change, from the budding new leaves of spring to the coolness of summer 

shade, the changing colors of autumn to the naked trees of winter.

Originally called the Hillside Garden, referring to the steeper terrain in this part of the Garden,

the denseness of the trees and shrubs create an immediate difference in atmosphere, something

wilder yet equally tranquil. The flow of energy (ki) through the garden refreshes and restores allthose who walk there. While the flow of ki is primarily directed by the waterway, note that

nearly all the deciduous trees lean slightly in the same direction that the water is flowing. This

garden was originally planned by the Garden‘s designer, Professor Takuma Tono, as a mossgarden, but the plants proved difficult to maintain. The garden was redesigned in the early 1970s

and then again in 1990, due to damage from earth movement.

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The Tea Garden

A Japanese tea garden (cha-niwa or roji) is a place for quiet reflection on the beauty of natureand the art of living in harmony with one another and with all things. Amid a wooded setting, a

 pathway with carefully placed stepping stones and lanterns leads through the rustic garden to the

teahouse. The gardens are designed to present a peaceful, natural space that serves as aninterval —  both in space and time — a place to detach oneself from the hectic everyday world

 before entering the teahouse and the tranquil world of chanoyu (tea ceremony). This spiritual and

aesthetic practice focuses on achieving a heightened awareness of the beauty of the presentmoment through the simple act of sharing a bowl of tea with friends in a tranquil setting.

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The tea garden consists of a pathway (roji) that leads to Kashintei (Flower-Heart Tea House),connecting inner and outer gardens, separated by a simple bamboo gate. The outer garden path

( soto-roji) leads guests to the machiai(waiting place), until the host greets them and invites themto enter the inner garden path (uchi-roji). Here guests pause at the tsukubai(arrangement of 

stones around a water basin) to rinse their hands and mouth, symbolically removing the dust of 

the real world behind. The path through the gardens represents a journey that is so important tothe creation of the proper state of mind for the tea ceremony that the word roji has becomesynonymous with tea gardens themselves.

The Tea House

Kashintei (literally ―Flower -Heart Room‖) is the name of our Tea House. The structure wasmade in Japan by master craftsmen employed by Kajima Construction Company. It was

constructed using wooden pegs rather than metal nails, in the style of traditional structures in

Japan. Kashintei was dedicated on June 1, 1968. Tea houses are composed of several strictly

defined spaces. There is an anteroom (mizuya) where the utensils for the ceremony are readied

 beforehand. The actual sitting room ( zashiki) is where the tea ceremony is performed. There aremats (tatami) on the floor; in fact, Japanese rooms are measured by the number of tatami they

contain.

While our Tea House is an authentic structure, it is also unusual as it has walls of sliding papered

doors ( shoji) around the tatami mat area, a surrounding slate floor, and outer walls of slidingdoors, making it useful for tea demonstrations as well as tea gatherings in our Garden. Most tea

houses are 4.5 tatami mats or smaller and are enclosed by solid walls with very small, paper-covered windows. Most have a tiny door that requires guests to crawl into the inner space. Thesense of enclosure and intimacy help the participants focus on each other and the tea ceremony.

Kashintei Tea House is small, as most tea gardens are, built historically in urban environments.Yet the experience of walking through the roji to the tea house was meant to give a sense of 

traveling a considerable distance: out of the city and deep into the mountains to the hermitage.

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Strolling Pond Garden

Our Strolling Pond Garden (chisen kaiyu shiki teien) consists of Upper and Lower Pondsconnected by an enticing stream. The Upper Pond features a Moon Bridge, while the Lower Pond has a zig-zag (or  yatsuhashi) bridge through beds of iris against the backdrop of a stunning

waterfall.

Strolling pond gardens were intended as recreational sites for the wealthy and were

attached to the estates of aristocrats and feudal lords (daimyo) during the Edo period (1603 – 1867), when this style of garden was at its height. These gardens were sometimes created to bereflections of a landscape of some distant place once visited, or the place of one‘s birth, or even a

famous place in China. An earlier style of pond garden called chisen senyu shiki was popular during the Heian period (794 – 1185), but the earlier gardens were typically viewed from boats

floating on ponds rather than strolling along pathways near the water. Both of these styles have

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served as inspiration for poetry and art, but in Edo times the larger scale and grand style of the

Strolling Pond Garden served the daimyo‘s interest in luxury and the display of wealth. 

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Flat Garden

The Flat Garden (hira-niwa) is an example of how gardens in Japan have continued to develop

the dry landscape style of the karesansui garden over time. In a garden such as this one, the

designer worked to balance the relationship between the flat planes (the ground) and the volumeof stones and clipped shrubbery and trees to create a sense of depth of space. The garden is

meant to be seen from a single viewpoint either from within the Pavilion or from the veranda.

The whole is framed by the sliding shoji doors if viewed from inside or by the veranda itself if viewed from outside. This framed view can be appreciated in much the same way we wouldappreciate a landscape painting —  perhaps a view of a shoreline across the water of the raked

gravel plane. Mountains and hills are depicted in the rounded shapes of the azalea shrubs.

The Flat Garden also provides a distinctively seasonal beauty in all four seasons. The Japanese

laceleaf maple is more than a century old and can be said to represent autumn, while the weeping

cherry signifies the spring. Winter is represented by the black pines and summer by the

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imaginary cool ―water‖ of the raked gravel surrounding the Circle and Gourd Islands, which

symbolize enlightenment and happiness.

Design Principles in Japanese Gardening

Harmony with Nature

Central to the design of Japanese gardens is appreciation and respect for nature. Therefore, all

that is done in the Japanese garden is to be in harmony with its natural surroundings. Within the

garden itself, much effort is given to bringing all the opposing elements of the garden together into an artistic unity: dark and light; space and form; smooth and fine; hidden and obvious. The

other underlying principle, already discussed, is the theme of natural scenery whether it is a

minimized version of nature, a copy of a particular natural scene, or a representative scene using

symbolic materials.

 Asymetry and Odd Numbers

You will find the Japanese garden reflects a preference for asymetryand odd numbered components, usually threes and fives, with a

dominant element and two subordinate ones. This comes from Taoist

and Zen influences on Eastern thinking. There is an appreciation for the process of attaining perfection rather than on the state of perfection

itself which symmetry more accurately reflects. To the eastern mind,

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Japanese Garden Styles

Whatever your space restriction, there is a Japanese garden

style that can accommodate it.

Dry Landscape Garden

One garden style unique to the Japanese is the dry landscape or stone garden.This garden is a

simulation of a natural water landscape. Its style is particularily adaptable to small spaces andwhere water is limited, a logical alternative. With the use of rocks, stones,

gravel, and plants- lakes, waterfalls, mountains and islands can be

represented in your backyard. You can give the impression of calm water by

raking long, straight lines into gravel or the impression of movement byraking in concentric cirles. Plants are used sparingly and are usually finely

textured, ground-hugging evergreens or a variety of thyme that can be easilysculptured into an island or some other representative shape. These gardens

tend to be stark with a great amount of empty space since they were originallydesigned for meditation by the Zen monks. They were prized for their 

simplicity and symbolism not their aesthetic beauty.

Japanese Tea Garden

Pick a secluded and tranquil spot, space allowing, for your teahouse or symblance of. The

teahouse was initially created for the tea ceremony and to remove the participants from the

distractions and cares of daily living. There should be a winding, stepping stone path with stones placed in a way that slows your pace and allows you to view the garden along the way. The

garden is more wild then cultivated. Plantings should be few in number and simple- evergreens,

ferns, mosses and possibly a few maples. Stones should be randomly placed, resembling amountain path.

The teahouse itself should be rustic in nature made of wood, rough-surfaced plaster, or stones to be authentic. Originally, teahouse roofs

were thatched. The garden is small and may be closed in by hedges,

walls, or fences to give an aire of privacy and intimacy. A gate

represents passage, leaving the world behind. Usually there is a stonelantern to light the way and a stone basin of some kind to wash before

 participating in the tea ceremony. Water trickles into the basin from a

 bamboo flume that spills out over pebbles or larger rocks placed so to keep the area frommuddying. Nearby are large flat stones for setting down belongings while you wash in the basin.

Stones are arranged in a way that requires you to bend, over or humble yourself, to wash.

You will not usually find flowers in a tea garden except within the teahouse itself where a lovely

and simple arrangement was placed for contemplation and appreciation.

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Water

As mentioned earlier, water is a very desirable feature in the Japanese

garden. A water source such as a spring, a stream or a waterfall will provide sound and keep the pond fresh. A water feature will draw

wildlife into the garden and provide beauty as itreflects the sky and the surrounding plant life. It cangive a sense of spaciousness in its reflective quality

and make your small garden seem larger. Koi fish, a kind of Carp, can be

added to the pond for entertainment and interest. These very colorful fish can

grow quite large, given the space, and are a favorite pond life in the Japanesegarden. They can live for decades in a clean, cool, well-aerated and partially

shaded pond. Finally, a water feature will provide a source of moisture to

 plants in the garden and help to keep it lush and green looking.

Sometimes, water is not an option. In that case, the use of rocks may instead be used to imply

water. I have seen beautiful Japanese garden water scenes with not a drop of water in them!

Plants

Evergreen trees and shrubs provide for the bulk of plantings in Japanesegardens, mainly because of their year round color. Also, as the

foundation of the garden, they provide a backdrop of green for other 

deciduous or flowering trees and shrubs, as well as stones and other garden features. Both needled and broadleafed evergreens are used.

Plants are chosen for their ability to be pruned and shaped. Size and

maturity are considered. Patterns, colors and textures of leaves, stems and bark are important.

Branching patterns of trees and shrubs, even the way a bare tree holds the snow in winter, are alltaken into consideration.

Another important feature is the plants appearance during seasonalchanges- its autumn color; its berries or spring flowers. Frequently used

evergreens might include pines, spruces, several species of false

cypress and junipers. Some deciduous trees used for their distinguishing seasonal properties are plum and cherry, ginko biloba,

witch hazel, magnolia and of course numerous varieties of Japanese

maple with their lacey leaves. Because rhodies and azaleas tolerate

heavy pruning, they are a favorite in Japanese gardening. Camelia, gardenia, pieris,quince and

Japanese holly are also among the shrubs used.

Bamboo and ornamental grasses are hallmarks of the Japanese garden. They

may be used to provide sound and movement in the garden as the wind

catches their long slender leaves. Bamboo makes a good screen when planted

in mass but does need to be contained or will take over an area. There areseveral types of grasses that come in a variety of colors and patterns.

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Mosses are also highly associated with Japanese gardens as are a variey of 

ferns. They add texture and lushness to the garden but grow best in shaded

areas and are sensitive to moisture. They are used to provide contrast to theharder features of the garden such as rocks, walls and buildings and do, in

general, soften the landscape. There are other ground covers such as

 pachysandra used with mosses and rock to provide height, color, and texturevariation in an area.

Flowers are used differently in Japanes gardening than in the western gardenwhere variey is prized. Flowers are not the feature in this garden. Occasionally, you will find a

single variety of flower used in mass over an area around a pond for example, like Japanese iris.

Otherwise, they are nestled here and there among trees and shrubs like the woodland

wildflowers. Frequently used flowers are iris, astilbe, peonies, lilies (including water lillies), andasters.

Vines are also frequently used in the Japanese garden. They soften the

architecture of walls, fences, gates, arbors, trellies and buildings as wellas provide a spectacular show and abundance of fragrance. These vines

may include clematis, honeysuckle, jasmine, trumpet creeper, wisteriaand morning glory.

In your small area garden, it is better to have a few very nice specimensto serve as centerpieces. With a strong focal point, the personality of your garden can be

established without the space required for multiple plantings.

Ornaments

Very few ornaments are found in any one Japanese garden. While chosen for their asthetic value,they are sensibly placed in keeping with their function in the garden and may include such thingsas bridges, water basins, lanterns, towers, sculptures, signposts or animal effigies. You may find

a turtle sitting on a rock or a heron standing on the edge of a pond. They should integrate well

into the landscape and be rustic and simple.

One such favorite is the deer-scarer. A bamboo flume is slowly filled with

water. As it fills up, the weight of the water causes the flume to tip and emptyitself. Empty of its burden, it falls back to its original position and striking a

rock, it makes a clacking sound.

In keeping with the hide and reveal principle, ornaments may be hidden fromview until you come upon it along the path and even then may be partially

hidden by a branch or a rock. The best view may not be straight on but from

an oblique angle some distance off. Again, the gardener strives to makeobjects look aged so let it weather. Discoloration and moss growth are encouraged.

With regard to the other nonessentials mentioned, be sure to keep in mind that materials used in

 building structures in the garden should reflect the garden's simple elegance. You will typically

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A contemporary Japanese garden at the Kochi Museum of Art

 The garden at the  Naoshima Fukutake Art Museum, using sculpture to imitate the form of 

island on the horizon

 Garden of the Adachi Museum of Art

 Awaji Yumebutai, a contemporary garden on the island of  Awaji, Hyogo (2000)

 Shell beach garden, part of the Awaji Yumebutai on the island of  Awaji, Hyogo (2000)

Garden elements

Water

The ability to capture the essence of nature makes the Japanese gardens distinctive and appealing

to observers. Traditional Japanese gardens are very different in style from occidental gardens.The contrast between western flower gardens and Japanese gardens is profound. "Western

gardens are typically optimised for visual appeal while Japanese gardens are modelled with

spiritual and philosophical ideas in mind." Japanese gardens have always been conceived as arepresentation of a natural setting. The Japanese have always had a spiritual connection with

their land and the spirits that are one with nature, which explains why they prefer to incorporate

natural materials in their gardens. Traditional Japanese gardens can be categorized into threetypes: Tsukiyama Gardens (hill gardens), Karesansui Gardens (dry gardens) and Chaniwa

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Rocks in the Garden of the Blissful Mountain at Daitoku-ji 

Rock, sand and gravel are an essential feature of the Japanese garden. A vertical rock mayrepresent Mount Horai, the legendary home of the Eight Immortals. or  Mount Sumeru of Buddhist teaching, or a carp jumping from the water. A flat rock might represent the earth. Sand

or gravel can represent a beach, or a flowing river. Rocks and water also symbolize yin and yang, (in and  yō in Japanese) in Buddhist philosophy; the hard rock and soft water complement each

other, and water, though soft, can wear away rock.

Rough volcanic rocks (kasei-gan) are usually used to represent mountains or as stepping stones.Smooth and round sedimentary rocks (suisei-gan) are used around lakes or as stepping stones.

Hard metamorphic rocks are usually placed by waterfalls or streams. Rocks are traditionally

classified as tall vertical, low vertical, arching, reclining, or flat. Rocks should vary in size and

color but from each other, but not have bright colors, which would lack subtlety. Rocks withstrata or veins should have the veins all going in the same direction, and the rocks should all be

firmly planted in the earth, giving an appearance of firmness and permanence. Rocks are

arranged in careful compositions of two, three, five or seven rocks, with three being the mostcommon. In a three-arrangement, a tallest rock usually represents heaven, the shortest rock is the

earth, and the medium-sized rock is humanity, the bridge between heaven and earth. Sometimes

one or more rocks, called suteishi, ("nameless" or "discarded") are placed in seemingly random

locations in the garden, to suggest spontaneity, though their placement is carefully chosen.[28]

 

In ancient Japan, sand ( suna) and gravel ( jari) were used around Shinto shrines and Buddhisttemples. Later it was used in the Japanese rock garden or Zen Buddhist gardens to representwater or clouds. White sand represented purity, but sand could also be gray, brown or bluish-

 black .[29]

 

 Sand in checkerboard pattern at Tōfuku-ji, in Kyoto

 Tōfuku-ji garden in Kyoto

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 Jōruri-ji, a paradise garden in Kyoto. The pond was dug by monks in 1150.

Karesansui dry rock gardens

Karesansui gardens (枯山水) or  Japanese rock gardens, became popular in Japan in the 14th

century thanks to the work of a Buddhist monk, Musō Soseki (1275 – 1351) who built zen gardens

at the five major monasteries in Kyoto. These gardens have white sand or raked gravel in place

of water, carefully arranged rocks, and sometimes rocks and sand covered with moss. Their 

 purpose is to facilitate meditation, and they are meant to be viewed while seated on the porch of the residence of the hōjō, the abbot of the monastery. The most famous example is Ryōan-ji 

Temple in Kyoto.

 Rosan-ji garden, Kyoto

 Zuihō-in garden, Kyoto

 Daisen-in, Kyoto

Roji , or tea gardens

The tea garden was created during the Muromachi Period (1333 – 1573) and Momoyama Period (1573 – 1600) as a setting for the Japanese tea ceremony, or  chanoyu. The style of garden takes its

name from the roji, or path to the teahouse, which is supposed to inspire the visitor to meditationto prepare him for the ceremony. There is an outer garden, with a gate and covered arbor where

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Design Principles There are certain intrinsic principles that one needs to grasp to successfully capture the spirit of the Japanese garden. Most importantly, nature is the ideal that you must strive for. You canidealize it, even symbolize it, but you must never create something that nature itself cannot.

For example, you would never find a square pond in the wild, so do not put one in your garden.

You may certainly use a waterfall, but not a fountain. Another key point to remember is balance,

or sumi. You are always trying to create a ―large‖ landscape even in the smallest of spaces.While that nine-ton boulder looks right at home in the six-acre stroll garden, what effect does it

have on a ten by ten courtyard? It would have all the grace and subtlety of a horse in a closet.

Choose your components carefully.

Rocks can represent whole mountains, pools become lakes. A small stretch of raked sand can

 become an entire ocean. The phrase ― Less is more‖ was surely first spoken by a garden master. 

The elements of time and space

One of the first things that occur to western eyes viewing a Japanese garden is the ―emptiness‖ of 

 portions of the garden. This is unsettling to gardeners accustomed to filling every space in thegarden for a riot of color, but it is a key element in the design of Japanese gardens. This space, or 

ma, defines the elements around it, and is also defined by the elements surrounding it. It is the

true spirit of in and yo, that which many of us know by the Chinese words yin and yang. Without

nothing, you cannot have something. This is a difficult point to grasp, but it is a central tenet of Japanese gardening.

Another key point to ponder is the concept of wabi and sabi. Like so many Japanese words, there

is no single translation. Wabi can denote something one-of-a-kind, or the spirit of something; the

closest we can come to a literal translation is ―solitary‖. Sabi defines time or the ideal image of something; the closest definition might be ―patina‖. While a cement lantern may be one of a

kind, it lacks that ideal image. A rock can be old and covered with lichens, but if it is just a round

 boulder it has no wabi. We must strive to find that balance.

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  Do choose traditional Tuscan garden plants like olive trees, bay trees, old knobbly grape vines,

and Mediterranean herbs such as lavender and sage. These plants bring the sensory experience

of Tuscany to your garden with their fragrances and usefulness in the kitchen.

  Do feel free to modernize the Tuscan theme with ornamental grasses. "Grasses add a bold,

flowing element and help soften the naturalistic stone outcroppings traditional in Tuscan

design," says Frank.

  Do choose warm colors of stone and patio materials. Decomposed granite, Santa Barbara

cobble, and gold granite are a few good choices, but you can select whatever stone is available

locally as long as the color feels warm rather than gray.

  Do amend new planting beds with two inches of compost to give plants a good start. "Even

drought-tolerant plants like Tuscan herbs benefit from compost and regular water when first

planted," says Frank.

Don'ts: 

  Don't select pale or pastel colors like baby pink. These tones look washed-out under the hot

midday sun. Brighter colors like red, orange, hot pink or yellow create a stronger contrast with

the flower colors and silvery foliage of traditional Tuscan plants.

  Don't go overboard on the succulents. While succulents are both beautiful and sustainable, they

don't bring to mind the agrarian roots of the Tuscan planting style, so should be used sparingly if 

at all.

  Don't use gray gravel, concrete or rock. Slate and other types of blue-gray stone can be

successful in other types of garden, but the Tuscan style is all about warm earth tones.

  Don't be afraid to exchange your water-hogging lawn for a colorful Mediterranean-inspired

landscape. "An established landscape uses half as much water as a lawn, and takes so much lesscare," Frank points out. "Plus, creating garden rooms or different environments makes your

space more versatile and fun to use."

Many people develop an interest in the Tuscan theme because Mediterranean plantings are bothlow-maintenance and waterwise, and this combination of sustainability and beauty is one of the

hallmarks of Frank's design style. He suggests rainwater capture, greywater harvesting and lawn

replacement as other effective ways of making the most of the water you have. All of theseelements can be designed into the landscape in a stylish and attractive way.

Using ornamental varieties of edible plants within the landscape is another specialty of the

Gardens by Gabriel team. "You can provide delicious foods and flavors for the whole family," he points out, "while reducing the number of trucks on the road, avoiding pesticides, and reducing

your carbon footprint " Edible plants tie in well with the Tuscan theme because so many of the