THE WONDERLAND OF JAPAN.

Auckland Star, Volume XXXI, Issue 124, 26 May 1900, Page 3 (Supplement)

THE WONDERLAND OF JAPAN.

(By N. L. Kingman in the "Ledger.") In Japan there is an old legend to the effect that, once upon a time, aterrible earthquake occurred in Japan, on which occasion the earth opened near Kioto, the ancient capital, and Lake Biwa was formed, while several hundred miles distant arose the sacred mountain called Fujia-ama. It is not improbable that this curious old story is an exaggerated account of a particularly severe earthquake which occurred hundreds of years ago, for from time to time in Japan volcanic disturbances have greatly altered the aspect of the country in certain vicinities. Although this volcanic land of Japan appears somewhat sombre in tint, to eyes accustomed to the brilliant greens of the hills and vales of Western countries, Nature fully compensates the inhabitants for any deficiency of colour in their landscape, by the lavish display of wondrously-tinted blossoms iv orchard and garden. FLOWER-VIEWING PARTIES. In the latter part of January, often before the snow has disappeared, the plum trees put forth their pink, white, or pale green blossoms from leafless branches. Flowerviewing parties form a feature of Japanese social life; thus, in Japan one frequently beholds a gaily-attired throng under the boughs of the flowering plum trees. In a window of many a Japanese home in winter is to be observed a diminutive object in a flower-pot, somewhat resembling a tiny stump. In time, under the genial influence of the sun, each of these mis-shapen things puts forth vigorous green shoots which duly become laden with bright plum blossoms. A Japanese gardener says that the plum tree's fantastic form, of growth is particularly pleasing to the Japanese sense of beauty; moreover, that his race delight in Nature's strange combination of gnarled rugged branches suggestive of old age, and fair, fragile blossoms suggestive of innocence and youth: that the tree, therefore, Is a favourite model for reproduction in miniature. But no information is imparted on the subject of the art of cultivating these seemingly magical trees, for the process involved constitutes a closely-kept Japanese secret. In his sketch of flowering plum boughs the Japanese artist may or may not, as he chooses, represent the nightingale—the bird associated iv his country with the plum blossom. But it would be considered very poor taste in Japan to introduce into this same design a bird associated with another flower. The favourite among the flowering trees in Japan is the cherry, the blossom of which constitutes the national flower. The cherry trees arc to be seen in their perfection of bloom only a few days at most each season. ORIGIN OF THE CULTIVATION OF THE CHERRY TREE. Towards the close of a spring day in the fifth century the Emperor Richiu, accompanied by several members of his court, embarked in his pleasure boat on the lake of the royal park. A perfume of flowers filled the air, and from the depths of tender foliage sounded the plaintive notes of the woodland dove. It chanced that some petals from the wild cherry trees of a neighbouring height were blown into the wine-cup from which the monarch had been drinking. Richiu, glancing around to discover whence they came, suddenly exclaimed, "Behold, my friends, yonder blossom-laden trees which appear in the distance like patches of driven snow on • the green hillside.) Henceforth cherry trees , shall be cultivated in the proximity of my • palace." THE JAPANESE GARDEN. The Japanese cherish a peculiar regard for stones. Even an unusually observant and intelligent foreigner In Japan can scarcely hope to appreciate stones from the Japanese point of view. It is evident, ' nevertheless, that certain native religious ' associations and ideas are commemorated ' and embodied in stone. When one peers into the Buddhist household shrine, one notices small upright tablets of stone (ihai) in memory of departed loved ones. While walking in the country, one observes by the ' roadside many a fine boulder inscribed with 1 ideographs—strange Chinese characters each ' of which represents a word—comprising for 1 the benefit of the pilgrim some Buddhist text. At the entrance of temple grounds, one beholds curious archways of stone (torii), and within the temples, strange gods of stone before whose shrines are frequently to be observed small stone animals, each commemorating the vow of some worshipper.

One is not surprised to learn, therefore, that Japanese gardens contain a great variety of stones, arranged according to rules which centuries ago had their origin in. tke. Buddhist religion. During the sixth eeutury some Chinese Buddhist monks settle^ In Japan, for the purpose of spreading among the Japanese the teachings /of Bud^ dha, ond, Incidental to their mission, cultivated the ground, adjoining their monasteries, according to the art of gardening as understood nnd furthered by their sect ia their native land. During th» fifteenth century the Tea Ceremonials were first practised in Japan, constituting not only a popular pastime but a religious rite as -well, and being frequently held in tea-garden* designed by tea professors (chagin), which masters of the cult—gradually becoming interested in gardening 011 more general linei —established rules regulating the selectioa of stones, trees, and flowers, which forus the basis of the art of landscape gardening as practised in Japan to-day. THE GARDEN OF GIN-KA-KUJI. Foreigners in Tokio rarely fail to Inspect ; a certain interesting landmark of the ancient capital, viz., the garden of the Gin-ka-kuji, or the silver pavilion, designed and arranged by the famous Japanese artist, Sho-ami, for the great Ashlkaga Yoshimasa, ; when that nobleman retired from public afI fairs. This garden, in its day, was a spot of enchanting beauty. Its lake was dotted with islands, connected in many instances by curious humped bridges. In one spot, where the view was particularly fine—a twostoreyed, silver-plated pavilion afforded a ! place of rest, and shelter from the sun; in another—a sparkling spring bubbled from the earth. It is also worthy of mention that the great artist never violated the harmony of nature's laws by incongruous combinations ot stones, trees, and flowers. In Japan it is evident that later native landscape garden" ers evinced a like keen sense of the fitness of things; the garden of the Samuraii, the soldier, and that of the retiring student for? instance, differ greatly in character, though' in the construction of each has been pre* served identical rules regarding the choice; and arrangement of stones and vegetation*' CHARACTERISTICS OF JAPANESE GARDENS. In the Japanese garden, sand, raked in in* tricate patterns, takes the place of turf; That the beautiful gleaming surface may] not be marred by footprints, stepping-stoneS are placed at convenient intervals. Boulders, suitable in size to the proportion of the garden, represent mountains; and in the earth, between their natural and artificial crevices, thrive tiny trees and shrubs—spe< cies peculiar to the real mountains of Japan* Water is often skilfully diverted from itnatural channels to serve the purposes of the landscape gardener. Sometimes, how-i ever, the presence of water is merely sug« gested by dry river-beds, bordered by trees and flowers peculiar to the proximity of water, and areas representing respectively lake and sea by means of an ingenious ap« propriation of sand and stones. Three-fourths of the tiny trees in these seemingly fairy haunts are evergreens/The mysterious process involved in their cultivation (many of them are centuries old) necessitated much time, patience, and care; though all we may actually know about a Japanese gardener's mode of procedure in the cultivation of miniature trees is that wee boughs are hsot, splintered and bandaged, and foliage clipped according to established rules. The irregular form of growth peculiar to the evergreen, like that of the plum tree, seems particularly beautiful to the Japan-ese.--In Japan, where moon-viewing Is a favourite pastime, people sometimes gaze at the moon from a spot where the great silver face is rendered dimly visible by the tremulous network formed by the pine's foliage. The tortoise, emblem of vigorous old age, is associated in Japan With the pine. And occasionally one beholds on the surface of a garden lake a small island the shape of a tortoise, from the centre of which rises a tiny flourishing pine tree. As to the origin of ishl-doro (stone lanterns), the Japanese state that once upon a time robberies frequently occurred at night near a certain solitary mountain 'lake, and that in order to ensure the safety of travellers a curious, pot-shaped object made o_ stone and having apertures was placed by the roadside in the dangerous vicinity, and a light deposited therein at.the close of each day. Japanese garden lanterns usually consist of soft volcanic stone, and are respectively grouped with trees and shrubs at the base of hills, on islands, and near water-basins. The Japanese cherish many strange ideas concerning snow; charmingly Imaginative folk—they declare that it constitutes win* ter's floral display.