Ryōan-ji

The site of the temple was an estate of the Fujiwara clan in the 11th century. The first temple, the Daiju-in, and the still existing large pond were built in that century by Fujiwara Saneyoshi. In 1450, Hosokawa Katsumoto, another powerful warlord, acquired the land where the temple stood. He built his residence there, and founded a Zen temple, Ryōan-ji. During the Ōnin War between the clans, the temple was destroyed. Hosokawa Katsumoto died in 1473, and in 1488 his son, Hosokawa Masamoto, rebuilt the temple.

The temple served as a mausoleum for several emperors. Their tombs are grouped together in what are today known as the "Seven Imperial Tombs" at Ryōan-ji. The burial places of these emperors—Uda, Kazan, Ichijō, Go-Suzaku, Go-Reizei, Go-Sanjō, and Horikawa—would have been comparatively humble in the period after their deaths. These tombs reached their present state as a result of the 19th century restoration of imperial sepulchers (misasagi) which were ordered by Emperor Meiji.Moscher, G. (1978). Kyoto: A Contemplative Guide, pp. 277–278.

There is controversy over who built the garden and when. Most sources date it to the second half of the 15th century.See, for example, Michel Baridon, Les Jardins, Nitschke, Le Jardin Japonais, and Eliseeff. Jardins Japonais According to some sources, it was built by Hosokawa Katsumoto, the creator of the first temple of Ryōan-ji, between 1450 and 1473. Other sources say it was built by his son, Hosokawa Masamoto, in or around 1488.Nitschke, Le Jardin Japonais, pg. 89 Some say that the garden was built by the famous landscape painter and monk, Sōami (died 1525),Danielle Elisseeff, Jardins japonais, pg. 61. but this is disputed by other authors.Young and Young, The Art of the Japanese Garden, pp. 108–109. Some sources say the garden was built in the first half of the 16th century,Miyeko Murase, L'Art du Japon, pg. 183. others reckon later, during the Edo period, between 1618 and 1680. There is also controversy over whether the garden was built by monks, or by professional gardeners, called kawaramono, or a combination of the two. One stone in the garden has the name of two kawaramono carved into it, Hirokojirō and Kotarō.

The conclusive history, though, based on documentary sources, is as follows: Hosokawa Katsumoto (1430–1473), deputy to the shōgun, founded in 1450 the Ryōan-ji temple, but the complex was burnt down during the Ōnin War. His son Masamoto rebuilt the temple at the very end of the same century. It is not clear whether any garden was constructed at that time facing the main hall. First descriptions of a garden, clearly describing one in front of the main hall, date from 1680–1682. It is described as a composition of nine big stones laid out to represent Tiger Cubs Crossing the Water. As the garden has fifteen stones at present, it was clearly different from the garden that we see today. A great fire destroyed the buildings in 1779, and rubble of the burnt buildings was dumped in the garden. Garden writer and specialist Akisato Rito (died c. 1830) redid the garden completely on top of the rubble at the end of the eighteenth century and published a picture of his garden in his Celebrated Gardens and Sights of Kyoto (Miyako rinsen meisho zue) of 1799, showing the garden as it looks today. One big stone at the back was buried partly; it has two first names carved in it, probably names of untouchable stone workers, so called kawaramono.Kuitert, Themes, Scenes, and Taste, in the History of Japanese Garden Art, pp. 114–124 and 293–295. There is no evidence of Zen monks having worked on the garden, apart from the raking of the sand.

File:250201 Ryoan-ji Kyoto Japan06s3.jpg".森神逍遥 『侘び然び幽玄のこころ』桜の花出版、2015年 Morigami Shouyo, "Wabi sabi yugen no kokoro: seiyo tetsugaku o koeru joi ishiki" (Japanese) {{ISBN|978-4434201424}}{{Page needed|date=January 2023}}]]

The temple's name is synonymous with the temple's famous Zen garden, the karesansui (dry landscape) rock garden, thought to have been built in the late 15th century.

The garden is a rectangle of {{convert|248|m2|ft2|adj=off|sp=us|abbr=off}}, twenty-five meters by ten meters. Placed within it are fifteen stones of different sizes, carefully composed in five groups; one group of five stones, two groups of three, and two groups of two stones. The stones are surrounded by white gravel, which is carefully raked each day by the monks. The only vegetation in the garden is some moss around the stones.

The garden is meant to be viewed from a seated position on the veranda of the hōjō, the residence of the abbot of the monastery.Nitschke, Le Jardin Japonais, pg. 90. The stones are placed so that the entire composition cannot be seen at once from the veranda.{{Citation needed|date=January 2023}}

The wall behind the garden is an important element of the garden. It is made of clay, which has been stained by age with subtle brown and orange tones. In 1977, the tile roof of the wall was restored with tree bark to its original appearance. When the garden was rebuilt in 1799, it came up higher than before and a view over the wall to the mountain scenery behind came about. At present this view is blocked by trees.Kuitert, Themes, Scenes, and Taste, in the History of Japanese Garden Art, pp. 122, 124

The garden had particular significance for the composer John Cage, who composed a series of works and made visual art works based on it.{{ cite web |last=Whittington |first=Stephen | url=https://www.academia.edu/7319210|title= Digging in John Cage's Garden – Cage and Ryoanji | publisher=Malaysian Music Journal|access-date=12 November 2015}}

Like any work of art, the artistic garden of Ryōan-ji is also open to interpretation or research into possible meanings. Many different theories have been put forward inside and outside Japan about what the garden is supposed to represent, from islands in a stream, a tiger family crossing a river,{{cite book | title = Japanese Gardens: Symbolism and Design | first1 = Seiko | last1 = Goto | first2 = Takahiro | last2 = Naka | publisher = Routledge | year = 2015 | isbn = 9781317411642 | page = 20 | url = https://books.google.com/books?id=VN29CgAAQBAJ&pg=PA20}} mountain peaks, to theories about secrets of geometry or the rules of equilibrium of odd numbers. Garden historian Gunter Nitschke wrote: "The garden at Ryōan-ji does not symbolize anything, or more precisely, to avoid any misunderstanding, the garden of Ryōan-ji does not symbolize, nor does it have the value of reproducing a natural beauty that one can find in the real or mythical world. I consider it to be an abstract composition of 'natural' objects in space, a composition whose function is to incite meditation."Nitschke, Le jardin Japonais", pg. 92. Translation of this citation from French by D. R. Siefkin.

In an article published by the science journal Nature, Gert van Tonder and Michael Lyons analyze the rock garden by generating a model of shape analysis (medial axis) in early visual processing.

Using this model, they show that the empty space of the garden is implicitly structured, and is aligned with the temple's architecture. According to the researchers, one critical axis of symmetry passes close to the centre of the main hall, which is the traditionally preferred viewing point. In essence, viewing the placement of the stones from a sightline along this point brings a shape from nature (a dichotomously branched tree with a mean branch length decreasing monotonically from the trunk to the tertiary level) in relief.

The researchers propose that the implicit structure of the garden is designed to appeal to the viewer's unconscious visual sensitivity to axial-symmetry skeletons of stimulus shapes. In support of their findings, they found that imposing a random perturbation of the locations of individual rock features destroyed the special characteristics.{{cite journal | last = Van Tonder | first = Gert J. |author2=Michael J. Lyons |author3=Yoshimichi Ejima | date = September 23, 2002 | title = Perception psychology: Visual structure of a Japanese Zen garden | journal = Nature | volume = 419 | issue = 6905| pages = 359–360 | doi = 10.1038/419359a | pmid = 12353024 | bibcode = 2002Natur.419..359V | s2cid = 4415892 }}

Centuries after its creation, the influences of the dry elements at Ryōan-ji continue to be reflected and re-examined in garden design—for example, in the Japangarten at the Kunstmuseum Wolfsburg in Germany.[http://www.kunstmuseum-wolfsburg.de/special/8/ Japanese garden] {{webarchive|url=https://web.archive.org/web/20110718011933/http://www.kunstmuseum-wolfsburg.de/special/8/ |date=2011-07-18 }}; Kazuhisa Kawamura, [http://www.kawa-mura.de/garten/kunstmuseumwolfsburg.html "Japangarten im Hof des Kunstmuseums Wolfsburg" (Japanese garden in the courtyard of the Museum of Art at Wolfsburg)]; excerpt, "Die Proportion, die Dimension und die Art der Gestaltung beider Gärten sind fast identisch." (The proportion, the dimension and nature of the design of both gardens are almost identical).

{{More citations needed section|date=October 2017}}

Image:Tsukubai2.JPG, the basin provided for ritual washing of the hands and mouth]]

While the rock garden is the best-known garden of Ryōan-ji, the temple also has a water garden; the Kyoyochi Pond, built in the 12th century as part of the Fujiwara estate. Cherry trees have recently been planted northwest of the pond.{{citation needed|date=October 2017}}

Ryōan-ji also has a teahouse and tea garden, dating to the 17th century. Near the teahouse is a famous stone water basin, with water continually flowing for ritual purification.

This is the Ryōan-ji tsukubai, which translates as "crouch"; because of the low height of the basin, the user must bend over to use it, in a sign of reverence and humility.Gustafson, Herb L. (1999). [https://books.google.com/books?id=oGirDlmSIJwC&dq=Tsukubai&pg=PA78 The Art of Japanese Gardens: Designing & Making Your Own Peaceful Space, p. 78.] The kanji written on the surface of the stone basin, 五, 隹, 止, 矢, are without significance when read alone. Though the water basin's frame is circular, the opening in the circular face is itself a square (口). If each of the four kanji is read in combination with 口 (the square-shaped radical is pronounced kuchi, meaning "mouth" or "aperture"), which the square opening is meant to represent, then the characters become 吾, 唯, 足, 知. This is read as "ware, tada taru (wo) shiru", which translates literally as "I only sufficiency know" (吾 = ware = I, 唯 = tada = merely, only, 足 = taru = be sufficient, suffice, be enough, be worth, deserve, 知 = shiru = know) or, more poetically, as "I know only satisfaction". Intended to reinforce Buddhist teachings regarding humility and the abundance within one's soul, the meaning is simple and clear: "one already has all one needs". Meanwhile, the positioning of the tsukubai, lower than the veranda on which one stands to view it, compels one to bow respectfully (while listening to the endless trickle of replenishing water from the bamboo pipe) to fully appreciate its deeper philosophical significance.{{citation needed|date=October 2017}} The tsukubai also embodies a subtle form of Zen teaching using ironic juxtaposition: while the shape mimics an ancient Chinese coin, the sentiment is the opposite of materialism. Thus, over many centuries, the tsukubai has also served as a humorous visual koan for countless monks residing at the temple, gently reminding them daily of their vow of poverty.{{citation needed|date=October 2017}} Notwithstanding the exquisite kare sansui rock garden on the opposite side of the building, the less-photographed Ryōan-ji tea garden is another cultural treasure of the temple.{{citation needed|date=October 2017}}

File:Cherry blossom at the rock garden of Ryōan-ji Temple in Kyoto, Japan.jpg|Cherry blossom at the rock garden of Ryōan-ji Temple in Kyoto, Japan

File:Ryoanji rock garden close up.jpg|Close up of the zen garden

File:龍安寺 - panoramio (5).jpg|Grounds

File:Ryoan-ji.JPG|Kyoyochi Pond, created in the 12th century as a water garden

File:WalkAmidMaples2.jpg|Leaf peeping (Momiji)

File:150207 Ryoan-ji Kyoto Japan01s3.jpg|Sanmon gate to the temple

File:Ryoanji Bell.jpg|Temple bell at Ryōan-ji

File:Ryoanji Temple - Kuri Main Building Interior.jpg|Interior of the Hojo, the main temple building

File:Ryoan-ji 03.jpg|Daisugi trees at the gardens

File:Ryuanji snow2.jpg|The garden outside the teahouse (winter)

File:Lake outside Ryoan-ji Temple.jpg|Lake and bridge outside the main buildings of the central unit (summer)

File:150207 Ryoan-ji Kyoto Japan13s3.jpg|Butsuden

File:250201 Ryoan-ji Kyoto Japan24s3.jpg|Chokushimon

• List of Special Places of Scenic Beauty, Special Historic Sites and Special Natural Monuments
• Higashiyama culture in Muromachi period
• Japanese garden
• Tourism in Japan
• List of compositions by John Cage

{{Commons category|Ryōan-ji}}

{{Reflist}}

• {{cite book |last= Baridon |first= Michel |title= Les Jardins – Paysagistes, Jardiniers, Poetes |year=1998}}, Éditions Robert Lafont, Paris, ({{ISBN|2-221-06707-X}})
• Elisseeff, Danielle, (2010), Jardins japonais, Ḗditions Scala, Paris, ({{ISBN|978-2-35988-029-8}})
• Gustafson, Herb L. (1999). [https://books.google.com/books?id=oGirDlmSIJwC&q=Tsukubai The Art of Japanese Gardens: Designing & Making Your Own Peaceful Space.] Newton Abbot, Devon: David & Charles. {{ISBN|978-0-7153-0986-5}}
• Kenkyusha's New Japanese–English Dictionary, Kenkyusha Limited, Tokyo 1991, {{ISBN|4-7674-2015-6}}
• Kuitert, Wybe, (1988) Themes, Scenes, and Taste in the History of Japanese Garden Art, Japonica Neerlandica, Amsterdam, ({{ISBN|90-5063-0219}})[http://edepot.wur.nl/206169]
• Kuitert, Wybe, (2002) Themes in the History of Japanese Garden Art, Hawaii University Press, Honolulu, ({{ISBN|0-8248-2312-5}})
• Moscher, Gouvernor. (1978). [https://books.google.com/books?id=DSisAAAACAAJ&q=kyoto+a+contemplative+guide+japan+moscher Kyoto: A Contemplative Guide.] Tokyo: Tuttle Publishing. {{ISBN|978-0-8048-1294-8}}
• Murase, Miyeko, (1996), L'Art du Japon, La Pochothḕque, Paris, ({{ISBN|2-253-13054-0}})
• Nitschke, Gunter, (1999) Le Jardin japonais – Angle droit et forme naturelle, Taschen publishers, Paris (translated from German into French by Wolf Fruhtrunk), ({{ISBN|978-3-8228-3034-5}})
• Ritchie, Donald. (1995). [https://books.google.com/books?id=spx_ZljTPn4C&q=ryoan-ji The Temples of Kyoto.] Tokyo: Tuttle Publishing. {{ISBN|978-0-8048-2032-5}}
• The Compact Nelson Japanese–English Character Dictionary, Charles E. Tuttle Company, Tokyo 1999, {{ISBN|4-8053-0574-6}}
• Whittington, Stephen. (2013). [https://www.academia.edu/7319210/Whittington_Digging_In_John_Cages_Garden] Digging in John Cage's Garden – John Cage and Ryoanji. Malaysian Music Journal, Vol. 2 No. 2. Tanjong Malim: UPSI Press. {{ISSN|2232-1020}}
• Young, David and Michiko, (2005), The Art of the Japanese Garden, Tuttle Publishing, Vermont and Singapore, ({{ISBN|978-0-8048-3598-5}})
• Doczi, György, (1981). p 118-119. In Proportional harmonies in nature, art and architecture, Shambhala, ({{ISBN|0-87773-193-4}})

• {{cite book |last= Kawaguchi |first= Yoko |title= Japanese Zen Gardens |location= London |publisher= Francis Lincoln |date= 2014 |type= Hardback |isbn= 978-0-7112-3447-5}}

• {{Official website|http://www.ryoanji.jp/ }}
• [http://www.yamasa.org/japan/english/destinations/kyoto/ryoanji.html Yamasa Institute's Ryoan-ji: History & Impressions]
• [https://artsandculture.google.com/streetview/ryoanji/dQGkR56IW66-RA 360 degree view (Google Cultural Institute)]

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