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Alternate Name: 
Address:Sakyo-ku, Nanzenji, Kusagawa-cho 
Mailing Address: 
Postal Code: 
Latitude/Longitude:lat=35.11667; long=135.8
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Designer(s):Ogawa Jihei 
Contruction Date:1892-96 (Meiji 25) 
Hours:9:00-12:00, 1:00-4:30; Closed Monday 
Added to JGarden:1/1/1996 
Last Updated:8/3/2002 
JGarden Description:Murinan is the former home and final residence of Yamagata Aritomo, a Meiji statesman and garden enthusiast. Yamagata worked with Ogawa Jihei on this garden and the attached two-story sukiya style house from 1892 to 1896. As a product of the Meiji period, this home represents a juxtaposition between a classic taste and the Western-influenced modernism that was influential in Japan at the time. The one hectare site is primarily covered with mowed lawn, but two yarimizu streams, clusters of stones and clipped shrubs line the water features that meander across the space. It is one of the finest residential gardens open to the public in Kyoto.

The garden is located in SE Kyoto, near Nanzenji and the Miyako Hotel.

Yamagata Aritomo1, a member of the aristocracy and a veteran statesman the late 19th century, bought land in the Kusakawa-cho neighborhood and proceeded to build a villa and garden there in 1892, completing it in 1896. He hired Ogawa Jihei as his designer. Ogawa will reappear as the designer of a number of gardens in the Meiji period including Heian Shrine and Shinshin-an,and he had a hand in virtually all of those constructed in Kusakawa-cho.

In this case Ogawa created a stroll garden around two pairs of brooks and shallow ponds, all fed by water from the new canal. He "captured alive" (ikidori or shakkei) the entire Higashiyama mountain range through the device of two groves of trees growing in the area around the property. The trees form both the vertical elements and the horizontal trimming line to frame the mountains. Below the gap in the trees, the eye is drawn down a three-tiered cascade from which the water flows over a miniature rapids into the first pond. A second stream flows from the north part of the garden and is spanned by a bridge from which a rock composition at the confluence of the streams can be seen. Other such compositions are interspersed among the clipped shrubs in a way that draws the eye across the intervening lawn space.

A member of the so-called "literary" tradition and considered a progressive thinker in his time, Yamagata's preferences were toward what was known as the "naturalistic" rather than the more stylized gardens and limited palette of earlier periods. Despite this, the garden is firmly rooted in the Edo stroll garden tradition with Ogawa offering little innovation other than the introduction of some European plant materials and the deployment of patches of lawn around the buildings. The topiaried azalea, the use of shakkei to draw outside elements into the garden, and the revealing and hiding of views as one passes around a prescribed path are the techniques that structure the experience of the garden and would be recognizable to anyone familiar with gardens throughout the last two centuries.

1. Yamagata Aritomo (1838-1922) was born a samurai of the Yamaguchi clan. The members of this family were leaders in the 1866 revolt that ultimately brought down the Tokugawa shogun two years later. As a result, they were made noble after the Restoration. Aritomo served as Minister of Justice, President of the Privy Council, general in the Sino-Japanese War and Prime Minister. In addition to Murinan, he commissioned the gardens, Chinzan-so in Tokyo and Koki-an in Odawara.

Itoh Teiji. Space and Illusion. Tokyo: Weatherhill, 1973, p. 41.
Kuck, Loraine. World of the Japanese Garden: From Chinese origins to< 

A Pair of Stones

Two chunks of gray-green stone,
their shapes grotesque and unsightly,
wholly unfit for practical uses --
ordinary people despise them, leave them untouched.
Formed in the time of primal chaos,
they took their place at the mouth of Lake Taihu,
ten thousand ages resting by the lakeshore,
in one morning coming into my hands!

Pole-bearers have brought them to my prefectural office
where I wash and scrub away mud and stains.
The hollows are black, deeply scarred in mist,
crevices green with the rich hue of moss.
Aged dragons coiled to form their feet,
old swords stuck in for the crown,
I suddenly wonder if they didn't plummet from Heaven,
so different from anything in this human realm!

One will do to prop up my lute,
one to be a reservoir for my wine.
The tip of one shoots up several yards,
the other has a hollow, will hold a gallon of liquid!
My five-stringed instrument leaning on the left one,
my single wine cup set on the right,
I'll dip from the hollowed cask and it will never go dry,
though drunkenness long since has toppled me over.

Every person has something he loves,
and things all yearn for a companion.
More and more I fear that gatherings of the young
no longer will welcome a white-haired gentleman.
I turn my head, ask this pair of stones
if they'd consent to keep an old man company.
And though the stones are powerless to speak,
they agree that we three should be friends.

  Bai Juyi [Po Chu-i]

©1996-2002, Robert Cheetham; ©2018 Japanese Garden Research Network, Inc.
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