The Japanese Garden

Japanese species and cultivars of Japanese origin, with subdued flowering and strong autumn colours. Find out more in our GardenExplorer. 

The garden has three bridges. The largest is a grand, elegant wooden bridge spanning the marshy area by the Vågelva stream. The path beyond the small wooden bridge is called the Path of the Four Seasons. A stone bridge lies at the transition between the ravine and the gravel garden. In Japanese garden tradition, bridges symbolise transitions and connections. Crossing a bridge means moving not just from one place to another, but into new experiences of the landscape. The bridges invite reflection and mark the connection between people and nature.

The tradition of using lanterns began as a way of lighting up temple grounds and other religious sites, and came to Japan at roughly the same time as Buddhism, in the 7th century. Several of the lanterns bear symbols closely linked to Buddhism, such as the lotus flower, the onion and the deer.

The Kasuga lantern is a large lantern with a sturdy pillar, known as a Tachi-gata or pedestal lantern. It is very old and originally associated with religious sites. In Japan, Kasuga lanterns date back as far as the 8th century. We have two Kasuga lanterns, placed at the main entrance and the northern entrance respectively.

The Misaki-gata lantern belongs to the Oki-gata group, a type of lantern without legs, with the light chamber standing directly on the ground. It is often placed on rocks and beach gravel, representing a cairn used as a navigation point in the garden.

The Yukimi lantern stands by the ravine and is a so-called "snow-viewing" lantern. Its large roof is designed to collect snow. The "silent" snow is meant to contrast with the sound of water, so the lantern is often placed at the water's edge, often with one leg standing in the water. The Yukimi lantern has been used specifically in Japanese gardens since the 17th century and is not associated with religious sites.

The stone pagoda has no light chamber for holding a flame, setting it apart from the other lanterns. It shares some of the same symbols linked to Buddhism, such as the lotus flower and the pagoda shape itself, where the number of tiers is always odd, for example five, as on our stone pagoda. 

The ravine is built up of large stone blocks, while the pale gravel creates the illusion of water flowing from the Spring of Wisdom and onward into the gravel pond. 

The islands in the gravel pond symbolise Japan and Norway. Together, the islands form the Japanese character for warmth and friendship.

In Japanese tradition, the tea pavilion is more than just a building. It represents simplicity, harmony and respect for nature. The path leading to the pavilion is an important part of the experience. The transitions between the different garden spaces invite reflection and open up new perspectives along the way.

The materials for the tea pavilion in the Japanese Garden were imported from Japan, and the building was constructed by four specialist Japanese carpenters working alongside two Norwegian craftsmen. Much of the timber originally consisted of Japanese cedar, but as parts have needed replacing over time, this has largely been replaced with local materials.

The climate of Western Norway, with high rainfall and mild winters, provides good growing conditions for the moss garden, established on the mound at the centre of the garden. Many mosses thrive best in shaded woodland. The moss garden requires maintenance, weeding out heather, grass and other vegetation.

At first glance, the sitting tables in the Japanese Garden look like low tables without benches. The idea, however, is that you sit on the table itself and enjoy the view in different directions across the garden. The first sitting table, on Meditation Hill, was installed when the garden opened in 2008. Its tabletop is made from a brown plastic material that is both hard-wearing and natural in appearance. The newer table stands on the south side of the Vågelva stream, near the stone pagoda, on top of the rocky outcrop, and is a gift from the Olaf Grolle Olsen Trust. It is a solid piece of Norwegian craftsmanship, made by John Johansen from durable timber. The tabletop is made of red cedar (Thuja plicata), while the legs are made of Douglas fir, also known as Oregon pine (Pseudotsuga menziesii).