Japanese Garden

Old reverse entrance Today in the late afternoon, or rather past midday, my wife and I went to visit the Japanese Garden. I had already known it from having visited it on two or three occasions before, and now I add one more time, a stroll through this place which, besides being a park-garden, is also a cultural complex.

Right entrances The adult admission fee is 50 pesos. The single ticket features a photograph on the front and, on the reverse side, a map of the place with basic tour directions and useful tips for the stay. Among these tips are that they are not responsible for accidents on bridges and pathways, and that picnicking and walking around shirtless are not allowed. It is striking to note the use of the word "picnic," an English word of French origin whose definition is not included in the dictionary of the Royal Spanish Academy. Will it be in the Japanese language? I would think not, but I don't know either. The old tickets from five or six years ago were written in a bilingual format, Spanish-English, and on the back they only had directions on how to get there with some landmarks and its location. On those tickets, there was a caption that read: “The Garden is managed by the Argentine-Japanese Cultural Foundation, and it is self-financed through admission fee revenues. It receives no external subsidies. Thanks to your cooperation, we can maintain this beautiful garden.” Today, this statement can be found on their website. Thus, the current ticket indicates its webpage, which is http://www.jardinjapones.org.ar/index.php. Also, the current ticket bears a statement that reads: "The Japanese Garden was declared a site of touristic interest by the Undersecretariat of Tourism of the Government of the Autonomous City of Buenos Aires."

Ibaraki flat bridge The entrance is located at the corner of the intersection of Av. Berro and Av. Casares. This is the Fukuoka Entrance. To learn about the history of the Garden or other specific details, you can visit the website itself and complement it with the information loaded in Wikipedia regarding the Garden to get a general overview. There are two articles to read: the one referring to the Japanese Garden in general, and the one referring to the Japanese Garden located in Argentina, given that there are many all over the world, even in Japan itself. I will only say that the origin of Japanese Gardens lies in an ancient tradition of Japanese private homes; today in Japan, they are also called Zen Gardens. Many of the names of the various places and objects located in the garden refer to cities or towns in Japan. A few meters after entering, one encounters the Ibaraki Flat Bridge. Also called the Heavenly Bridge, it symbolizes the crossing to heaven. A linear concrete bridge crossing a small body of water, it features wooden railings painted red. Every so often, there are posts with spherical finials made of metal painted in gold.

After crossing the aforementioned bridge, we came out to a place called Tochigui Patio, also known as the Magnolia Patio, and continued along the path skirting the lake with a general view ahead of the entire park. Regarding the Magnolia Patio, I will mention something I found in the book "National Historic Trees" (2012 Edition) by author Oscar Andrés de Masi. On pages 33 and 34, the author tells us about, and presents us with old photographs from 1916 of, a tree: a Magnolia planted by President Avellaneda in 3 de Febrero Park. This Avellaneda Magnolia is fenced today with a protective railing, located on the current sidewalk of the Japanese Garden. We kept walking and passed by one of those binocular viewer devices, where you drop a coin or a token and can view landscapes in the distance. Here, I believe it is unnecessary; I think they are more appropriate in other cases, such as towers, skyscrapers, elevated terrain, etc., which allow you to see far away. But they have placed one there. At a glance, one can enjoy the landscaping recreated in the Garden. You can see the different shades of green of the trees and other colors of various plants. The lights are placed in lanterns; these lanterns are made of wood, painted a dark brown, and shaped like little houses. Further ahead, there is a small dock where people take pictures.

Before reaching the curve where the path turns left, among the many trees there is one of large stature located right next to the path, and we were able to see how an elderly woman, walking ahead of us, reached the tree and... hugged it! What is this? What is going on? We stayed and watched, and it wasn't long before another woman arrived and also hugged the tree. Apparently, this idea of hugging trees comes from hippies, and although it was initially questioned, nowadays many people hug trees to find harmony with nature, and these tree-hugging people improve some mental health problems—or at least they believe so or do it for that reason—while others simply believe they receive some sort of energy they cannot explain. Due to the size of this particular tree and its location along the route, it is a spot where many people take photographs. There are two painted cut-out figures available for the little ones, with holes to put your head through and take a picture: a woman with a fan and a man with a sword, both painted in traditional Japanese attire. At the beginning of this path, there is also a tree entirely wrapped in rope. I have already talked about this tied tree previously in another blog post: http://reuniendoletras.blogspot.com.ar/2014/06/arbol-atado.html.

The path we just walked along is called the Sakura Shiga Passage. At the end of it, there is a restroom area. Opposite, in the year 2006, they inaugurated a monument called Samurai, crafted by Japanese sculptor Baku Inoue. The sculpture was relocated and is currently on the same path but on the opposite side from where it was initially placed. Samurai turned out to be an elite warrior class governed by a code. The word means "one who serves." For a time, they were the ruling class of Japan. Harmony and coexistence with nature were a source of inspiration for the living values of the samurai, according to the sculptor's view, and that was what he based his work on.

Birds and fish Among the birds hanging around, some are established like ducks, while others come and go. We were able to photograph a white bird that looks like a small heron, as well as another entirely black bird with a long beak that was in the middle of the lake, though I do not know what kind of bird it is, common pigeons, a woodpecker, and many carp or koi fish of various colors. And the small birds—which I didn't photograph, but which are quite numerous all the time—include sparrows, rufous-collared sparrows, horneros (rufous horneros), shiny cowbirds, house wrens, and eared doves.

From this point on, the path forks into two trails: one skirts the lake, and the other runs a few meters higher up. There is also an exit leading into the central island, the largest island in the lake.

The one in the image is a stone lantern. There are two or three, or perhaps more. They are known as ishidoro stone lanterns. These particular ones are of Buddhist origin and were located in temples, but today they have evolved into decorative garden elements. There are several different types of stone lanterns. They were introduced to Japan around the 5th century AD from China and Korea. There are several categories of stone lanterns, but all of them feature a hollowed-out section at the top to hold the light. Initially, they were used to illuminate religious enclosures, temples, and shrines. Secular use began in the 16th century to adorn the surroundings of tea masters' huts. Stone lanterns have a particular roof aspect designed to catch winter snow and thus give a picturesque appearance. They are heavy. The reality is that they did not provide functional lighting, so they were dedicated to being mere ornaments. The one in the photograph is of the style of those placed along paths, and right here in the Japanese Garden they are found next to the walkway. At the same time, here they are also found next to the water, creating a unique spectacle when lit after the sun has set or at complete night. This particular type is also placed beside doors. Keep in mind that there are several other distinct types for other occasions with various functions. In the garden, you can also see other types, such as small ones. For example, there is a small one placed on the lawn in one of the corners of the Restaurant. Also, in a shallow water area, there is a stone lantern of the kind placed in the water; in this case, it is also small, and these feature a curvature that allows a better reflection in the water.

Yamagata curved bridge Perhaps this is the most representative feature of the Japanese Garden. A must-have in any photograph, it is the place where almost everyone wants to pose and cross. It is an element present in Japanese Gardens: a bridge. It represents the union between points and places. This is the Yamagata Curved Bridge. They are generally called taiko bashi. Also called the Bridge of God, it represents the path to paradise. It is short, made entirely of wood. It first features a series of short steps and then continues with flat wood, but with other strips of wood serving as small bumps, I imagine to prevent slipping. What makes it difficult to walk across is the symbolism that for every human being, reaching paradise is difficult. Everything is in red (shu color, considered divine), with an elevation characteristic of its curvature that makes it more eye-catching and interesting. Bridges have their symbolism. Everything—bridge, water, rocks, islands, etc.—has its symbolism. I chose this photograph because it allows us to see the reflection of the bridge in the lake water. It is the bridge that allows us to cross from a small island to the largest island.

Island After crossing the bridge, you access the largest island where the waterfall and the viewpoint are located. This island has a path that skirts it and another that penetrates into it. In the center is the highest area. From there (and also from other places), you can see two islets called The Cranes and The Turtles, which symbolize longevity. Throughout the Japanese Garden, there is a variety of trees and plants, some native such as the Tipu tree (Tipuana tipu) and the Floss Silk Tree (Pachira speciosa), and others native or unique to Japan such as Acer palmatum (Japanese maple), Sakura (Japanese cherry blossom)—which symbolizes beauty—Japanese azaleas, and various herbs, among others. There are also some coniferous plants. There is National Executive Branch Decree 652/2008 declaring the Japanese Garden Environmental and Cultural Complex, located in the Autonomous City of Buenos Aires, a site of national historical-artistic interest. This decree involves the tree species located within the Japanese Garden. The relevant part of this decree states: "That the JAPANESE GARDEN is a singular exponent of cultural diversity in the capital of the ARGENTINE REPUBLIC. That THIRTY-SEVEN (37) genera of trees, shrubs, and plants of manifest beauty and exoticism have been counted on the site." This island is called the Island of the Gods and Treasures (Shinzen-Shima), and the divinities reside in it.

Waterfall Along the path we entered, after crossing the bridge, the first thing we found at one end of the island was the waterfall: the Nagano Waterfall. A small waterfall flowing into the lake. The waterfall symbolizes the flow of life. It embodies the different stages of life: the source represents youth, while the ripples represent accumulated experiences. And finally, we find the rest of old age and wisdom.

Pagoda On the other side of the island, in the highest part, is the Viewpoint. The entire place is populated by trees, plants, and walking paths. There also, among the trees, stands a stone Pagoda. It has 13 eaves and is called Jusamju-no-torou (tower of the thirteen eaves). In Japan, there are pagodas with 9, 13, and 15 tiers. In that country, unlike Western beliefs, the number 13 brings good luck. At its base, carved into the stone, you can see the figure of Buddha, a symbol of Peace. Pagodas are built for religious purposes and are typical of Buddhism. These stone ones are nowadays more of an ornamental element completing the landscaping of this place. The Pagoda is the temple where God lives.

After touring this island, we turned around and went back the way we came. Something caught our attention: large stones in the water. I took a picture of them. In the image, only four are visible, but there are more. They are seven large stones protruding from the water, representing ships spending the night waiting to enter the port. Upon exiting, on one side is the fork of the perimeter paths. On the other side is the Tea House. That is where we headed.

It is called the "Toyota" Tea House. You cannot enter. It is a structure built to perform the tea ceremony, designed by architect Hiroshi Ooe, a specialist in the construction and repair of traditional temples in Japan. In Japanese tradition, the Tea Ceremony takes on a solemn form governed by certain rules for several centuries. Next to this Tea House, there is a metal plaque with an engraving that reads: "Argentine-Japanese Cultural Foundation. Bicentennial Monument. 'Toyota' Tea House. Friends of the Japanese Garden in gratitude to the Argentine Community." And next to it, there is also a large sign that reads: "Argentine-Japanese Cultural Foundation. Bicentennial Monument. List of donors for the construction of the Tea House." It is a traditional-style house. You can see that before entering there is a small space called a genkan, where people must take off their shoes. In the photograph, you can see the woman preparing the tea; she is barefoot, wearing only socks but no shoes. Inside, she prepares the tea. Afterward, they serve you a free sample to taste: a tasting of green leaf tea (miryokucha) from the Japanese garden. You can have one or two, as they are served in disposable cups.

Right there, a young woman dressed in traditional Japanese attire served the teas, and next to her, a young man handled the sale of Japanese sweets called dorayaki, priced at 20 pesos each. So we bought some to try them out, as we had never tasted one before. As seen in the photographs, they consisted of a circular pastry with a very spongy bread dough and a sweet filling in the center—it looked like peanut paste, but it wasn't; I don't know the exact composition of the filling. You can learn about this sweet here: http://es.wikipedia.org/wiki/Dorayaki. At the fork in the paths, one leads first to the Food Court. A few meters further ahead is the Cultural House—also called the Culture Office and the Library—and attached to it is the Green Tent or Mie Tent. Various events are usually held in this tent. To one side is also the Fukushima Omiyageta Gift Shop.

We took the other path, the one skirting the lake, and arrived at the Bell Tower: the Hiroshima Bell Tower. Next to the bell tower, there is a bronze plaque with the following inscription: "World Peace Bell donated to the city of Buenos Aires by the World Peace Bell Association of Japan, installed in the Japanese Garden by designation of the Government of the Autonomous City of Buenos Aires. BELL TOWER built by the Argentine-Japanese Cultural Foundation and the Argentine World Peace Bell Association with the contribution of the Japanese community and its Argentine friends. February 3, 1998." This bell turns out to be a replica of another bell donated by the Japanese people in 1952 to the United Nations headquarters in New York as a symbol of peace. To learn more about this, you can visit the following link: http://es.wikipedia.org/wiki/Campana_japonesa_de_la_paz. Next to the bell, against a red background and a golden frame, stands a grey stone protected by glass. At the bottom, on a plaque, you can read: "Hiroshima Stone in prayer for Peace. August 6, 1991." Right there is also a particular tree, a specimen of the Ginkgo biloba species, also called the maidenhair tree, the tree of hope, the golden tree. This species has existed since the Permian period, 270 million years ago; it is a unique and particular tree. It is considered a relict or living fossil (a term first used by Darwin). It is interesting because a year after the atomic bomb exploded in Hiroshima, despite the radiation and destruction, a ginkgo tree that remained standing began to sprout. This aroused curiosity; it was documented and photographed. For some people, it became a symbol of rebirth and was venerated as a "bearer of hope." This tree evolved from a time when the atmosphere was different from today's, being more oxygenated, which allowed it to resist the high amounts of cellular oxidation caused by the radiation of the atomic explosion.

Further on, we reached the Monument to the Sweat of the Japanese Immigrant (Iman no Seki), which represents male and female figures striving equally facing a foreign land. The monument is the work of Hitoshi Miyawaki and consisted of a block of stone extracted from the riverbed, symbolizing having been washed by sweat; that is, it was found rather than sculpted.

On the occasion of the centenary of the Japanese community in the City of Buenos Aires, the community donated the Japanese Garden to the Municipality (1986) in gratitude to society for opening its doors to Japanese immigrants.

From here, you can take two paths: one across a bridge over the lake water, and the other continuing around the lake's perimeter. Since the stretch is not very long, you can do both, back and forth, and take photos. I will comment on the bridge. It is a bridge with its own particularities. It is built entirely of wood, is not very wide, and sits quite low, just a few centimeters above water level. It is not a straight bridge either; it is a zigzagging bridge. For this reason, it is called the Okayama Zigzag Bridge, Yatsu Bashi or Yatsu Hashi Bridge, also called the Truncated Bridge, and finally, it is also known as the Bridge of Decisions. The interpretation of this space, according to some traditions, is as follows: while crossing the bridge, you are allowed to meditate on a thought in order to arrive at a decision—an important decision. Before making the decision, it gives the person three opportunities along the straight sections of its truncated platform. This is the history surrounding this bridge. On many websites, people have commented that this bridge "leads to the island of miraculous remedies." I would believe this is a mistake by many naive people copying one another; the reality is that this bridge does not lead to any island—unless it alludes to something I am unaware of—and I would rather think it is a confusion with another of the bridges in the place. You can also find other notions on the web. One of them says that the shape of the bridge is a derivation of the ideogram symbolizing the number 8. Another says that the irregular shape of the bridge is a representation of the union of the islands of Japan.

Here, instead of crossing the bridge—because there were many people and it became somewhat uncomfortable given its narrowness—we decided to continue along the path skirting the lake. There is a new fork: a path that rises slightly and leads to the Kyoto Reservoir or Pond. There is a bridge crossing over the pond. The pond water then flows down to the lake through a low, narrow waterfall, flanked by boundary stones. You reach another patio: the patio formed by a checkerboard pattern, called the Kanagawa Patio or Kanagawa Checkerboard. It can be accessed from the back via the path continuing from the Pond, or also from where we are walking along our route skirting the lake, when it ends, by turning right. The patio is formed by white paving slabs interspersed with squares of grass. Thus, it appears in white and green. This abstract representation seems to show a large-scale checkerboard. The book The Japanese Garden of Buenos Aires by author Oscar Andrés De Masi says regarding the checkerboard (hōyōden): "One of the most characteristic abstract formalisms in Japanese ornamentation. It symbolizes, in its intermittence of green grass and white tiles, the foliage of the pine penetrated by the air and the vision of the sky. It was adopted as a landscaping rule in the Momoyama era, accentuating the visual component over the utilitarian elements of the composition." And to round it out, I add what I read in an architecture blog, which says: "In the Edo period, some different designs began to be included; one of them, the checkerboard, offered an interesting contrast between geometric regularity and the organicity of other elements designed in the garden." (Carlos Zeballo) The classic stone lanterns (kasuga tōrō, kodemari) of various sizes come from the same era as the checkerboards. Looking at the photograph, in the upper right corner—one of the corners of the checkerboard—there is something metallic; it looks like two figures dancing... tango? One black and the other red. I really don't know what it is or what it represents. In some area around this part of the garden, some have mentioned the existence of the dry mountain-and-water landscape or dry garden or karesansui, where a landscape without water is recreated, featuring rocks and white sand or something similar. If it is there, I didn't see it and overlooked it.

What follows is the Kadan Nursery or Toyama Nursery. It is a nursery with familiar plants and others not so much. If you are going to acquire a traditional or common plant, you have to take the price variable into account; personally, I would look for it in a larger nursery. But here you can acquire bonsai trees; perhaps that is the best or most interesting thing the nursery offers, although to properly care for them you need to know how. On some occasions, the nursery offers courses related to bonsai. There is a giant poster on the Art of Tray Cultivation (bonsai); this poster contains text on History, Species that can be worked with, Tools, and Styles. I didn't see any exotic plants, although there might be some, and whether or not it is convenient to acquire them is up to the visiting buyer. What the nursery does also have are three or four large fish tanks with small multicolored fish, which are also for sale.

Next to the nursery is the Portal. The Portal, Porch, or Torii, is a traditional Japanese gate, usually painted red. This structure is also identified as an arch or a frame. Its meaning is the delimitation between profane and sacred spaces. It can also be seen as a kind of talisman or object that wards off evil spirits and attracts good luck. Usually, these porches are located at the entrance of a building or place. In this case, it is also located at one of the accesses. In front of the Portal, there is a parking lot for those arriving by car, and the entrance to this parking lot is also one of the entrances to the Japanese Garden: the Okinawa Entrance, located on Av. Casares, almost reaching Av. Libertador.

At this spot—one of the ends of the Japanese Garden—there is a two-story building next to the parking lot. On the ground floor, on one side, is the Wakayama Restaurant. The restaurant also functions as a tea room in case you wish to have tea. At the Restaurant, you can consume typical Japanese dishes as a sample of Japanese cuisine.

Above the restaurant is a hall, the Yamanashi Hall, accessed by a wide staircase. This hall is used for exhibitions, displays, and other purposes. On this occasion, the day of our visit, there was an Exhibition of works from the sumie workshops, organized by the FCAJ. Sumie is an ink drawing technique characteristic of Japanese painting. In this hall, next to the entrance, there is a bulletin board with advertisements for various courses held there or elsewhere. The exhibition of works consisted of panels containing four drawings each. Separated from them were other panels holding the drawings that obtained the best grades and those that received honorable mentions, clearly identified with a red paper badge with a yellow center. Below are some photographs of that exhibition. Photo 28 sumie – centered Photo 29 sumie – centered Photo 30 sumie – centered Photo 31 sumie – centered

This hall located on the upper part of the building has a fenced balcony. From this balcony, you can view the entire landscape of the Japanese Garden as seen in the photograph. During our visit, it happened that there were many young children accompanied by their parents. In a corner of the reception area, there was a counter—and I don't know if they gave them away for free or if a small amount of money had to be paid, but the fact is that people with young children approached, and at that counter they were handed paper and colored pencils or crayons so that the children could draw something related to the Japanese Garden, some landscape, object, or whatever they wanted, and afterward a contest with the drawings would take place. It turned out that a mother was with her two children on the balcony, and the two children were sitting on the floor drawing. Suddenly a gust of wind blows by, and one of the papers with the half-finished drawing starts to fly away, landing on the grass in a place close to the checkerboard. The mother leaves the children and quickly goes to retrieve the drawing that flew away.

From up there, something caught the eye: some device that made people stop, observe them, take pictures, and chat in front of it. What was that? You couldn't see it very well in detail from the balcony; the only option was to go down and get closer to see what it was. An example is the photograph showing a woman pointing the device out to a companion. This element is located at the intersection between the entrance path and the path leading to the restaurant, half-covered among some rocks in front and several bushes around it.

Well, when we went down and reached the spot to observe it up close, we could see what it was: a device made of canes, bamboo canes, through which water circulates. The name of this element is Shishi-odoshi. The Japanese used to make these devices in the countryside, and they served to scare away birds and animals harmful to agriculture. Technically, it consists of a segmented tube, usually of bamboo, pivoted to one side of its center of gravity. At rest, its heavier end is down and resting against a rock. A trickle of water accumulates at the upper end of the tube, and eventually the tube's center of gravity shifts past the pivot, causing the tube to tip and dump the water. The heavier end then falls back against the rock, producing a sharp sound, and the cycle repeats over and over. This noise is intended to scare away herbivorous animals such as deer or wild boars that come to graze on the garden plants. In this case, as in many others, it currently functions as yet another decorative—as well as interesting—element. This is the standard and most common model, but there are others with certain variations that fulfill the same function. Some types of shishi-odoshi break the tranquility of a Japanese garden with the sound of the bamboo rocker striking the rock.

Before leaving the hall, I have one more area to mention: the Reception area, the Osaka Reception. Here we have two counters, the staircase leading to the upper hall, and an Information desk. Next to the Reception is the restroom area. And there is also a door leading to the Tokushima Reading Room. One of the walls of the reading room is covered with paper crane figures. They are crafted using a technique called origami, which consists of making figures by folding paper without using other elements. In that same area is the Argentine-Japanese Cultural Foundation, along with a daruma. Darumas are armless and legless figures representing Bodhidharma (Daruma in Japanese), the founder and first patriarch of Zen. At the base of this figure, there is a sign that partly reads: "The Daruma doll symbolizes perseverance and continuous effort." It also mentions a Japanese saying that goes: "Fall down seven times, stand up eight." Next to the Daruma doll is an abacus, also called a soroban (a Japanese abacus). It is manufactured in a very large size to properly represent this well-known instrument for counting and arithmetic operations. The characteristic of the Japanese abacus (soroban) is that it was designed using one bead on the upper deck (heaven) and four on the lower deck (earth). On the ceiling of the reception room hang globe or spherical lamps made of rice paper; I believe they are of Chinese origin, but usually in China and Japan something similar called paper lanterns is used.

The last thing I must mention about this reception area is a counter, attended by a young lady dressed in traditional Japanese attire, who is in charge of writing the visitor's name in Japanese. This has a cost: a single name is 20 pesos, two names on the same card are 30 pesos, and then there was another option for three or more names. First, the young lady makes a draft and explains the Japanese writing; if the visitor agrees, she proceeds to write the name with ink and a brush, and finally, she gives the final explanation to the visitor and hands over the card. Then the visitor can frame it if they wish to hang it on a wall, but that is something the visitor must do on their own elsewhere. You can also keep it in an album or however you prefer to preserve it.

Leaving the reception room, we are going to tour the final stretch—at least of our itinerary; for others, this part is the beginning and they finish in reverse, meaning it can be toured however one wishes.

Upon exiting, we first find a frame with threads or ropes where people leave small pieces of paper hanging. These pieces of paper are called omikuji. It is a custom in Japan that when people visit a shrine or temple, they make a monetary offering and in exchange receive an omikuji. Upon opening the paper, the person reads the fortune they got, whether good or bad (in varying degrees). When it is bad, people tie it to a tree. This has undergone some variants and/or modifications. I understand that in Japan they have omikuji vending machines. Here it has also been called the "oracle of wishes." I don't know if it is something different or the same thing but modified; it seems that people write their wish on the small paper and then tie it.

A few meters ahead, we find an indicator sign with the most important directions of the Japanese Garden. A few meters to the side, along a path coming from there, is another entrance that leads to Av. Casares.

As we continue walking, on the right side, we have a Rose Garden, which takes the shape of a triangle, and that is where the roses are located. Along the route, also on the right side, we will see many flowers.

Photos 40

pier

We keep walking and arrive at the Pier. The Chiba Pier.

As seen in the photograph, the pier is entirely made of wood, resting only on tree trunks, without a railing, and with an abrupt cut a few meters extending into the water. A pier that you cannot climb onto, and thank goodness for that! Its access is blocked. Both the pier and the pergola are places used for meditation. Once a year (during a week of the full moon in the month of August, when in Japan the moon is closest to the Earth), men and women perform an examination of conscience to renew the self. The man meditates on the pier, with his legs toward the water, which reflects the full moon. The pier or truncated bridge also represents earthly life. The abrupt cut of the pier symbolizes death, which is nothing more than the beginning of new life in the afterlife, represented by a small island, the island of immortality. Meanwhile, the woman meditates under the gazebo.

I am mentioning the Pergola or Gazebo, which is located a few steps ahead of the pier. Called the Iwate Pergola. Another place to sit, enjoy the scenery, relax, and reflect. The Gazebo and the Pier are, for the Japanese, a way of practicing worship in Shintoism and Zen Buddhism.

The pier and the gazebo are places that, for the Japanese, lead them to perform an examination of conscience in order to evaluate the year in its positive and negative aspects.

We keep walking, and we are now reaching the end of the tour. There is a kiosk, and a handicraft or gift shop called Ishikawa Omiyageya. A place to acquire objects of Eastern culture.

To conclude the tour, I will mention two plaques in the Japanese Garden, of which I attach photographs. The first one says: "In memory of the visit of Their Majesties Emperor Akihito and Empress Michiko of Japan. Buenos Aires, June 10, 1997."

And the second plaque says: "In commemoration of the visit to Argentina of Crown Prince Akihito and Princess Michiko. May 15, 1967. Municipality of the City of Buenos Aires."

On this last plaque, you can see the Argentine National Coat of Arms on one side and the Japanese Emblem on the other, which consists of a chrysanthemum flower. This emblem, kamon or mon, used as a national symbol comparable to the coat of arms in Western countries, is formed by a representation of the golden chrysanthemum flower (yellow or golden color). It constitutes the Emblem of the Emperor. For this reason, Japan is known as the Empire of the Chrysanthemum. It is used as a national symbol.

Thus concludes the visit to the Japanese Garden of Buenos Aires, a place where the words calm, serenity, visual, green, tranquility, spirituality, meditation, and harmony make their presence felt (on days when there aren't many people visiting). There was no shortage of waterfalls, arched bridges, oriental-style roofs, lakes, and islands, which make up Japanese landscaping.