Five months after Pearl Harbor, in February of 1942, President Roosevelt issued Executive Order 9066, which authorized the U.S. military to evacuate any and all persons from "military areas" and the army issued its first Civilian Exclusion Orders, requiring that "all Japanese persons, both alien and non-alien, will be evacuated" to "relocation camps" in March. By the end of the war in 1945, 119,893 Japanese were sent to the camps. Once an exclusion order was issued, Japanese were not allowed to keep their house or business, and they were not provided any place to keep their assets. The evacuees were required to liquidate their assets in few days, and gather whatever possessions they could carry.
When American-Japanese reached the camps, they saw spare, prison-like compounds situated on sun-baked deserts, dotted with watchtowers and surrounded by barbed wire. Life in the camps had a military flavour; interments slept in barracks with no running water, took their meals in vast mess halls, and went about daily labour. When Japanese were confined in the internment camp, though, they still created gardens on the barren land surrounded by hedgehog.
Manzanar was the biggest camp among the ten internment camps used during the war in U.S. The camp consisted of thirty-six blocks of wooden barracks, once imprisoning 10,046 men, women, and children. Many gardens were created in Manzanar, including a big strolling garden whose remnant of a big pond with carefully placed rocks still remains. The Japanese imprisoned in the internment camp made such gardens to keep a hope to live in this world. When Japanese suffered from the racial discrimination and harsh labour on the barren land, and when being a Japanese could be fatal crime, they made a Japanese garden gathering their remaining little materials and their human power. This paper will first introduce Japanese internment camps in US and gardens in Manzanar, and then analyze their design concepts and influences.

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明治から昭和初期までの時代に、岩崎彌太郎から彌之助・久彌・小彌太に至る岩崎家4代が造った庭園のデザインは、大名庭園に連続性を有する庭園に始まり、コンドル洋館時代の庭園を経て、小川治兵衛の庭や聴禽荘のような「新・日本庭園」ともいうべき新しいタイプの日本庭園へと変遷していった。西洋文化と深い接点を有していた岩崎家4代であったが、コンドル設計の洋館を多く建てた時代にも、洋風庭園の受容は限定的なものに留まり、洋館の傍らにも和風庭園が造られ続けた。大正期以降の久彌・小彌太は、社交や他人の評価を意識したそれまでの庭から離れ、個人的な楽しみのための庭を求めるようになり、施主の個性や価値観が投影された「新・日本庭園」が選択されていった。明治期の西洋文化の流入に直面しながらも、日本庭園がその独自性を保持しつつ、明治末期の思想としての「個人主義」を反映した「新・日本庭園」へと再構築されていった、という明治から昭和初期までの日本の庭園文化の展開を、岩崎家4代の庭園に見ることができる。

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江戸時代後期、安定した経済基盤のもと各地方で財を成した豪商や豪農は文人的な素養をもった。かれらは中国山水画の風景に憧れをもち、自らの邸宅にそれを模倣した庭園を造った。栃木県足利市月谷町にある巖華園庭園もその一つである。この頃、日本列島の各地において同じようなコンセプトの庭園が造られた。本稿では、これらの庭園を日本庭園史の中で江戸時代後期における中国山水画風庭園として位置付け、その意義について考察を行う。

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