As regards following questionable problems in case of using Hedera genus for landscape planting, we tried to collect basal data on research and experimence.
1) Propagation of Hedera genus:
5 propagation way are cutting, seedling, grafting, layering and stock-dividing.
We made experiment on cutting and seedling thought to be the most suitable method for practical use. As for cutting, we use H. rhombea Bean as experimental material and made the cutting experimence 12 times a year.
The result that suitable temper range for the cutting of H. rhombea Bean is from 15°c to 24°c was provided.
By the way we expect this is applicable to other kinds.
Besides, difference of root ratio by varied soils used for cutting have a little or no remarkable difference. As for seedling, H. rhombea Bean seeds sprinkle well germinating rate, 95% was succeeded.
The period of sprinkle is from April to May that is just same as the period of growing seeds.
2) On negativity and positivity:
On judgement negativity or positivity from difference of growth under each conditions made by cutting the sun light using “KANREISYA”.
The well-growing kinds in the shade are H. helix “Fan”, H. helix “Glacier”, H. helix “Mandas Crested” and H.rhombea Bean.
And those in the slight shade are H.helix “Golddust” and H. helix “Pittsburgh”.
H. helix L. grows well in the sun
3) Resistance against cold:
3) Resistance against cold:
From total judgement, we could hold the evidence that H. canariensis “Variegata” is less persistent against cold than other kinds of Hedera genus, and 2 kinds, H.helix “Fan” and H. helix “Mandas Crested”, are more persistent.
4) Difference of growing degree:
According to observation of experimental farm and experimence for growth, we made ranking as follows; (1) H. helix “Mandas Crested” (2) H. helix L.(3) H. helix “Fan” (4) H.helix “Pittsburgh”, H. helix “Star”, H.canariensis “Variegata” (7) H. helix “Glacier”, H, helix “Golddust” H. rhombea Bean (10) H.helix “Discolor” (11) H.helix “Williamsiana” (12) H.helix “Scutifolia”. H.hlix “Mandas Crested” generally made extremely good growth and seemed to be the most suitable landscape plants among Hedera genus.

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In these studies series, the author tries to inquire into the formative and developmental process of the Hiyokechi-Hiroba (the Square mediated by the open space for the fire prevention) of the city Edo as the public Square in the feudal age of Edo in order to know the same process of the Square in the feudal age in Japan.
In this report (2), the latter half age of the Edojidai is dealted with, and the followings are studied.
1. The third stage (from the age Enkyo 4 to the age of the Hôreki)
The populace's overheated recreational uses on the Hiyokechi asks the feudal lord sides to reconsider the original character of it.
And they try to define it as the open space for the fire prevention.
2. The fourth stage (from the age Meiwa to the last days of the shogunate)
Nevertheless, the populace's deep-rooted recreational uses on it puts into disorder their intention by degrees. And then the Hiyokechi is charged with the character of the receational open space again.

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The ancient Chinese defines the spirit of Zen as the following; Zen is the name of heart. The heart is body of the Zen.
Therefore, the essence of Zen is “Mu” shown as “FURITSUMONJI KYOGAIBETSUDEN”. It means that the spirit of Zen is free or nothing like an echo in the deep valley, or a reflected image upon the water.
Thus, there are no appreciation rules for the Zen sect gardens, and yet no writtcn records on the conception for their gardens.
The author celieves that the Zen sect garden is a reflection of the heart of man, that is Zen priest, whose phyrosophy is symbolised in his garden design.
It is especially true for the famous Zen disciples, founders of new temples, who wish to express their conception of Zen creeds and teachings, or history of their spiritual awakenning for their temples.
Here, they played very important role upon the formation of garden compos it jon; they were the composers and ofen the landscape architects. The gardeners took part of only engineer.
Therefore, the Zen sect gardens are a part of symbole of phyrosophy of Zen. Change of garden forms symbolises history of spiritual awakennig of priest, and in the change of his phyrosophy, it is hidden the heart of Zen.
The author believes that the need of research upon these hypotheses are necessary in terms of spirit of Zen that is symbolised in the garden forms quite logically.
This study is divided into the following parts;
1. source of theme in relation to the Zen phyrosophy,
2. theme of garden,
3. conception for imaginative garden by the founder priest,
4. composition in relation to the imagination.
The Koho-An Garden was constructed as a KareSansui Styled of the Lin-Zai Zen sect Zen-Rin Garden by Enshu Kobori in 1612.
The priest, Kogetsu Sogan was invited by Enshu Kobori as the founder of the Koho-An which used to be constructed in the Ryuko-In (temple).
The relationship between the garden composition and the Zen spirit is identified as the following.
The source of theme for the garden is asked for in fhe texts of “Daitokokushi Goroku”, “Linzai roku”, and “Hekiganroku”.
The theme of garden is “musabetsubyoto”, everything is equal in this world.
The garden conception is spiritual awakenning, Satori in Japanese.
Image of the garden composition is sought in the landscape of “Syoso-Hakkei” in Chaina.(the further description on details is omitted in the English summary.)

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Mr. I. Shinji, in his essay of Zoen-zassi, vol.33, No.4, made an attempt to attribute designs of socalled Japanese gardens to a group of craftsmen in our Middle Ages, “Senzui-kawaramono.” He repudiates the notion that forms are originated by a religion or a thought, because an abstract, purely theoretical thought can bring forth no form, no dasign. So, he maintains that, Senzui-kawaramono, who actually moved rocks and planted trees, made up the style of Japanese gardens by copying the natural landscape of dry river bed which were their house site.
But I do not agree with what he says. Can religion give no form? S. Kimura says that the image always precedes the idea in the human history (nor this is his original theory; there are E. Cassirer's and H. Read's basic works about this). Form was functional by origin. “The achievements of art always represent the fulfillment of what is desired.” (worringer) And, there is no such thing as an exact imitation of nature, because “tha eye is a part of the mind.” (Leo Steinberg)
In Japan, though we had our own forms already in our prehistoric times, many exotic, influential forms together with Buddhism flowed into this countory from China. Not that people's devotion to Buddha made them worship those Buddhistic symbols, but the new religion gradually took definite shape round these new symbols. The forms, inevitably and subtly, underwent a process which might be called “Japanization” when they were copied again and again in methods originally learnt from Chinese artisans. Thus, tradition of Japanese art was born. As human consciousness widens and changes, forms themselves evolve; by refining accepted symbols or by finding new symbols.
In Muromachi period, a number of fine gardens were built by KawaramoNo.In my opinion, these were not imitation of dry river bed, but were the result of some new attempts to transmute and reduce visible aspect of nature into symbolic patterns, probably under the influence of landscape paintings of Sung dynasty.

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